Odi et amo. G.V. catullus
(I hate and love. G.V. Catullus)

"Dead Souls", on the one hand, is an epic work, and on the other, a lyrical one, thanks to many author's digressions. Calling "Dead Souls" a poem, Gogol emphasized the substantive significance of these digressions: firstly, they create the image of the author, a thoughtful, observant, humane, witty person, not very happy, but firm in his moral and social convictions; secondly, it was the author's digressions that helped Gogol to express in the first volume his optimistic faith in the future of Russia.

The first includes biographical memoirs and reasoning of the author. At the beginning of the sixth chapter, there is a recollection of a happy childhood perception of life: a child, riding in a road carriage, did not notice the dirt and squalor around him, everything was interesting to him, everything was new. Seeing the landowner's house, he began to fantasize about the owner and his family, the dome of the church, the unusual frock coat on a passer-by, and the goods in a roadside shop attracted children's attention. But now the author, an adult, indifferently drives up to an unfamiliar place, looks indifferently at a vulgar picture and exclaims with sadness: “O my youth! O my freshness!

The author's digression from the eleventh chapter sounds sublimely lyrical: “Rus! Russia! I see you, from my wonderful beautiful far away I see you. The author sees the homeland as a poor, uncomfortable, flat plain, without majestic mountains, waterfalls, thickets of wild roses and the warm sea. But, living far from his homeland, in Italy, the author continues to be Russian, the Russian song worries him and grabs his heart, he constantly thinks about the fate of his country: “But what incomprehensibly secret force attracts you? Why is your melancholy (...) song heard and heard incessantly in my ears? What's in it, in this song? What calls, and sobs, and grabs the heart? Russia! What do you want from me? What incomprehensible bond lurks between us? Another digression contains a confession that the author loves the road: it distracts from bitter thoughts, calms and invigorates at the same time: “God, how good you are sometimes, a long, long road! How many times, like one who is perishing and drowning, have I clutched at you, and each time you generously endured and saved! And how many wonderful ideas, poetic dreams were born in you, how many wondrous impressions were felt in you! In the chapter on Plyushkin, we encounter the author's indignation at the spiritual fall of a person: “And a person could descend to such insignificance, pettiness, filth! Could have changed! (...) Take with you on the road, leaving the soft youthful years in the harsh hardening courage, take with you all human movements, do not leave them on the road. Don't pick it up later!" (ch.6).

It is known that Gogol taught history for several years at St. reach the eternal truth, while before him the whole straight path was open” (ch. 10). The descendants laugh at the past mistakes of their ancestors, but they themselves act as unreasonably as their forefathers.

These lyrical digressions alternate with the author's humorous confessions, for example, in envy of the amazing appetite of the “middling gentleman”: “The author must admit that he is very envious of the appetite and stomach of such people. For him, all the gentlemen of a big hand, living in St. Petersburg and Moscow, who spend their time thinking about what to eat tomorrow, mean absolutely nothing. (...) No, these gentlemen never aroused envy in him ”(ch. 4).

The second group includes author's digressions about literary work. This is primarily a comparison of romantic and satirical writers at the beginning of the seventh chapter: “Happy is the writer who, past boring, nasty characters (...), approaches characters that show the high dignity of a person who has chosen only a few exceptions from the great pool of daily revolving images. (...) He fumigated people's eyes with an intoxicating smoke, he miraculously flattered them, hiding the sadness in life, showing them a wonderful person. Everyone applauds such a writer, he is declared a genius, he is sincerely loved by the public. “But such is not the fate of the other fate of the writer, who dared to bring out everything that is every minute before his eyes and that indifferent eyes do not see - all the terrible, amazing mire of trifles that have entangled our life, the whole depth of cold, fragmented, everyday characters.” This writer is not recognized, they will deny him a good heart, and a sensitive soul, and even talent, his work will be called "antics of a farce buffoon." Severe is his field, and he will bitterly feel his loneliness. Despite all the moral burden of such a life, lack of money, the author chooses precisely the difficult path of a satirist: “And for a long time it has been determined for me by wonderful power to go hand in hand with my strange heroes, to look at life through laughter visible to the world and invisible, unknown to him tears.” In the eleventh chapter, as if continuing the discussion about the satirical writer, the author explains that he deliberately did not take the “virtuous person” as the hero of the poem: “Because it is time to finally give rest to the poor virtuous person (...), because they turned the virtuous person into a horse , and there is no writer who would not ride it, goading it with a whip and everything. (...) No, it's time to finally hide the scoundrel. The author explains his attitude to the image of Chichikov: “That he is not a hero, full of perfections and virtues, is evident. How is he? So, a scoundrel? Why a scoundrel, why be so strict with others? (...) It is most fair to call him: the owner, the acquirer.

