Presentation on literature Gogol dead souls. N

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The cover of “Dead Souls” was made in the style of a grotesque ornament, combining in a bizarre combination details of everyday life, human heads, skulls, skeletons, which, without a doubt, corresponded to the very grotesque content of the poem and betrayed, as Gogol himself said, “turmoil, turmoil, confusion." Yu. Mann

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The meaning of the title of the poem. Historical. In serf Russia at the beginning of the 18th century, a census of peasants was regularly carried out to collect taxes from their owners. The lists compiled during the audit were called audit tales, and the peasants included in them were called audit souls. Revision tallies were compiled every few years, and the peasants who died during this time continued to be listed as alive until the new census. “Dead souls” are deceased peasants who are still on the audit lists.

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The meaning of the title of the poem. Real. Behind the conventional designation of the deceased - a dead soul - are real peasants, specific people with their own bright characters, whom the landowner has the power to sell or buy. The symbolism of the title sets the contrast between the dead and the living.

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The meaning of the title of the poem. Metaphorical (figurative). A. Herzen: “...It’s not the revisionists who are dead souls, but all these Nozdryovs, Manilovs and all the others – these are dead souls, and we meet them at every step.” “Dead souls” in this case mean deadness, lack of spirituality. Physically, landowners and officials exist. But physical existence is not yet human life. Human life is unthinkable without real spiritual movements. And the “masters of life” are dead. Initially, the title “Dead Souls” was not passed by the censor, so an addition appeared - “The Adventures of Chichikov, or Dead Souls.”

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Manilov (Chapter II) Portrait “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.”

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Manilov (Chapter II) Interior There is mismanagement and impracticality everywhere: the house is always lacking something. The furniture was upholstered in smart fabric, but there was not enough for two chairs. Children's names: Themistoclus and Alcides (taken from the history of Ancient Greece). He dreams of building an underground passage across the pond.

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Manilov (Chapter II) Characteristics The “speaking” surname of the landowner is formed from the words “to lure, deceive.” Enthusiastic naivety, daydreaming, carelessness, stupidity and lack of independence are the main features of the landowner. He is not involved in farming and cannot say whether his peasants have died since the last audit. Cares about the prosperity of humanity. The results of his work are empty dreams and “slides of ash knocked out of the pipe, arranged, not without effort, in very beautiful rows.”

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Manilov (Chapter II) Reaction to Chichikov’s proposal At first he was “embarrassed and confused,” and suspected that Chichikov was crazy. He is not used to thinking and does not understand that, thanks to Chichikov, he got involved in a dark and criminal matter. When Chichikov convinced him of the legality of the deal and started talking about the price, Manilov offered to donate the “dead souls” to Chichikov, and take over the deed of purchase himself. He did just that - he handed over a list of his peasants, rolled up and tied with a pink ribbon.

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Box (Chapter III) Portrait “An elderly woman, in some kind of sleeping cap, put on hastily, with a flannel around her neck...” Almost identical details of clothing are repeated in the portrait, but Gogol does not pay attention to the face and eyes, as if they do not exist - this emphasizing her lack of spirituality.

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Box (Chapter III) Interior She has a “pretty village” and a “abundant household”, which she manages herself and devotes a lot of time to farming. A large number of dogs in the village indicates that the owner cares about the safety of her condition. He saves money in bags, but does not know how to manage it - it lies like a dead weight. Bunches of herbs are hung everywhere. Everything is in its place, there are even ropes that “are no longer needed.”

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Box (Chapter III) Characteristics The main feature is petty stinginess. Limited, stubborn, suspicious. The meaning of the surname: the landowner is enclosed in a “box” of her space and her concepts. Economics is her only virtue. Before us is a typical small landowner - the owner of 80 serfs.

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Nozdryov (Chapter IV) Interior The farm is neglected, only the kennel is in excellent condition. An important detail is the barrel organ. Her playing is suddenly interrupted and a waltz or song sounds. As soon as the organ stops sounding, the pipe in it will not calm down. So the restless, violent Nozdryov is ready at any moment to do the unexpected and inexplicable without reason.

