Symbol of the road in dead souls. The theme of the road in the poem "Dead Souls" by Gogol

With the publication of Gogol's satirical works, the critical direction in Russian realistic literature is strengthened. Gogol's realism is more saturated with accusatory, flagellating force - this distinguishes him from his predecessors and contemporaries. Gogol's artistic method was called critical realism. What is new in Gogol is the sharpening of the main character traits of the hero; hyperbole becomes the writer’s favorite technique - an exorbitant exaggeration that enhances the impression. Gogol found that the plot of “Dead Souls,” suggested by Pushkin, was good because it gave complete freedom to travel all over Russia with the hero and create a wide variety of characters.

In the composition of the poem, one should especially emphasize the image of the road running through the entire poem, with the help of which the writer expresses hatred of stagnation and striving forward. This image helps to enhance the emotionality and dynamism of the entire poem.

The landscape helps the writer talk about the place and time of the events depicted. The role of the road in the work is different: the landscape has a compositional meaning, is the background against which events take place, helps to understand and feel the experiences, state of mind and thoughts of the characters. Through the theme of the road, the author expresses his point of view on events, as well as his attitude towards nature and heroes.

Gogol captured the world of Russian nature in his work. His landscapes are distinguished by their unartificial beauty, vitality, and amaze with their amazing poetic vigilance and observation.

“Dead Souls” begins with a depiction of city life, with pictures of the city and bureaucratic society. Then there are five chapters describing Chichikov’s trips to the landowners, and the action again moves to the city. Thus, five chapters of the poem are devoted to officials, five to landowners, and one almost entirely to the biography of Chichikov. Everything together presents a general picture of all of Rus' with a huge number of characters of different positions and states, which Gogol snatches from the general mass and, having shown some new side of life, disappear again.

The road in Dead Souls becomes important. The author paints peasant fields, poor forests, wretched pastures, neglected reservoirs, and collapsed huts. Drawing a rural landscape, the writer speaks of peasant ruin more clearly and vividly than long descriptions and reasoning could do.

The novel also contains landscape sketches that have independent meaning, but are compositionally subordinate to the main idea of the novel. In some cases, the landscape helps the writer emphasize the moods and experiences of his characters. In all these paintings, distinguished by realistic concreteness and poetry, one can feel the writer’s love for his native Russian nature and his ability to find the most suitable and accurate words to depict it.

“As soon as the city left back, they began to write, according to our custom, nonsense and game on both sides of the road: hummocks, spruce trees, low thin bushes of young pines, charred trunks of old ones, wild heather and similar nonsense...” Gogol N V. Collected works: In 9 volumes / Comp. text and comments by V. A. Voropaev and V. V. Vinogradov. - M.: Russian book, 1994.

Pictures of Russian nature are often found in Dead Souls. Gogol, like Pushkin, loved Russian fields, forests, and steppes. Belinsky wrote about Pushkin’s landscapes: “Beautiful nature was at his fingertips here in Rus', on its flat and monotonous steppes, under its eternally gray sky, in its sad villages and its rich and poor cities. What was low for former poets was noble for Pushkin: what prose was for them, poetry was for him." Belinsky's View of Russian Literature in 1847. / History of Russian literature. - M.: Education, 1984..

Gogol describes sad villages, bare, dull, and the landowner’s forest along the road, which “darkened with some dull bluish color,” and the manor’s park on the Manilov estate, where “five or six birches in small clumps, here and there raised their small-leaved thin tops." But Gogol’s main landscape is the views on the sides of the road, flashing before the traveler.

Nature is shown in the same tone as the depiction of folk life, evokes melancholy and sadness, surprises with its immeasurable space; she lives with the people, as if sharing their difficult fate.

“...the day was either clear or gloomy, but of some light gray color, which only happens on the old uniforms of garrison soldiers, this, however, is a peaceful army, but partly drunk on Sundays Gogol N.V. Collected works: In 9 volumes / Comp. text and comments by V. A. Voropaev and V. V. Vinogradov. - M.: Russian book, 1994.

