Why lyrical digressions in dead souls. Lyrical digressions of "Dead Souls" and their ideological content
The main objectives of the lesson:
"Grade 9 Lesson No. 45 Lyrical digressions in Gogol's poem."
| Grade 9 | ||
| Lesson #45 | Lyrical digressions and their role in the poem by N.V. Gogol's Dead Souls. |
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| Lesson Objectives: | to introduce students to the subject of lyrical digressions, to determine the role of lyrical digressions in Gogol's poem, through the analysis and comparison of Gogol's motifs in the work of writers of subsequent generations; improve oral and writing to promote the development of the ability to express one's point of view, to prove it; the ability to compare, analyze, assume, draw conclusions; to form a culture of thought, feeling, communication. |
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| Predicted results: | students know the content and problems of the work, are able to analyze the text, retell it, read expressively; perform the learning task in accordance with the objectives; are able to formulate their own thoughts; summarize and draw conclusions; adequately use speech means to present the result. |
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| Equipment: | presentation, audio file, lesson chart (for each group), A-4 sheets, markers (green, black, blue, red), magnets |
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| Lesson form: | creative workshop |
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| During the classes | Teacher activity | Student activities |
| Organizational and motivational stage | Greeting students. Creation of an emotional and psychological mood. The word of the teacher under the romance written on Gogol's verses. Gogol Nikolai Vasilyevich is not only a writer, whose works have been an achievement of world literature for about two centuries, but he is also an artist and a poet! Gogol's prose is so sonorous and melodic that it can only be compared with the creation of the poet! Our glorious Russian language in Gogol's works is transformed and becomes even more alive, even more diverse. Do you know that a lyrical romance sounds now A. Zhurbina, written to the verse by Nikolai Vasilyevich Gogol(E. Guseva - L. Serebrennikov) Inductor 3.1. Play with the word "lyric". Choose association words for it (synonyms, cognate words). 3.2. Goal setting. - The riddles of "Dead Souls" begin even before reading the work. So, for example, the genre is a poem (a lyrical-epic work.) We got acquainted with the epic (narrative) component of "Dead Souls" in previous lessons. - What tasks do you set for yourself today at the lesson? watch... behind the peculiarities of the lyrical component of the poem Research... fragments of the lyrical digressions of the poem Define... the role of digressions in the poem | Welcome teachers. Listening introduction teacher, romance on Gogol's verses. Students write down in technological cards: feeling, mood, experience, emotions, type of literature ... Students write down tasks on a worksheet |
| Operational and active stage | Creation of a creative product in group interaction based on deconstruction(work in the technological map.) 4.1. Read an excerpt from an article by D.I. Pisarev. D.I. Pisarev wrote: ... Gogol was our first folk, exclusively Russian poet; (...) the best contemporary figures of our literature can be called followers of Gogol; on all their works lies the stamp of his attention, the tears of which will probably remain on Russian literature for a long time to come. 4.2. Describe the attitude of the critic to the work of N.V. Gogol. What did you find unusual about the characterization of the writer? What does D.I. Pisarev credit him with? Discuss in the group, write down your observations. Prepare a group presentation. Formulate your answer in one sentence using expressions -emphasizes, affirms, draws attention. (3 min) 4.3. Performance of groups (about 2 minutes) / entries are made out on A3 sheets and posted on a magnetic board. Reconstruction. Group work. How did the lyrical component expand the horizons of the poem "Dead Souls", how did it influence contemporaries and subsequent generations of Russian writers? group work - Read an excerpt. Decide how you will complete the task. Or everyone analyzes the passage and brings their conclusions to general conclusion, or you will do all the stages of work together. Present your conclusion in the form of a table (15 min) Advertising and adjustment of the creative product/ registration of results in a common stand (work with markers: black, green, blue, red) Tell us what conclusions you came to as a result of working in groups. Listening to your comrades, supplement your conclusions. (7 min) * Explanation of the meaning of color in psychology Blue color - this is constancy, perseverance, perseverance, devotion, dedication, seriousness, rigor. Green color - People who choose green choose their life path clearly and rationally. Red color -personifies power, breakthrough, will to win. Red loves to be first Black color -People who prefer black are mysteries. They want to unconsciously attract the attention of others Reading by heart the excerpt "Rus-troika" Creative work "Ways and crossroads" (implementation of homework). Create a symbol of Russia Gogol. Which Dead Souls cover would you draw today? Create a poem that reflects main idea poems. Write an essay-journey: "What did we see Russia?". Create a collage "Where is Gogol's Russia rushing?" | They get acquainted with the statement, discuss it on the proposed issues, formulate conclusions in one sentence. For example, D.I. Pisarev emphasizes the exceptional poetry of Gogol's legacy, draws attention to the fact that the best figures of Russian literature can be called his followers, argues that the main thing in the writer's legacy is tears that left a mark on all Russian literature They read excerpts from the poem, analyze, compare with the works of writers of the twentieth century, draw conclusions, write them down in a technological map They choose the color of the marker, draw up the results of the work in a common stand. They read by heart in groups, choose the best reader - listening at the blackboard. Present creative work made at home |
| Reflective-evaluative stage | Reflection(3 min) Like next to the statement by N.V. Gogol, which best reflects your state after the lesson: Stupid as the words of a fool may be, they are sometimes sufficient to confuse an intelligent person. Youth is happy that it has a future. The higher the truths, the more careful you need to be with them: otherwise they will suddenly turn into commonplaces, and they no longer believe commonplaces. …there is hardly any higher pleasure than the pleasure of creating. By teaching others, you also learn. | They put "likes" near Gogol's statement (you can ask several people to comment on their choice) |
| Homework | RR: Home composition based on Gogol's poem "Dead Souls" | Determine the topic of the essay, write it down in a notebook for creative work |
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"LYRICAL DIRECTIONS IN"
LYRICAL DISORDERS IN "DEAD SOULS"
I. Gogol called "Dead Souls" a poem, thereby emphasizing the equality of the lyrical and epic principles: narrative and lyrical digressions (see Belinsky about the pathos of "subjectivity" in terms of " Genre originality"Dead Souls").
II. Two main types of lyrical digressions in the poem:
1. Digressions related to the epic part, with the task of showing Russia “from one side”.
1. Digressions associated with the epic part serve as a means of revealing characters and generalizing them.
1) Digressions revealing the images of officials.
A satirical digression about fat and thin typifies the images of officials. The general problem of the poem (death of the soul) corresponds to the antithesis on which this digression is based: it is the physical qualities that are the main ones in a person, determining his fate and behavior.
The men here, as elsewhere, were of two kinds: some thin, who all hung around the ladies; some of them were of such a kind that it was difficult to distinguish them from St. Petersburg ... Another kind of men were fat or the same as Chichikov, i.e. not too thick, but not thin either. These, on the contrary, squinted and backed away from the ladies and looked only around to see if the governor's servant had set up a green table for whist somewhere ... These were honorary officials in the city. Alas! fat people know how to handle their affairs better in this world than thin ones. The thin ones serve more on special assignments or are only registered and wag hither and thither; their existence is somehow too easy, airy and completely unreliable. Fat people never occupy indirect places, but all direct ones, and if they sit somewhere, they will sit securely and firmly, so that the place will soon crackle and bend under them, and they won’t fly off.
