home-Celebrities-The image of nature in the poem Dead Souls. Plyushkin's Garden: analysis of the sixth chapter in the work of N.V.

The image of nature in the poem Dead Souls. Plyushkin's Garden: analysis of the sixth chapter in the work of N.V.

According to Gogol, Pushkin best of all grasped the originality of the writing style of the future author of Dead Souls: “Not a single writer had this gift to expose the vulgarity of life so clearly, to be able to outline in such force the vulgarity of a vulgar person that all that trifle , which eludes the eyes, would flash large in everyone’s eyes.” Indeed, the main means of depicting Russian life in the poem is artistic detail. Gogol uses it as the main means of typifying heroes. The author identifies in each of them the main, leading feature, which becomes the core of the artistic image and is “played out” with the help of skillfully selected details. Such leitmotif details of the image are: sugar (Mani-lov); bags, boxes (Korobochka); animal strength and health (Nozdrev); rough but durable things (Sobakevich); a bunch of rubbish, a hole, a hole (Plyushkin). For example, Manilov’s sweetness, dreaminess, and unreasonable pretentiousness are emphasized by the details of the portrait (“eyes as sweet as sugar”; his “pleasantness” was “too much given to sugar”), details of behavior with people around him (with Chichikov, with wife and children), the interior (in his office there is beautiful furniture - and then there are two unfinished armchairs covered in matting; a dandy candlestick - and next to “some kind of just a copper invalid, lame, curled up to the side and covered in grease”; on there is a book on the table, “bookmarked on the fourteenth page, which he has been reading for two years already”), speech details that allow you to create a unique manner of speaking “sweetly” and vaguely (“May day, name day of the heart”; “if you please this cannot be allowed").

These kinds of leitmotif details are used as a means of characterizing all characters, even episodic ones (for example, Ivan Antonovich - “a jug snout”, the prosecutor has “very black thick eyebrows”) and collective images (“thick and thin” officials). But there are also special artistic means that are used to create a certain number of images. For example, in order to more clearly highlight what is characteristic of each of the landowners as a certain type, the author uses such a construction of the corresponding chapters that the same sequence of details is observed. First, the estate, courtyard, and interior of the landowner's house are described, his portrait and author's description are given. Then we see the landowner in his relationship with Chichikov - his manner of behavior, speech, we hear comments about neighbors and city officials and get acquainted with his home environment. In each of these chapters, we witness a dinner or other treat (sometimes very unique - like Plyushkin's) that Chichikov is treated to - after all, Gogol's hero, an expert on material life and everyday life, often receives characterization precisely through food. And in conclusion, a scene of the purchase and sale of “dead souls” is shown, completing the portrait of each landowner. This technique makes it easy to make comparisons. Thus, food as a means of characterization is present in all chapters about the landowners: Manilov’s dinner is modest, but with pretension (“cabbage soup, but from the heart”); Korobochka’s has a rich, patriarchal taste (“mushrooms, pies, skorodumki, shanishki, pryagly, pancakes, flat cakes with all sorts of toppings”); Sobakevich serves large and hearty dishes, after which the guest can barely get up from the table (“when I have pork, put the whole pig on the table; lamb, bring the whole lamb”); at

Nozdryov's food is not tasty, he pays more attention to the wine; At Plyushkin’s, instead of dinner, the guest is offered liqueur with flies and “rusks from Easter cake”, left over from the Easter treat.

Particularly noteworthy are the household details that reflect the world of things. There are a lot of them and they carry an important ideological and semantic load: in a world where the soul has been forgotten and has become “dead,” its place is firmly occupied by objects, things to which their owner is firmly attached. That’s why things are personified: such as Korobochka’s clock, which “had a desire to strike,” or Sobakevich’s furniture, where “every object, every chair seemed to say: I too Sobakevich!”

Zoological motifs also contribute to the individualization of characters: Manilov is a cat, Sobakevich is a bear, Korobochka is a bird, Nozdryov is a dog, Plyushkin is a mouse. In addition, each of them is accompanied by a specific color scheme. For example, Manilov's estate, his portrait, his wife's clothes - everything is given in gray-blue tones; Sobakevich’s clothes are dominated by red-brown colors; Chichikov is remembered for a clear detail: he likes to dress in a “lingonberry-colored tailcoat with a sparkle.”

The speech characteristics of the characters also arise through the use of details: Manilov’s speech has many introductory words and sentences, he speaks pretentiously, and does not finish the phrase; Nozdryov’s speech contains a lot of swear words, jargon of a gambler, a horseman, he often speaks in alogisms (“he came from God knows where, and I live here”); Officials have their own special language: along with bureaucratic language, when addressing each other they use phrases that are stable in this environment (“You lied, mommy Ivan Grigoryevich!”). Even the surnames of many characters characterize them to a certain extent (Sobakevich, Korobochka, Plyushkin). For the same purpose, evaluative epithets and comparisons are used (Korobochka - “club-headed”, Plyushkin - “a hole in humanity”, Sobake-vich - “man-fist”).

All together, these artistic means serve to create a comic and satirical effect and show the illogical existence of such people. Sometimes Gogol also uses the grotesque, as, for example, when creating the image of Plyushkin - “a hole in humanity.” This is both a typical and fantastic image. It is created through the accumulation of details: a village, a house, a portrait of the owner and, finally, a bunch of old things. Material from the site

But the artistic fabric of “Dead Souls” is still heterogeneous, since the poem presents two faces of Russia, which means the epic is contrasted with the lyrical. Russia of landowners, officials, men - drunkards, lazy people, incompetents - is one “face”, which is depicted using satirical means. Another face of Russia is presented in lyrical digressions: this is the author’s ideal of a country where genuine heroes walk in the open spaces, people live a rich spiritual life and are endowed with a “living” and not a “dead” soul. That is why the style of lyrical digressions is completely different: satirical, everyday, colloquial vocabulary disappears, the author’s language becomes bookish-romantic, solemnly pathetic, and is saturated with archaic, bookish vocabulary (“a menacing blizzard of inspiration will rise from clothed in holy horror and splendor chapters"). This is a high style, where colorful metaphors, comparisons, epithets (“something ecstatically wonderful,” “daring diva of nature”), rhetorical questions, exclamations, appeals (“And what Russian doesn’t like driving fast?”) are appropriate. O my youth! O my freshness!").

This paints a completely different picture of Rus', with its endless expanses and roads running into the distance. The landscape of the lyrical part contrasts sharply with that which is present in the epic, where it is a means of revealing the characters of the heroes. In lyrical digressions, the landscape is connected with the theme of the future of Russia and its people, with the motif of the road: “What does this vast expanse prophesy? Isn’t it here, in you, that a boundless thought will not be born, when you yourself are endless? Shouldn’t a hero be here when there is a place where he can turn around and walk?” It is this artistic layer of the work that allows us to talk about its truly poetic sound, expressing the writer’s faith in the great future of Russia.

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  • Gogol's poem dead souls. Artistic means of creating images
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  • Gogol's artistic details
  • artistic originality dead souls

Municipal educational institution

"Secondary school No. 3"

city ​​of Shumikha, Kurgan region

Detail as a means of creating images in a poem

N.V. Gogol "Dead Souls".

Completed by: Petrova Anna Aleksandrovna,

10 A class

Head: Svetlana Valerievna Styshnykh

G. Shumikha

Plan.

1. Introduction.

2. N.V. Gogol is a master of artistic descriptions.

3. Detail as a means of typification and individualization

    Chichikov (detail of landscape, portrait, interior, behavior)

    Manilov

    Box

    Nozdryov

    Sobakevich

    Plyushkin

4. Conclusion. The compositional role of details.

5. Literature.

Introduction.

Research topic: " Detail as a means of creating images in the poem by N.V. Gogol "Dead Souls".