“Gogol develops Pushkin’s principle of a connecting combination of words and phrases that are distant in meaning, but when unexpectedly brought together form a contradictory and - at the same time - a single, complex, generalized and at the same time quite specific image of a person, an event, a “piece of reality” , writes V.V. Vinogradov about the language of “Dead Souls”. This connecting concatenation of words is achieved by an unmotivated and, as it were, ironically overturned, or illogical, use of connective particles and conjunctions. Such is the addition of the words “partly drunken and peaceful army” to the main phrase about the weather; or in the description of officials: “their faces were full and round, some even had warts” Aksakov S. T. The story of my acquaintance with Gogol. // Gogol in the memoirs of his contemporaries. M.: Education, 1962. - p. 87 - 209.

“What crooked, deaf, narrow, impassable roads that lead far to the side have been chosen by humanity, striving to achieve eternal truth...”

This lyrical digression about the “world record of mankind,” about errors and the search for the road to truth belongs to the few manifestations of conservative Christian thinking that had mastered Gogol by the time the last edition of “Dead Souls” was created. It first appeared in a manuscript begun in 1840 and completed at the beginning of 1841, and was stylistically revised several times, and Gogol did not change the main idea, seeking only its better expression and poetic language.

But the high pathos of tone, the solemn vocabulary of biblicalisms and Slavicisms (“temple”, “chambers”, “meaning descending from heaven”, “piercing finger”, etc.) together with the artistic imagery of the picture “illuminated by the sun and illuminated by lights all night” the wide and luxurious path and the “crooked, deaf, narrow... roads” along which erring humanity wandered, provided the opportunity for the broadest generalization in understanding the entire world history, the “chronicle of humanity” Lotman Yu.M., In the school of poetic speech: Pushkin, Lermontov , Gogol. - M.: Education, 1988..

"Rus! Rus! I see you, from my wonderful, beautiful distance I see you..."

Gogol wrote almost the entire first volume of Dead Souls abroad, among the beautiful nature of Switzerland and Italy, among the noisy life of Paris. From there he saw Russia even more clearly with its difficult and sad life.

Thoughts about Russia aroused Gogol’s emotional excitement and resulted in lyrical digressions.

Gogol highly valued the writer's ability for lyricism, seeing in it a necessary quality of poetic talent. Gogol saw the source of lyricism not in “tender”, but in “thick and strong strings... of Russian nature” and defined the “highest state of lyricism” as “a firm rise in the light of reason, the supreme triumph of spiritual sobriety.” Thus, for Gogol, in a lyrical digression, what was important, first of all, was thought, an idea, and not a feeling, as was accepted by the poetics of past movements, which defined lyricism as the expression of feelings reaching the point of delight.

Written at the beginning of 1841, the lyrical appeal to Russia reveals the idea of the writer’s civic duty to his homeland. To create a special language for the final pages of the first volume, Gogol struggled for a long time and carried out complex work, which shows that changes in vocabulary and grammatical structure were associated with changes in the ideological content of the digression.

The first edition of the appeal to Russia: “Rus! Rus! I see you..." - was this:

“Oh, you, my Rus'... my riotous, riotous, reckless, wonderful, God kiss you, holy land! How can a limitless thought not be born in you when you yourself are endless? Isn’t it possible to turn around in your wide open space? Is it really possible for a hero not to be here when there is a place for him to walk? Where did so much of God's light unfold? My bottomless one, you are my depth and breadth! What moves me, what speaks in me with unheard words, when I pierce my eyes into these motionless, unshakable seas, into these steppes that have lost their end?

Wow!...how menacingly and powerfully the majestic space envelops me! what broad strength and ambition lies within me! How powerful thoughts carry me! Holy powers! to what distance, to what sparkling distance, unfamiliar to the earth? What am I? - Oh, Rus'! Smirnova-Chikina E.S. Poem by N.V. Gogol “Dead Souls”. - L: Enlightenment, 1974. - p.-174-175.

