Gogol's idea in the poem Dead Souls. Ideological concept and construction of the poem (Gogol N.V.)
In May 1842, a new work by Gogol appeared in the bookstores of both capitals. Let's try to figure out what is the idea of the poem " Dead Souls". The cover of the book was extremely intricate, looking at it, the readers did not know that it was made according to the sketch of the author himself. The drawing placed on the cover was obviously important for Gogol, as it was repeated in the second lifetime edition of the poem in 1846 ...
Let's get acquainted with the history of the concept of "Dead Souls" and its implementation, let's see how it changed, how the idea of creating a monumental epic canvas that would cover all the diversity gradually crystallized Russian life... The incarnation of so grandiose plan presupposed the use of appropriate artistic means, and an adequate genre, and a special, symbolic name.
Based on an already established cultural tradition, Gogol puts the hero's journey at the basis of the plot, but we have a special journey: this is not only and not so much the movement of a person in time and space, it is the journey of the human soul.
Let's try to clarify our thought. Instead of a dashingly twisted intrigue and stories about "Chichikov's adventures," the reader was greeted by one of the Russian provincial cities. The hero's journey was reduced to a detour of five landowners who lived nearby, and the author spoke about the main character and his true intentions a little before he parted with him. As the story progresses, the author seems to forget about the plot and talks about events that seem to be not even connected with intrigue. But this is not negligence, but a conscious attitude of the writer.
The fact is that, creating the concept of the poem "Dead Souls", Gogol followed another cultural tradition... He intended to write a work, which consists of three parts, based on the model " Divine Comedy"Dante. In the poem of the great Italian man's journey, or rather his soul, is presented as an ascent from vice to perfection, to the realization of the true destiny of man and world harmony. Thus, Dante's" Hell "turned out to be correlated with the first volume of the poem: like the lyric hero of the poem, making a pilgrimage to the depths of the earth, Gogol's Chichikov gradually plunges into an abyss of vice, characters “one more vulgar than the other” appear before the reader. - wrote Gogol at the end of work on the first volume, - which should suddenly, to the amazement of everyone ... ".
In many ways, the implementation of the plan remained a mystery, inaccessible to the reader, but the surviving chapters of the second volume, the statements of contemporaries allow us to say that the next two volumes should be correlated with "Purgatory" and "Paradise".
So, before us is the journey of the soul, but which soul? Dead? But the soul is immortal. This was pointed out to the author in the Moscow censorship committee, when the censor Golokhvastov literally shouted when he saw only the title of the manuscript: “No, I will never allow this: the soul is immortal ...” - and did not give permission to print. On the advice of friends, Gogol travels to St. Petersburg to show the manuscript to the local censorship and print the book there. However, history repeats itself somewhat. Although the censor Nikitenko gave permission to print it, he demanded to amend the text: change the title and remove the "Tale of Captain Kopeikin". With reluctance of heart, Gogol made concessions, remaking "The Story ..." and slightly changing the title. Now it sounded differently: "The Adventures of Chichikov, or Dead Souls." But on the cover of the first edition, it was the old name that immediately caught the eye. At the insistence of the author, it was highlighted in especially large print, not only because it was connected with the plot: "dead souls" turned out to be a commodity, around the purchase and sale of which Chichikov's scam spun. However, in official documents, the deceased peasants, who were listed alive according to the revision tales, were called “waned”. This was pointed out to the writer by his contemporary MP Pogodin: “... there are no“ dead souls ”in the Russian language. It is hard to believe that Gogol did not know this, but nevertheless he put the word “dead” in the mouths of the heroes of the poem in relation to the souls acquired by the Chichikovs. (Note in parentheses that, making a deal with Plyushkin, Chichikov buys not only the dead, but also fugitive, that is, "depressed" peasants, referring them to the category of "dead".)
Thus, using the word "dead", Gogol wanted to give a special meaning to the entire work. This word helps to reveal general design"Dead shower".
Pushkin and Dostoevsky stood at the origins of a peculiar tendency in the depiction of space and time: a combination within artwork concrete and abstract spaces, their mutual "overflow" and interaction. In this case, a specific place of action is given symbolic meaning and a high degree of generalization. In this case, the specific space becomes a universal model.
This is what happens in Dead Souls, when the real troika on which Chichikov rode suddenly turns into an abstract troika, which becomes a symbol of Russia on its way to perfection.
10. Analyze one of the episodes of the poem "Dead Souls" ("Chichikov at Sobakevich", "Chichikov at Plyushkin", "Chichikov at Korobochka")
Chichikov at Korobochka
Chichikov's appearance at Korobochka takes place at night, and Chichikov does not even have time to look around. However, Gogol enters with the author's remark and popularly explains what kind of landowner Korobochka was. He immediately characterizes her as tight-fisted and super-thrifty, constantly complaining about everything, but slowly stuffing “motley bags” with money and storing old junk “just in case”, which will never introduce herself due to her extreme caution and as a result will go to someone in the spiritual will. The author deliberately brings together such incompatible words: "spiritual testament" and "old cloak", showing his ironic attitude towards this type of people.
In connection with the request of Chichikov, Korobochka asked herself the main question - how not to sell too cheap. Interestingly, an object such as a deceased person is easily accepted by her as a commodity, and her tenacity and doubts about the "unusual enterprise" are mostly a desire to gain more. It merges a mask and a real face. A real person may be amazed to hear about Chichikov's proposal, and the mask will immediately take advantage of this surprise and wrap it up for practical use - as she understands it.
It is characteristic that Korobochka's super-frugality and her numerous fears force her to commit irrational actions, and if Chichikov had not had time to figure out her character and had not promised her to buy other, ordinary goods for the treasury in the future, she would never have sold her soul.
Any novelty causes an unconscious fear in such people.
Chichikov at Sobakevich's
“Sobakevich was quite practical about Chichikov's request. The nature of the "fist" was reflected in the way he bargained. At first he asked for an inconceivable price ("a hundred rubles apiece"), then slowly, with great reluctance, he began to slow down, but in such a way that he still got more from Chichikov than any other ! ").
However, Sobakevich's attitude to the strange enterprise is not limited to practicality. He is the only landowner who sees specific people behind the names of the dead, who speaks about them with an undisguised admiration: “Milushkin, brick-maker! could put a stove in any house. Maxim Telyatnikov, shoemaker: what stabs with an awl, then boots, that boots, then thanks ... And Eremey Sorokoplekhin! Yes, this peasant will be one for everyone, he traded in Moscow, brought one quitrent for five hundred rubles. What a people! No reminders by Chichikov that “all these people are dead” can bring Sobakevich back to reality: He continues to speak of the dead as living. At first, you might think that he is trying to confuse the buyer, fill the price of the product, cheat, play. However, Sobakevich enters this game with all his senses. He is really pleased to remember Milushkin or Telyatnikov (as the owner is a fist, he appreciates their skill). The line between the real and the ghostly is erased: with his “dead” Sobakevich is ready to beat the “living” - “... which of these people who are now listed as living? What kind of people are they? flies, not people. "
12. Consider the illustrations for the works of Gogol. Which of them seem to you especially close to author's description portraits of heroes?
The artist P. Boklevsky was an excellent illustrator of Dead Souls.
13. Why was Gogol unable to complete Dead Souls? Give a detailed reasoning answer.
The poem "Dead Souls" was closely connected with the religious and moral searches of Gogol (about this see the answer to the 4th question).
The first time Gogol, in a state of a sharp exacerbation of the disease, burned the manuscript of the second volume of Dead Souls in the summer of 1845. Gogol confessed that he himself set on fire "five years of labor, carried out with such painful tensions, where every line was shocked, where there was a lot of that which made up my best thoughts and occupied my soul."
Gogol believed that the second volume was not a success, but in order for him to clearly see what this book should be like, it is necessary to burn what has already been written, so that there is not a single clue and hope to repeat what has already been done:
"As soon as the flames carried away the last sheets of my book, its contents suddenly resurrected in a purified and light form, like a phoenix from a fire."
This was followed by another five years of hard work. And on the first day of 1852, Gogol informs his friends that the second volume is "completely finished."
But in last days January, Gogol's moral disposition and health began to show threatening symptoms. The death of his old good friend E.M. Khomyakova made a depressing impression on him, and Gogol was seized by the fear of death.
Soon, Archpriest Matthew Konstantinovsky arrived in Moscow, who had a great influence on Gogol and persuaded him to strictly and unswervingly fulfill the gospel covenants (as he understood them). Matvey Konstantinovsky inspired Gogol with the idea of destroying some of the chapters of the poem, allegedly due to their inaccuracy (the archpriest especially did not like the chapters where he himself was derived) and believed that the poem could have a harmful effect on readers. Gogol might have thought that the second volume remained unconvincing. What he didn't handle main task own life.