(chapterI )
The images of officials and Chichikov are also revealed in digressions:
About the ability to handle:
It must be said that in Russia, if they have not kept pace with foreigners in some other way, then they have far surpassed them in their ability to handle ... we have such wise men who will speak to a landowner who has two hundred souls in a completely different way than to to the one who has three hundred of them, and to the one who has three hundred of them, they will again speak differently from the one who has five hundred of them, and to the one who has five hundred of them, again not like to the one who has there are eight hundred of them - in a word, even ascend to a million, there are all shades.
I ask you to look at him when he is sitting among his subordinates - you just can’t utter a word from fear! pride and nobility, and what does not his face express? just take a brush and draw: Prometheus, decisive Prometheus! He looks out like an eagle, performs smoothly, measuredly. The same eagle, as soon as he left the room and approaches his boss's office, hurries like a partridge with papers under his arm that there is no urine.
(chapter III)
About the millionaire:
The millionaire has the advantage that he can see meanness, completely disinterested, pure meanness, not based on any calculations ...
(chapterVIII )
On hypocrisy:
This is what happens on the faces of officials during an inspection by the arrived chief of their places entrusted to the department: after the first fear had already passed, they saw that he liked a lot, and he himself finally deigned to joke, that is, to say a few words with a pleasant smile ...
(chapterVIII )
On the ability to carry on conversations with ladies:
To the greatest regret, it must be noted that people who are sedate and occupy important positions are somehow a little heavy in conversations with ladies; for this, the masters, gentlemen, lieutenants, and no further than the captain's ranks ...
(chapterVIII )
2) A group of lyrical digressions generalizes the characters of the landlords, raises private phenomena into more general phenomena.
MANILOV:
There is a kind of people known by the name: people are so-so, neither this nor that, neither in the city of Bogdan, nor in the village of Selifan, according to the proverb.
(chapterII )
Wife MANILOVA LIZA (about boarding houses):
A good upbringing, as you know, is obtained in boarding schools. And in pensions, as you know, three main subjects form the basis of human virtues: French necessary for the happiness of family life, the piano, for delivering pleasant moments to the spouse, and, finally, the economic part itself: knitting purses and other surprises. However, there are various improvements and changes in methods, especially at the present time; all this depends more on the prudence and ability of the hostesses themselves. In other boarding schools it happens that first the pianoforte, then the French language, and then the economic part.
(chapterII )
Speaking of the KOROBochka, Gogol uses the technique of several stages of generalization:
1) see the digression about Korobochka-type landowners in the topic “Means of revealing characters in Dead Souls”.
2) comparison of the landowner with "her aristocratic sister":
Maybe you will even begin to think: come on, does Korobochka really stand so low on the endless ladder of human perfection? Is it really so great the abyss separating her from her sister, inaccessibly fenced by the walls of an aristocratic house ...
(chapter III)
3) A very broad generalization is given through seeming alogism:
However, Chichikov was needlessly angry: a different and respectable, and even statesman man, but in reality it turns out to be a perfect Korobochka. Once you’ve hacked something into your head, you can’t overpower him with anything; no matter how you present him with arguments, clear as day, everything bounces off him, like a rubber ball bounces off a wall.
(chapter III)
NOZDREV:
Maybe they will call him a battered character, they will say that now Nozdryov is no longer there. Alas! those who speak thus will be unjust. Nozdryov will not be out of the world for a long time. He is everywhere between us and, perhaps, only walks in a different caftan; but people are frivolously impenetrable, and a man in a different caftan seems to them a different person.
(chapterIV )
Son-in-law of Nozdrev MIZHUEV:
The fair-haired one was one of those people whose character at first glance has some kind of stubbornness ... And it will always end with softness in their character, that they will agree exactly to what they rejected, they will call the stupid smart and go dancing like you can’t do it better to someone else’s tune - in a word, they will start with a satin finish, and end with a reptile.
(chapterIV )
SOBAKEVICH:
Were you really born like a bear, or did the provincial life, the grain crops, the fuss with the peasants, make you bearish, and through them you became what they call a man - a fist? And unbend one or two fingers to the fist, it will come out even worse. If he tries a little the tops of some science, he will let them know later, having taken a more visible place, to all those who really have learned some kind of science.
(chapterV )
Only PLYUSHKIN is an atypical phenomenon. The lyrical digression in Chapter VI is built on negation, the generalization is given as if by contradiction:
I must say that such a phenomenon rarely comes across in Russia, where everything likes to turn around rather than shrink.
3) In addition, there are digressions on everyday topics that are close to the epic part in pathos and language and also serve as a means of generalization:
About food and the stomachs of gentlemen middle class:
The author must confess that he is very envious of the appetite and stomach of such people. For him, all the great gentlemen who live in St. Petersburg and Moscow, who spend their time thinking about what to eat tomorrow and what kind of dinner to compose for the day after tomorrow, mean absolutely nothing ...
(chapterIV )
About scientific reasoning and discoveries:
Our brethren, the intelligent people, as we call ourselves, do almost the same thing, and our learned reasoning serves as proof.
(chapterIX )
On human oddity:
Come on, deal with the man! does not believe in God, but believes that if the bridge of the nose itches, then he will certainly die ...
(chapterX )
It can be seen from the analysis carried out that in Gogol's works we are not dealing with traditional typification, but rather with generalization, universalization of phenomena.
2. Digressions, opposed to the epic part, revealing the positive ideal of the author.
1) Lyrical digressions about Russia (Rus), linking together the themes of the road, the Russian people and the Russian word.
Digression about the aptly said Russian word in Chapter V (see “ Folk images, the image of the people, the nationality of "Dead Souls").
About barge haulers (image of the people):
And really, where is Fyrov now? He walks noisily and cheerfully on the grain pier, having arranged with the merchants. Flowers and ribbons on the hat; round dances, songs, the whole square boils ... and the whole grain arsenal peeps out enormously, until it is all loaded into deep ships-suryak and rushes like a goose along with people to an endless valley. There you will earn enough, barge haulers! and together, as you used to walk and rage, you will set to work and sweat, dragging the strap under one endless song, like Russia.
(chapterVII )
Eh, trio! bird troika, who invented you?.. Isn't that how you, Rus, that brisk, unbeatable troika, are rushing?.. Russia, where are you rushing, give me an answer? Doesn't give an answer. A bell is filled with a wonderful ringing; the air torn to pieces rumbles and becomes the wind; everything that is on the earth flies past, and other peoples and states squint aside and give it the way.
(chapterXI )
About the road:
How strange, and alluring, and bearing, and wonderful in the word: road! how wonderful she herself is, this road: a clear day, autumn leaves, cold air ... tighter in a travel overcoat, a hat on your ears, you will snuggle closer and more comfortably to the corner! .. And the night? heavenly forces! what a night is made in the sky! And the air, and the sky, distant, high, there, in its inaccessible depths, spread out so immensely, sonorously and clearly! ..