This uncoordinated language did not satisfy Gogol. He removed vernacular language, some of the song proverbs, and added a description of the song as an expression of the strength and poetry of the people, as the voice of Russia. The number of Slavicisms and ancient words increased, “crowned with daring divas of art” appeared, “...overshadowed by a formidable cloud, heavy with the coming rains,” “nothing will seduce or enchant the eye” and, finally, church-biblicalism “what this vast expanse prophesies " Gogol associated space not only with the enormous size of the territory of Russia, but also with the endless roads that “dotted” this space.

“How strange, and alluring, and carrying, and wonderful in the word: road!”

Gogol loved the road, long trips, fast driving, and a change of impressions. Gogol dedicated one of his charming lyrical digressions to the road. Gogol traveled a lot on steamships, trains, horses, “transport”, Yamsk troikas and stagecoaches. He saw Western Europe, Asia Minor, passed through Greece and Turkey, and traveled a lot around Russia.

The road had a calming effect on Gogol, awakened his creative powers, was the artist’s need, giving “him the necessary impressions, setting him in a highly poetic mood. “My head and thoughts are better off on the road... My heart hears that God will help me accomplish on the road everything for which the tools and strengths in me have hitherto matured,” Gogol wrote about the significance of the road for his work. Quote. by: Smirnova-Chikina E.S. Poem by N.V. Gogol “Dead Souls”. - L: Enlightenment, 1974. - p.-178.

The image of the “road,” including the autobiographical features reflected in this digression, was closely connected with the general idea of the poem and served as a symbol of movement, a symbol of human life, moral improvement, a symbol of the life of a person who is “for now on the road and at the station, and not at home.” "

In Chapter X of “Dead Souls,” Gogol showed the “world chronicle of humanity,” constant deviations from the “straight path,” the search for it, “illuminated by the sun and illuminated by lights all night,” accompanied by the constant question: “where is the way out? where is the road?

The digression about the road is also connected with the image of Chichikov on the road, wandering through the remote corners of life in pursuit of the base goal of enrichment. According to Gogol's plan, Chichikov, without realizing it, is already moving along the path to the straight path of life. Therefore, the image of the road, movement (“horses are racing”) is preceded by the biography of Chichikov, the hero of the poem, the awakening of each individual person and all of great Russia to a new wonderful life, which Gogol constantly dreamed of.

The text of the digression represents a complex linguistic fusion. In it, along with Church Slavonicisms (“heavenly powers”, “god”, “perishing”, “cross of a rural church”, etc.) there are words of foreign origin: “appetite”, “digit”, “poetic dreams”, and next to There are also everyday, colloquial expressions: “you’ll snuggle closer and more comfortably,” “suppression,” “snoring,” “all alone,” “the light is dawning,” etc.

Concreteness, realism and accuracy in the description of the road continue Pushkin's traditions of purity and artlessness. These are poetically simple expressions: “clear day”, “autumn leaves”, “cold air”... “Horses are rushing”... “Five stations ran back, the moon; unknown city”... This simple speech is complicated by enthusiastic lyrical exclamations that convey the author’s personal feelings: after all, it is he who tells the reader about his love for the road:

“What a glorious cold! What a wonderful dream that embraces you again!”

The inclusion of these exclamations gives a character of originality and novelty to the speech pattern of the digression about the road.

A peculiar feature is the introduction of measured speech, representing a contamination of poetic meters. For example, “how strange and alluring and carrying in the word the road” is a combination of iambs and dactyls; or the lines “God! How good you are, sometimes a long, long road! How many times, like someone dying and drowning, have I grabbed onto you, and every time you generously carried me out and saved me” - they represent almost correct trochaic prose. This harmonization of the text enhances the artistic and emotional impact of the digression.