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Nozdryov (Chapter IV) Characteristics At 35 years old, Nozdryov is the same as at 18. Lack of development is a sign of inanimateness. Gogol calls him a “historical man” because “wherever he was, history could not be avoided.” He is rude, his speech is filled with curses. Gambler, reveler, frequenter of hot spots. Always ready to go “anywhere, even to the ends of the world.” But all this does not lead to enrichment, but only ruins him. He behaves brazenly, defiantly, aggressively, his energy turns into destructive and scandalous vanity. His main trait is narcissism.

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Sobakevich (Chapter V) Portrait “A Healthy and Strong Man.” Looks like “a medium-sized bear”; “...it seemed that this body had no soul at all, or it had one, but not at all where it should be, but, like the immortal Koshchei, somewhere behind the mountains, and was covered with such a thick shell that everything that was tossing and turning at the bottom and did not produce any shock on the surface.”

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Sobakevich (Chapter V) Interior In the room “everything was solid, awkward... 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 ridiculous legs, a perfect bear. The table, armchairs, chairs - everything was of the heaviest and most restless quality.” “Every object seemed to say: “And I, too, are Sobakevich!”

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Sobakevich (Chapter V) Characteristics: A prudent owner. Everything around him is solid, everything is in abundance; in the village everything is sound and reliable, he knows the men and appreciates their work qualities. His strength, health, and sedateness are emphasized. But the soul has only gastronomic requirements. Gravitates towards old, feudal forms of farming. He despises the city and education. The author emphasizes his greed and narrow interests. His main features are rough tight-fistedness and cynicism.

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Plyushkin (Chapter VI) Portrait It is not clear who this is - “a woman or a man.” “...an indefinite dress, similar to a woman’s hood, on the head is a cap, like that worn by village courtyard women...”; “...the small eyes had not yet gone out and ran from under the high ingrown eyebrows, like mice...” (this detail emphasizes not human liveliness, but the nimbleness and suspicion of the animal).

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Plyushkin (Chapter VI) Interior The estate is an “extinct place”; only the beautiful garden, which emphasizes the tragedy of desolation and extinction, reminds of life here. The master's house looks like a "decrepit invalid", it is sad, dark, dusty, blowing cold, as if from a cellar; a mess, a lot of rubbish in the corner. An important detail is the stopped clock (time has stopped here). There is a lot of everything on the farm, but everything is lost, everything is in disrepair. The peasants are poor, “dying like flies,” and dozens are on the run.

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Plyushkin (Chapter VI) Characteristics The surname emphasizes the “flattening”, distortion of the character and his soul. Only this landowner is given a biography, it is shown how the process of degradation took place. The story about Plyushkin's past makes his image tragic. Gogol calls Plyushkin “a hole in humanity.”

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Classification of officials Gogol divides officials into lower, thin and fat, and gives a sarcastic description of each group. The “lowest” are nondescript clerks and secretaries (usually bitter drunkards). “Thin” – middle layer. “Fat” are the provincial nobility, cleverly extracting considerable income from their high position.

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Portraits of officials Ivan Antonovich Kuvshinnoe Rylo is a typical official who extorts bribes from visitors, taking advantage of his position. The governor is a good-natured person who embroiders on tulle (there is nothing more to say about him as a leader). The prosecutor is a person who always mindlessly signs papers. At the funeral, Chichikov involuntarily comes to the idea that the only thing the deceased is remembered for is his thick black eyebrows.

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“The Tale of Captain Kopeikin” (Chapter X) Plot connection The story of the captain is told by the postmaster, wanting to convince the officials that Chichikov is none other than Captain Kopeikin. However, his story did not convince anyone. At first glance, this chapter has nothing to do with the plot of the work (there are no common characters or connections between events), but the theme of the death of the human soul is the main one here too.

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“The Tale of Captain Kopeikin” (Chapter X) Who is Captain Kopeikin Captain Kopeikin is a disabled person from the war of 1812, a simple and honest man. Despite his injuries and military achievements, the war hero does not even have the pension due to him. Trying to find help in the capital, he encounters bureaucracy and indifference. The minister to whom he turned ordered the impudent petitioner to be expelled from the capital. Kopeikin had no choice but to lead a gang of robbers in the Ryazan forests.