(chapterXI )
About Russia and its heroes:
Russia! Russia! I see you, from my wonderful, beautiful far away I see you: poor, scattered and uncomfortable in you; the daring divas of nature, crowned with the daring divas of art, will not amuse, will not frighten the eyes ... Everything in you is open, deserted and even; like dots, like badges, your low cities imperceptibly stick out among the plains; nothing will seduce or charm the eye. But what incomprehensible, secret force attracts you? Why is your melancholy song heard and heard incessantly in your ears, rushing along your entire length and width, from sea to sea? What is in it, in this song?.. What does this vast expanse prophesy? Is it not here, in you, that an infinite thought is born, when you yourself are without end? Is there not a hero to be here, when there is a place where to turn around and walk for him? And menacingly embraces me mighty space, with terrible power reflected in my depths; my eyes lit up with an unnatural power: wow! what a sparkling, wonderful, unfamiliar distance to the earth! Russia!..
(chapterXI )
2) Lyrical digressions on philosophical themes, approaching in language to lyrical digressions associated with a positive ideal.
On the contradictions of life:
Whether it's a box, whether it's Manilov, whether it's an economic life or a non-economic one - past them! Otherwise, the world is wonderfully arranged: the cheerful will instantly turn into sadness, if you only stagnate in front of it for a long time; and then God knows what will come into your head.
(chapterIII )
About youth:
Get caught at that time instead of Chichikov by some twenty-year-old youth, whether he is a hussar, whether he is a student, or just just starting a career in life - and God! whatever wakes up, stirs, or speaks in him!..
(chapterV )
The current fiery youth would have jumped aside in horror if they showed him his own portrait in old age. Take with you on your journey, emerging from your soft youthful years into a stern, hardening courage, take with you all human movements, do not leave them on the road, do not lift them up later! ..
(chapterVI )
About old age:
Terrible, terrible is the coming old age ahead, and gives nothing back and back!
(chapterVI )
III. In addition, there are a number of digressions that reveal the author's views on artistic creativity:
About two types of writers. Based on this digression, Nekrasov's poem "Blessed is the Gentle Poet" (on the death of Gogol) was written.
| Happy is the writer who, bypassing characters that are boring, nasty, striking in their sad reality, approaches characters that show the high dignity of a person who, from the great pool of daily revolving images, has chosen only a few exceptions, who has never changed the sublime order of his lyre ... There is no equal he is in power - he is God! | Blessed is the gentle poet, In whom there is little bile, a lot of feeling ... Loving carelessness and peace, Disdainful of impudent satire, He dominates the crowd With his peaceful lyre. |
| But such is not the destiny, and another is the fate of the writer, who dared to bring out everything that every minute is before his eyes and that indifferent eyes do not see - all the terrible, amazing mire of trifles that have entangled our life, all the depths of cold, fragmented, everyday characters with which our earthly, sometimes bitter and boring road is teeming, and with the strong power of the inexorable chisel that dared to expose them convexly and brightly to the eyes of the people! | But fate has no mercy To the one whose noble genius Became an accuser of the crowd Her passions and delusions. |
| He cannot gather popular applause, he cannot see grateful tears and the unanimous delight of the souls excited by him ... (chapterVII) | He is haunted by blasphemy; He catches the sounds of approval Not in the sweet rumble of praise And in the wild cries of anger. |
The digression about the portrait of heroes in the second chapter is connected with the problem of the method. It is built on the antithesis: romantic hero(portrait) - an ordinary, unremarkable hero.
Much easier to portray characters big size: there, just throw paint with all your hands onto the canvas, black scorching eyes, hanging eyebrows, a forehead cut with a wrinkle, thrown over your shoulder black or scarlet like fire, a cloak, and the portrait is ready; but all these gentlemen, of whom there are many in the world, who look very similar to each other, but meanwhile, as you look closely, you will see many of the most elusive features - these gentlemen are terribly difficult for portraits. Here you will have to strain your attention strongly until you force all the subtle, almost invisible features to stand out before you, and in general you will have to deepen your gaze, already sophisticated in the science of probing.
(II chapter)
In a digression about language artwork the principle of democratization of the language is declared, the author opposes its artificial "ennoblement".
Guilty! It seems that a word, noticed on the street, has flown from the lips of our hero. What to do? such is the position of a writer in Russia! However, if a word from the street got into a book, it’s not the writer’s fault, the readers are to blame, and above all the readers of high society: you won’t hear a single decent Russian word from them first, and they will probably endow French, German and English in such quantities, which you don't want.
(chapterVIII )
See also " Women's images in The Inspector General and Dead Souls.
On choosing a hero:
A virtuous person is still not taken as a hero. And you can even say why not taken. Because it's time to finally give rest to the poor virtuous man, because the word idly revolves on the lips: a virtuous man, because they turned a virtuous man into a workhorse, and there is no writer who would not ride him, urging him with a whip and everything else ; because they have exhausted a virtuous person to the point that now there is not even a shadow of virtue on him, and only ribs and skin instead of a body remain ... because they do not respect a virtuous person. No, it's time to finally hide the scoundrel. So, let's harness the scoundrel!
(chapterXI )
Gogol approves the role of the main character of the anti-hero (see "Genre originality of Dead Souls").
O creative plans, about the positive ideal:
But ... perhaps in this same story, other, hitherto unstrung strings will be felt, untold wealth of the Russian spirit, a husband endowed with divine valor will pass, or a wonderful Russian maiden, which cannot be found anywhere in the world, with all the wondrous beauty female soul, all of generous aspiration and selflessness. And all the virtuous people of other tribes will appear dead before them, just as a book is dead before the living word!.. But why and why talk about what lies ahead? It is indecent for the author, who has long been a husband, brought up by a harsh inner life and the fresh sobriety of solitude, to forget himself like a young man. Everything has its turn, and place, and time!
(chapterXI )
See also about the idea "The plot and composition of "Dead Souls".
And for a long time it was determined for me by a wonderful power to go hand in hand with my strange characters to survey the whole vastly rushing life, to survey it through laughter visible to the world and invisible, unknown to it tears! And the time is still far away when a menacing blizzard of inspiration will rise like a different key from a head clothed in holy horror and in the brilliance, and the majestic thunder of other speeches will be felt in a confused trembling ...
(chapterVII )
IV. Unlike Pushkin, Gogol has no autobiographical digressions, except for the poetic “Oh my youth, oh my freshness!”, But it also has a general philosophical character:
Formerly, long ago, in the summers of my youth, in the summers of my irrevocably glimpsed childhood, it was fun for me to drive up to an unfamiliar place for the first time ... Now I indifferently drive up to any unfamiliar village and look indifferently at its vulgar appearance.
(chapterVI )
V. From the point of view of the principle of artistic generalization, the lyrical digressions of "Dead Souls" can be divided into two types:
(chapterII )
Such is Russian person: a strong passion to be conceited with someone who would be at least one rank higher than him ...
(chapterII )
Because Russian man in decisive moments there is something to be done without going into long discussions, then, turning to the right, onto the first crossroads, he [Selifan] shouted: “hey you, respected friends!” - and set off at a gallop, thinking little about where the road taken would lead.
(chapterIII )
Here Nozdryov was promised a lot of all sorts of hard and strong desires; there were even bad words. What to do? Russian man yes, even in the heart!
(chapterV )
Selifan felt his mistake, but since Russian man does not like to confess to another that he is guilty, then he immediately said, drawing himself up: “Why are you jumping like that? put your eyes in a tavern, or what?
(chapterV )
The guest and the host drank a glass of vodka each, ate all vast Russia in cities and villages ...