“Oh, three! bird-three, who invented you?

The symphony of lyrical digressions, “appeals”, “angry dithyrambs” of Chapter XI ends with a solemn chord-appeal to the soul of the Russian people, who love rapid movement forward, riding on a flying bird-troika.

The symbol of the road and movement forward, familiar to Gogol, now addressed to the whole people, to all of Rus', aroused in the writer’s soul a lyrical delight of love for the homeland, a sense of pride in it and confidence in the greatness of its future destinies.

The lyrical ending of “Dead Souls” with the likening of Russia to a bird-troika, written for the second edition (1841), was revised very slightly. Corrections concerned clarification of the meaning of sentences, grammatical and intonation structure. The question is introduced - “shouldn’t I love her”, emphasizing a new meaning: “shouldn’t my soul... not love (fast driving)” - an emphasis on the special character of the Russian person; “Is it possible not to love her” - the emphasis is on the word “her”, which defines fast driving, enthusiastic and wonderful movement forward. The three at the end of the poem is the logical conclusion of its entire content.

THE IMAGE OF THE ROAD IN N.V. GOGOL’S POEM “DEAD SOULS”

The roads are difficult, but it’s worse without roads...

The motif of the road in the poem is very multifaceted.

The image of the road is embodied in a direct, non-figurative meaning - this is either a smooth road along which Chichikov’s spring chaise rides softly (“The horses stirred up and carried the light chaise like feathers”), or bumpy country roads, or even impassable mud in which Chichikov falls out , getting to Korobochka (“The dust lying on the road was quickly mixed into mud, and every minute it became harder for the horses to pull the chaise”). The road promises the traveler a variety of surprises: heading towards Sobakevich, Chichikov finds himself at Korobochka, and in front of the coachman Selifan “the roads spread out in all directions, like caught crayfish...”.

This motif receives a completely different meaning in the famous lyrical digression of the eleventh chapter: the road with a rushing chaise turns into the path along which Rus' flies, “and, looking askance, other peoples and states step aside and give way to it.”

This motive also contains unknown paths of Russian national development: “Rus, where are you rushing, give me the answer? Doesn’t give an answer,” representing a contrast to the paths of other peoples: “What crooked, deaf, narrow, impassable roads that lead far to the side have been chosen by humanity...” But it cannot be said that these are the very roads on which Chichikov got lost: those roads lead to Russian people, maybe in the outback, maybe in a hole where there are no moral principles, but still these roads make up Russia, Russia itself - and there is a big road leading a person into a vast space, absorbing a person, eating him all up. Having turned off one road, you find yourself on another, you can’t keep track of all the paths of Rus', just as you can’t put the caught crayfish back into a bag. It is symbolic that from the outback Korobochka Chichikov is shown the way by the illiterate girl Pelageya, who does not know where the right is and where the left is. But, having got out of Korobochka, Chichikov ends up with Nozdryov - the road does not lead Chichikov to where he wants, but he cannot resist it, although he is making some plans of his own about the future path.

The image of the road embodies both the hero’s everyday path (“but for all that his road was difficult...”) and the author’s creative path: “And for a long time it was determined for me by the wonderful power to walk arm in arm with my strange heroes...”

Also, the road is an assistant to Gogol in creating the composition of the poem, which then looks very rational: an exposition of the plot of the journey is given in the first chapter (Chichikov meets officials and some landowners, receives invitations from them), followed by five chapters in which the landowners sit, and Chichikov travels from chapter to chapter in his chaise, buying up dead souls.