Gogol's condition deteriorated sharply: he developed incomprehensible stomach pains, weakness, apathy, a complete aversion to food.
On February 7, Gogol confesses and takes communion, burns the manuscript on the night of February 11-12, and dies on the morning of February 21.
1. The many-sided nature of the Russian people.
2. The essence of the concept of N. V. Gogol's poem "Dead Souls".
3. The image of the Russian people in the poem.
4. The meaning of the topic raised by the writer.
You will wake up full of strength
Or, obeying the law of destinies,
You have already done everything that you could -
Created a song like a moan
And he rested spiritually forever? ..
N. A. Nekrasov
The theme of the Russian people, its role in the history of the country, was touched upon by almost all Russian writers. On the one hand, it contains generosity, humanism and generosity of the soul, endurance and will, greatness of spirit and self-sacrifice, grandiose military victories and the implementation of government projects that would seem unbearable for a person. On the other hand - inconsistency, apathy, humility, often ignorance and shortsightedness. This diversity of character has given rise to many Russian and foreign philosophers and writers to talk about the great mystery of the Russian soul, the Russian people. It should be noted that the work of N.V. Gogol in many ways anticipated the development of this discussion in the direction of the existence of a certain mystery here.
The title of N. V. Gogol's poem "Dead Souls" contains the main, but not the only idea of the work. The literal content comes down to the essence of Chichikov's scam: he bought up the souls of dead peasants. More deep meaning consists in thinking about what Russia is and how this state is connected with the people inhabiting it. He showed from all sides both negative and positive aspects of the life of contemporary Russia. Trying to explain the concept of Dead Souls, Gogol himself noted that the images in the poem are “not portraits with worthless people on the contrary, they contain the features of those who consider themselves better than others. " They do, but are they? And we see that it is not.
According to many researchers of the writer's work, Gogol planned, like D. Alighieri, to lead his hero Chichikov first through “hell” in the first volume of Dead Souls, then through “purgatory” in the second volume, and, finally, to finish the description of the third volume “ in paradise ”, that is, to complete it with the spiritual upsurge of Russia. N.V. Gogol saw himself as a writer-preacher, contributing to the future revival of Russia. As you know, the first edition of "Dead Souls" Gogol wanted to publish with his own hand drawn title page... In the middle was depicted the "Chichikov's chaise", symbolizing Russia, surrounded by "skulls", as if personifying the "dead" souls of living people. The idea was really grandiose. But these plans were not destined to come true.
As you know, only the first volume of the work, in which Gogol shows negative sides Russian life. The third volume was never started. The second was burned, although drafts have survived to us. Dramatic story books reflected inner drama the writer himself. Gogol began writing the second volume in 1842, but three years later he burned the manuscript. Fortunately, it happens that "manuscripts do not burn." The surviving part of the second volume sheds light on the true intention of the writer. Gogol tries to create positive image Russia. The tone of the narrative of the second volume changes noticeably, positive characters appear, although they are knocked out of the environment in which they live. The image of the young landowner Tentetnikov, the hero of the second volume, correlates with such artistic types as Onegin, Rudin, Oblomov. With inherent
Gogol's subtle taste and psychological certainty shows a provincial thinker with a weak will and a limited outlook on the world. But the image of the young Russian bourgeois tax-farmer Murazov, according to many critics, did not work out. It is to this character that the words of condemnation of acquisitions and hoarding belong. But in this case, the idea has not received a reliable artistic embodiment. A clear, although not complete, metamorphosis also occurred with the protagonist of the first volume, Pavel Ivanovich Chichikov. According to the author's plan, he also had to take the path of moral purification. Here he is not yet completely transformed or, to use a common epithet, a "animated" hero, but not that soulless and enterprising initiator of a dubious undertaking. This tendency should have led him in the third volume to a complete spiritual resurrection.
However, this idea is guessed even in the first volume. Along with a whole gallery of “soulless” characters, only two have a prehistory and a still warm soul. These are Chichikov and Plyushkin. Plyushkin's story is his life tragedy. His soul gradually hardened. This is emphasized and artistic means: either the author notes that his eyes “have not yet gone out,” then over Plyushkin's face “a warm ray slipped, not a feeling was expressed, but some pale reflection of a feeling”. From the description of his garden, we see that it is overgrown, neglected, but still alive. An important detail is that only Plyushkin has two churches on the estate. Hence it follows that his soul has not yet completely hardened. Probably, the idea of the third volume included the continuation of Plyushkin's theme. The second hero the real world Chichikov appears with a still living soul. He bears a speaking name - Paul. Like the biblical apostle who experienced a spiritual upheaval and turned his life backwards, Chichikov had to experience a rebirth.
However, alive soul Russia is, according to Gogol, in the living soul of its people. The writer's faith in the Russian people is the basis of the idea of the poem. It is in the people that all the best, the real, the sincere, the majestic, is preserved and manifested. The admiration of both the author, and Chichikov, and the landowners is contained in the descriptions of the dead peasants. In the memory of people who knew them, they acquire an epic appearance. “Milushkin, bricklayer! could put a stove in any house. Maxim Telyatnikov, shoemaker: what stabs with an awl, then boots, that boots, then thank you, and at least into the mouth of the intoxicated! And Bremey Sorokoplekhin! Yes, that peasant will be one for everyone, he traded in Moscow, brought one quitrent for five hundred rubles. What kind of people! " And "after all, the coachman Mikheev did not make any more eki-pages, as soon as the spring ones." These are the words of Sobakevich, and to Chichikov's objections that they are only a “dream”, he objects: “Well, no, not a dream! I will tell you what Mikheev was like, so you will not find such people: the machine is such that it will not enter this room ... And in his shoulders he had such a strength that a horse does not have ... ". The serf carpenter Cork "would be good for the guard." The fugitive serf Plyushkin, Abakum Fyrov, could not endure bondage, fled to the wide Volga expanse and "walks noisily and merrily" Although one has to "drag a strap under one endless, like Russia, song." In these songs of the barge haulers, sung by Russian poets and artists, Gogol and not only him could hear the longing for another life.
V.S.Bakhtin speaks of the opposition in the poem of the Russian heroes so beloved by Gogol and their antipodes, or more precisely anti-heroes, which are Gogol landlords and officials, for example Sobakevich. By its appearance, outward appearance he is a typical hero, but in his life aspirations, a petty and unworthy person. There is no heroic nobility, no daring, no desire to protect the weak. But the image of the people also splits into a “real” and “ideal” image. Pain and hope, respect and reproach, love and hatred for those features that prevent the people from “rising in full height”, To realize themselves as full citizens of their country.
The difficult fate of the people is especially dramatically shown through the images of serfs. Gogol says a lot about the state that serfdom brings to man, suppressing initiative and enterprise. These are the images of Uncle Mityai, the girl Pelageya, who could not distinguish between right and left, Proshki and Mavry in Plyushkin's estate, downtrodden and humiliated to the extreme. Selifan and Petrushka are in a similar state. As always, Gogol finds the right expression, emphasizing the writer's humorous attitude and, at the same time, sympathy for the character. For example, Petrushka seemed to have an inclination to reading, but not to what he read about, but “more reading itself, or, better to say, the process of reading itself, that now some word always comes out of letters that sometimes the devil knows what it means. " But they, too, are part of the Russian people, although not the best part.
In his poem, Gogol appears not only as a preacher, but also as a prophet. In "The Tale of Captain Kopeikin" we become witnesses of how obedience to the authorities is replaced by a feeling of revenge for the wrongs inflicted. At the center of the story is the hero Patriotic War 1812, a disabled person who was forced by the injustice of those in power to commit crimes. This potential force, inherent in the Russian spirit, was really felt by the writer: "The Russian movements will rise ... and they will see how deeply the Slavic nature has sunk into the Slavic nature that only slipped through the nature of other peoples ...".
Even in Evenings on a Farm near Dikanka, Gogol portrays people not downtrodden and oppressed, but strong, proud, freedom-loving. Moral health is inherent in him. He is generous with inventions. In everything one can feel his mind, courage, dexterity, heroic power, spiritual scope.