(chapterV )
In Russia while lower societies are very fond of talking about the gossip that occurs in higher societies ...
(chapterIX )
What did this scratching mean? and what does it mean in general?.. Russian people scratching in the back of the head.
(chapterX )
See also digressions about Plyushkin, Sobakevich.
Russia in "Dead Souls" is a special world that lives according to its own laws. Its wide expanses give birth to wide natures.
She [the governor's wife] held by the arm a young girl of sixteen, a fresh blonde with thin, slender features, with a pointed chin, with a charmingly rounded oval face, which an artist would take as a model for the Madonna and which only a rare case comes across in Russia, where everything likes to be in a wide size, everything that is: mountains, and forests, and steppes, and faces, and lips, and legs.
(chapterVIII )
And what Russian does not like to drive fast? Is it his soul, seeking to spin, take a walk, sometimes say: “Damn it all!” - Is it possible for his soul not to love her?
(chapterXI )
2. Through all-Russian, national lies the path to universal.
AND in the world annals of mankind there are many whole centuries, which, it would seem, have been crossed out and destroyed as unnecessary. Many errors have taken place in the world, which it would seem that even a child would not do now. What twisted, deaf, narrow, impassable, drifting far in the direction of the road chose humanity, striving to achieve eternal truth, while before him the whole direct path was open, like the path leading to the magnificent temple, assigned to the king in the halls!
(chapterX )
All universal generalizations are connected in one way or another with the plot-forming motif of the road (see "The Plot and Composition of Dead Souls").
VI. Gogol's poem is built on the thematic and stylistic opposition of epic and lyrical principles. Often this antithesis is specially emphasized by Gogol, and he pushes two worlds together:
And menacingly embraces me mighty space, with terrible power reflected in my depths; my eyes lit up with an unnatural power: wow! what a sparkling, wonderful, unfamiliar distance to the earth! Russia!..
"Hold on, hold on, fool!" Chichikov shouted to Selifan. “Here I am with your broadsword! shouted a courier with a arshin mustache galloping towards. “Don’t you see, goblin tear your soul: government carriage!” And, like a ghost, the troika disappeared with thunder and dust.
How strange, and alluring, and bearing, and wonderful in the word: road!
(chapterXI )
In general, speaking about the stylistic originality of lyrical digressions, one can note the features of romantic poetics.
Conceptually: in opposition to youth and old age.
See lyrical digressions on philosophical topics.
In artistic means (hyperboles, cosmic images, metaphors). See “Genre originality of Dead Souls”.
God! how good you are sometimes, distant, distant road! How many times, like a perishing and drowning One, have I clutched at you, and each time you generously carried me out and saved me! And how many wonderful ideas, poetic dreams were born in you, how many wondrous impressions were felt! ..
(chapterXI )
VII. Compositional role of lyrical digressions.
1. Some chapters open with digressions:
Digression about youth in Chapter VI ("Before, long ago, in the summer of my youth...").
A digression about two types of writers in Chapter VII ("Happy is the writer...").
2. Digressions can end the chapter:
About the “accurately spoken Russian word” in Chapter V (“It is expressed strongly Russian people...»).
About the “scratching at the back of the head” in Chapter X (“What did this scratching mean? And what does it mean anyway?”)
About the “bird troika” at the end of the first volume (“Eh, troika, troika bird, who invented you? ..”).
3. A digression may precede the appearance of a new hero: a digression about youth in Chapter VI precedes the description of Plyushkin's village.
4. Tipping points in the plot can also be marked by lyrical digressions:
Describing Chichikov's feelings when meeting with the governor's daughter, the author again reminds the reader of the division of people into thick and thin.
It is impossible to say for sure whether the feeling of love really awakened in our hero - it is even doubtful that gentlemen of this kind, that is, not so thick, but not so thin, were capable of love; but with all that, there was something so strange here, something of a kind that he himself could not explain to himself ...
(chapterVIII )
The author includes arguments about the ability of gentlemen, fat and thin, to entertain ladies in the description of another novel scene: Chichikov's conversation with the governor's daughter at the ball.
People who are sedate and occupy important positions are somehow a little heavy in conversations with ladies; for this, gentlemen, lieutenants, and no further than captain's ranks ... This is noted here so that readers can see why the blonde began to yawn during the stories of our hero.
(chapterVIII )
5. By the end of the poem, the number of lyrical digressions associated with a positive ideal increases, which is explained by Gogol's plan to build "Dead Souls" on the model of " Divine Comedy" Dante (see "The plot and composition of" Dead Souls ").
VIII. The language of lyrical digressions (see “Genre originality of Dead Souls”).
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"RM - Rus (by heart)"
God! how good you are sometimes, distant, distant road! How many times, like a perishing and drowning man, have I clutched at you, and every time you generously endured me and saved me! And how many wonderful ideas, poetic dreams were born in you, how many wondrous impressions were felt! ..
Russia! Russia! I see you, from my wonderful, beautiful far away I see you: poor, scattered and uncomfortable in you; daring divas of nature, crowned with daring divas of art, will not amuse, will not frighten the eyes, cities with many-windowed high palaces, grown into cliffs, picture trees and ivy, grown into houses, in noise and in the eternal dust of waterfalls; the head will not tip back to look at the stone blocks piled up endlessly above it and in the heights; they will not flash through the dark arches thrown one on top of the other, entangled in vine branches, ivy and countless millions of wild roses; Openly deserted and exactly everything in you; like dots, like badges, your low cities imperceptibly stick out among the plains; nothing will seduce or charm the eye. But what incomprehensible, secret force attracts you? Why is your melancholy song, rushing along your entire length and width, from sea to sea, heard and heard incessantly in your ears? What's in it, in this song? What calls, and sobs, and grabs the heart? What sounds painfully kiss, and strive to the soul, and curl around my heart? Russia! what do you want from me? what incomprehensible bond lurks between us? Why do you look like that, and why did everything that is in you turn eyes full of expectation on me? space. What does this vast expanse prophesy? Is it not here, in you, that an infinite thought is born, when you yourself are without end? Is there not a hero to be here, when there is a place where to turn around and walk for him? And menacingly embraces me mighty space, with terrible power reflected in my depths; my eyes lit up with an unnatural power: wow! what a sparkling, wonderful, unfamiliar distance to the earth! Russia!..
How strange, and alluring, and bearing, and wonderful in the word: road! and how wonderful she herself is, this road: a clear day, autumn leaves, cold air ... tighter in a travel overcoat, a hat on our ears, we will snuggle closer and more comfortably to the corner! V last time a trembling ran through the limbs, and has already been replaced by pleasant warmth. The horses are running...
God! how good you are sometimes, distant, distant road! How many times, like a perishing and drowning man, have I clutched at you, and every time you generously endured me and saved me! And how many wonderful ideas, poetic dreams were born in you, how many wondrous impressions were felt! ..
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1 group.