The main character's chaise is very important. Chichikov is the hero of the journey, and the britzka is his home. This substantive detail, being undoubtedly one of the means of creating the image of Chichikov, plays a large plot role: there are many episodes and plot twists in the poem that are motivated precisely by the britzka. Not only does Chichikov travel in it, that is, thanks to it, the plot of the journey becomes possible; the britzka also motivates the appearance of the characters of Selifan and the three horses; thanks to her, she manages to escape from Nozdryov (that is, the chaise helps Chichikov out); the chaise collides with the carriage of the governor's daughter and thus a lyrical motif is introduced, and at the end of the poem Chichikov even appears as the kidnapper of the governor's daughter. The britzka is a living character: she is endowed with her own will and sometimes does not obey Chichikov and Selifan, goes her own way and in the end dumps the rider into impassable mud - so the hero, against his own will, ends up with Korobochka, who greets him with affectionate words: “Eh, father my, you’re like a hog, your whole back and side are covered in mud! Where did you deign to get so dirty? “In addition, the chaise, as it were, defines the ring composition of the first volume: the poem opens with a conversation between two men about how strong the chaise’s wheel is, and ends with the breakdown of that very wheel, which is why Chichikov has to stay in the city.

In creating the image of a road, not only the road itself plays a role, but also characters, things and events. The road is the main “outline” of the poem. Only all the side plots are already sewn on top of it. As long as the road goes on, life goes on; While life goes on, the story about this life goes on.

“Dead Souls” is a brilliant work by Nikolai Vasilyevich Gogol. It was on him that Gogol placed his main hopes.

The plot of the poem was suggested to Gogol by Pushkin. Alexander Sergeevich witnessed fraudulent transactions with “dead souls” during his exile in Chisinau. It was about how a clever rogue found a dizzyingly bold way of enriching himself in Russian conditions.

Gogol began work on the poem in the fall of 1835, at that time he had not yet started writing “The Inspector General.” Gogol, in a letter to Pushkin, wrote: “The plot has stretched out into a very long novel and, it seems, will be funny... In this novel I want to show at least from one side all of Rus'.” When writing “Dead Souls,” Gogol pursued the goal of showing only the dark sides of life, collecting them “in one pile.” Later, Nikolai Vasilyevich brings the characters of the landowners to the fore. These characters were created with epic completeness and absorbed phenomena of all-Russian significance. For example, “Manilovschina”, “Chichikovschina” and “Nozdrevschina”. Gogol also tried in his work to show not only bad, but also good qualities, making it clear that there is a path to spiritual rebirth.

As he writes “Dead Souls,” Nikolai Vasilyevich calls his creation not a novel, but a poem. He had an idea. Gogol wanted to create a poem similar to the Divine Comedy written by Dante. The first volume of Dead Souls is thought of as “hell”, the second volume is “purgatory”, and the third is “paradise”.

Censorship changed the title of the poem to “The Adventures of Chichikov, or Dead Souls” and on May 21, 1842, the first volume of the poem was published.

The most natural way of storytelling is to show Russia through the eyes of one character, which is where the theme of the road emerges, which became the core and connecting theme in “Dead Souls.” The poem “Dead Souls” begins with a description of a road carriage; The main action of the main character is travel.

The image of the road serves as a characterization of the images of the landowners whom Chichikov visits one after another. Each of his meetings with the landowner is preceded by a description of the road and estate. For example, this is how Gogol describes the way to Manilovka: “Having traveled two miles, we came across a turn onto a country road, but already two, three, and four miles, it seems, were done, and the two-story stone house was still not visible. Then Chichikov remembered that if a friend invites you to his village fifteen miles away, it means that it is thirty miles away.” The road in the village of Plyushkina directly characterizes the landowner: “He (Chichikov) did not notice how he drove into the middle of a vast village with many huts and streets. Soon, however, he was made aware of this by a considerable jolt produced by the log pavement, in front of which the city stone pavement was nothing. These logs, like piano keys, rose up and down, and the careless traveler acquired either a bump on the back of his head, or a blue spot on his forehead... He noticed some special disrepair on all the village buildings...”