Gogol sees the special talent of the Russian people in the accuracy and poetry of the expressions: “The Russian people are expressing themselves strongly! And if he rewards someone with a word, then it will go to his family and posterity, he will drag him with him to the service, and to retirement, and to Petersburg, and to the ends of the world. And no matter how cunning and ennobled your nickname later, even make the writing people take him out of the ancient princely family for a hired price, nothing will help: the nickname will croak for itself into all his crow's throat and say clearly where the bird flew from. What is spoken aptly, is the same as what is written, is not cut out with an ax. And where is it aptly everything that came out of the depths of Russia, where there are no German, no Chukhons, or any other tribes, and everything is a nugget, a lively and lively Russian mind that does not go into your pocket for a word, does not incubate it , like a hen of chickens, but it slips right away, like a passport to an eternal sock, and there is nothing to add later, what kind of nose or lips you have - you are outlined with one line from head to toe! "
The most vivid expression of the writer's patriotic feelings in the poem is the reasoning about the fate of Russia through comparing it with the fate of the people. Comparing the “immense expanses” with the innumerable spiritual riches of her people, Gogol exclaims: “Is it here, in you, is not boundless thought born in you, when you yourself endlessly? Shouldn't there be a hero here when there is a place where he can turn around and walk? And the mighty space menacingly embraces me, reflecting with a terrible force in the depths of my soul; unnatural power lit up my eyes: what a sparkling, wonderful, unfamiliar to the earth distance - Russia! "
NG Chernyshevsky is right: "For a long time already there was no writer in the world who was as important for his people as Gogol is for Russia." And, above all, for the national identity of Russia and its citizens.
Ideological concept and the construction of the poem.
In his "Author's Confession" Gogol points out that Pushkin prompted him to write Dead Souls. “For a long time he persuaded me to take up a large essay, and, finally, once after I read one small image of a small scene, but which, however, struck him most of all by me before, he said to me:“ How with by this ability to guess a person and by several features they suddenly show him as if he were alive, with this ability not to start a big composition.
It's just a sin! .. ”, and, in conclusion, he gave me his own plot, from which he wanted to make something like a poem himself and which, according to him, he would not give to anyone else. It was the plot of "Dead Souls" ... Pushkin found that the plot of "Dead Souls" was good for me in that it gave complete freedom to travel with the hero all over Russia and bring out many of the most diverse characters. "
Gogol followed Pushkin's advice, quickly set to work, and in a letter dated October 7, 1835, informed him: “I began to write Dead Souls. The plot spreads over a pre-long novel and, it seems, will be very funny ... In this novel I would like to show at least from one side all of Russia. "
However, in the process of work, Gogol planned to give not one, but three volumes, in which it would be possible to show Russia not "from one side", but comprehensively. The second and third volumes of "Dead Souls" were supposed, according to the author, to bring out positive characters along with the negative ones and show the moral revival of the "scoundrel-acquirer" Chichikov.
Such a breadth of the plot and richness of the work lyrical places, allowing the writer to diversify his attitude to the depicted, inspired Gogol with the idea to call "Dead Souls" not a novel, but a poem.
But Gogol burned the second volume of Dead Souls, and he did not proceed to the third.
The reason for the failure was that Gogol was looking for good characters in the world of "dead souls" - representatives of the social strata that dominated at that time, and not in the popular, democratic camp.
Back in 1842, Belinsky predicted the inevitability of Gogol's failure in implementing such a plan. “Much, too much has been promised, so much that there is nowhere to take that with which to fulfill the promise, because that is not yet in the world,” he wrote.
The chapters of the second volume of Dead Souls that have come down to us confirm the validity of Belinsky's thoughts. These chapters contain brilliantly written images akin to the landowners of the first volume (Pyotr Petrovich Petukh, Khlobuev, etc.), but goodies(the virtuous governor-general, the ideal landowner Kostanzhoglo and the tax farmer Murazov, who made more than forty million "in the most impeccable way") are clearly not typical, not vitally convincing.
The idea "to travel with the hero all over Russia and bring out a multitude of the most diverse characters" - predetermined the composition of the poem. It is structured as the story of the adventures of the "acquirer" Chichikov, who buys the dead, in fact, but legally alive, that is, souls not deleted from the revision lists.
Images of officials
The central place in the first volume is occupied by five "portrait" chapters (from the second to the sixth). These chapters, built according to the same plan, show how serfdom developed different types serfdom and as serfdom in the 20-30s of the XIX century, in connection with the growth of capitalist forces, led the landlord class to economic and moral decline. Gogol gives these chapters in a specific order. The mismanaged landowner Manilov (Chapter II) is replaced by the petty hoard of Korobochka (Chapter III), the careless waste of life Nozdrev (Chapter IV) - the tight-fisted Sobakevich (Chapter V). This gallery of landowners is completed by Plyushkin, a curmudgeon who brought his estate and peasants to complete ruin.
The picture of the economic collapse of the corvée, subsistence economy on the estates of Manilov, Nozdrev and Plyushkin is drawn vividly and convincingly. But the seemingly strong farms of Korobochka and Sobakevich are in reality not viable, since such forms of farming have already outlived their days.
With even greater expressiveness in the "portrait" chapters, the picture is given moral decay landlord class. From the idle dreamer, living in the world of his dreams, Manilov to the "club-headed" Korobochka, from her to the reckless mot, the liar and the sharper Nozdrev, then to the ossified fist Sobakevich and, finally, to the mankind, who has lost all moral qualities. - Gogol leads us to Plyushkin, showing the increasing moral decline and decay of representatives
So the poem turns into a brilliant denunciation of serfdom as such a socio-economic system, which naturally gives rise to cultural and economic backwardness of the time as the arbiter of the fate of the state. This ideological orientation of the poem is revealed primarily in the system of its images.
The gallery of portraits of landowners opens with the image of Manilov. “From a glance, he was a prominent person; his features were not devoid of pleasantness, but this pleasantness seemed to have been overly imparted to sugar; in his methods and turns there was something ingratiating and acquaintance. He smiled alluringly, was blond, with blue eyes. " Previously, he "served in the army, where he was considered the most modest, most delicate and educated officer." Living on the estate, he "sometimes comes to town ... to see educated people."
Against the background of the inhabitants of the city and estates, he seems to be "a very courteous and courteous landowner", on which there is some kind of imprint of a "semi-enlightened" environment.
However, revealing the inner appearance of Manilov, his character, talking about his attitude to the economy and about his pastime, drawing Manilov's trick for Chichikov, Gogol shows the utter emptiness and worthlessness of this "existence."
The writer emphasizes two main features in Manilov's character - his worthlessness and his sugary, senseless dreaminess. Manilov had no living interests.
He was not engaged in the economy "completely entrusting him to the bailiff. He could not even tell Chichikov whether his peasants had died since the last revision. His house" stood alone in the Jura, that is, an elevation, open to all the winds he wanted to blow " Instead of a shady garden that usually surrounded a manor house, at Manilov only “five or six birches in small clusters raised their small-leaved thin tops here and there.” And in his village there was nowhere “a growing tree or some kind of greenery.”
Manilov's mismanagement and impracticality are also clearly illustrated by the furnishings of the rooms in his house, where next to the fine furniture stood two armchairs “covered with matting”; "A dandy candlestick made of dark bronze with three antique graces" stood on the table, and next to it was "some just a brass invalid, lame, curled up on the side and all covered in fat."
It is no wonder that such a “master” has “a rather empty storeroom”, the clerk and housekeeper are thieves, servants are “unclean and drunkards,” and “the whole mongrel sleeps unmercifully and hangs around the rest of the time.”
The idea of the poem "Dead Souls" and its embodiment. The meaning of the title of the poem. Subject
The idea of the poem dates back to 1835. The plot of the work was suggested to Gogol by Pushkin. The first volume of Dead Souls was completed in 1841 year, and published in 1842 year under the title "The Adventures of Chichikov, or Dead Souls."
Gogol conceived a grandiose composition in which he was going to reflect all aspects of Russian life. Gogol wrote to VA Zhukovsky about the idea of his work: "All Russia will appear in him."
The concept of Dead Souls is comparable to that of Dante's Divine Comedy. The writer intended to write the work in three volumes. In the first volume, Gogol was going to show the negative aspects of life in Russia. Chichikov is the central character of the poem, and most of the other characters are depicted in a satirical manner. In the second volume, the writer strove to outline the path to spiritual rebirth for his heroes. In the third volume, Gogol wanted to embody his ideas about the true being of man.
Associated with the writer's plan and meaning of the title works. The very name "Dead Souls" contains, as you know, a paradox: the soul is immortal, which means that it cannot be dead in any way. The word "dead" is used here in a figurative, metaphorical meaning. Firstly, we are talking here about the deceased serfs, who are listed as living in the revision tales. Secondly, speaking of "dead souls", Gogol means representatives of the ruling estates - landowners, officials, whose souls are "dead", being at the mercy of passions.
Gogol managed to complete only the first volume of Dead Souls. The writer worked on the second volume of the work until the end of his life. The last version of the manuscript of the second volume was apparently destroyed by Gogol shortly before his death. Only a few chapters of the two original editions of the second volume have survived. Gogol did not begin writing the third volume.
In his work, Gogol reflected life of Russia first third of XIX centuries, the way of life and customs of landowners, officials of the provincial city, peasants. In addition, in the author's deviations and in other non-plot elements of the work, topics such as Petersburg, the war of 1812, the Russian language, youth and old age, the vocation of a writer, nature, the future of Russia and many others.