Remarkable is the argument of the author from the eighth chapter about the guardians of the purity of the Russian language, who resolutely demand literature written in the most strict, purified (without street rudeness), noble language. But these guardians themselves use French, and German, and English, and you won’t hear a single decent Russian word from them first. The author reserves the freedom to use the Russian language as he sees fit, although this may not please strict readers from high society.

The third group includes author's digressions about Russia and the Russian character. Despite the sad pictures of landlord life and bureaucratic bustle in the provincial town, despite the scoundrel of the protagonist, Dead Souls expresses not hopeless despair, but ardent faith in the future of Russia. This semantic effect in the first volume is achieved thanks to the author's digressions.

In Russia, at the same time ironically and seriously, the author notices, if they have not kept up with Europe in anything else, then they have far surpassed it in the ability to communicate: “It is impossible to count all the shades and subtleties of our appeal. With us, a landowner who has two hundred souls will be spoken differently to the owner of three hundred souls, and in a completely different way with someone who has five hundred souls. (...) In a word, ascend to a million, and there will always be shades ”(ch. 3). For the author, it is obvious that the Russian nation has a language that is part of the Russian character and testifies to the deep mind, observation of the people. German, English, French are good in their own way, “but there is no word that would be so bold, smart, so bursting out from under the very heart, so seething and vibrant, like the aptly said Russian word” (ch. 5). The Russian people express themselves strongly, “and if he rewards someone with a word, then it will go to his family and offspring, he will drag him with him to the service, and to retirement, and to St. Petersburg, and to the ends of the world” (ch. 5).

Behind the terrible world of landlord Russia, the author feels the living soul of the people. The poem enthusiastically speaks of people's prowess, courage, skill, love for free life. Chichikov thinks about this when he reads the list of bought peasants (ch. 11): the carpenter Stepan Cork with an ax went all over the province, the miracle shoemaker Maxim Telyatnikov was the pride of the German teacher, the cab driver Grigory You won’t get there visited all the fairs with merchants, Abacum Fyrov preferred the hard labor of a barge hauler to the slave life of Plyushkin.

The most significant author’s reflection on Russia was, of course, the picture of the trio bird, which concludes the first volume of the poem: in it the author captured the rapid movement of Russia, which he compares with the trio: behind” (ch. 11). The writer expressed his hope that Russia would still rise to greatness and glory: “The bell is filled with a wonderful ringing; the air torn to pieces rumbles and becomes the wind; everything that is on earth flies past, and, looking sideways, step aside and give it the way other peoples and states ”(ibid.).

So, the author's digressions are extremely important for the ideological content of the poem. They create a semantic implication, without which the poem does not exist as an integral work. Strictly speaking, the whole poem is imbued with lyricism (author's attitude), which V. G. Belinsky considered its great merit. Gogol wrote his work not as a calm contemplative, but as a patriot of Russia, firmly believing in its great future and therefore passionately hating everything that hindered its development (movement towards the truth). Already in the most merciless satire on the nobility-serf society, a critical authorial attitude to the characters and events was manifested, but for Gogol this, one might say indirect, manifestation of the author's position seemed insufficient, and he introduces author's digressions into the poem, directly revealing his thoughts and feelings. The same artistic technique - lyrical digressions - takes place in A.S. Pushkin's novel "Eugene Onegin".