Relevance: while studying the poem by N.V. Gogol’s “dead souls” we get acquainted with the history of the creation of the poem, consider the chapters telling about Chichikov’s visit to the landowners. Only through careful, analytical reading, which involves attention to every word, a new look at the heroes of the poem “opens”, associated with an ideological and thematic motif . This is thanks to the artistic details. This type of research provides a better understanding of the theme and idea of ​​a literary work.

Goals:

    Development of cognitive activity and the formation of a creative approach in literature.

    Teaching analytical reading and retelling.

    Development of memory, attention, thinking.

    Fostering a value-based attitude towards knowledge

Tasks:

    Realize the deep intention of N.V. Gogol.

    Highlight artistic details of landscape, portrait, interior, behavior.

    Learn to compare and analyze artistic details of a literary work.

Methods: Theoretical and scientific research, work with critical literature, analytical reading, observation of language, Internet resources

An object: N.V. Gogol's poem "Dead Souls".

N.V. Gogol is a master of artistic descriptions.

Gogol did not work on any of his works, including “The Inspector General,” with such faith in his calling as a citizen writer with which he created “Dead Souls.” He did not devote so much deep creative thought, hard work and time to any other work of his. The writer considered the creation of “Dead Souls” the most important, largest work of his life. The accusatory pathos that characterizes Gogol's best artistic creations was expressed most fully and forcefully in the poem-novel. Each artistic image created by a poet or writer includes a portrait description of the hero, in which the author, as a rule, focuses on the main character traits. Gogol is a generally recognized master of artistic descriptions. These descriptions are valuable in themselves, first of all, due to the abundance of everyday details.

Detail - significant detail that allows you to convey the emotional and semantic content of a scene or episode. The most important artistic means that helps the writer reveal the essence of the image of the character being portrayed.

Describing almost all social groups in Dead Souls: landowners, officials, the emerging bourgeoisie, the working masses, Gogol pays special attention to artistic details, the so-called “mud of little things,” because this is the main means of depicting Russian life. In the article “Gogol’s Mastery” Andrei Bely wrote: “World literature has never known such greatness in the depiction of small things like Gogol’s.”

In the depiction of landowners, Gogol's pen is merciless. Here there are “telling” names, and deformation of human faces, and interior details that tell us more about the owner than his portrait and actions, and “zoological” comparisons. In fact, each of the landowners resembles some kind of animal. Gogol directly says about Sobakevich that he looks like “a medium-sized bear”; Manilov is characterized by the following phrase: “He closed his eyes like a cat whose ear was tickled”; The dog in Nozdryov is indicated by his description in the kennel: “Nozdryov was among them just like the father of the family.” In addition, each landowner has his own characteristics: Korobochka is a “club-headed man,” Nozdrev is a “historical man,” Sobakevich is a “fist” man, Plyushkin is a “hole in humanity.”

“Acquirer” - Chichikov.

Among the characters in Gogol’s poem “Dead Souls,” Pavel Ivanovich Chichikov occupies a special place. Being the central (from the point of view of plot and composition) figure of the poem, this hero remains a mystery to everyone until the last chapter of the first volume - not only to the officials of the city of NN. but also for the reader. But undoubtedly in the creation of his image N.V. Gogol also used artistic detail.

Landscape detail- Throughout N.V. Gogol's poem we notice many landscapes and many descriptions of landowners' estates, but among all this we do not see a clear landscape in which Chichikov would be depicted. It constantly merges with one landscape or another. When our main character is with one of the landowners, Manilov, who is endowed with a certain dreaminess and his entire dreamy world is also reflected in the nature around him and in everything that surrounds him, then we see that Chichikov is also characterized by this light, unearthly essence. From this we understand that Chichikov does not have his own landscape that would be characteristic only of him alone. But this does not mean at all that N.V. Gogol did not use details here; on the contrary, he showed by this that our hero is very cunning, has the ability to acquire various qualities that only exist on earth.

Portrait detail- In the poem we clearly notice the huge role that detail plays in creating the portrait of Chichikov. She points to his portrait in the most vivid images.

It is very difficult for us to immediately grasp and clearly imagine Chichikov’s portrait. The portrait of Chichikov at first glance seems somewhat amphora. And Gogol emphasizes this feeling from the very first appearance of the hero - “Not handsome, but not bad-looking either,” “Not too fat, not too thin,” “You can’t say that you’re old, but you can’t say that you’re too young,” "Middle-aged man." This is him - the main character of “Dead Souls”. In everything there is moderation and the middle, impersonality that completely excludes truly human passions and movements of the soul and leaves room only for serving the “penny”. From all this we understand that Chichikov is capable of changing from one image to another, and his not very noticeable appearance suits him. the author deprives Pavel Ivanovich of his originality, memorable features, and his own “face”. Against the background of bright, extremely individualized images of landowners, the figure of Chichikov looks colorless, vague, elusive. The absence of an individual principle is also revealed in the hero’s speech behavior - not having his own “face,” he does not have his own “voice.” It is facelessness and colorlessness that allow Chichikov to transform beyond recognition when the “interests of the case” require it.

Interior detail- Chichikov arrives in the city; Gogol immediately draws the reader’s attention to some men talking about the wheels of the hero’s chaise, and a certain young man with a Tula pin in the shape of a pistol (interestingly, these characters will never appear on the pages of the book again). Chichikov gets a room in a local hotel; here Gogol even talks about cockroaches and the door to the next room, lined with a chest of drawers. And even that the neighbor is usually curious and interested in the life of the person passing by. Only whether Chichikov had such a neighbor, whether he came when the hero was absent, or whether there was no neighbor at all, we will not know, but from now on we have an accurate idea of ​​​​the hotels of the “known kind”.

Detail of the hero's behavior - Finding yourself in any new situation, in a new environment,
he immediately becomes “one of our own.” He has comprehended the “great secret of being liked,” he speaks with each of the characters in their language, discusses topics close to the interlocutor. This hero’s soul is still alive, but every time, drowning out the pangs of conscience, doing everything for his own benefit and building happiness on the misfortunes of other people, he kills it. Insult, deception, bribery, embezzlement, fraud at customs - Chichikov’s tools. The hero sees the meaning of life only in acquisition, accumulation. But for Chichikov, money is a means, not an end: he wants prosperity, a decent life for himself and his children. Chichikov is distinguished from other characters in the poem by his strength of character and determination. Having set himself a specific task, he stops at nothing and shows tenacity, perseverance and incredible ingenuity to achieve it.
He is not like the crowd, he is active, active and enterprising. Manilov's dreaminess and Korobochka's innocence are alien to Chichikov. He is not greedy, like Plyushkin, but also not prone to careless revelry, like Nozdryov. His entrepreneurial spirit is not like Sobakevich’s rude efficiency. All this speaks of his obvious superiority.
A characteristic feature of Chichikov is the incredible versatility of his nature. Gogol emphasizes that people like Chichikov are not easy to unravel. Appearing in the provincial town under the guise of a landowner, Chichikov very quickly wins everyone's sympathy. He knows how to show himself as a secular, comprehensively developed and decent person. He can carry on any conversation and at the same time speaks “neither loudly nor quietly, but absolutely as it should.” He knows how to find his own special approach to each person in whom Chichikov is interested. While flaunting his goodwill towards people, he is only interested in taking advantage of their location. Chichikov “reincarnates” very easily, changes his behavior, but at the same time never forgets about his goals.