A. Reasoning about thick and thin (Chapter 1)
The men here, as elsewhere, were of two kinds: some thin, who kept hovering around the ladies; some of them were of such a kind that it was difficult to distinguish them from St. in French and made the ladies laugh just like in St. Petersburg. Another kind of men were fat or the same as Chichikov, that is, not so fat, but not thin either. These, on the contrary, squinted and backed away from the ladies and looked only around to see if the governor's servant had set up a green table for whist somewhere. Their faces were full and round, some even had warts, some were pockmarked; they didn’t wear their hair on their heads either in tufts, or curls, or in the manner of the devil take me, as the French say; their hair was either cut low or sleek, and their features were more rounded and strong. These were honorary officials in the city. Alas! fat people know how to handle their affairs better in this world than thin ones. The thin ones serve more on special assignments or are only registered and wag hither and thither; their existence is somehow too easy, airy and completely unreliable. Fat people never occupy indirect places, but all straight, and if they sit somewhere, they will sit securely and firmly, so that the place will soon crackle and bend under them, and they won’t fly off. They do not like external brilliance; on them the tailcoat is not so cleverly tailored as on thin ones, but in the caskets there is the grace of God. At the age of three, a thin man does not have a single soul left that is not pawned in a pawnshop; the fat one calmly, lo and behold, a house appeared somewhere at the end of the city, bought in the name of his wife, then another house at the other end, then a village near the city, then a village with all the land. Finally, the fat one, having served God and the sovereign, having earned universal respect, leaves the service, moves over and becomes a landowner, a glorious Russian master, a hospitable man, and lives, and lives well. And after him, again, thin heirs lower, according to Russian custom, on courier all their father's goods.
| Words, phrases, details | ||
B. Task: Are there similar thoughts, reasonings in the text of the story “Thick and Thin” by A.P. Chekhov and in this passage? Confirm the similarity with the text of the story "Thick and thin" or explain in your own way.
Two friends met at the station of the Nikolaev railway: one fat, the other thin. The fat man had just dined at the station, and his oiled lips were shiny like ripe cherries. He smelled of sherry and fleur-d "orange. The thin one had just left the car and was laden with suitcases, bundles and cartons. He smelled of ham and coffee grounds. A thin woman with a long chin peeked out from behind him - his wife, and a tall, narrow-eyed schoolboy is his son.
Well, how are you, friend? the fat man asked, looking enthusiastically at his friend. “Where do you serve?” Reached the ranks?
I serve, my dear! I have been a collegiate assessor for the second year and I have Stanislav. The salary is bad ... well, God bless him! My wife gives music lessons, I privately make cigarette cases from wood. Excellent cigarette cases! I sell for a ruble. If someone takes ten pieces or more, you understand, a concession. Let's get some fun. I served, you know, in the department, and now I have been transferred here as a clerk in the same department ... I will serve here. Well, how are you? Probably already civilian? A?
No, my dear, raise it higher, - said the fat one. - I have already risen to the secret ... I have two stars.
The thin one suddenly turned pale, petrified, but soon his face twisted in all directions with the broadest smile; it seemed as if sparks were falling from his face and eyes. He himself shrank, hunched over, narrowed... His suitcases, bundles and cartons shrank, grimaced... His wife's long chin became even longer; Nathanael stretched out in front and buttoned all the buttons of his uniform ...
I, Your Excellency... Very pleased, sir! A friend, one might say, of childhood, and suddenly turned out to be such grandees, sir! Hee hee s.
Well, it's full! the fat man grimaced. “What is that tone for? You and I are childhood friends - and what is this veneration for!
Excuse me ... What are you ... - the thin one chuckled, shrinking even more. - Your Excellency's gracious attention ... sort of like life-giving moisture ...
2 group.
Before, long ago, in the summers of my youth, in the summers of my irretrievably flashed childhood, it was fun for me to drive up to an unfamiliar place for the first time: it doesn’t matter whether it was a village, a poor provincial town, or a village, a suburb, the children’s curious look. Every structure, everything that bore only the imprint of some noticeable feature, everything stopped me and amazed me. Is it a stone, state-owned house, of well-known architecture with half false windows, all alone sticking out among a hewn log heap of one-story philistine, philistine houses, is it a round, regular dome, all upholstered with sheet white iron, elevated above a new church whitened like snow, a market whether it was a district dandy, caught in the middle of the city—nothing escaped my fresh, subtle attention, and, sticking my nose out of my camping cart, I looked at the hitherto unseen cut of some frock coat, and at wooden boxes with nails, with gray, yellowing in the distance, with raisins and soap, flickering from the doors of a vegetable shop along with cans of dried Moscow sweets, he looked at an infantry officer walking aside, brought in God knows what province, to county boredom, and at a merchant who flickered in Siberia on racing droshky, and mentally carried away behind them into their poor life. District official, pass by - I was already wondering where he was going, whether to visit some of his brothers in the evening or straight to his house, so that after sitting for half an hour on the porch, before dusk had yet fallen, sit down to an early supper with mother, wife, wife's sister and the whole family, and what will be discussed with them at a time when a yard girl in monks or a boy in a thick jacket, after soup, brings a tallow candle in a durable home candlestick. Approaching the village of some landowner, I looked curiously at a tall, narrow wooden bell tower or a wide, dark wooden old church. From afar, through the greenery of the trees, the red roof and white chimneys of the landowner's house flashed enticingly to me, and I waited impatiently until the gardens that protected it would part on both sides and he would show himself all with his own, then, alas! not at all a vulgar appearance, and from it I tried to guess who the landowner himself was, whether he was fat, and whether he had sons or as many as six daughters with ringing girlish laughter, games and eternal beauty little sister, and whether they have dark eyes, and whether he himself is merry or gloomy, like September in last days, looks at the calendar and talks about rye and wheat, boring for youth.
Now I indifferently drive up to any unfamiliar village and look indifferently at its vulgar appearance; my chilled gaze is uncomfortable, it’s not funny to me, and what in previous years would have awakened a lively movement in the face, laughter and incessant speeches, now slips by, and my motionless lips keep an indifferent silence. O my youth! oh my freshness!
| Words, phrases, details | Conclusions on the role of retreat (What the author reflects on) |
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| Storyteller in his youth | ||
| Storyteller in adulthood |
B. Task: Are there similar thoughts, reasonings in the text of S. Yesenin's poem and in this passage? Confirm the similarity with the text of the poem or explain in your own way.
| I do not regret, do not call, do not cry, Everything will pass like smoke from white apple trees. Withering gold embraced, I won't be young anymore. Now you won't fight so much Cold touched heart And the country of birch chintz Not tempted to wander around barefoot. Wandering spirit! you are less and less You stir the flame of your mouth | Oh my lost freshness A riot of eyes and a flood of feelings! Now I have become more stingy in desires, My life, or did you dream of me? Like I'm a spring echoing early Ride on a pink horse. All of us, all of us in this world are perishable, Quietly pouring copper from maple leaves ... May you be blessed forever That came to flourish and die. |
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3 group
A. Lyrical digression about Russia and the road (chapter 11)
And what Russian does not like to drive fast? Is it his soul, seeking to spin, take a walk, sometimes say: "Damn it all!" -- should his soul not love her? Is it not to love her when something enthusiastic and wonderful is heard in her? It seems that an unknown force has taken you on a wing to itself, and you yourself are flying, and everything is flying: versts are flying, merchants are flying towards them on the wings of their wagons, a forest is flying on both sides with dark formations of firs and pines, with a clumsy knock and a crow's cry, flying the whole road leads nowhere in the vanishing distance, and something terrible is contained in this quick flickering, where the vanishing object does not have time to appear, only the sky above the head, and light clouds, and the piercing moon alone seem to be motionless. Eh, trio! bird troika, who invented you? know that you could only be born among a lively people, in that land that does not like to joke, but spread out like a smooth smooth halfway across the world, and go and count miles until it fills your eyes. And not a cunning, it seems, road projectile, not captured by an iron screw, but hastily alive, with one ax and a chisel, a smart Yaroslavl peasant equipped and assembled you. The coachman is not in German boots: a beard and mittens, and the devil knows what he sits on; but he got up, and swung, and dragged on the song - the horses whirlwind, the spokes in the wheels mixed up in one smooth circle, only the road trembled and the stopped pedestrian screamed in fright! and there she rushed, rushed, rushed !.. And you can already see in the distance how something is dusting and drilling through the air.