Gogol showed the deep spiritual crisis of the Russian state, but at the same time he felt that behind the dead souls of the owners of life, the living soul of the people “peeps through”. "Dead Souls", noted A.I. Herzen, "an amazing book, a bitter reproach to modern Russia, but not hopeless." Faith in the future is born just from the author's lyrical reflections. From reflections on the Russian word, on the love of freedom and talent of the Russian people, on the fate of Russia, a second image of the motherland is created, the image of a living country that has preserved its soul even under the rule of the dead-hearted manilovs, dogs, etc. Reflecting on his own life and his writing mission, the author in lyrical digressions himself demonstrates the character of a Russian person, who does not bend under any circumstances.

Composition Gogol N.V. - Dead Souls

Topic: - Language in the poem "Dead Souls"

Gogol spoke with admiration about the pages of his poem about the greatness, power, brilliance and accuracy of the Russian word.
Gogol continued the development of the Russian literary language in the direction outlined by Pushkin. Gogol's love for folk speech figuratively and aptly, the pain from the dismissive attitude towards it on the part of the ruling elite dictated to the author of "Dead Souls" words full of contempt for readers from the highest secular circle. In the poem, Gogol used the verbal wealth of the Russian language, its flexibility and expressiveness. Many words, expressions found by Gogol in folk speech, introduced into literature, were organically assimilated into the literary language.
Infinitely rich and varied vocabulary. Words from various spheres of everyday life, abundantly presented in Russian speech, were widely used by Gogol. Gogol knew the professional language of all strata of Russian society to the subtlety. The writer took vocabulary material in order to create a vivid picture, to create a vivid, sharply memorable typical image. So the dictionary of dog hunting is reflected in the chapter on Nozdryov, for it is not separated from Nozdryov. Just as the name of various types of food is absolutely necessary in the chapters on Korobochka and Sobakevich.
A large role in "Dead Souls" is played by the direct speech of numerous characters. The speech of each of the characters is individual. Gogol's skill is manifested in Gogol's ability to expose the richness and diversity of its meanings in the word. How is the word "enough" used? "Chichikov saw that the old woman had gone far"; “Chichikov hit the floor with a chair in his hearts”; “Nature grabbed with an ax once - the nose came out, they grabbed it another time, the lips came out.”
Gogol's surnames are satirically expressive. They identify actors by negative signs: Sobakevich, Svinin, Trepakin, and others.
Proverbs and sayings play a particularly significant role in the poem. They are skillfully scattered throughout the poem. Gogol is a great master of conveying dialogues. His dialogue always very accurately depicts the character of people who are talking to each other. Suffice it to recall Chichikov's conversation with Sobakevich. They seek to deceive each other. Comparison plays a big role in denunciation and ridicule. They are always fresh, images, expressive. The singing concert is compared to a pack of dogs in Korobochka's yard. The author's speech is unusual and varied in the poem. It is colored with humor, often turns into an angry satirical denunciation. Here it becomes pathetic. There are such words as "eyes", "to see", "to look around".
Belinsky admired the richness, diversity and commonality of the language and noted that “Gogol does not write, but draws. His images breathe the living colors of reality. You see and hear them. Every word, every phrase expresses his thought sharply, definitely, in relief.