"Sugar" - Manilov

In the course of observations, I come to the conclusion that an integral part of Gogol’s portrait drawing, which connects the hero’s appearance with the spiritual appearance into one whole, are poses, gestures, movements, facial expressions, clothing, and speech. It is with the help of this that the writer enhances the comic coloring of the images, revealing the true social essence through the individual traits of the hero. The author's satirical blows, one more painful than the other, rain down on Manilov non-stop. Gogol's stinging and branding ridicule awaits him everywhere. It will be interesting to think about why the author does not give the landowner Manilov a first name and patronymic. Manilov's children (Themistoclus and Alcides) and his wife (Liza) have names. Every detail of the situation exposes its owner, every step, every action turns against him. Manilov fantasizes about building bridges and castles - the author of the poem points to two chairs that the dreamer did not bother to upholster in two years. Condemnation and ridicule of the negative is the most important feature of Gogol’s satire. This is not just ridicule - this is a merciless judgment that Gogol administers. To create the image of Manilov, Gogol uses various artistic means, including landscape, the landscape of Manilov’s estate, and the interior of his home. The things surrounding him characterize Manilov no less than his portrait and behavior.“You won’t get any living words from him, or even an arrogant word, which you can hear from almost anyone if you touch an object that bothers him. Everyone has their own enthusiasm: one of them turned his enthusiasm to greyhounds; to another it seems that he is a strong lover of music and amazingly feels all the deep places in it; the third master of a dashing lunch; the fourth to play a role at least one inch higher than the one assigned to him; the fifth, with a more limited desire, sleeps and dreams of going on a walk with the aide-de-camp, to show off to his friends, acquaintances and even strangers; the sixth is already gifted with a hand that feels a supernatural desire to bend the corner of some ace or deuce of diamonds, while the hand of the seventh is trying to create order somewhere, to get closer to the person of the stationmaster or the coachmen - in a word, everyone has his own, but Manilov had nothing.” This reasoning of the great writer is imbued with sharp satirical ridicule.

Landscape detail - " informality, The vagueness” of the hero’s inner world is emphasized by the characteristic landscape. So the weather on the day when Chichikov came to Manilov was extremely uncertain: the day was either clear or gloomy, but of some light gray color, which only happens on the old uniforms of garrison soldiers.

In the description of the master's estate, new features of Manilov are revealed to us. Here we already see a person claiming to be “cultured,” “educated,” and “aristocratic,” but Gogol does not leave the reader with any illusions in this regard—“all the hero’s attempts to seem like an educated and sophisticated aristocrat are vulgar and absurd. Thus, Manilov’s house stands “alone on the Jurassic, that is, on a hill open to all the winds,” but the mountain on which the estate stands is “clad with trimmed turf,” on it “are scattered, in English, two or three flower beds with lilac and yellow bushes.” acacias." Nearby you can see a gazebo “with wooden blue columns” and the inscription “Temple of Solitary Reflection.” And next to the “temple” is an overgrown pond covered with greenery, along which, “having picturesquely picked up their dresses and tucked in on all sides,” two women wander, dragging their tattered drag behind them. In these scenes one can discern Gogol's parody of sentimental stories and novels.

Portrait detail- Manilov “was a distinguished man, his facial features were not devoid of pleasantness, but this pleasantness seemed to have too much sugar in it; in his techniques and turns there was something ingratiating favor and acquaintance. He smiled enticingly, was blond, with blue eyes.” Portrait of Manilov built on the principle of inflating enthusiasm and hospitality to extreme excess, turning into a negative quality. Sugar is a detail indicating sweetness, i.e. flattering.

Interior detail- Manilov’s “incompleteness of nature” (nature seemed to stop at the hero’s “pleasant” appearance, “without imparting” character, temperament, and love of life to him) is also reflected in the description of his home environment. In everything Manilov does, there is incompleteness that creates disharmony. A number of interior details testify to the hero’s inclination towards luxury and sophistication, but in this very inclination there is still the same incompleteness, the impossibility of finishing the job. In Manilov’s living room there is “wonderful furniture covered in smart silk fabric,” which is “very expensive,” but there is not enough for two armchairs, and the armchairs are “simply upholstered in matting.” In the evening, a “dandy candlestick made of dark bronze with three antique graces” is served on the table, and next to it is placed “a simple copper invalid, lame, curled to one side and covered in fat...”. For two years now, the hero has been reading the same book, reaching only the fourteenth page.M.’s office is covered with “blue paint, sort of grey,” which indicates the lifelessness of the hero, from whom you won’t get a single living word. But the culmination of Manilov’s image is “slides of ash knocked out of a pipe, arranged, not without effort, in very beautiful rows.” Like all “noble gentlemen,” Manilov smokes a pipe. Therefore, in his office there is a kind of “cult of tobacco”, which is poured into caps, and in a tobacco box, and “just in a heap on the table.” So Gogol emphasizes that Manilov’s “passing of time” is completely worthless and meaningless.

“Saver” - Box.

The third chapter of the poem is dedicated to the image of Nastasya Petrovna’s Korobochka.

Landscape detail- many qualities of the landowner are symbolically revealed in the landscape preceding her meeting with Chichikov - “the darkness was such that you could prick your eyes out.” Such details of the landscape clearly show her stupidity and ignorance towards herself and the people around her. The time at which Chichikov will arrive at Korobochka Nastasya Petrovna. Gogol chose the night. After all, only the night can so fully reflect all that is dark. the extraordinary boring life of a landowner in which there is nothing except such words as “accumulate” “collect” “sell”. The psychological landscape can also be seen if you remember the weather that was when Chichikov visited Korobochka - it was night and it was raining very heavily. Even the location of the village of K. (away from the main road, away from real life) indicates the impossibility of its correction and revival. In this she is similar to Manilov and occupies one of the lowest places in the “hierarchy” of the heroes of the poem. The pettiness of Korobochka, the animal limitation of her interests exclusively to concerns about her own household, is emphasized by the bird-animal surroundings around Korobochka. The landowners living next to Korobochka are Bobrov and Svinin.

Portrait detail- The hostess came out to the guest wearing a sleeping cap, and in the morning she will come out without it, but there will still be something tied around her neck. Chichikov will find a similar cap in the morning on a garden scarecrow to scare away birds. By this, Gogol compares the landowner with a scarecrow, showing that she has the same empty soul. Women love beautiful new things, but Korobochka wears torn, old and sloppy things. She saves and thereby lost her feminine principle.. Box - “older woman”<...>, one of those mothers, small landowners who cry about crop failures, losses and keep their heads somewhat to one side, and meanwhile they gradually collect money in colorful bags placed in dresser drawers.” The chests of drawers contain linen, night blouses, skeins of thread, and a ripped cloak, which the thrifty landowner intends for a dress. But the dress will not wear out, and according to the spiritual will the cloak will go to the niece of her grandsister along with all other rubbish - these details clearly show her stinginess and greed.The image of the hoarder Korobochka is already devoid of those “attractive” features that distinguish Manilov. The surname Korobochka metaphorically expresses the essence of her nature: thrifty, distrustful, fearful, feeble-minded, stubborn and superstitious. Korobochka is “one of those mothers, small landowners who cry about crop failures, losses and keep their heads somewhat to one side, and meanwhile they gradually collect little money into colorful bags... In one... rubles, in another fifty rubles, in the third quarters. .." The chest of drawers, which contains, in addition to linen, night blouses, skeins of thread, a torn cloak, bags of money, is an analogue of the Box. Chichikov’s box with drawers, partitions, nooks and crannies, and a hidden box for money is also identical to the image of Korobochka. Symbolically, the Box opened, making Chichikov’s secret public. Thus, the magic casket, a box with a “double bottom”, gives away its secret thanks to the Box. Korobochka's name and patronymic - Nastasya Petrovna - resembles a fairy-tale bear (compare with Sobakevich - Mikhail Semenovich) and indicates the “bear corner” where Korobochka has climbed, the isolation, narrow-mindedness and stubbornness of the landowner.