Isn't that how you, Russia, that brisk, unbeatable troika, are rushing about? The road smokes under you, the bridges rumble, everything lags behind and is left behind. The contemplator, struck by God's miracle, stopped: is it not lightning thrown from the sky? What does this terrifying movement mean? and what kind of unknown power lies in these horses unknown to the light? Oh, horses, horses, what horses! Are whirlwinds sitting in your manes? Does a sensitive ear burn in every vein of yours? They heard a familiar song from above, together and at once strained their copper breasts and, almost without touching the ground with their hooves, turned into only elongated lines flying through the air, and rushes, all inspired by God !.. Russia, where are you going, give me an answer? Doesn't give an answer. A bell is filled with a wonderful ringing; the air torn to pieces rumbles and becomes the wind; everything that is on the earth flies past, and other peoples and states squint aside and give it the way.
| Words, phrases, details | Conclusions on the role of retreat (What the author reflects on) |
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B. Task: Are there similar thoughts, reasonings in the text of A. Blok's poem "Russia" and in this passage? Confirm the similarity with the text of the poem or explain in your own way.
| Again, as in the golden years, Three worn out harnesses fray, And painted knitting needles Russia, impoverished Russia, I have your gray huts, Your songs are windy for me, - Like tears of the first love! I can't pity you And I carefully carry my cross ... What kind of sorcerer do you want Give me the rogue beauty! Let him lure and deceive | You won't disappear, you won't die And only care will cloud Your beautiful features.. Well? One more concern - With one tear the river is noisier And you are still the same - forest, yes field, Yes, patterned to the eyebrows ... And the impossible is possible The road is long and easy When it shines in the distance of the road Instant glance from under the scarf, When ringing melancholy guarded The deaf song of the coachman! .. |
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"Worksheet"
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| Theme of L.O. | Examples from the text | |
| About thick and thin | ||
| About education in Russia | ||
| On the subtlety of treatment | ||
| About the gentlemen of the "middle hand" | ||
| About apt Russian word | ||
| About youth and youth | ||
| About the fate of the writer in Russia | Lyrical digressions in the poem by N.V. Gogol "Dead Souls"  Lyrical digressions - deviation from direct plot in a literary work Lyrical digressions give the poem scale, breadth and depth of coverage of problems, symbolism  1 chapter About thick and thin Chapter 2 About education in Russia Chapter 3 On the subtlety of treatment  The theme of lyrical digressions in the poem Chapter 4 About the gentlemen of the "middle hand" Chapter 5 About apt Russian word Chapter 6 About youth and youth  The theme of lyrical digressions in the poem Chapter 7 About the fate of the writer in Russia Chapter 8 About city people Chapter 9 About Russian peasants  The theme of lyrical digressions in the poem Chapter 11 About Russia  The role of lyrical digressions in the poem Lyrical digressions in the poem:
  I wish all of you more than once in your life to plunge into a beautiful, bewitching world, whose name is GOGOL   I. Prologue An outlandish dream... As if in the realm of shadows, above the entrance to which an inextinguishable lamp with the inscription "Dead Souls" is flickering, the joker-Satan opened the doors. stirred dead kingdom and an endless string stretched out of it. Manilov in a fur coat on large bears, Nozdryov in someone else's carriage, Derzhimorda on the fire pipe, Selifan, Parsley, Fetinya... And he was the last to move - Pavel Ivanovich Chichikov in the famous to his chaise. And the whole gang moved to the Soviet Russia and then amazing things happened in it incidents. And which ones follow points. |
“Dead Souls” is a lyrical-epic work - a poem in prose that combines two principles: epic and lyrical. The first principle is embodied in the author's intention to draw "all of Russia", and the second - in the author's lyrical digressions related to his intention, constituting integral part works.
The epic narrative in "Dead Souls" is continually interrupted by lyrical monologues of the author, evaluating the behavior of the character or reflecting on life, art, RF and its people, as well as touching on topics such as youth and old age, the appointment of a writer, which help to learn more about spiritual world writer, about his ideals.
Of greatest importance are lyrical digressions about RF and the Russian people. Throughout the poem, the author's idea of in a positive way of the Russian people, which merges with the glorification and glorification of the motherland, which expresses the civil-patriotic position of the author.
So, in the fifth chapter, the writer glorifies the “live and lively Russian mind”, his extraordinary ability for verbal expressiveness, that “if he rewards an oblique word, then it will go to his family and offspring, he will drag him with him both to the service and to retirement , and to St. Petersburg, and to the ends of the world. Chichikov's reasoning was prompted by his conversation with the peasants, who called Plyushkin "patched" and knew him only because he fed his peasants poorly.
Gogol felt the living soul of the Russian people, their prowess, courage, diligence and love for free life. In this respect, the author's discourses, put into the mouth of Chichikov, about the serfs in the seventh chapter, are of profound significance. What appears here is not a generalized image of Russian peasants, but specific people with real features, written out in detail. This is the carpenter Stepan Cork - “a hero who would be fit for the guard,” who, according to Chichikov’s assumption, went all over Russia with an ax in his belt and boots on his shoulders. This is the shoemaker Maxim Telyatnikov, who studied with a German and decided to get rich at once, making boots from rotten leather, which fell apart after two weeks. On this, he abandoned his work, took to drink, blaming everything on the Germans, who do not give life to the Russian people.
Further, Chichikov reflects on the fate of many peasants bought from Plyushkin, Sobakevich, Manilov and Korobochka. But the idea of “the rampant life of the people” did not coincide so much with the image of Chichikov that the author himself takes the floor and continues the story on his own behalf, the story of how Abakum Fyrov walks on the grain pier with barge haulers and merchants, having worked out “under one, like Russia, a song. The image of Abakum Fyrov indicates the love of the Russian people for a free, wild life, festivities and fun, despite the hard life of a serf, the oppression of landowners and officials.
In lyrical digressions appears tragic fate enslaved people, downtrodden and socially humiliated, which was reflected in the images of Uncle Mityai and Uncle Minya, the girl Pelageya, who could not distinguish where the right was, where the left was, Plyushkin's Proshka and Mavra. Behind these images and pictures of people's life lies the deep and broad soul of the Russian people.
Love for the Russian people, for the motherland, the patriotic and lofty feelings of the writer were expressed in the image of the troika created by Gogol, rushing forward, personifying powerful and inexhaustible forces. RF. Here the author thinks about the future of the country: “Rus, where are you rushing to?” He looks to the future and does not see it, but how true patriot believes that in the future there will be no Manilovs, Sobakeviches, nozdrevye Plyushkins, that Russia will rise to greatness and glory.