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Pavel Ivanovich Chichikov (Chapter XI) Father’s order “... please your teachers and bosses. If you please your boss, then, even though you don’t have time in science and God hasn’t given you talent, you will put everything into action and get ahead of everyone. Don’t hang out with your comrades, they won’t teach you any good; and if it comes to that, hang out with those who are richer, so that on occasion you can be useful. Don’t treat or treat anyone, but behave better so that you will be treated, and most of all, take care and save a penny: this thing is more reliable than anything in the world. A comrade or friend will deceive you and in trouble he will be the first to give you away, but a penny will not give you away... You will do everything and you will ruin everything in the world with a penny.”

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Pavel Ivanovich Chichikov (Chapter XI) At the service Having started his service, he managed to stand out among the nondescript employees, “representing the complete opposite in everything, both with his attractiveness of face, and the friendliness of his voice, and his complete non-drinking of any strong drinks.” To advance in his career, he pleased his boss, “made his daughter fall in love” with him and became a noticeable person. Having lost a “warm” place, I changed two or three places of work, and “got to customs.” He pulled off a risky operation, in which he first got rich, and then lost almost everything.

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“Dead” souls in the poem Landowners The entire gallery of landowners are bright, individual, memorable characters. Despite all their external diversity, their essence is the same: while they own the living souls of the peasants, they themselves are dead souls. Neither the empty dreamer Manilov, nor the strong-minded housewife Korobochka, nor Sobakevich, who resembles a landowner-kulak, can be called a “living soul.” Using the example of Plyushkin’s life story, the author convinces that a person is not born with a “dead” soul - death occurs when a person submits himself to the prevailing laws in society and betrays the ideals of youth.

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“Dead” souls in Chichikov’s poem Chichikov turned out to be more greedy than Korobochka, more callous than Sobakevich, more impudent than Nozdryov in his desire for acquisition. He differs from the landowners in his entrepreneurial spirit - he is a civilized scoundrel, the master of life. The calculation made him a “dead” soul. His ideal is a penny, marriage for him is a good deal, his passions are purely material. Having quickly figured out a person, he knows how to find an approach to everyone. Gogol shows the appearance in Russian life of a man without family or title, who is trying to make money with the help of intelligence, resourcefulness, and opportunism.

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“Dead” souls in the poem Officials They are impersonal. Their deadness is shown in the ball scene: no people are visible, satins, muslins, hats, tailcoats, uniforms, shoulders, necks, ribbons are everywhere. Their interests are focused on gossip, gossip, vanity and envy. They differ from each other only in the size of the bribe. The only sign of individuality is a wart (“their faces were full and round, some even had warts”). In the episode of the prosecutor’s death, those around him realized that he “had a real soul” only when he became “only a soulless body.”

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The “living” souls in the poem are peasants. The world of “dead” souls is opposed in the poem by the lyrical image of folk Russia. Gogol deeply feels the living soul of the people, speaks of the people's prowess, courage, and love for a free life. One cannot help but feel how dramatically even the tone of the author’s speech changes. It contains both sad reflections and a gentle joke. The theme of the people runs through all chapters of the poem. The tragic fate of a disadvantaged people is clearly visible in the images of serfs. Complete dullness and savagery brings slavery to man.

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Theme of the road The symbol of human life Gogol perceives life as a difficult path, full of trials, hardships, at the end of which bitter loneliness awaits. But the writer does not consider life aimless; he is full of consciousness of his duty to the Motherland. The image of the road is an independent cross-cutting image in the poem (the poem begins with it and ends with it).

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Theme of the road The Fate of Russia is “bird-three” “Bird-three” is a symbol of the national element of Russian life, a symbol of the great path of Russia on a global scale. The rapid flight of the “three bird” is contrasted with the monotonous circling from landowner to landowner of Chichikov’s chaise.