The main problem and ideological focus of the work
The main problem of Dead Souls is spiritual death and spiritual rebirth of a person.
At the same time, Gogol, a writer with a Christian worldview, does not lose hope for the spiritual awakening of his heroes. Gogol intended to write about the spiritual resurrection of Chichikov and Plyushkin in the second and third volumes of his work, but this idea was not destined to come true.
In "Dead Souls" prevails satirical pathos: the writer denounces the customs of landowners and officials, pernicious passions, vices of representatives of the ruling classes.
Affirmative start in the poem related to the theme of the people: Gogol admires him heroic strength and a lively mind, his well-aimed word, all kinds of talents. Gogol believes in a better future for Russia and the Russian people.
genre
Gogol himself subtitle to "Dead Souls" named his work poem.
In the prospectus "Educational Book of Literature for Russian Youth" compiled by the writer, there is a section "Lesser genera of the epic", where it is characterized poem how genre intermediate between epic and novel.Hero such a work - "Private and invisible person." The author leads the hero of the poem through chain of adventure, to show a picture of "shortcomings, abuse, vices."
K.S.Aksakov saw in the work of Gogol features of an ancient epic... “The ancient epic is rising before us,” wrote Aksakov. The critic compared Dead Souls to Homer's Iliad. Aksakov was struck by both the grandeur of Gogol's plan and the grandeur of its embodiment already in the first volume of Dead Souls.
In Gogol's poem, Aksakov saw a wise, calm, stately contemplation of the world, characteristic of ancient authors. One can partly agree with this point of view. Elements of the poem as a genre of praise we find primarily in the author's digressions about Russia, about the bird-three.
At the same time, Aksakov underestimated the satirical pathos of Dead Souls. V.G.Belinsky, having entered into a polemic with Aksakov, emphasized first of all satirical focus"Dead Souls". Belinsky saw in the work of Gogol a wonderful satire pattern.
In "Dead Souls" there are also features of an adventure-adventure novel. The main storyline of the work is based on the adventure of the protagonist. At the same time, the love affair, which is so important in most novels, in Gogol's work is relegated to the background and is sustained in a comic vein (the story of Chichikov and the governor's daughter, rumors about her possible abduction by a hero, etc.).
Thus, Gogol's poem is a genre complex work. "Dead Souls" combine the features of an ancient epic, adventure novel, satire.
Composition: general structure works
The first volume of Dead Souls is a complex artistic whole.
Consider plot works. As you know, it was presented to Gogol by Pushkin. The plot of the work is based on the adventurous story of the acquisition of dead souls by Chichikov peasants who, according to the documents, are listed as living. Such a plot is consistent with Gogol's definition of the genre of the poem as "a lesser kind of epic" (see the section on the genre). Chichikov turns out plot-forming character. The role of Chichikov is akin to the role of Khlestakov in the comedy "The Inspector General": the hero appears in the city of NN, makes a commotion in it, hastily leaves the city when the situation becomes dangerous.
Note that the composition of the work is dominated by spatialmaterial organization principle... This reveals a fundamental difference between the construction of "Dead Souls" and, say, "Eugene Onegin", where "time is calculated according to the calendar", or "Hero of Our Time", where the chronology, on the contrary, is violated, and the narrative is based on the gradual disclosure of the inner world Main character. In Gogol's poem, the composition is not based on the temporary organization of events and not on tasks. psychological analysis, and spatial images - provincial cities, landowners' estates, and finally, all of Russia, the vast expanses of which appear before us in digressions about Russia and about the bird-three.
The first chapter can be seen as exposition the whole action of the poem. Reader meets Chichikov– central character works. The author gives a description of Chichikov's appearance, makes several comments about his character and habits. In the first chapter we get to know the external appearance of the provincial town NN, as well as with its inhabitants. Gogol gives a short but very succinct satirical picture of the life of officials.
Chapters 2 through 6 the writer introduces to the reader gallery of landowners. In the depiction of each landowner, Gogol adheres to a certain compositional principle (a description of the landowner's estate, his portrait, the interior of the house, comic situations, the most important of which are the dinner scene and the scene buying and selling dead shower).
In the seventh chapter the action is again transferred to the provincial town. The most important episodes of the seventh chapter - scenes in the treasury and a description of the police chief's breakfast.
Central episode the eighth chapter - the ball at the governor. Here is developing love affair, outlined in the fifth chapter (the collision of Chichikov's chaise with a carriage in which two ladies were sitting, one of whom, as it turned out later, was the governor's daughter). In the ninth chapterrumors and gossip about Chichikov are growing. Ladies become their main distributors. The most persistent rumor about Chichikov is that the hero is going to kidnap the governor's daughter. The love affair goes over thus from the realm of real to the realm of rumors and gossip about Chichikov.
In the tenth chapter, the central place is occupied by scene in the house of the police chief. A special place in the tenth chapter and in the work as a whole is occupied by an inserted episode - "The Tale of Captain Kopeikin". The tenth chapter ends with the news of the death of the prosecutor. Prosecutor's funeral scene in the eleventh chapter completes the theme of the city.
Flight of Chichikov from city NN in the eleventh chapter completes the main storyline poems.
Characters (edit)
Gallery of landlords
The central place in the poem is gallery of landlords... Their characteristics are devoted to five chapters the first volume - from the second to the sixth. Gogol showed five characters in close-up. This Manilov, Korobochka, Nozdrev, Sobakevich and Plyushkin. All landowners embody the idea of the spiritual impoverishment of man.
When creating images of landowners, Gogol widely uses means of artistic representation, bringing literary creativity closer to painting: it is description of the estate, interior, portrait.
Also important speech characteristics heroes, proverbs revealing the essence of their nature, comic situations, primarily the dinner scene and the scene of the sale and purchase of dead souls.
A special role in the work of Gogol is played by details- landscape, subject, portrait, details of speech characteristics and others.
Let us briefly describe each of the landowners.
Manilov- Human outwardly attractive, benevolent located to acquaintance, communicative... This is the only character who speaks well of Chichikov to the end. In addition, he appears before us as good family man loving his wife and caring for children.
But still main features Manilova is empty daydreaming, projecting, inability to manage. The hero dreams of building a house with a gazebo overlooking Moscow. He also dreamed that the sovereign, upon learning of their friendship with Chichikov, would "grant them generals."
The description of the Manilov estate leaves the impression of monotony: “The village of Manilovka could lure few with its location. The master's house stood alone in the Jura, that is, on an elevation, open to all the winds that could blow. " An interesting detail of the landscape sketch - a gazebo with the inscription "Temple of Solitary Meditation". This detail characterizes the hero as a sentimental person who loves to indulge in empty dreams.
Now about the details of the interior of Manilov's house. His study had fine furniture, but two armchairs had been covered with mat for several years. There was also some kind of book, all the time laid on the fourteenth page. On both windows there are “slides of ash knocked out of the tube”. Some rooms had no furniture at all. A dandy candlestick was served on the table and some brass invalid was placed next to it. All this speaks of Manilov's inability to manage the household, that he cannot complete the work he has begun.
Consider Manilov's portrait. The appearance of the hero testifies to the sweetness of his character. He looked like a rather pleasant person, "but in this pleasantness it seemed too sugar was transferred." The hero had attractive facial features, but his gaze was "transferred to sugar." The hero smiled like a cat that has been tickled with a finger behind its ears.
Manilov's speech is verbose, florid. The hero loves to pronounce beautiful phrases. "May day ... name day of the heart!" - he greets Chichikov.
Gogol characterizes his hero, resorting to the proverb: "Neither this nor that, not in the city of Bogdan, nor in the village of Selifan."
We also note the scene of the dinner and the scene of the sale and purchase of dead souls. Manilov treats Chichikova, as usual in the village, with all his heart. Chichikov's request to sell dead souls causes surprise in Manilov and pompous reasoning: "Wouldn't this negotiation be inconsistent with civil regulations and further types of Russia?"
Box distinguishes love of hoarding and at the same time " clubhead". This landowner appears before us as a limited woman, with a straightforward character, incapable of thinking, thrifty to the point of stinginess.
At the same time, Korobochka lets Chichikov into his house at night, which speaks of her responsiveness and hospitality.
From the description of the Korobochki estate, we see that the landowner cares not so much about the appearance of the estate, but about the successful management of the economy, about prosperity. Chichikov notices the prosperity of the peasant households. Box - practical housewife.
Meanwhile, in the house near Korobochka, in the room where Chichikov was accommodated, “behind every mirror were laid either a letter, or an old deck of cards, or a stocking”; all these object details emphasize the landowner's passion for collecting unnecessary things.