Interior detail- The things in Korobochka's house, on the one hand, reflect Korobochka's naive ideas about lush beauty; on the other hand, her hoarding and range of home entertainment (fortune telling by cards, mending, embroidery and cooking): “the room was hung with old striped wallpaper; paintings with some birds; between the windows there are old small mirrors with dark frames in the shape of curled leaves; Behind every mirror there was either a letter, or an old deck of cards, or a stocking; wall clock with painted flowers on the dial...". The sound image of the striking clock of Korobochka is built on the contrast of the ominous snake hissing in the abode of Baba Yaga and at the same time the image of the unchanged old woman’s life for decades, “hoarse” with time: “the noise was like the whole room was filled with snakes<...>the wall clock began to strike. The hissing was immediately followed by wheezing, and finally, straining with all their might, they struck two o’clock with a sound like someone beating a broken pot with a stick...” A small house and a large yard The boxes, symbolically reflecting her inner world, are neat and strong; roofs are new; the gates were not askew anywhere; feather bed - up to the ceiling; There are flies everywhere, which in Gogol always accompany the frozen, stopped, internally dead modern world.Everything in her house is done the old fashioned way. On Korobochka’s farm, “turkeys and chickens were endless.” According to folklore tradition, the birds mentioned in connection with Korobochka (turkeys, chickens, magpies, sparrows) symbolize stupidity and senseless fussiness.

Detail of the hero's behavior - The universal human passion depicted by Gogol in the image of Korobochka is “club-headedness.” Korobochka is afraid to sell the “dead souls” at a low price, fears that Chichikov will deceive her, wants to wait so as “to somehow avoid incurring a loss”;Korobochka sells to peasants with the same efficiency with which she sells other signs of her household. For her there is no difference between an animate and an inanimate being. There is only one thing that scares her in Chichikov’s proposal: the prospect of missing something, not taking what can be obtained for “dead souls.” Korobochka is not going to give them up to Chichikov on the cheap. The landowner Korobochka is thrifty, “gains a little money little by little,” lives secluded in her estate, as if in a box, and her homeliness over time develops into hoarding. All these details clearly show the essence of her surname! A box is a box.

Sobakevich is a “fist” man.

Things are most closely fused with their owner in the chapter about Sobakevich Mikhail Semenovich. In the name - “Mikhail Semenovich”, in which German translators correctly guess the allusion to the popular nickname of the bear, which Sobakevich and the objects surrounding him are so similar to.

Landscape detail- Chichikov had long dreamed of getting to Sobakevich. But all sorts of accidents come in his way every now and then. Having lost his way, he ends up with Korobochka. A meeting in a tavern with Nozdryov again moves him away from his goal. Finally, the long-awaited meeting took place. Sobakevich’s character begins to reveal itself even before we meet him. Approaching Sobakevich's estate, Chichikov, and together with him, we noticed a large wooden house with a mezzanine, a red roof and dark gray, wild walls, “like the ones we build for military settlements and German colonists.” The courtyard was surrounded by a strong and very thick wooden lattice. “Full-weight and thick logs, determined to stand for centuries,” were used for outbuildings. Even the well was built from such strong oak, “the kind that is used only for mills and ships.” In a word, it was clear from everything that the owner “took a lot of trouble about strength.” So gradually the reader is psychologically prepared to perceive this image.

Portrait detail- Sobakevich - portrait-comparison: “When Chichikov looked sideways at Sobakevich, this time he seemed to him very similar to a medium-sized bear. To complete the similarity, the tailcoat he was wearing was completely bear-colored, his sleeves were long, his trousers were long, he walked with his feet this way and that, constantly stepping on other people’s feet.” These details speak of a stingy soul, despite the fact that he had money. The very name and appearance of this hero (reminiscent of a “medium-sized bear”, his tailcoat is of a “completely bearish” color, he steps at random, his complexion is “red-hot, hot”) indicate the power of his nature. S.’s heroic power (a foot shod in a gigantic-sized boot), feats at the dinner table (cheesecakes “much larger than a plate,” “a turkey the size of a calf,” “half a side of lamb” eaten at once), S.’s heroic health (“fifth decade I live, I have never been sick") parody the appearance and deeds of fairy-tale and epic heroes. S.'s surname is not formally related to his appearance: S. looks “like a medium-sized bear”; complexion “red-hot, hot, like a copper coin”; his name - Mikhailo Semenovich - also indicates a folklore bear. However, associatively, the surname corresponds to the character and portrait: S. has a “bulldog” grip and face; in addition, he treats people like a chained dog (cf. Gogol’s ironic play on S.’s words after agreeing to sell souls: “Yes, such a dog’s disposition: I can’t help but please my neighbor”). Roughness and clumsiness are the essence of the portrait of S. Nature, when creating his face, “chowed from all sides: she grabbed the ax once - the nose came out, grabbed another - the lips came out, she picked out his eyes with a large drill and, without scraping them, let them into the light...”. S.'s soullessness is emphasized by the metaphorical replacement of his face with a wide Moldavian pumpkin, and his legs with cast-iron pedestals. In the portrait of Sobakevich there is no description at all of the eyes, which, as is known, are the mirror of the soul. Gogol wants to show that Sobakevich is so rude and uncouth that his body “had no soul at all.”

Interior detail- S.'s spiritual appearance is reflected in everything that surrounds him. Things around S. repeat the heavy and durable body of the owner: the table, armchair, chairs seemed to say: “And I, too, Sobakevich!” In S.'s house there are paintings on the walls depicting exclusively Greek heroes who look like the owner of the house. The dark-colored blackbird with speckles and the pot-bellied walnut bureau (“the perfect bear”) are also similar to S. In turn, the hero himself also looks like an object - his legs are like cast iron pedestals. To the evil eye, the usual furniture seemed unbearably heavy and rough, cut from the shoulder, just like Sobakevich himself.

Detail of the hero's behavior - From the very beginning, S.’s image is associated with the theme of money, thriftiness, and calculation (at the moment of entering the village, S. Chichikov dreams of a 200,000-dollar dowry). Talking with Chichikov S., not paying attention to Chichikov’s evasiveness, busily moves on to the essence of the question: “Do you need dead souls?” The main thing for S. is the price; everything else does not interest him. S. bargains competently, praises his goods (all souls are “like a vigorous nut”) and even manages to deceive Chichikov (she slips him a “woman’s soul” - Elizaveta Vorobey). Unlike Nozdryov, Sobakevich cannot be considered a person with his head in the clouds. This hero stands firmly on the ground, does not indulge himself with illusions, soberly evaluates people and life, knows how to act and achieve what he wants. When characterizing his life, Gogol notes the thoroughness and fundamental nature of everything. These are natural features of Sobakevich’s life. He is devoid of any spiritual needs, far from daydreaming, philosophizing and noble impulses of the soul. The meaning of his life is to satiate his stomach. He himself has a negative attitude towards everything related to culture and education: “Enlightenment is a harmful invention.” A local existence and a hoarder coexist in it. Unlike Korobochka, he understands the environment well and understands the time in which he lives, knows the people. Unlike the other landowners, he immediately understood the essence of Chichikov. Sobakevich is a cunning rogue, an arrogant businessman who is difficult to deceive. He evaluates everything around him only from the point of view of his own benefit. His conversation with Chichikov reveals the psychology of a kulak who knows how to force peasants to work for themselves and extract maximum benefit from it. He is straightforward, quite rude and does not believe in anything. Unlike Manilov, in his perception all people are robbers, scoundrels, fools.

Nozdrev is a “historical person”.

Gogol writes: “Nozdryov will not be removed from the world for a long time. He is everywhere among us and, perhaps, only walks around in a different caftan; but people are frivolously undiscerning, and a person in a different caftan seems to them a different person.”

Landscape detail- The landscape that frames the episode of Chichikov’s visit to the landowner is also characteristic. “Nozdryov led his guests through a field, which in many places consisted of hummocks. The guests had to make their way between fallow fields and armored fields... In many places their feet squeezed out the water under them, the place was so low. At first they were careful and stepped carefully, but then, seeing that it was of no use, they walked straight, not distinguishing where there was more and where there was less dirt.” This landscape speaks of the disturbed economy of the landowner and at the same time symbolizes Nozdryov’s carelessness. Nozdrev's estate helps to better understand both his character and the pitiful situation of his serfs, from whom he beats out everything he can. Therefore, it is not difficult to draw a conclusion about the powerless and miserable position of Nozdryov’s serfs. Unlike Korobochka, Nozdryov is not prone to petty hoarding. His ideal is people who always know how to have fun through life, unencumbered by any worries. In the chapter about Nozdryov there are few details reflecting the life of his serfs, but the description of the landowner itself provides comprehensive information about this, since for Nozdryov serfs and property are equivalent concepts.