Gogol spoke with admiration about the pages of his poem about the greatness, power, brilliance and accuracy of the Russian word.
Gogol continued the development of the Russian literary language in the direction outlined by Pushkin. Gogol's love for folk speech figuratively and aptly, the pain from the dismissive attitude towards it on the part of the ruling elite dictated to the author of "Dead Souls" words full of contempt for readers from the highest secular circle. In the poem, Gogol used the verbal wealth of the Russian language, its flexibility and expressiveness. Many words, expressions found by Gogol in folk speech, introduced into literature, were organically assimilated into the literary language.
Infinitely rich and varied vocabulary. Words from various spheres of everyday life, abundantly presented in Russian speech, were widely used by Gogol. Gogol knew the professional language of all strata of Russian society to the subtlety. The writer took vocabulary material in order to create a vivid picture, to create a vivid, sharply memorable typical image. So the dictionary of dog hunting is reflected in the chapter on Nozdryov, for it is not separated from Nozdryov. Just as the name of various types of food is absolutely necessary in the chapters on Korobochka and Sobakevich.
A large role in "Dead Souls" is played by the direct speech of numerous characters. The speech of each of the characters is individual. Gogol's skill is manifested in Gogol's ability to expose the richness and diversity of its meanings in the word. How is the word "enough" used? "Chichikov saw that the old woman had gone far"; “Chichikov hit the floor with a chair in his hearts”; “Nature grabbed with an ax once - the nose came out, they grabbed it another time, the lips came out.”
Gogol's surnames are satirically expressive. They identify actors by negative signs: Sobakevich, Svinin, Trepakin, and others.
Proverbs and sayings play a particularly significant role in the poem. They are skillfully scattered throughout the poem. Gogol is a great master of conveying dialogues. His dialogue always very accurately depicts the character of people who are talking to each other. Suffice it to recall Chichikov's conversation with Sobakevich. They seek to deceive each other. Comparison plays a big role in denunciation and ridicule. They are always fresh, images, expressive. The singing concert is compared to a pack of dogs in Korobochka's yard. The author's speech is unusual and varied in the poem. It is colored with humor, often turns into an angry satirical denunciation. Here it becomes pathetic. There are such words as "eyes", "to see", "to look around".
Belinsky admired the richness, diversity and commonality of the language and noted that “Gogol does not write, but draws. His images breathe the living colors of reality. You see and hear them. Every word, every phrase expresses his thought sharply, definitely, in relief.

The plot of "Dead Souls" to N.V. Gogol was prompted by A.S. Pushkin, noting its main advantage that "you can travel all over Russia together with the hero." This is what N.V. Gogol appreciated and built his poem as an endless journey of Chichikov. If you read the poem...

There is a book on my desk, which we can say is medium in size, that is, not a folio, not a multi-volume work, but not small either. The name is rather strange - "Dead Souls". I mentally transfer myself to those distant forties of the late 19th century, ...

A hole in humanity. N. Gogol Nikolai Vasilyevich Gogol is a talented satirist writer. His gift was especially bright and original in the poem "Dead Souls" when creating images of landowners. Characteristics of the characters are full of sarcasm when Gogol describes...

Pushkin gave Gogol his plot, from which he himself wanted to make something like a poem. It was the plot of Dead Souls. Gogol depicts a large provincial town and the estates of the landlords of this province. Close-up images of the landlords, these "owners...

How much we have that needs to be deeply appreciated and what to look at with illumined eyes. N.V. Gogol Russian classical literature is original, original literature. Her originality lies primarily in the fact that she staged and resolved acute ...

The image of the Motherland in "Dead Souls"
The theme of Russia worried many Russian poets and writers. So, Pushkin in his work sang Russian folk traditions, urged people to remember their homeland, its rich spiritual heritage reflected in folklore, contrasting the original Russian with the cosmopolitan - while "loving Russia with a strange love", on the one hand, admired its historical past, beauty Russian spirit, the strength of the Russian people, but at the same time exposed the social problems of Russia, criticized the policy of the sovereign and the life of the Russian people.

But what about Gogol? How did this writer see Russia and what was significant to him? Consider the image of Gogol's Russia in the poem Dead Souls.

For Gogol, as for many other writers, the theme of Russia is connected with the theme of the people. Let us turn to the folk images of the poem - the various characters of the epic part of "Dead Souls". These are two men who we meet at the very beginning of the poem, who, having seen Chichikov's britzka, begin to argue whether it will reach Ryazan or Moscow - In fact, this is the question "to be or not to be", considered at a primitive, everyday level. And what? These are the footman Chichikov Petrushka, "who had a passion for reading" and read everything indiscriminately: from the primer to romance novels, and the coachman Selifan, who does not care whether Chichikov whips him or not: "you can whip it." The Russian people are also the courtyard girl Pelageya, who "does not know where the right is, where the left is", Uncle Mityai and Uncle Minyay, who unsuccessfully tried to move Chichikov's overturned wagon.