During lunch, all kinds of home supplies and pastries are placed on the table, which testifies to the patriarchal customs and hospitality of the hostess. Meanwhile, the Box cautiously accepts sentence Chichikova about selling him dead souls and even goes to the city to find out how much dead souls are today. Therefore, Chichikov, using a proverb, characterizes Korobochka as a “mongrel in the hay,” which itself does not eat and does not give to others.
Nozdrev–mot, carousel, crook,"Historical person", since some kind of history always happens to him. This character is distinguished by constant lies, excitement, dishonesty,familiar appeal with the people around him, boastfulness, a penchant for scandalous stories.
The description of the Nozdryov estate reflects the uniqueness of the character of its owner. We see that the hero is not engaged in housekeeping. So, in his estate "the field in many places consisted of bumps." Only Nozdryov's kennel is in order, which testifies to his passion for hunting dogs.
The interior of Nozdryov's house is interesting. In his office hung "Turkish daggers, one of which was mistakenly carved:" Master Savely Sibiryakov "". Among the interior details, we also note Turkish pipes and a barrel organ - objects that reflect the character's circle of interests.
An interesting portrait detail, which speaks of the hero's propensity for a riotous life: one sideburn at Nozdryov was somewhat thicker than the other - the result of a tavern fight.
In the story about Nozdryov, Gogol uses hyperbole: the hero tells that, being at the fair, “he drank seventeen bottles of champagne alone during lunch”, which testifies to the hero's tendency to bragging and lying.
At dinner, during which disgustingly cooked dishes were served, Nozdryov tried to get Chichikov drunk with cheap wine of dubious quality.
Speaking about the scene of the sale and purchase of dead souls, we note that Nozdryov perceives Chichikov's proposal as a reason for gambling. As a result, a quarrel arises, which only accidentally does not end with the beating of Chichikov.
Sobakevich- it landlord-fist who runs a strong household and at the same time is different rudeness and straightforwardness... This landowner appears before us as a person unfriendly,clumsy,speaks badly about everyone. Meanwhile, he gives unusually accurate, albeit very crude, characteristics to city officials.
Describing Sobakevich's estate, Gogol notes the following. During the construction of the manor house, “the architect was incessantly fighting with the taste of the owner,” so the house turned out to be asymmetrical, albeit very durable.
Let's pay attention to the interior of Sobakevich's house. Portraits of Greek generals hung on the walls. “All these heroes,” Gogol notes, “were with such thick thighs and unheard-of mustaches that trembling went through their bodies,” which is quite consistent with the appearance and character of the owner of the estate. In the room there was "a walnut bureau on preposterous four legs, a perfect bear ... Every object, every chair, seemed to say:" And I, too, Sobakevich. "
Gogol's character also resembles a "medium-sized bear" in appearance, which testifies to the rudeness and uncouthness of the landowner. The writer notes that “the tailcoat on him was completely bearish, the sleeves were long, the pantaloons were long, he stepped with his feet and at random and stepped incessantly on other people's legs.” It is no coincidence that the hero is characterized by the proverb: "Not well cut, but tightly sewn." In the story about Sobakevich, Gogol resorts to hyperbole... The “heroism” of Sobakevich is manifested, in particular, in the fact that his leg is shod “in a boot of such a gigantic size, for which one can hardly find a suitable leg anywhere”.
Gogol also uses hyperbole when describing a dinner at Sobakevich's, who was possessed by a passion for gluttony: a turkey "the size of a calf" was served at the table. In general, dinner at the hero's house is distinguished by the unpretentiousness of the dishes. “When I have pork - put the whole pig on the table, lamb - take the whole ram, goose - just goose! I'd rather eat two dishes, but eat in moderation, as my heart desires, ”says Sobakevich.
Discussing the terms of the sale of dead souls with Chichikov, Sobakevich is bargaining hard, and when Chichikov tries to refuse the purchase, he hints at a possible denunciation.
Plyushkin personifies avarice brought to the point of absurdity. He is an old, unfriendly, unkempt and inhospitable person.
From the description of Plyushkin's estate and house, we see that his farm is in complete desolation. Greed has ruined both the hero's well-being and the soul.
The appearance of the owner of the estate is nondescript. “His face was nothing special; it was almost the same as that of many thin old people, one chin only protruded very far forward, so he had to cover it with a handkerchief every time so as not to spit, - writes Gogol. “The little eyes had not yet gone out and were running from under the high-raised eyebrows like mice.”
Of particular importance in creating the image of Plyushkin acquires subject detail. At the bureau in the hero's office, the reader finds a mountain of different little things. There are a lot of objects: “a pile of finely written papers covered with a green marble press with an egg on top, some old book bound in leather with a red edging, a lemon, all dried up, no more than a hazelnut in height, a broken arm of a chair, a glass with something liquid and three flies, covered with a letter, a piece of sealing wax, a piece of some kind of raised rag, two feathers stained with ink, dried out as in consumption, a toothpick, completely yellowed, with which the owner, perhaps, was picking his teeth even before the invasion of Moscow French ". We find the same heap in the corner of Plyushkin's room. As you know, psychological analysis can take different forms. For example, Lermontov paints a psychological portrait of Pechorin, revealing the hero's inner world through the details of his appearance. Dostoevsky and Tolstoy resort to extensive internal monologues. Gogol recreates character state of mind predominantly through the objective world."Tina of trifles", surrounding Plyushkin, symbolizes his mean, petty, "dried up" like a forgotten lemon, soul.
For lunch, the hero offers Chichikov a biscuit (the remnants of an Easter cake) and an old liqueur, from which Plyushkin himself extracted the worms. Upon learning of Chichikov's proposal, Plyushkin is sincerely happy, since Chichikov will relieve him of the need to pay taxes for numerous peasants who have died or run away from a stingy owner who starved them.
It is very important to note that Gogol resorts to such a technique as excursion into the hero's past(retrospection): it is important for the author to show what the hero was like before and to what baseness he has sunk now. In the past, Plyushkin is a zealous owner, a happy family man. In the present, there is “a hole in humanity,” in the words of the writer.
Gogol in his work satirically depicted different types and the characters of the Russian landowners. Their names have become household names.
Note also the significance of the gallery of landowners symbolizing the process of spiritual degradation of a person... As Gogol wrote, his heroes are "one more vulgar than the other." If Manilov has some attractive features, then Plyushkin is an example of an extreme impoverishment of the soul.
The image of the provincial town: officials, ladies' society
Along with the gallery of landowners, an important place in the work is image of the provincial town NN. City theme opens in the first chapter,resumed in the seventh chapter the first volume of Dead Souls and ends at the beginning of the eleventh chapter.
In the first chapter Gogol gives general characteristics of the city... He's drawing external appearance of the city, describes streets, hotel.
The cityscape is monotonous... Gogol writes: "The yellow paint on the stone houses was strong in the eyes and the gray on the wooden houses modestly darkened." Some signs are curious, for example: "Foreigner Vasily Fedorov".
V hotel description Gogol uses bright subjectdetails, resorts to artistic comparisons... The writer draws the darkened walls of the "common room", cockroaches peeping out like prunes from all corners of Chichikov's room.
City landscape, hotel description help the author to recreate atmosphere of vulgarity, reigning in the provincial city.
Already in the first chapter, Gogol names the majority officials cities. These are the governor, the vice-governor, the prosecutor, the police chief, the chairman of the chamber, the inspector of the medical board, the city architect, the postmaster, and some other officials.
In the description of the city, provincial officials, their characters and customs, a pronounced satirical focus. The writer sharply criticizes the Russian bureaucratic system, vices and abuses of officials. Gogol denounces such phenomena as bureaucracy, bribery, embezzlement, gross arbitrariness, as well as idle lifestyle, gluttony, inclination to card game, idle talk, gossip, ignorance, vanity and many other vices.
In Dead Souls, officials are depicted much more generalized than in the "Inspector". They are not named by their last names. Most often, Gogol indicates the position of an official, thereby emphasizing the social role of the character. Sometimes the name and patronymic of the actor is indicated. We learn that chairman of the chamber name is Ivan Grigorievich,the police chief - Alexey Ivanovich, the postmaster - Ivan Andreevich.
Gogol gives some officials brief characteristics... For example, he notices that governor he was "neither fat nor thin, he had Anna on his neck" and "sometimes embroidered on tulle." The prosecutor had bushy eyebrows and winked with his left eye, as if inviting a visitor to go into another room.
Chief of Police Alexey Ivanovich, "Father and benefactor" in the city, like the mayor from the "Inspector General", visited the shops and the guest yard as if he were in his own storeroom. At the same time, the police chief knew how to win the favor of the merchants, who said that Aleksey Ivanovich “even though it will take it, it will not betray you in any way”. It is clear that the police chief covered up the machinations of the merchants. Chichikov speaks of the police chief as follows: “What a well-read man! We lost at him in whist ... until the very late cocks. " Here the writer uses the trick irony.