Portrait detail- Like other landowners, he does not develop internally and does not change depending on age. “Nozdryov at thirty-five years old was exactly the same as he was at eighteen and twenty: a lover of a walk.” In the portrait of Nozdryov, attention is drawn to the details of his appearance: full rosy cheeks, white teeth “like snow”, black “pitch” sideburns. The physical attractiveness of this character only highlights his inner emptiness. Nozdryov’s unpredictable aggression, the fragility of the connections he has with other people, are symbolically conveyed by the details of his life. Nozdryov - portrait description: “He was of average height, a very well-built fellow with full rosy cheeks, teeth as white as snow and jet-black sideburns. It was as fresh as blood and milk; his health seemed to be dripping from his face.” The portrait is also revealed through a description of Nozdryov’s behavior and nature: “Nozdryov’s face is probably already somewhat familiar to the reader. Everyone has encountered many such people. They are called broken fellows, they are reputed even in childhood and at school for being good comrades, and at the same time they can be beaten very painfully. In their faces you can always see something open, direct, and daring. They soon get to know each other, and before you know it, they’re already saying “you.” They will make friends, it seems, forever: but it almost always happens that the person who has become friends will fight with them that same evening at a friendly party. They are always talkers, revelers, reckless drivers, prominent people.” The very motive of “daring revelry”, “broad Russian soul”, present in Gogol throughout the entire narrative, is comically reduced in the image of Nozdryov. As a pre-revolutionary researcher notes, Nozdryov is only “the appearance of a broad nature. He can least of all claim to be recognized as a “broad person”: he is impudent, a drunkard, a liar, he is at the same time a coward and a completely insignificant person.” Complements portrait Nozdreva his surname, consisting of a large number of consonants, creating the impression of an explosion. In addition, the combination of letters evokes an association with the hero’s favorite word “nonsense.”

Interior detail- In Nozdryov’s house you can see a chaotic mixture of objects not connected by any logic: sabers and guns, “Turkish” daggers, pipes, a chibouk, “a tobacco pouch embroidered by some countess”; Both Nozdryov’s upset organ and the meal in his house are unpredictable - Nozdryov’s cook used to put “the first thing that came to hand” into the dishes. The details in the description of Nozdryov’s house are exceptionally expressive. In his office “there were no visible traces of what happens in offices, that is, books and paper; only sabers and two guns hung, one worth three hundred and the other eight hundred rubles... Then Turkish daggers were shown, on one of which was mistakenly engraved: Master Savely Sibiryakov. Following this, the immortal organ-organ appeared to the guests. Nozdryov immediately performed something in front of them. The barrel organ played not without pleasantness, but in the middle of it, something seemed to happen, for the mazurka ended with the song: “Malbrug has gone on a campaign”; and “Malbrug went on a hike” unexpectedly ends with some long-familiar waltz. And Nozdryov has already stopped turning the barrel organ, it should have shut up, but one very lively pipe in it just doesn’t want to calm down and for a long time another one continues to whistle.” “Then pipes appeared - wooden, clay, meerschaum, smoked and unsmoked, covered in suede and uncovered, a pipe with an amber mouthpiece, recently won, and a pouch embroidered by some countess, somewhere at the post station, who had fallen head over heels in love with him.” . The whole character of Nozdryov is already captured here. He himself is like a spoiled barrel organ: restless, mischievous, violent, ready at any moment, without any reason, to cause mischief, mischief, or do something unexpected and inexplicable. The barking of dogs is an important detail in the episodes in the chapter about Nozdryov. . Everything in his house is splattered with paint: men whitewash the walls. A pond where previously “there was a fish of such size that two people could hardly pull it out.”

Detail of the hero's behavior - What indomitable energy, activity, liveliness, swiftness emanates from Nozdryov, this reveler, reckless driver, known in the city as a “historical person”. He is not at all concerned with petty worries about saving money. No, he has a different, opposite passion - thoughtlessly and easily spending money on carousing, card games, and buying unnecessary things. What is the source of his income? It is the same as that of other landowners - serfs who provide their masters with an idle and carefree life. The passion for lies and card games largely explains the fact that not a single meeting where Nozdryov was present was complete without history. The life of a landowner is absolutely soulless. In Nozdryov, Gogol emphasizes aimless activity: “... he invited you to go anywhere, even to the ends of the world, enter whatever enterprise you want, change whatever you want.” But since his undertakings are devoid of goals, Nozdryov does not bring anything to the end. On his scattered estate, only the kennel is in excellent condition: among dogs he is “like a father among a family.” He deceives completely calmly, he has no moral principles. With their labor, the peasants create all the benefits and relieve the landowner from worries. Nozdryov is used to getting what he wants, and if someone opposes, he becomes dangerous: “Not a single meeting where he was without a story.” He behaves cheekily and rudely. Gogol ironically calls the hero a “historical man.” Nozdryov is a master of “pouring bullets”. He is a liar, but he is a liar under duress. He deliberately imposes one lie on another. Perhaps in this way he is trying to draw attention to himself.
Nozdryov loves to brag and exaggerate. He almost swore to Ch-woo that he caught a huge fish in his pond.
The society of the provincial town treated Nozdryov and his antics with a certain indifference. But they couldn’t do it without Nozdryov either. After all, the city residents call Nozdryov when they want to find out who Ch. really is.

Plyushkin - “a hole in humanity.”

It is interesting to note that we learn about Plyushkin’s name in a very original way: from the patronymic of his daughter Alexandra Stepanovna, who is mentioned only in passing. Gogol does not directly call the “hole in humanity” Stepan. True, he gives a very colorful nickname for Plyushkin - “patched”.

From one chapter to another, Gogol's accusatory pathos increases. From Manilov to Sobakevich, the death of the landowners' souls inexorably intensifies, culminating in the almost completely petrified Plyushkin. In his depiction of Plyushkin, Gogol combines heterogeneous artistic elements - realistic everyday painting and sharply sharpened satirical drawing. And this does not at all create a feeling of stylistic discord. The everyday concreteness and authenticity of the image are combined with its characteristic exceptional breadth of generalization. Gogol considered the chapter about Plyushkin (chapter 6) one of the most difficult. It was redone several times, new details were introduced into it, enhancing the impression of Plyushkin’s appearance, his estate, and his house. The writer strove for the utmost brevity and energy of the narrative. Plyushkin has that amazing power of artistic plasticity that distinguishes this image so much from other misers in world literature. The images of landowners are revealed by Gogol outside of evolution, as already established characters. The only exception is Plyushkin. He does not simply complete the gallery of landowners' dead souls. Among them, he is the most ominous symptom of an incurable, fatal disease that infects the serfdom system, the limit of the disintegration of the human personality in general, “a hole in humanity.” That is why it seemed important to Gogol to reveal this character in development, to show how Plyushkin became Plyushkin. Stupid, senseless greed destroyed the man in the once economical, energetic landowner. The tragedy of general desolation and extinction is emphasized by the abandoned garden. It is located “behind the house,” symbolizing the hero’s past, in which he had a “living” life - a friendly wife, children, frequent guests in a hospitable home.