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Characteristics of “Dead Souls”

N.V. Gogol’s poem “Dead Souls” is alive and will continue to live. Purpose of the project. Problematic question. Project goals. Tasks. Gogol Nikolai Vasilievich (1809-1852). 1829 – publication of the first printed work. 1836 - departure abroad. The history of the creation of the poem. Gogol worked on his poem for six years, endlessly reworking it. Genre originality of "Dead Souls". Construction of the poem. Landlord Rus' in N.V. Gogol's poem "Dead Souls". The location of the landowners in the poem is not accidental. Poem by N.V. Gogol. With irony, Gogol describes the signs of a typical provincial city. - Characteristics of “Dead Souls”.ppt

Characteristics of the poem “Dead Souls”

Nikolai Vasilyevich Gogol. Vasily Afanasyevich Gogol. Maria Ivanovna Kosyarovskaya. In addition to Nikolai, Vasily and Marina Gogol had five children. Childhood. Gymnasium in Nizhino. First literary experience. Alias ​​Alov. Glory. Writing "The Inspector General". Gogol leaves the university. Departure from Paris. Mental crisis. Dead Souls. The history of the concept of the poem and its implementation. Gogol's letter. Gogol based his work on Homer's epic. Chichikov's arrival in the provincial town. The meaning of the name. The conflict of the poem "Dead Souls". Composition of the poem "Dead Souls". Characters of the poem. - Characteristics of the poem “Dead Souls”.ppt

Analysis of "Dead Souls"

One of the main tasks of historical poetics. Types of analysis. The focus is on the problem of literary influences and traditions. Since ancient times, mixed images. Genre-style and plot-compositional features. Reception of the same literary object. The type of reception determines the formal and content-based analysis program. “...in parody lies the strengthening of the content” O. Freidenberg. About the influence of the “Divine Comedy” on “Dead Souls”. Reasons for comparing “Dead Souls” and “The Divine Comedy”. The author's definition of “Dead Souls”. K.S. Aksakov did not doubt the correctness of the author’s definition. S.P. Shevyrev about “Dead Souls”. - Analysis of “Dead Souls”.ppt

The history of the creation of “Dead Souls”

The history of the creation of N.V. Gogol’s poem “Dead Souls”. Nikolai Vasilyevich Gogol was born on March 20 (April 1), 1809. Pushkin. All Rus' will appear in it. Documented history of the creation of the work. Gogol read the first chapters to Pushkin before leaving abroad. Upon returning to Russia, Gogol read chapters from Dead Souls. The writer did the final finishing of the first volume in Rome. On March 9, 1842, the book was approved by the censor. Gogol intended to make the poem three volumes. The meaning of the work. The autopsy was performed on April 28, 1852. Lists of the second volume were distributed even before its publication. - The history of the creation of “Dead Souls”.ppt

"Dead Souls" in illustrations

The life of Gogol's poem "Dead Souls" in illustrations (from the 19th century to the 21st). Illustrations by artists who were Gogol’s contemporaries (19th century). XIX century. Agin's illustrations are not static. Natural, but precise, practiced gestures. Attentive and intelligent reader. Pyotr Mikhailovich Boklevsky. The artist saw in Gogol's poem just a gallery of monsters. As a rule, they are all static. Significant experience in illustrating Dead Souls. Gogol's "types". Sokolov directly introduces the image of the people into his illustrations. Works by Vladimir Makovsky. The Itinerant painter V. E. Makovsky painted watercolors. - “Dead Souls” in illustrations.ppt

Images in “Dead Souls”

Nikolai Vasilyevich Gogol. Chichikov. Essay. Delayed answer. Chichikov is the problem of Russia. Control and preparatory stage. Russian proverb. Paul. Chichikov is the hope of Russia. Co-creation. Manilov. Entrepreneur. Pavel Ivanovich Chichikov. Homework. - Images in “Dead Souls”.ppsx

Landowners in the poem “Dead Souls”

Gallery of landowners. N.V. Gogol “Dead Souls”. Landowner Manilov. Manilov's character is fully expressed in his speech. Landowner Korobochka Nastasya Petrovna. The fear of being deceived and cheapening forces Korobochka to go to the city. Landowner Nozdryov. Landowner Sobakevich Mikhail Semenovich. Landowner Stepan Plyushkin. Thank you for your attention. - Landowners in the poem “Dead Souls”.pptx

Images of landowners in “Dead Souls”