Gogol gives a vivid description of a petty bribe official Ivan Antonovich "jug snout", who competently takes from Chichikov "gratitude" for the registration of the deed of the fortress. Ivan Antonovich had a wonderful appearance: the entire middle of his face "protruded forward and went into the nose," hence the nickname of this official - the master of bribes.
But postmaster“Almost” did not take bribes: firstly, he was not offered: the wrong position; secondly, he raised only one son, and the state salary was generally enough. Ivan Andreevich's character was sociable; as defined by the author, it was "Wit and philosopher."
Concerning chairman of the chamber, then he knew "Lyudmila" Zhukovsky by heart. Other officials, as Gogol notes, were also “enlightened people”: some had read Karamzin, some Moskovskie Vedomosti, and some had not even read anything at all. Here Gogol again resorts to irony... For example, about the game of cards by officials, the author notes that this is a "sensible occupation."
According to the writer, there were no duels between officials, because, as Gogol writes, they were all civilian officials, but on the other hand he tried to spoil one another, where possible, which, as you know, is sometimes harder than any duel.
In the center of "The Tale of Captain Kopeikin", told by the postmaster in the tenth chapter, there are two characters: this is a disabled war of 1812, « small man"Captain Kopeikin and "Significant person"- a top official, a minister who did not want to help the veteran, who showed callousness and indifference to him.
Faces from bureaucratic world appear in the biography of Chichikov in the eleventh chapter: this Chichikov himself, the reporter, whom Chichikov cleverly deceived without marrying his daughter, commission members for the construction of a government building, colleagues Chichikova at customs, other persons from the bureaucratic world.
Consider some episodes poems, which most vividly reveal the characters of officials, their way of life.
The central episode of the first chapter is the scene parties at the governor's. Already here such features of the provincial bureaucracy as idleness, love of the card game, idle talk... Here we find digression about fat and thin officials, where the writer hints at the unjust income of the fat and the extravagance of the thin.
In the seventh chapter, Gogol returns to the theme of the city. Writer with irony describes government chamber... It is "a stone house, all white as chalk, probably to depict the purity of the souls of the positions in it." About the court, the author notes that this is an "incorruptible zemstvo court"; about judicial officials, he says that they have "incorruptible heads of the priests of Themis." An apt description of officials is given through the mouth of Sobakevich. “They all burden the earth for nothing,” the hero remarks. Close-up shows episode of bribe: Ivan Antonovich "jug snout" masterfully accepts "white" from Chichikov.
In the scene breakfast at the police chief reveals such features of officials as gluttony and love of booze... Here Gogol again resorts to hyperbole: Sobakevich eats a nine-pound sturgeon alone.
With undisguised irony, Gogol describes ladies' society... The ladies of the city were " presentable", As noted by the author. Especially vividly female society is depicted in the scenes ball at the governor's... Ladies perform in Dead Souls as trendsetters and public opinion. This becomes especially obvious in connection with Chichikov's courting of the governor's daughter: the ladies are outraged by Chichikov's inattention to them.
Ladies' gossip topic is further developed in the ninth chapter, where the author showed in close-up Sofya Ivanovna and Anna Grigorievna - "just a pleasant lady" and "A lady who is pleasant in all respects." Thanks to their efforts, a rumor is born that Chichikov is going to kidnap the governor's daughter.
The central episode of the tenth chapter–meeting of officials at the police chief, where the most incredible rumors about who Chichikov is are discussed. This episode resembles the scene in the mayor's house in the first act of The Inspector General. The officials gathered to find out who Chichikov is. They remember their "sins" and at the same time utter the most incredible judgments about Chichikov. Opinions are expressed that this is the auditor, the manufacturer of counterfeit banknotes, Napoleon, and finally, Captain Kopeikin, about whom the postmaster tells the audience.
Death of the prosecutor, which is mentioned at the end of the tenth chapter, is a symbolic result of the thoughts of the author of the poem about the meaningless, empty life of the city. Mental impoverishment affected, according to Gogol, not only landowners, but also officials. Curious is the "discovery" of the inhabitants of the city, made in connection with the death of the prosecutor. “Then it was only with condolence that we learned that the deceased had, for sure, a soul, although he, out of his modesty, never showed it,” the writer notes with irony. The picture of the funeral of the prosecutor in the eleventh chapter he completes the story of the city. Chichikov exclaims, watching the funeral procession: “Here, the prosecutor! He lived, lived, and then died! And now they will publish in the newspapers that he died, to the regret of his subordinates and of all mankind, a respectable citizen, a rare father, an exemplary spouse ... but if you take a good look at the matter, then in fact you only had bushy eyebrows. "
Thus, creating the image of a provincial city, Gogol showed the life of the Russian bureaucracy, its vices and abuses. The images of officials, along with the images of landowners, help the reader understand the meaning of the poem about dead souls distorted by sin.
Petersburg theme. "The Tale of Captain Kopeikin"
Gogol's attitude to St. Petersburg has already been examined in the analysis of the comedy The Inspector General. Recall that for the writer St. Petersburg was not only the capital of an autocratic state, the justice of which he did not doubt, but also the focus of the worst manifestations of Western civilization - such as the cult of material values, pseudo-enlightenment, vanity; in addition, St. Petersburg, in Gogol's view, is a symbol of a soulless bureaucratic system that belittles and suppresses the "little man."
We find references to Petersburg, comparisons of provincial life with life in the capital, already in the first chapter of Dead Souls, in the description of a party at the governor's. About the insignificance of the gastronomic subtleties of St. Petersburg in comparison with the simple and abundant food of provincial landowners, “gentlemen middle hand”, The author discusses at the beginning of the fourth chapter. Chichikov, thinking about Sobakevich, tries to imagine who Sobakevich would become if he lived in Petersburg. Talking about the governor's ball, the author ironically remarks: "No, this is not a province, this is the capital, this is Paris itself." Chichikov's remarks in the eleventh chapter on the ruin of landowners' estates are also connected with the theme of Petersburg: “Everything has gone to serve in Petersburg; the estates have been abandoned. "
The theme of St. Petersburg is most vividly revealed in "The Tale of Captain Kopeikin", which the postmaster tells in the tenth chapter. "The Story ..." is based on folklore traditions... One of her sources–folk song about the robber Kopeikin... Hence the elements tale: Let's note such expressions of the postmaster as “my sir”, “you know”, “you can imagine”, “in some way”.
The hero of the story, a disabled veteran of 1812, who went to Petersburg to ask for “royal favor,” “suddenly found himself in the capital, which, so to speak, does not exist in the world! Suddenly there is a light in front of him, so to speak: a certain field of life, the fabulous Scheherazade. " This description of Petersburg reminds us of hyperbolic images in the scene of Khlestakov's lies in the comedy "The Inspector General": the captain sees in luxurious showcases "Cherries - five rubles each", "watermelon is a huge".
At the center of the "Tale" is the confrontation "Little man" captain Kopeikin and "Significant person" - the minister, who personifies a bureaucratic machine indifferent to needs ordinary people... It is curious to note that Gogol himself protects the tsar from criticism: at the time of Kopeikin's arrival in St. Petersburg, the sovereign was still on foreign campaigns and did not have time to make the necessary orders to help the disabled.
It is important that the author denounces the St. Petersburg bureaucracy from the standpoint of a man of the people. The general meaning of the "Tale ..." is as follows. If the government does not turn its face to the needs of the people, a revolt against it is inevitable. It is no coincidence that Captain Kopeikin, not finding the truth in Petersburg, became, according to rumors, the chieftain of a gang of robbers.
Chichikov, his ideological and compositional role
Chichikov's image performs two main functions - independent and compositional... On the one hand, Chichikov is a new type of Russian life, a type of adventurer-acquirer. On the other hand, Chichikov is plot-forming character; his adventures form the basis of the plot of the work.
Consider the independent role of Chichikov. This, according to Gogol, owner, purchaser.
Chichikov - a native of the environment poor and humble nobility... This official, who served the rank of collegiate counselor and accumulated his initial capital, engaging in embezzlement and bribery. At the same time, the hero acts as Kherson landowner that he claims to be. Chichikov needs the status of a landowner to acquire dead souls.
Gogol believed that spirit of profit came to Russia from the West and acquired ugly forms here. Hence the hero's criminal paths to material prosperity.
Chichikova is distinguished hypocrisy... By creating lawlessness, the hero declares his respect for the law. "The law - I go numb before the law!" - he declares to Manilov.
It should be noted that Chichikov is attracted not by money in itself, but by the opportunity rich and beautiful life... “He dreamed of life ahead of him in all the comforts, with all the wealth; carriages, a house perfectly arranged, that was what was constantly running around in his head, ”Gogol writes about his hero.