Landscape detail- The description of the village and the estate of this owner is imbued with melancholy: “the logs on the huts were dark and old; many roofs were leaky like a sieve; on others there was only a ridge at the top and poles on the sides in the form of ribs... the windows in the huts were without glass, others were covered with a rag or a zipun; balconies under roofs with railings, built in some Russian huts for unknown reasons, have become askew and blackened in a way that is not even picturesque.” It seems that life has left this village. Gogol emphasizes the spirit of death: “it was impossible to say that a living creature lived in this room...”. The manor's house looks like a huge grave crypt, where the owner himself locked himself away from the outside world. Only a lushly growing garden reminds of life, of beauty, sharply contrasted with the ugly life of the landowner. The house was also not very beautiful. Perhaps it used to be a beautiful and rich building, but years passed, no one looked after it, and it fell into complete disrepair.
The owner only used a few rooms, the rest were locked. All but two windows were closed or covered with newspaper. Both the house and the estate fell into complete disrepair. P.’s estate seems to be falling apart into details and fragments; even the house - in some places one floor, in others two. This indicates the collapse of the owner’s consciousness, who forgot about the main thing and focused on the tertiary. He no longer knows what is going on in his household, but he strictly monitors the level of liquor in his decanter. The manor's house looks like a huge grave crypt where a person is buried alive.Portrait detail- The image of a moldy cracker left over from an Easter cake is a reverse metaphor for the surname. The portrait of Plyushkin is created using hyperbolic details: he appears as a sexless creature, Chichikov takes him for the housekeeper. “One chin only protruded very far forward, so that he had to cover it with a handkerchief every time so as not to spit.” On the greasy and oily robe, “instead of two, there were four hems dangling.” This is a universal type of miser: “a hole in humanity.” His clothes were very worn, his face seemed to never be able to express any feelings. Ch. says that if he had seen him at the temple, he would certainly have taken him for a beggar. He is surprised and at first cannot believe that this man has 800 souls. Plyushkin had no teeth, and “small eyes... ran from under his high eyebrows, like mice.” This comparison indicates the pettiness, suspicion, and greed of the hero. Just as a mouse drags into a hole everything it finds, so Plyushkin walked along the streets of his village and picked up all kinds of garbage: an old sole, a shard, a nail, a rag. He dragged all this into the house and put it in a pile.

Interior detail - So, with the help of things, Plyushkin’s features are revealed: “It seemed as if the floors were being washed in the house and all the furniture had been piled here for a while. On one table there was even a broken chair, and next to it a clock with a stopped pendulum, to which the spider had already attached its web. There was also a cabinet leaning sideways against the wall with antique silver, decanters and Chinese porcelain. On the bureau, lined with mother-of-pearl mosaic, which had already fallen out in places and left behind only yellow grooves filled with glue, lay a lot of all sorts of things: a bunch of finely written papers, covered with a green marble press with an egg on top, some kind of old book bound in leather with a red a sawn-off lemon, all dried up, the height of no more than a hazelnut, a broken armchair, a glass with some liquid and three flies, covered with a letter, a piece of sealing wax, a piece of a rag picked up somewhere, two feathers, stained with ink, dried out, as if consumption, a toothpick, completely yellowed, with which the owner, perhaps, picked his teeth even before the French invasion of Moscow.” The landowner's room was striking in its squalor and disorder. Dirty or yellowed things and things were piled up everywhere. The author uses diminutive suffixes in the names of these items to emphasize how miserly the hero has become. Plyushkin folded pieces of paper, pieces, sealing wax, etc. A symbolic detail in the interior is: “a clock with a stopped pendulum.” So Plyushkin’s life froze, stopped, and lost connections with the outside world. The description of the hero's life and morals reveals all his disgusting qualities. The author calls the landowner “insensitive” and “vulgar.” For him, he is a “strange phenomenon”, an “old man”. The word "old man" uses a derogatory suffix because Gogol does not accept the hero's lifestyle. He shows us his “numbness”. The second time the “wooden face” metaphor is found is in the vivid comparison of Plyushkin with a drowning man. Stinginess has taken up all the space in the character’s heart, and there is no longer any hope of saving his soul.

Detail of the hero's behavior - Like the housekeeper, Plyushkin is a slave of things, not their master. The insatiable passion of acquisition led to the fact that he lost a real understanding of objects, ceasing to distinguish useful things from unnecessary rubbish. Plyushkin rots grain and bread, and he himself shakes over a small piece of Easter cake and a bottle of tincture, on which he made a note so that no one would steal the drink. Plyushkin even abandoned his own children. Where can we think about education, art, morality? G shows how human personalities gradually disintegrate. Once upon a time Plyushkin was a simple thrifty owner. The thirst for enrichment at the expense of the peasants under his control turned him into a miser and isolated him from society. Plyushkin broke off all relations with friends, and then with relatives, guided by the considerations that friendship and family ties entail material costs. and family ties also lead to material costs. Surrounded by things, he does not experience loneliness and the need to communicate with the outside world. Plyushkin considers the peasants parasites and swindlers, lazy people and thieves, and starves them. His serfs are dying “like flies”, fleeing from starvation, they flee from the landowner’s estate. Plyushkin complains that the peasants, from idleness and gluttony, “have taken up the habit of cracking food,” but he himself has nothing to eat. This living dead man, a misanthrope, has turned into a “tear in humanity.” In "M's Souls" G flaunts all human shortcomings. Despite the fact that there is a considerable amount of humor in the work, “M d” can be called “laughter through tears.” The author reproaches people for forgetting about eternal values ​​in this struggle for power and money. Only the outer shell is alive, and the souls of people are dead. Not only the people themselves are to blame for this, but also the society in which they live. Even such Russian traditions as hospitality and hospitality are being forgotten.

CONCLUSION.

As a result of the research, we came to the following conclusions: Gogol’s style leaves its mark on the art of detail. The stylistic features are that the technique of satirical irony characteristic of Gogol is most clearly and vividly expressed here. In the destinies of the heroes, in the ordinary and incredible incidents of their lives.

Thus, the landowners in “Dead Souls” are united by common features: inhumanity, idleness, vulgarity, spiritual emptiness. However, Gogol would not, it seems to me, be a great writer if he had not limited himself to only a “social” explanation of the reasons for the spiritual failure of his characters. He really creates “typical characters in typical circumstances,” but “circumstances” can also lie in the conditions of a person’s inner mental life. I repeat that Plyushkin’s fall is not directly related to his position as a landowner. Can’t the loss of a family break even the strongest person, a representative of any class or estate?! In a word, Gogol’s realism also includes the deepest psychologism. This is why the poem is interesting to the modern reader. Manilov, Korobochka, Nozdryov, Sobakevich - these heroes are antisocial, their characters are ugly, but each of them, as we saw upon closer acquaintance, still has at least something positive left.

The compositional role of details is that it is through them that you gradually learn the characters of the characters; it is the little things that help to reveal the images more widely. If there were no little things in the poem, then the images would be incomplete and schematic. Gogol's heroes in the poem "Dead Souls" appear before the reader with amazing liveliness thanks to artistic details. The description of details sometimes obscures the people themselves.

N.V. Gogol is a generally recognized master of artistic descriptions. Descriptions in Gogol's prose are valuable in themselves, first of all, due to the abundance of everyday details. Already in the time of Pushkin, the need arose for a more critical and detailed study of certain spheres of Russian life. Detailing is the most important aspect of realistic writing; Gogol started it in Russian literature. For example: the interior as a means of characterization was practically not used in classical and romantic literature. However, realist writers realized how much a thing can tell about its owner. The role of artistic detail has increased.

Gogol sees details as if under a microscope, and they take on an unusual appearance and are often endowed with an independent life. The world of things in the poem is chaos, a kind of cemetery of things, this is how the picture of “hell” is created.

Literature:

    Gogol N.V. Dead souls. - M.: Publishing house "fiction",

1984 - 320 pages.

    Zolotussky I. Gogol. M., 1984.

    Y. Mann “In search of a living soul” M., 1987

    Y. Mann. Poetics of Gogol. - M.: Publishing house "Khudozhestvennaya literatura", 1978.

    “Handbook for a new type of student,” Publishing House “Ves” - St. Petersburg, 2003.

    Turbin.V. Heroes of Gogol. - M., 1996.

    Gogol in the memoirs of his contemporaries. M., GIHL, 1952

    Modern dictionary - reference book on literature. Moscow 1999

Goals: to form and improve the skills of analyzing text containing a description of the landscape, determining its role in the work; teach to see and reveal the meaning of the comic and lyrical in the poem; develop skills in constructing your own statement and conducting dialogue; foster the need for meaningful reading. Equipment: portrait of N. IN.