The image of the road in lyrical digressions is symbolic. This is the road from the past to the future, the road along which the development of each person and RF generally.
The work ends with a hymn to the Russian people: “Eh! troika! Threesome bird, who invented you? To know among a lively people you could have been born ... ”Here lyrical digressions perform a generalizing function: they serve to expand the artistic space and to create a holistic image Russia. They reveal the positive ideal of the author - Russia of the people, which is opposed to landowner-bureaucratic Russia.
But, in addition to lyrical digressions praising Russia and its people, the poem also contains reflections of the lyrical hero on philosophical topics, for example, about youth and old age, the vocation and appointment of a true writer, about his fate, which are somehow connected with the image of the road in the work . So, in the sixth chapter, Gogol exclaims: “Take with you on the road, leaving your soft youthful years in a severe hardening courage, take with you all human movements, do not leave them on the road, do not raise them later! ..” Thus, the author wanted declare that all the best things in life are connected precisely with youth and not necessary forget about it, as the landlords described in the novel did, they became “dead souls”. They do not live, but exist. Gogol, on the other hand, calls to preserve a living soul, freshness and fullness of feelings, and to remain so for as long as possible. Sometimes, thinking about the transience of life, about changing ideals, the author himself appears as a traveler: “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 drive up to any unfamiliar village and indifferently look at it vulgar appearance; my chilled gaze is unpleasant, it’s not funny to me ... and my motionless lips keep an indifferent silence. O my youth! O my freshness!” To recreate the completeness of the image of the author need to declare about lyrical digressions in which Gogol talks about two types of writers. One of them “never changed the sublime structure of his lyre, did not descend from his top to his poor, insignificant fellows, and the other dared to call out everything that is every minute before the eyes and that indifferent eyes do not see.” The fate of a real writer who dared to truthfully recreate reality hidden from the eyes of the people is such that, unlike the romantic writer, absorbed in his unearthly and sublime images, he is not destined to achieve fame and experience joyful feelings when you are recognized and sung. Gogol comes to the conclusion that the unrecognized writer-realist, the writer-satirist will remain without participation, that "his field is harsh, and he bitterly feels his loneliness." The author also speaks of “connoisseurs of literature”, who have their own idea of the purpose of the writer (“It is better to present us the beautiful and fascinating”), which confirms his conclusion about the fate of the two types of writers. So, lyrical digressions occupy a significant place in Gogol's poem Dead Souls. They are remarkable from the point of view of poetics. They suggest the beginnings of a new literary style, which would later find a bright life in Turgenev's prose and especially in Chekhov's work. The author's thoughts and feelings about ideal Russia are expressed in lyrical digressions filled with a feeling of deep patriotism and love for the Motherland and a feeling of hatred for injustice. In lyrical digressions, the writer's thought goes far from the events in the life of the protagonist and covers the entire subject of the image, "all of Russia", and even goes to the universal level. The author's thoughts about the high purpose of man, about the fate of the Motherland and the people are contrasted in contrast with the gloomy pictures of Russian life. Lyrical digressions scattered throughout the poem are organically woven into the narrative and sound like a cry of pain, indignation and delight. They touch upon issues that are relevant for all times and enhance the impression of the paintings depicted. In digressions, the reader gets acquainted with persons who do not act directly in the poem. These are gentlemen "thick" and "thin", gentlemen "big hand" and "middle hand", the head of the office Ivan Petrovich, broken fellows, drunkards and brawlers and others. These episodic faces are drawn by the author with two or three strokes, but they play a big role. They never meet the main character - Chichikov, but help the author in creating the image of a united Russia. The narrative of the poem is repeatedly interrupted by elevated lyrical road sketches, sincere conversations with the reader. In one of the most poetic places in the work, which precedes the story about the life and formation of the personality of the protagonist, the theme of the road and the future of Russia merge. In this lyrical digression, folk colloquial speech is intertwined with an elevated tone of speech, and the reader, together with the author, is imbued with the charm and music of the very word “road” and a sense of delight in front of nature: “What a strange, and alluring, and bearing, and wonderful in the word: road ! and how wonderful she herself is, this road: a clear day, autumn leaves, cold air ... " The author speaks of “churches with ancient domes and blackening buildings”, “dark log and stone houses”, “fields and steppes”, “huts scattered on a slope”, penetratingly conveys the feelings of a man racing on a troika: “God! how good you are sometimes, distant, distant road! How many times, like a perishing and drowning man, have I clutched at you, and every time you generously endured me and saved me! And how many wonderful ideas, poetic dreams were born in you, how many wondrous impressions were felt! .. " Extra-plot, inserted episodes, scenes, pictures, reasonings of the author organically enter the poem. For example, Gogol casually sketches portraits of "thin" and "fat" officials. "Alas! Fat people know how to better manage their affairs in this world than thin ones, ”writes Gogol. Or a satirical portrait of a certain ruler of the office. Among his subordinates, the ruler is “Prometheus, decisive Prometheus! .. and a little higher than him, such a transformation will take place with Prometheus, which even Ovid will not invent: a fly, even smaller than a fly, is destroyed into a grain of sand!” In the last chapter, which tells about the formation of Chichikov's character, the reader is again immersed in the world of vulgarity and evil. On the example of the life of his hero, the author very accurately formulates the principles that prevail in his modern world: “most of all take care and save a penny”, “get along with those who are richer”, “please the authorities”. With undisguised irony, the writer speaks of a system of education in which abilities and talents have no value, and eternal truths are driven into the heads of young men with the help of flogging and other punishments. The spirit of commerce and profit that reigned in the world of the feudal nobility penetrated educational institutions and destroyed everything pure and poetic in the souls of young people. However, plunging once again into the world of self-interest and profit, Gogol again returns us to the positive principles of the Russian character, instills confidence in the bright future of his people. In a lyrical digression that completes the story, he talks about the giftedness of the Yaroslavl peasant, who made a road wagon with a chisel and a hammer, about a troika bird that originated among a lively people "in that land that does not like to joke, but scattered over half the world with smooth smoothness", about courage and prowess of a simple Russian person. The poem is completed by the grandiose in its expressiveness the image of the rushing Russia - the troika bird. In the last lyrical digression, the author emphasizes the doom of the world of officials and landlords and faith in the unlimited possibilities of the Russian people. Throughout the story, the author draws our attention to the Chichikov troika, more than once indicating even the nicknames of the horses harnessed to it. Troika Chichikov is one of the main and expressive characters of the work. At the end of the poem, we again see Chichikov's troika: Selifan slaps Chubary on the back, after which he sets off at a trot. The movement of the three gradually accelerates, and the image of the three changes its inner meaning. Instead of the troika of Chichikov, the Russian troika appears, and at the same time the intonation of the narration changes. An image of our native land appears before us, and the horses rush in a whirlwind, separate from the earth and turn into lines flying through the air, and instead of a troika, Russia appears in all its rapid movement. The author's speech is singsong, filled with emotional epithets and synonyms, metaphors and exclamations: “Rus, where are you rushing to? Give an answer. Doesn't give an answer." This digression contains the result of many years of Gogol's thoughts about the fate of Russia, about the present and future of its people. After