Chase after material assets distorted the hero's soul. Chichikov, like landowners and officials, can be classified as a "dead soul".
Consider now compositional the role of the image of Chichikov. This central character"Dead Souls". His main role in the work is plot-forming... This role is primarily associated with the genre of the work. As already noted, Gogol defines the poem as "a lesser kind of epic." The hero of such a work is "a private and invisible person." The author leads him through a chain of adventures and changes in order to show a picture of modern life, a picture of shortcomings, abuse, vices. In Dead Souls, the adventures of such a hero - Chichikov - become the basis of the plot and allow the author to show the negative aspects of contemporary Russian reality, human passions and delusions.
In the same time compositional role the image of Chichikov is not limited to only one plot-forming function. Chichikov turns out, paradoxically, "Confidant" of the author. In his poem, Gogol looks at many phenomena of Russian life through the eyes of Chichikov. A striking example is the hero's reflections on the souls of the dead and fugitive peasants (the seventh chapter). These reflections formally belong to Chichikov, although here the view of the author himself is clearly felt. Let's give one more example. Chichikov discusses the waste of provincial officials and their wives against the background of national disasters (Chapter 8). It is clear that exposure of the excessive luxury of officials and sympathy for the common people come from the author, but they are put into the lips of the hero. The same can be said about Chichikov's assessment of many characters. Chichikov calls Korobochka a "club-headed", Sobakevich "a fist." It is clear that these judgments reflect the writer's own view of these characters.
The unusualness of this role of Chichikov lies in the fact that "Confidant" the author becomes a negative character... However, this role is understandable in the light of Gogol's Christian worldview, his ideas about the sinful state of modern man and the possibility of him spiritual revival... At the end of the eleventh chapter, Gogol writes that many people have vices that make them no better than Chichikov. "Isn't there some part of Chichikov in me too?" - the author of the poem asks both himself and the reader. At the same time, intending to lead the hero to spiritual rebirth in the second and third volumes of his creation, the writer thereby expressed hope for the spiritual rebirth of every fallen person.
Consider some artistic means creating the image of Chichikov
Chichikov - type averaged... This is highlighted description appearance hero. Gogol writes about Chichikov that he is "not handsome, but not bad-looking, not too fat, but not too thin, one cannot say that he is old, but not so that too young." Chichikov wears lingonberry tailcoat with a spark. This detail of the hero's appearance emphasizes his desire to look decent and at the same time make a good impression of himself, sometimes even shine in the light, show off.
The most important character trait of Chichikov is ability to adapt to others, a kind of "chameleonism". This is confirmed speech hero. “Whatever the conversation was, he always knew how to support it,” Gogol writes. Chichikov knew how to talk about horses, and about dogs, and about virtue, and about making hot wine. Chichikov speaks differently to each of the five landowners. With Manilov, he talks floridly and pompously. Chichikov does not stand on ceremony with Korobochka; at the decisive moment, irritated by her stupidity, he even promises her the devil. With Nozdrev Chichikov is careful, with Sobakevich he is businesslike, with Plyushkin he is laconic. Curious Chichikov's monologue in the seventh chapter (scene of breakfast at the policeman's). The hero reminds us of Khlestakov. Chichikov imagines himself a Kherson landowner, talks about various improvements, about a three-field economy, about the happiness and bliss of two souls.
Chichikov's speech often contains proverbs... "Do not have money, have good people for conversion, ”he says to Manilov. "Hooked - dragged, broke - don't ask," the hero argues in connection with an unsuccessful scam in the commission for the construction of a government building. "Ah, I am Akim-simplicity, I am looking for mittens, but both are in my belt!" - exclaims Chichikov on the occasion of the idea that came to him to buy up dead souls.
An important role in creating the image of Chichikov is played by subject detail. Casket the hero is a kind of mirror of his soul, obsessed with a passion for acquisitions. Chaise Chichikov is also a symbolic image. It is inseparable from the hero's lifestyle, inclined to all sorts of adventures.
Love affair in Dead Souls, as in The Inspector General, it turns out in the background... At the same time, it is important both for revealing the character of Chichikov and for recreating the atmosphere of rumors and gossip in the provincial town. Conversations that Chichikov allegedly tried to kidnap the governor's daughter open a series of tales that accompanied the hero until the moment of his departure from the city.
It turns out that gossip and rumors about the hero is also an important means of creating his image. They characterize it from different angles. In the opinion of the inhabitants of the city, Chichikov is both an auditor and a manufacturer of counterfeit banknotes, and even Napoleon. Napoleon theme in Dead Souls is not accidental. Napoleon is a symbol of Western civilization, extreme individualism, the desire to achieve the goal by any means.
The poem acquires special significance biography Chichikov, placed in the eleventh chapter. Let us name the main stages and events of Chichikov's life. This joyless childhood, life in poverty, in an atmosphere of family despotism; leaving the parental home and starting school, marked father's parting words: "Most of all, take care of and save a penny!" V school years the hero was carried away petty speculation, he did not forget about sycophancy before the teacher, to whom later, in Hard time, reacted very callously, soullessly. Chichikov is hypocritical courted the daughter of an elderly police officer for the purpose of promotion. Then he did "Refined" forms of bribery(through subordinates), theft in the commission for the construction of a government building, after exposure - fraud while serving at customs(story with brabant lace). Finally, he started a scam with dead souls.
Let us recall that almost all the characters of Dead Souls are portrayed by the writer in a static manner. Chichikov (like Plyushkin) is an exception. And this is no coincidence. It is important for Gogol to show the origins of the spiritual impoverishment of his hero, which began in his very childhood and early youth, to trace how the passion for a rich and beautiful life gradually destroyed his soul.
People theme
As already noted, the idea of the poem "Dead Souls" was to show "all of Russia" in it. Gogol paid the main attention to the representatives of the nobility - landowners and officials. At the same time he touched and people themes.
The writer showed in Dead Souls dark sides life of the peasantry - rudeness, ignorance, drunkenness.
Serf people Chichikov - lackey Parsley and the coachman Selifan– unscrupulous, uneducated, limited in their mental interests... Petrushka reads books, not understanding anything about them. Selifan is distinguished by his addiction to drinking. Serf girl Korobochki Pelageya does not know where is the right, where is the left. Uncle Mityai and Uncle Minyai cannot unravel the harness of horses harnessed to two carriages.
At the same time, Gogol notes talent, creativity the Russian people, his heroic strength and freedom-loving spirit. These features of the people are especially clearly reflected in the author's digressions (about a well-marked Russian word, about Russia, about a bird-three) as well as in Sobakevich's reasoning about the deceased peasant craftsmen(it brick-maker Milushkin, Eremey Sorokoplekhin, who, being engaged in trade, brought a quitrent of 500 rubles, coachman Mikheev, carpenter Stepan Probka, shoemaker Maxim Telyatnikov); in Chichikov's reflections on the bought dead souls, which express the position of the author himself (in addition to the already named Sobakevich peasants, the hero mentions the fugitive peasants Plyushkin, in particular Abakuma Fyrova, which, probably, was carried to the Volga; he became a barge haule and gave himself up to a binge of free life).
Gogol also notes rebellious spirit people. The writer believes that if the arbitrariness of the authorities is not stopped, if the needs of the people are not met, then a riot is possible. This view of the author is evidenced by at least two episodes in the poem. This murder men assessor Drobyazhkin who, being possessed by a prodigal passion, molested girls and young women, and the story of captain Kopeikin who probably became a robber.
An important place in the poem is occupied by copyright deviations:satirical,journalistic,lyrical,philosophical other. In terms of their content, some Chichikov's reasoning conveying the author's position. Such an off-plot element, how the parable of Kif Mokievich and Mokiya Kifovich in the eleventh chapter.
Apart from the digressions, important role in identifying author's position plays "The Tale of Captain Kopeikin", narrated by the postmaster (tenth chapter).
Let us name the main digressions contained in the first volume of Dead Souls. These are the thoughts of the author about fat and thin officials(first chapter, scene of the party at the governor's); his judgments about the ability to deal with people(third chapter); witty copyright notes about a healthy stomach of gentlemen of the middle hand(beginning of the fourth chapter). Note also the deviations about the tagged Russian word(end of the fifth chapter), about youth(the beginning of the sixth chapter and the passage "Take away with you on the way ..."). A digression is fundamental to understanding the author's position. about two writers(beginning of the seventh chapter).
Retreats can be equated with Chichikov's reasoning about the bought peasant souls(the beginning of the seventh chapter, after a digression about the two writers), and reflections hero about the idle life of the mighty of the world this against the background of the misfortunes of the people (end of the eighth chapter).