Gogol; illustrations for the poem; handouts for literary workshop; epigraph on the board. And for a long time it was determined for me by the wonderful power to walk hand in hand with my strange heroes, to survey the whole enormous rushing life, to survey it through laughter visible to the world and invisible, unknown to it tears! n. V. Gogol DURING THE CLASSES I.

Organizing time 1. greeting from the teacher 2. Recording the date, topic of the lesson, epigraph in notebook II. Setting goals and objectives for lesson III. Homework check 1. Competition for the best memorization of the passage “Oh, three!

bird-three..." 2.

Statements from students “My thoughts on Gogol’s poem “Dead Souls” using the “press” method IV. Work on the topic of the lesson. Literary workshop Determining the uniqueness of the landscape in excerpts from the poem “Dead Souls” 1) Observation of the passage about the garden on Plyushkin’s estate Card 1 “The old, vast garden stretching behind the house, overlooking the village and then disappearing into the field, overgrown and decayed, seemed one refreshed this vast village and one was quite picturesque in its picturesque desolation. The connected tops of trees growing in freedom lay on the sky horizon like green clouds and irregular, fluttering-leaved domes. A colossal white birch trunk, devoid of a top, broken off by a storm or thunderstorm, rose from this green thicket and rounded in the air, like a regular sparkling marble column; its oblique, pointed break, with which it ended upward instead of a capital, darkened against its snowy whiteness, like a hat or a black bird. The hops, which choked the elderberry, rowan and hazel bushes below and then ran along the top of the entire palisade, finally ran up and entwined half the broken birch.

Having reached the middle of it, it hung down from there and began to cling to the tops of other trees, or it hung in the air, tying its thin, tenacious hooks in rings, easily swayed by the air. In places, green thickets, illuminated by the sun, diverged and showed an unlit depression between them, gaping like a dark mouth; it was all cast in shadow, and faintly flickered in its black depths: a running narrow path, collapsed railings, a swaying gazebo, a hollow, decrepit willow trunk, a gray-haired chapberry, with thick bristles sticking out from behind the willow, withered leaves from the terrible wilderness, tangled and crossed leaves and branches, and, finally, a young maple branch, stretching out its green leaf paws from the side, under one of which, God knows how, the sun suddenly turned it into transparent and fiery, shining wonderfully in this thick darkness. To the side, at the very edge of the garden, several tall aspens, no match for the others, raised huge crows’ nests to their tremulous tops.

Some of them had pulled back and not completely separated branches hanging down along with withered leaves. In a word, everything was as good as neither nature nor art could imagine, but as only happens when they are united together, when, through the piled-up, often useless, work of man, nature passes with its final cutter, lightens the heavy masses, destroys the grossly perceptible correctness and beggarly gaps through which an unhidden, naked plan peeks through, and will give a wonderful warmth to everything that was created in the cold of measured cleanliness and neatness.” Questions and tasks What general impression does the garden make?

name individual areas of the garden. What trees are they made of? Which trees stand out in the garden? Using what visual means are they drawn?

Why does the writer use the word “one” twice when describing the garden? What meaning do the words “freedom”, “ran up”, “ran” take on when you remember who owns this garden? What words contain the idea of ​​the passage? reveal its meaning. Determine the mood of the landscape. How is it created?

Why did Gogol need to paint just such a landscape after describing the depressing appearance of the village and Plyushkin’s house and before meeting the owner himself? What in this landscape prepares you for a meeting with Plyushkin and what does it immediately warn you against? Can this landscape be called lyrical? Why? 2) Observation of the lyrical digression “Rus!

Rus! I see you..." Card 2 "Rus! Rus! I see you, from my wonderful, beautiful distance I see you: poor, scattered and uncomfortable in you; the daring divas of nature, crowned by the daring divas of art, cities with multi-windowed high palaces grown into the cliffs, picture trees and ivy grown into houses, in the noise and eternal dust of waterfalls will not amuse or frighten the eyes; her head will not fall back to look at the boulders of stone endlessly piled up above her and in the heights; the dark arches thrown one upon the other, entangled with grape branches, ivy and countless millions of wild roses, will not flash through them; the eternal lines of shining mountains, rushing into the silver clear skies, will not flash through them in the distance. Everything about you is open, deserted and even; like dots, like icons, your low cities stick out inconspicuously among the plains; nothing will seduce or enchant the eye. but what incomprehensible, secret force attracts you?

Why is your melancholy song, rushing along your entire length and width, from sea to sea, heard and heard incessantly in your ears? What's in it, in this song? What calls, and cries, and grabs your heart? What sounds painfully kiss and strive into the soul and curl around my heart? Rus! what do you want from me? what incomprehensible connection lies between us?

Why are you looking like that, and why has everything in you turned its eyes full of expectation to me?..” Questions and tasks ♦ What visual medium is the main one in depicting the landscape of Rus'?

(Extended comparison) ♦ What lands is Gogol talking about when he mentions “the daring divas of nature, crowned by the daring divas of art”? find evidence that we are talking about Italy in general and in particular about the city of Rome. (“Eternal dust of waterfalls”, “eternal lines of shining mountains”, etc.) ♦ How is Rus' drawn?

name the visual means that paint a picture of Rus'. Why does the writer use negative particles and pronouns so widely? ♦ What impression does the image of Rus' make? What artistic technique is used to achieve this? ♦ What is the overall mood of the passage? What causes it? ♦ Is it possible to find anything in common between the description of Plyushkin’s garden and this lyrical digression, which also contains landscape details?

3) Final conversation ♦ In what other cases is landscape found in the poem? (When describing the estates of landowners; when describing Chichikov’s travels; in the last lyrical digression about the three-bird.) ♦ What is the uniqueness of the landscape in the poem “Dead Souls”?

(The landscape in the poem helps in creating images, emphasizing the main character traits and features of life; it is always lyrical, colored by the author’s feelings.) V.

Virtual help desk Satire is a type of comic (funny) that most mercilessly ridicules human imperfection. Satire expresses the author’s sharply negative attitude towards what is depicted and involves malicious ridicule of the depicted character or phenomenon. Sarcasm is an evil and caustic mockery, the highest degree of irony. Irony is an allegory expressing ridicule; double meaning, when what is said in the process of speech acquires the opposite meaning; ridicule, which contains an assessment of what is being ridiculed. VI. Analytical and exploratory conversation 1.

Expressive reading by the teacher of a lyrical digression about two types of writers (chapter seven, “Happy Traveler...”) 2. Questions and tasks ♦ What types of writers is Gogol talking about? How and why is their fate different? ♦ Which path does Gogol choose for himself? Why?

♦ How does a writer determine the uniqueness of his talent and method? ♦ How is this originality manifested in the lyrical digressions of the poem? VII. Generalization Summing up the lesson, reflection ♦ Did you manage, in addition to the “world-visible laughter,” to see and feel the writer’s “invisible, world-unseen tears” (see epigraph to the lesson)? ♦ Did your attitude towards him change after becoming acquainted with his main work - the poem “Dead Souls”?

♦ What would you like to write about in your essays? VIII. Home building Prepare for a class essay on topics (to choose from): 1) ““Living” and “dead” souls in Gogol’s poem “Dead Souls””; 2) “The image of the homeland and people in Gogol’s poem “Dead Souls””; 3) “the author’s ideal and reality in Gogol’s poem “Dead Souls””; 4) “the role of portrait and everyday details in the depiction of landowners in Gogol’s poem “Dead Souls””; 5) “The future and the present in Gogol’s poem “Dead Souls””; 6) “Genre originality of Gogol’s poem “Dead Souls””; 7) “The image of Chichikov - the “knight of the penny” (“scoundrel and acquirer”)”; 8) “Gogol’s “laughter through tears””; 9) “the role of lyrical digressions in the composition of the poem “Dead Souls””; 10) “The image of a provincial city in Gogol’s poem “Dead Souls”.”