“The city was in no way inferior to other provincial cities: the yellow paint on the stone houses was very striking and the gray paint on the wooden ones was modestly dark... There were signs almost washed away by the rain with pretzels and boots, where there was a store with caps and the inscription: “Foreigner Vasily Fedorov”, where there was billiards... with the inscription: “And here is the establishment.” Most often the inscription came across: “Drinking house”

The main attraction of the city of NN is the officials, and the main attraction of its surroundings is the landowners. Both of them live off the labor of other people. These are drones. The faces of their estates are their faces, and their villages are an exact reflection of the economic aspirations of the owners.

Gogol also uses interiors to describe comprehensively. Manilov is “empty daydreaming”, inaction. It would seem that his estate was arranged quite well, even “two or three flower beds with lilac and yellow acacia bushes were scattered in English, “a gazebo with a flat green dome, wooden blue columns and the inscription: “Temple of Solitary Reflection” was visible...”. But there was still something “always missing in the house: in the living room there was beautiful furniture, covered in smart silk fabric... but there wasn’t enough for two armchairs, and the armchairs were simply upholstered in matting...”, “in another room there was no there was furniture,” “in the evening a very dandy candlestick made of dark bronze with three antique graces, with a dandy mother-of-pearl shield, was served on the table, and next to it was placed some simple copper invalid, lame, curled to one side and covered in fat...” . Instead of taking up and completing the improvement of the house, Manilov indulges in unrealistic and useless dreams about “how nice it would be if suddenly an underground passage was built from the house or a stone bridge was built across the pond, on which there would be shops on both sides, and so that merchants could sit in them and sell various small goods needed by the peasants.”

The box represents “unnecessary” hoarding. In addition to the “talking” surname, this heroine is also clearly characterized by the interior decoration of the room: “...behind every mirror there was either a letter, or an old deck of cards, or a stocking...”.

There is no order in the house of the slob Nozdryov: “In the middle of the dining room there were wooden trestles, and two men, standing on them, whitewashed the walls... the floor was all splashed with whitewash.”

And Sobakevich? Everything in his house complements the “bearish” image of Mikhail Semenovich: “...Everything was solid, clumsy to the highest degree and had some strange resemblance to the owner of the house himself; in the corner of the living room stood a pot-bellied walnut bureau on the most absurd four legs, a perfect bear. The table, armchairs, chairs - everything was of the heaviest and most restless quality - in a word, every object, every chair seemed to say: “And I, too, Sobakevich!” or: “And I also look very much like Sobakevich!” "

The extreme degree of poverty and hoarding of the owner is revealed by the description of the “situation” in the house of Plyushkin, whom the men called “patched.” The author devotes a whole page to this in order to show that Plyushkin has turned into a “hole in humanity”: “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 a web... On the bureau. .. there was a lot of all sorts of things: a bunch of finely written pieces of paper, covered with a green marble press... a lemon, all dried up, no bigger than a hazelnut, a broken arm of a chair, a glass with some kind of liquid and three flies... a piece somewhere a raised rag, two feathers, stained with ink, dried up, as if in consumption...”, etc. - this is what was more valuable in the owner’s understanding. “In the corner of the room there was a heap of things piled up on the floor that were rougher and unworthy to lie on the tables... A broken piece of a wooden shovel and an old boot sole were sticking out.” Plyushkin's thriftiness and thriftiness turned into greed and unnecessary hoarding, bordering on theft and beggaring.

The interior can tell a lot about the owner, his habits and character.

Trying to show “all of Rus' from one side,” Gogol covers many areas of activity, the inner world, interiors, and the surrounding world of the inhabitants of the province. He also touches on the topic of nutrition. It is shown quite voluminously and deeply in chapter 4 of the poem.