We also note the philosophical digression about the delusions of humanity(tenth chapter). The list of digressions is completed by the author's reflections in the eleventh chapter: about Russia("Rus! Rus! .. I see you ..."), about the road, about human passions. We especially note the parable of Kif Mokievich and Mokiya Kifovich and retreat about the bird three, completing the first volume of Dead Souls.
Let's consider some of the digressions in more detail. Reflections of the author about the tagged Russian word ends the fifth chapter of the poem. In the strength and accuracy of the Russian word, Gogol sees a manifestation of intelligence, creativity, and talent of the Russian people. Gogol compares the Russian language with the languages of other peoples: “The word of a Briton will respond to the knowledge of heart and a wise knowledge of life; the short-lived word of the Frenchman will flash and scatter with an easy dandy; the German will intricately come up with his own, not accessible to everyone, cleverly thin word; but there is no word that would be so ambitious, boldly, so it would burst out from under the very heart, would boil and live like a well-spoken Russian word. " Discussing the Russian language and the languages of other peoples, Gogol resorts to the method figurative parallelism: the multitude of peoples living on earth is likened to the multitude of churches in Holy Russia.
At the beginning of the sixth chapter we find a digression about youth... The author, telling the reader about his travel experiences in his youth and in his mature years, notes that in his youth, a person is characterized by a freshness of the worldview, which he subsequently loses. The saddest thing, according to the writer, is that over time, a person can also lose those moral qualities that were inherent in him in his youth. It is not for nothing that Gogol continues the theme of youth in the further narration, in connection with the story about Plyushkin, about his spiritual degradation. The author addresses the youth with quivering words: youthful years into stern, hardening courage, take with you all human movements, do not leave them on the road, do not pick them up later! "
Retreat about two writers, which opens the seventh chapter, is also built on figurative parallelism... Writers are likened to travelers: a romantic writer is a happy family man, a satirist writer is a lonely bachelor.
The romantic writer only shows bright sides life; satirist writer portrays "Scary slime of little things" and exposes her on the "eyes of the people".
Gogol says that romantic writer accompanies lifetime glory satirical writer are waiting reproaches and persecutions... Gogol writes: “This is not the fate and another fate of the writer, who dared to bring out everything that is in front of our eyes every minute and that indifferent eyes do not see, all the terrible, stunning mud of little things that entangled our life, the whole depth of cold, fragmented, everyday characters.”
In a digression about two writers, Gogol formulates own creative principles, which later received the name realistic. Here Gogol says about the meaning of high laughter- the most valuable gift of a satirist writer. The fate of such a writer is "Look at" life "through the laughter visible to the world and invisible, unknown to him tears".
In retreat about the delusions of humanity the tenth chapter contains the main idea of "Dead Souls", component the essence of Gogol's Christian worldview. According to the writer, humanity in its history has often deviated from the true path outlined by God. Hence the delusions of both past generations and the present. “What twisted, deaf, narrow, impassable, leading far to the side of the road was chosen by mankind, striving to reach the eternal truth, while before him the whole straight path was open, similar to the path leading to the magnificent temple assigned to the king in the palaces. It is wider and more luxurious of all other paths, illuminated by the sun and illuminated all night with lights, but people were flowing past him in the deep darkness, ”writes Gogol. The life of Gogol's heroes - landowners, officials, Chichikov - is a vivid example of human delusions, deviations from the right path, and the loss of the true meaning of life.
In retreat about Russia("Rus! Rus! I see you, I see you from my wonderful, beautiful far away ...") Gogol contemplates Russia from distant Rome, where, as we remember, he created the first volume of Dead Souls.
The author of the poem compares the nature of Russia with the nature of Italy. He realizes that Russian nature, in contrast to the luxurious Italian, does not differ in external beauty; at the same time, endless Russian expanses cause in the soul of a writer deep feeling.
Gogol says about the song, which expresses the Russian character. The writer reflects also O boundless thought and about heroism characteristic of the Russian people. It is no coincidence that the author ends his reflections on Russia with the words: “Is it here, in you, not to be born of boundless thought, when you yourself endlessly? Shouldn't there be a hero here when there is a place where he can turn around and walk? And the mighty space menacingly embraces me, reflecting with a terrible force in my depths; unnatural power lit up my eyes: y! what a sparkling, wonderful, unfamiliar distance to the earth! Russia! .. "
Parable about Kif Mokievich and Mokiya Kifovich both in form and in content resembles the author's digression. The images of the father and son - Kifa Mokievich and Mokiy Kifovich - reflect Gogol's understanding of the Russian national character. Gogol believes that there are two main types of Russian people - type of philosopher and type of hero... According to Gogol, the trouble for the Russian people is that both thinkers and heroes in Russia are degenerating. The philosopher in his state of the art can only indulge in empty dreams, and the hero is able to destroy everything around him.
End of Dead Souls Volume 1 Retreat about the bird three. Here Gogol expresses his faith in a better future for Russia, he connects him with the Russian people: it is not for nothing that a craftsman is mentioned here - "Yaroslavl smart man"- Yes daring coachman, dashingly driving a trotting troika.
Questions and tasks
1. Give the full title Dead Souls. Tell us about the history of the creation of the poem. What did Gogol write about the idea of his creation to Zhukovsky? Did the writer manage to fully implement his plan? In what year was the first volume of the work completed and published? What do you know about the fate of the second and third volumes?
Comment on the title of the piece. What is the paradox here? Why is the phrase "dead souls" interpreted as metaphorical?
What are the main themes of Gogol's poem? Which of these topics are covered in the main story, which ones are covered in the digressions?
2. How can you identify the main problem of the piece? How is it related to Gogol's Christian worldview?
What pathos prevails in Gogol's poem? What is the theme of the affirming principle?
3. What genre definition gave Gogol "Dead Souls" in the subtitle to the work? How did the writer himself interpret this genre in the prospectus of the "Educational Book of Literature for Russian Youth"? What genres of genres did K.S.Aksakov and V.G. Belinsky see in Dead Souls? How does Gogol's work resemble an adventure-adventure novel?
4. Who gave Gogol the plot of Dead Souls? How is the plot of the work related to Gogol's understanding of the genre of the poem? Which character of the work is the plot-forming character and why?
What is the main principle of organizing the material in Gogol's work? What spatial images do we find here?
What elements of the first chapter relate to the exhibition? What place does the gallery of landowners occupy in the work? What are the main episodes of the following chapters that reveal the image of the provincial city. What place does a love intrigue take in the composition of the work? What is its originality in the poem?
What place does Chichikov's biography occupy in Dead Souls? What non-plot elements of the poem can you name?
5. Briefly describe the gallery of landowners. According to what plan does Gogol tell about each of them? What artistic means does the writer use when creating their images? Tell us about each of the landowners portrayed by Gogol. Reveal the meaning of the entire gallery.
6. What chapters of Dead Souls cover the city theme? Tell us about the exposition of the image of the city in the first chapter. What descriptions, characteristics does it include?
List the maximum number of city officials, giving their positions and surname and patronymic, if indicated by the author. Give general characteristics officials and each separately. What human passions and vices do they personify?
List the main episodes that reveal the theme of the city, identify the ideological and compositional role of each of them.
7. In which chapters and in which episodes of Dead Souls are Petersburg and Petersburg life mentioned? In which chapter, which of the characters, and in what connection tells the "Tale of Captain Kopeikin"? What folklore source does it go back to? What is the originality of the narrative in the story about Kopeikin? How is Petersburg drawn here? What artistic method does the author use here? What is the main conflict in the "Tale ..."? What idea did the author want to convey to the reader, including the story of Kopeikin in the main text of Dead Souls?
8. What functions does the image of Chichikov perform in Dead Souls? What type of Russian life does he represent? What is the compositional role of Chichikov, what is the singularity of this role? Consider artistic means of creating an image of a hero, give examples of these means; pay special attention to the life of the hero.
9. What aspects of the life of the people are revealed in "Dead Souls"? Tell us about Chichikov's serfs, about episodic characters - representatives of the people. Name the peasant craftsmen from among the "dead souls" sold to Chichikov by Sobakevich, briefly describe them. Name the fugitive peasant Plyushkin, who fell in love with a free life. What episodes of Dead Souls contain hints of the people's ability to revolt?
10. List all the author's digressions and other off-plot elements of Dead Souls known to you. Consider in detail the digressions about the apt Russian word, about youth, about two writers, about the errors of mankind, about Russia, the parable about Kif Mokievich and Mokiy Kifovich, as well as the digression about the bird-three. How does the author of the work appear in these digressions?
11. Make a detailed outline and prepare an oral report on the topic: "Artistic means and techniques in the poem" Dead Souls "" (landscape, interior, portrait, comic situations, speech characteristics of characters, proverbs; figurative parallelism, comparison, hyperbole, irony ).
12. Write an essay on the topic: "Varieties and artistic functions details in "Dead Souls" by N.V. Gogol ".
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