The difference between human vision and what the compound eye of an insect sees can be compared to the difference between a half-tone cliche made on the finest raster and the same image made on the coarsest grid used for newspaper reproductions. Gogol's vision also applies to the vision of average readers and average writers. Before the appearance of him and Pushkin, Russian literature was somewhat blind. The forms she noticed were only outlines suggested by reason; she did not see color as such and only used worn-out combinations of blind nouns and dog-like epithets devoted to them, which Europe inherited from the ancients. The sky was blue, the dawn was scarlet, the foliage was green, the eyes of the beauties were black, the clouds were gray, etc. Only Gogol (and after him Lermontov and Tolstoy) saw yellow and purple colors. The fact that the sky at sunrise can be pale green, the snow deep blue on a cloudless day, would sound like meaningless heresy in the ears of a so-called “classical” writer accustomed to the unchanging, generally accepted color scheme of 18th-century French literature. An indicator of how the art of description has developed over the centuries can be seen in the changes that artistic vision has undergone; the compound eye becomes a single, unusually complex organ, and the dead, dull “accepted colors” (as if “innate ideas”) gradually highlight subtle shades and create new wonders of the image. I doubt that any writer, especially in Russia, has previously noticed such an amazing phenomenon as the trembling pattern of light and shadow on the ground under the trees or the color pranks of the sun on the foliage. The description of Plyushkin's garden struck Russian readers almost as much as Manet struck the mustachioed philistines of his era.

“The old, vast garden stretching behind the house, overlooking the village and then disappearing into the field, overgrown and decayed, seemed to alone refresh this vast village and alone was quite picturesque in its picturesque desolation. The connected tops of trees growing in freedom lay on the sky horizon like green clouds and irregular trembling leafy domes. A white colossal birch trunk, devoid of a top, broken off by a storm or thunderstorm, rose from this green thicket and rounded in the air, like a regular sparkling marble column; its oblique, pointed break, with which it ended upward instead of a capital, darkened against its snowy whiteness, like a hat or a black bird. The hops, which choked the elderberry, rowan and hazel bushes below and then ran along the top of the entire palisade, finally ran up and entwined half the broken birch. Reaching the middle

From there, he hung down and began to cling to the tops of other trees, or he hung in the air, tying his thin, tenacious hooks in rings, easily swayed by the air. In places, green thickets, illuminated by the sun, diverged and showed an unlit depression between them, gaping like a dark mouth; it was all cast in shadow, and faintly flickered in the black depths of it: a running narrow path, collapsed railings, a swaying gazebo, a hollow, decrepit willow trunk, a gray-haired chap, with thick bristles poking out from behind the willow, withered leaves from the terrible wilderness, tangled and crossed leaves and branches, and, finally, a young maple branch, stretching out its green leaf paws from the side, under one of which, God knows how, the sun suddenly turned it into transparent and fiery, shining wonderfully in this thick darkness. To the side, at the very edge of the garden, several tall aspen trees, no match for the others, raised huge crow's nests to their tremulous tops. Some of them had pulled back and not completely separated branches hanging down along with withered leaves. In a word, everything was as good as neither nature nor art could imagine, but as only happens when they are united together, when, through the piled-up, often useless, work of man, nature passes with its final cutter, lightens the heavy masses, destroys the grossly tangible correctness and beggarly gaps through which the unhidden, naked plan peeks through, and will give wonderful warmth to everything that was created in the cold of measured cleanliness and neatness.”

Nikolai Vasilyevich Gogol is a talented satirist writer. His gift was especially vivid and original in the poem “Dead Souls” when creating images of landowners. The characteristics of the heroes are full of remarks and ridicule when Gogol describes the most worthless people, but vested with the right to dispose of the peasants.

There are writers who easily and freely come up with plots for their works. Gogol is not one of them. He was painfully uninventive with his plots. He always needed an external push to “give wings to his imagination.” As is known, Gogol owed the plot of “Dead Souls” to Pushkin, who had long instilled in him the idea of ​​writing a great epic work. The plot suggested by Pushkin was attractive to Gogol, as it gave him the opportunity, together with their hero, the future Chichikov, to “travel” throughout Russia and show “all of Rus'”

The sixth chapter of “Dead Souls” describes Plyushkin’s estate. The image of Plyushkin fully corresponds to the picture of his estate that appears before us. The same decay and decomposition, the absolute loss of the human image: the owner of the noble estate looks like an old woman-housekeeper. It begins with a lyrical digression about travel. Here the author uses his favorite artistic technique - characterizing a character through detail.
Let's consider how the writer uses this technique using the example of the landowner Plyushkin.
Plyushkin is a landowner who has completely lost his human appearance, and essentially his reason. Having entered Plyushkin’s estate, the author does not recognize him. The windows in the huts had no glass; some were covered with a rag or a zipun. The manor’s house looks like a huge grave crypt where a person is buried alive.. “He noticed a particular disrepair in all the village buildings: the logs on the huts were dark and old; many roofs were leaky like a sieve; on others there was only a ridge at the top and poles on the sides in the form of ribs.” Only a lushly growing garden reminds of life, of beauty, sharply contrasted with the ugly life of the landowner. It symbolizes Plyushkin's soul. “The old, vast garden stretching behind the house, overlooking the village and then disappearing into the field, overgrown and decayed, seemed to alone refresh this vast village and alone was quite picturesque in its picturesque desolation.” For a long time Chichikov cannot understand who is in front of him, “a woman or a man.” Finally, he concluded that it was true, housekeeper. “He noticed a particular disrepair in all the village buildings: the logs on the huts were dark and old; many roofs were leaky like a sieve; on others there was only a ridge at the top and poles on the sides in the form of ribs.” The manor's house appeared before Chichikov's gaze. “This strange, long castle looked like some kind of decrepit invalid. Exorbitantly long. In some places it was one floor, in others two: on a dark roof...” “The walls of the house were cracked in places by a bare plaster sieve.”

Plyushkin’s house struck Chichikov with its disorder: “It seemed as if the floors were being washed in the house and all the furniture had been piled here for a while. On one table there was even a broken chair, and next to it a clock with a stopped pendulum, to which the spider had already attached its web. There was also a cabinet with antique silver leaning sideways against the wall.” Everything was tattered, dirty, and shabby. His room is littered with all sorts of rubbish: leaky buckets, old soles, rusty nails. Saving an old sole, a clay shard, a nail or a horseshoe, he turns all his wealth into dust and ashes: thousands of pounds of bread rot, many canvases, cloth, sheepskins, wood, and dishes are lost.

The once rich landowner Stepan Plyushkin was an economical owner, to whom a neighbor stopped by to learn from him about farming and wise stinginess.” “But there was a time when he was just a thrifty owner!” During this period of his history, he seemed to combine the most characteristic features of other landowners: he was an exemplary family man, like Manilov, and troublesome, like Korobochka. But already at this stage of his life, Plyushkin is compared to a spider: “... everywhere, everything included the keen gaze of the owner and, like a hardworking spider, ran... along all ends of his economic web.” Entangled in the networks of the “economic web,” Plyushkin completely forgets about his own soul and that of others.

The image of Plyushkin completes the gallery of provincial landowners. He represents the last stage of moral decline. Why is it not Manilov, not Sobakevich, not Korobochka who are called by the terrible Gogolian word “a hole in humanity”, but namely Plyushkin? On the one hand, Gogol considers Plyushkin as a unique phenomenon, exceptional in Russian life. On the other hand, he is similar to the heroes of the poem in his lack of spirituality, pettiness of interests, lack of deep feelings and sublimity of thoughts.

Tasks and tests on the topic "The role of artistic detail in the description of Plyushkin (Chapter 6)"

  • The role of soft and hard signs - Spelling of vowels and consonants in significant parts of words, grade 4

    Lessons: 1 Assignments: 9 Tests: 1

  • Nominative case of nouns. Role in the sentence of nouns in the nominative case - Noun 3rd grade


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