N.V. Gogol "Dead Souls". History of creation. The history of the poem's conception. Plot. Writer. A piece of apple. Sweetie. I was blown away. Pig. Pendulum. Mold. Variegated bags. A torn cloak. Century-old standing. Strong oak. Dead Souls. Construction of the poem. Compositional elements of the poem. A depiction of the life of Russian landowners. Image of a provincial town. A story about life's destiny. Community of heroes. Landowner Manilov. Landowner Nastasya Petrovna Korobochka. Landowner Nozdryov. Landowner Mikhail Semenovich Sobakevich. Landowner Plyushkin. Gogol's landowners. Manilov. Composition. - Images of landowners in “Dead Souls”.ppt

Images of landowners in the poem “Dead Souls”

Personal qualities. Images of landowners in the poem “Dead Souls”. Dead Souls. Pavel Ivanovich Chichikov. Manilov. Box. Nozdrev. Sobakevich. Plyushkin. Thank you for your attention. New economic policy. Hero type. Social conditions. - Images of landowners in the poem “Dead Souls”.ppt

Image of Chichikov

The image of Chichikov P.I. Chichikov Pavel Ivanovich. Memory. School life. A dilapidated house. Money. Dead Souls. Evil. Chichikov is quiet and inconspicuous. Hope. - Image of Chichikov.pptx

Plyushkin in “Dead Souls”

Plyushkin. Plyushkin is the image of a moldy cracker left over from Easter cake. Plyushkin's character is much more complex than the characters of other landowners presented in Dead Souls. Traits of manic stinginess are combined in Plyushkin with morbid suspicion and distrust of people. Entangled in the networks of the “economic web,” Plyushkin completely forgets about his own soul and that of others. Gogol sees the reason for Plyushkin’s spiritual devastation in indifference to his own soul. The image of Plyushkin completes the gallery of provincial landowners. On the one hand, Gogol considers Plyushkin as a unique phenomenon, exceptional in Russian life. -

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LECTURE PLAN The history of the concept of the poem and its implementation. The basis of the plot. The meaning of the name. The conflict of the poem. Composition of the poem. Genre originality. The purpose of Chichikov’s “negotiation”. Characters of the poem.

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The history of the concept of the poem and its implementation by A.S. Pushkin: “With this ability to guess a person and suddenly make him look like a living person with a few features, with this ability not to start a large essay. It's just a sin! A. S. Pushkin gave Gogol “his own plot, from which he wanted to make something like a poem and which, according to him, he would not give to anyone else.” This was the plot of Dead Souls.

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Letter from Gogol to V.A. Zhukovsky “If I complete this creation the way it needs to be accomplished, then...what a huge, what an original plot. What a diverse bunch? All Rus' will appear in it!”

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V E R S I A Gogol oriented his work towards Homer’s epic and Dante’s “Divine Comedy”, which determined the three-part structure of the poem. The first part (volume 1) was conceived as a presentation and analytical understanding of the “hell” of Russian reality; in the second part (volume 2), Gogol intended to let his heroes pass through “purgatory” in order to depict them in “paradise” in the third (volume 3). Only the 1st volume was completed.

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The plot is based on Chichikov’s arrival in the provincial town with the aim of buying “dead souls”. His journey from one landowner to another.

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The meaning of the title In direct terms, the title goes back to the plot, Chichikov acquires “dead souls” from the landowners Manilov, Nozdrev, Korobochka, Sobakevich, Plyushkin. NoA. Herzentak wrote about the title of the poem: “Dead Souls?” This title itself carries something terrifying in itself. And he could not call it anything else: not the revision’s dead souls, but all these Nozdryovs, Manilovs and all the others - these are the dead souls, and we meet them at every step.” Pay attention to this point of view!

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The conflict of the poem “Dead Souls” The conflict of the poem lies in the contradiction of Gogol’s contemporary reality, the spiritual forces of the people and their enslavement.