“It’s clear that the cook was guided more by some kind of inspiration and put in the first thing that came to hand: if there was pepper standing next to him, he threw in pepper; It would be hot, but some kind of taste would probably come out.” This one phrase contains both a description of, so to speak, a “talking” menu, but also the author’s personal attitude to this. The decadence of landowners and officials is so ingrained in their minds and habits that it is visible in everything. The tavern was no different from the hut, with only the slight advantage of space. The dishes were in less than satisfactory condition: “she brought a plate, a napkin so starched that it stood on end like dried bark, then a knife with a yellowed bone block, thin as a penknife, a two-pronged fork and a salt shaker, which could not possibly be placed directly on the table "

From all of the above, we understand that Gogol very subtly notices the process of death of the living - a person becomes like a thing, a “dead soul.”

“Dead Souls” is rich in lyrical digressions. In one of them, located in Chapter 6, Chichikov compares his worldview with the objects around him while traveling.

“Before, long ago, in the years of my youth, in the years of my irrevocably flashed childhood, it was fun for me to drive up for the first time to an unfamiliar place: it didn’t matter whether it was a village, a poor provincial town, a village, a settlement - I discovered a lot of curious things in silent childish curious look. Every building, everything that bore the imprint of some noticeable feature - everything stopped me and amazed me... If a district official walked past, I was already wondering where he was going... Approaching the village of some landowner, I looked curiously at a tall narrow wooden bell tower or a wide dark wooden old church...

Now I indifferently drive up to any unfamiliar village and indifferently look at its vulgar appearance; It’s unpleasant to my chilled gaze, it’s not funny to me, and what would have awakened in previous years a lively movement in the face, laughter and silent speech, now slides past, and my motionless lips keep an indifferent silence. O my youth! oh my freshness!

All this suggests that he has lost interest in life, he is of little interest, his goal is profit. The surrounding nature and objects no longer arouse his special interest or curiosity. And at that time it was not just Chichikov who was like this, but many representatives of that time. This was the dominant example of the bulk of the population, with the exception of serfs.

Chichikov is an exponent of new trends in the development of Russian society; he is an entrepreneur. All the landowners described in the poem “Dead Souls” became worthy business partners of the acquirer, Pavel Ivanovich. These are Manilov, Korobochka, Nozdryov, Sobakevich, and Plyushkin. It was in this sequence that Chichikov visited them. This is not accidental, because by doing so Gogol showed representatives of this class with an increase in vices, with a great fall, degradation of the soul. However, it is necessary to build a number of worthy partners the other way around. After all, the more base, fallen, and “dead” the landowners were, the more calmly they agreed to this scam. For them it was not immoral. Therefore, Chichikov’s worthy partners look like this: Plyushkin, Sobakevich, Nozdrev, Korobochka, Manilov.

Traveling with Chichikov around Russia is a wonderful way to understand the life of Nikolaev Russia. This hero's journey helped the writer make the poem "Dead Souls", a poem - a monitor of the life of Russia for centuries and broadly depict the life of all social strata in accordance with his plan. A journey presupposes a road, and it is this that we observe throughout the entire duration of the work. The road is the theme. With its help, readers understand much more voluminously, more colorfully, and more deeply the entire situation at this stage of history. It is with her help that Gogol manages to grasp everything that is required in order to “describe all of Rus'.” Reading the poem, we imagine ourselves either as an invisible participant in this plot, or as Chichikov himself, we are immersed in this world, the social foundations of that time. Through captivity, we become aware of all the holes in society and people. A huge mistake of that time catches our eye; instead of the gradation of society and politics, we see a different picture: the degradation of the free population, the death of souls, greed, selfishness and many other shortcomings that people can have. Thus, traveling with Chichikov, we get to know not only that time with its merits, but also observe the huge flaws of the social system, which so badly crippled many human souls.

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28.01.2017 - Ready-made condensed summaries of the FIPI OBZ texts, written in two versions, appeared on the website >>

28.01.2017 - Friends, interesting works by L. Ulitskaya and A. Mass have appeared on the Bookshelf of the site.

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THE IMAGE OF THE ROAD IN N.V. GOGOL’S POEM “DEAD SOULS”
The roads are difficult, but it’s worse without roads...

The motif of the road in the poem is very multifaceted.