all, it is the people who oppose the world of officials, landlords, businessmen, like a living soul - a dead one. All topics of the book “Dead Souls” by N.V. Gogol. Summary. features of the poem. Compositions": Summary poem "Dead Souls": Volume one. Chapter first Features of the poem "Dead Souls" Lyrical digressions are a very important part of any work. By the abundance of lyrical digressions, the poem "Dead Souls" can be compared with a work in verse by A.S. Pushkin "Eugene Onegin". This feature of these works is associated with their genres - a poem in prose and a novel in verse. The lyrical digressions in "Dead Souls" are saturated with the pathos of affirming the high vocation of man, the pathos of great social ideas and interests. Whether the author expresses his bitterness and anger at the insignificance of the heroes shown by him, whether he speaks about the place of the writer in modern society, whether he writes about the lively, lively Russian mind - thoughts about service are a deep source of his lyricism. home country, about her destinies, her sorrows, her hidden, crushed gigantic forces. Gogol created a new type of prose, in which the opposite elements of creativity - laughter and tears, satire and lyrics - inseparably merged. Never before have they, as already established, met in one work of art. The epic narrative in "Dead Souls" is continually interrupted by the excited lyrical monologues of the author, evaluating the behavior of the character or reflecting on life, on art. The true lyrical hero of this book is Gogol himself. We hear his voice all the time. The image of the author is, as it were, an indispensable participant in all the events taking place in the poem. He closely monitors the behavior of his characters and actively influences the reader. Moreover, the author's voice is completely devoid of didactics, because this image is perceived from within, as a representative of the same reflected reality as other characters in Dead Souls. The highest voltage reaches lyric voice the author on those pages that are directly devoted to the Motherland, Russia. Another theme is woven into Gogol's lyrical reflections - the future of Russia, its own historical fate and place in the fate of mankind. Passionate lyrical monologues of Gogol were the expression of his poetic dream of undistorted, correct reality. They revealed poetic world, in contrast to which the world of profit and self-interest was even more sharply exposed. Gogol's lyrical monologues are an assessment of the present from the standpoint of the author's ideal, which can only be realized in the future. Gogol in his poem appears, first of all, as a thinker and contemplator, trying to unravel the mysterious bird-troika - the symbol of Russia. The two most important themes of the author's thoughts - the theme of Russia and the theme of the road - merge in a lyrical digression: “Aren't you, Rus, that a lively, unhindered troika rushing about? ... Russia! where are you going? Give an answer. Gives no answer." The theme of the road is the second most important theme of Dead Souls, connected with the theme of Russia. The road is an image that organizes the whole plot, and Gogol introduces himself into lyrical digressions as a man of the path. “Before, long ago, in the summers of my youth ... it was fun for me to drive up to an unfamiliar place for the first time ... Now I indifferently drive up to any unfamiliar village and indifferently look at its vulgar appearance; my chilled gaze is uncomfortable, it’s not funny to me, .. and an indifferent silence is kept by my motionless lips. O my youth! O my conscience! Of greatest importance are lyrical digressions about Russia and the Russian people. Throughout the poem, the author's idea of a positive image of the Russian people is affirmed, which merges with the glorification and glorification of the motherland, which expresses the civil-patriotic position of the author: real Russia- these are not sobakevichi, nostrils and boxes, but the people, the people's element. So, in the fifth chapter, the writer glorifies the “lively and lively Russian mind”, his extraordinary ability for verbal expressiveness, that “if he rewards an oblique word, then it will go to his family and offspring, he will drag him with him both to the service and to retirement , and to St. Petersburg, and to the ends of the world. Chichikov's reasoning was prompted by his conversation with the peasants, who called Plyushkin "patched" and knew him only because he fed his peasants poorly. In close contact with the lyrical statements about the Russian word and folk character is the author's digression, which opens the sixth chapter. The story about Plyushkin is interrupted by the angry words of the author, which have a deep generalizing meaning: “And a person could descend to such insignificance, pettiness, filth!” Gogol felt the living soul of the Russian people, their boldness, courage, diligence and love for a free life. In this respect, the author's discourses, put into the mouth of Chichikov, about the serfs in the seventh chapter, are of profound significance. What appears here is not a generalized image of Russian peasants, but specific people with real features, written out in detail. This is the carpenter Stepan Cork - "a hero who would be fit for the guard", who, according to Chichikov's assumption, went all over Russia with an ax in his belt and boots on his shoulders. This is the shoemaker Maxim Telyatnikov, who studied with a German and decided to get rich at once, making boots from rotten leather, which fell apart after two weeks. On this, he abandoned his work, took to drink, blaming everything on the Germans, who do not give life to the Russian people. In lyrical digressions, the tragic fate of a enslaved people, downtrodden and socially humiliated, appears, which is reflected in the images of Uncle Mitya and Uncle Minya, the girl Pelageya, who could not distinguish where the right is, where the left is, Plyushkin's Proshka and Mavra. Behind these images and pictures of people's life lies the deep and broad soul of the Russian people. The image of the road in lyrical digressions is symbolic. This is the road from the past to the future, the road along which the development of each person and Russia as a whole goes. The work ends with a hymn to the Russian people: “Eh! troika! Threesome bird, who invented you? You could have been born among a lively people...” Here, lyrical digressions perform a generalizing function: they serve to expand the artistic space and to create a holistic image of Russia. They reveal the positive ideal of the author - Russia of the people, which is opposed to landowner-bureaucratic Russia. To recreate the completeness of the author's image, it is necessary to say about lyrical digressions in which Gogol talks about two types of writers. One of them “never changed the sublime structure of his lyre, did not descend from his top to his poor, insignificant fellows, and the other dared to call out everything that is every minute in front of the eyes and that indifferent eyes do not see” . The fate of a real writer who dared to truthfully recreate reality hidden from the eyes of the people is such that, unlike the romantic writer, absorbed in his unearthly and sublime images, he is not destined to achieve fame and experience joyful feelings when you are recognized and sung. Gogol comes to the conclusion that the unrecognized realist writer, the satirist writer will remain without participation, that "his field is harsh, and he bitterly feels his loneliness." Throughout the poem, lyrical passages are interspersed with great artistic tact. At first they are in the nature of the author's statements about his heroes, but as their action unfolds internal theme is becoming broader and more multifaceted. It can be concluded that the lyrical digressions in "Dead Souls" are saturated with the pathos of affirming the high vocation of man, the pathos of great public ideas and interests. Whether the author expresses his bitterness and anger at the insignificance of the heroes shown by him, whether he speaks about the place of the writer in modern society, whether he writes about the lively, lively Russian mind - the deep source of his lyricism is thoughts about serving his native country, about its fate, her sorrows, her hidden, crushed gigantic powers. So, art space The poems "Dead Souls" make up two worlds, which can be designated as the real world and the ideal world. Real world Gogol builds, recreating the reality of his time, revealing the mechanism of distortion of a person as a person and the world in which he lives. The ideal world for Gogol is the height to which the human soul aspires, but due to its damage by sin, it does not find the way. In fact, all the heroes of the poem are representatives of the anti-world, among which the images of landowners, led by the main character Chichikov, are especially vivid. deep meaning The title of the work Gogol gives the reader an angle of reading his work, the logic of seeing the characters he created, including the landowners.
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