All these people are depicted by Gogol not in an ideal, but in a satirical light. The writer denounces primitiveness, spiritual poverty, indifference to life and obedience to his master in the peasants, but is it their trouble that they are crushed by life, spiritually impoverished? .. In the poem, Gogol shows that no one cares to ordinary people. The landowners force the peasants to work as hard as possible, while not caring about the life of the serfs and wanting to make a profit from their farm. Officials, instead of solving state problems and working for the good of Russia, think only about how to move up the social ladder, that is, they care exclusively about their own benefits.

The "Tale of Captain Kopeikin" especially vividly depicts how in official circles, where bribery, embezzlement, deceit reign, no one cares about a simple soldier who shed blood for his homeland.

Thus, the people are suppressed by the system of government in Russia, but Gogol, being an expert on the Russian character, feels the true strength of ordinary people, the beauty of their soul, their best qualities. The lyrical part of "Dead Souls" recreates the ideal image of the people - the embodiment of Gogol's concept of the Russian national character. The writer shows the breadth of the nature of the Russian people, the love of freedom of the people in the image of Abakum Fyrov, a fugitive peasant who "walks noisily and cheerfully on the grain pier, ordering with the merchants." Gogol is also fascinated by the industriousness of a Russian person, such as that of Stepan Cork, "a hero who went all over the provinces with an ax in his belt"; stamina and endurance, "the ability to get used to everything and to any climate", "liveness of mind, a lively self-born nugget that does not go into his pocket for a word ...". It's hard not to admire the qualities of the Russian people!

In "Dead Souls"

Gogol spoke with admiration about the pages of his poem about the greatness, power, brilliance and accuracy of the Russian word.

Gogol continued the development of the Russian literary language in the direction outlined by Pushkin. Gogol's love for folk speech figuratively and aptly, the pain from the dismissive attitude towards it on the part of the ruling elite dictated to the author of "Dead Souls" words full of contempt for readers from the highest secular circle. In the poem, Gogol used the verbal wealth of the Russian language, its flexibility and expressiveness. Many words, expressions found by Gogol in folk speech, introduced into literature, were organically assimilated into the literary language.

Infinitely rich and varied vocabulary. Words from various spheres of everyday life, abundantly presented in Russian speech, were widely used by Gogol. Gogol knew the professional language of all strata of Russian society to the subtlety. The writer took vocabulary material in order to create a vivid picture, to create a vivid, sharply memorable typical image. So the dictionary of dog hunting is reflected in the chapter on Nozdryov, for it is not separated from Nozdryov. Just as the name of various types of food is absolutely necessary in the chapters on Korobochka and Sobakevich.

A large role in "Dead Souls" is played by the direct speech of numerous characters. The speech of each of the characters is individual. Gogol's skill is manifested in Gogol's ability to expose the richness and diversity of its meanings in the word. How is the word "enough" used? "Chichikov saw that the old woman had gone far"; “Chichikov hit the floor with a chair in his hearts”; “Nature grabbed with an ax once - the nose came out, they grabbed it another time, the lips came out.”

Gogol's surnames are satirically expressive. They identify actors by negative signs: Sobakevich, Svinin, Trepakin, and others.

Proverbs and sayings play a particularly significant role in the poem. They are skillfully scattered throughout the poem. Gogol is a great master of conveying dialogues. His dialogue always very accurately depicts the character of people who are talking to each other. Suffice it to recall Chichikov's conversation with Sobakevich. They seek to deceive each other. Comparison plays a big role in denunciation and ridicule. They are always fresh, images, expressive. The singing concert is compared to a pack of dogs in Korobochka's yard. The author's speech is unusual and varied in the poem. It is colored with humor, often turns into an angry satirical denunciation. Here it becomes pathetic. There are such words as "eyes", "to see", "to look around".

Belinsky admired the richness, diversity and commonality of the language and noted that “Gogol does not write, but draws. His images breathe the living colors of reality. You see and hear them. Every word, every phrase expresses his thought sharply, definitely, in relief.

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