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The composition of the poem “Dead Souls” “Introduction” to the poem, a sketch of everything that will subsequently be developed by the author (Chichikov’s arrival in the provincial town of N, meeting with officials, preparing the ground for the adventure). The depiction of the provincial city, within its boundaries, completes the description of the owners of the estates, but the central place is given to the depiction of the world of officials. A story about the life fate of the hero of the poem, Chichikov. A depiction of the life of Russian landowners. Chapter 1 The final lines of the poem are dedicated to his beloved homeland: Gogol the patriot sings of the greatness and strength of Russia. Chapter 11 Chapters 2-6 Chapters 7-10

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Genre originality of “Dead Souls” by L.N. Tolstoy: “Dead Souls” is not a novel, not a story - something completely original.” Gogol himself defined the genre of “Dead Souls” as a poem, thereby emphasizing the equality of the epic (narrative) and lyrical principles in his work. The task of the Epic part of the Lyrical part is to show “Although from one side all of Rus'.” Show the author's positive ideal.

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The purpose of the “negotiation” (wholesale purchase) of Chichikov’s scam had strong legal and economic grounds. He expected to receive “two hundred thousand in capital” from the board of trustees by mortgaging his peasants. The first stage of his activity is the acquisition of peasants. The cheapest ones turned out to be “dead souls” - deceased peasants who had not yet been included in the audit tales (an official document according to which landowners contributed the per capita tax of their peasants to the treasury). The census was carried out every 10-15 years. Mindful of the recent cholera epidemic in 1830, Chichikov rightly believed that officials would readily sell “dead souls” in order to avoid paying taxes on them. However, without the land, the deal would have been legally illegal, which is why the word “conclusion” appears in his conversations with city officials: the settlement and development of land in the southern provinces of Russia was encouraged in every possible way, and Chichikov’s move to the Kherson province looked quite plausible.

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Characters of the poem “My heroes follow one after another, one more vulgar than the other.” N.V. Gogol. Consistency in the depiction of the degradation of landowners in the poem. Degradation! Gradual deterioration leading to degeneration. Manilov. Box. Nozdrev. Sobakevich. Plyushkin.

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MANILOV Character Traits Projectionism (passion for unrealistic projects). Daydreaming. Lack of character. Sentimentality. Mismanagement.

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BOX Character traits Club-headedness. Petty fussiness. Ignorance. Hoarding (frugality of avarice).

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NOZDREV Character Traits Boasting. Disorder. Impudence. Fair heroism.

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SOBAKEVICH Character Traits Kulaks. Misanthropy. Obscurantism (reactionality, hostility to progress, culture, science). Coarseness. Stinginess.

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Presentation on literature on the topic: “Artistic features of the poem by N.V. Gogol’s “Dead Souls” - To print this presentation, you can download it for free. Download presentation

Artistic features of the poem by N.V. Gogol's "Dead Souls"
“Dead Souls” is a work by Nikolai Vasilyevich Gogol, the genre of which the author himself designated as a poem. It was originally conceived as a three-volume work. The first volume was published in 1842. The almost finished second volume was destroyed by Gogol himself, but several chapters survived in drafts. The third volume was conceived and not started, only some information about it remained.
Artistic features of the poem
Meaning of the name
Religious aspect: the soul lives even after death.
Moral aspect: landowners, officials, Chichikov have lost their souls and turned into “dead souls.”
Social aspect: “living souls” were preserved by some representatives of the people.
To understand the features of the genre of the poem “Dead Souls,” you can compare this work with the “Divine Comedy” of Dante, a poet of the Renaissance. Its influence is felt in Gogol's poem. The Divine Comedy consists of three parts. The first volume of “Dead Souls” seems to be ideologically correlated with “Hell”, the second with “Purgatory”, the third with “Paradise”.
A significant place in the poem “Dead Souls” is occupied by lyrical digressions and inserted episodes, which is characteristic of the poem as a literary genre. In them, Gogol touches on the most pressing Russian social issues. The author's thoughts about the high purpose of man, about the fate of the Motherland and the people are here contrasted with gloomy pictures of Russian life. Lyrical digressions give the poem depth, breadth, and lyricism.
Availability of artistic details
The presence of artistic details helps to characterize the characters. For example, Chichikov is accompanied by a britzka, a chest and a tailcoat.
Using insert sequences
The use of inserted episodes from “The Tale of Captain Kopeikin” introduces the theme of the “little man” and supreme power.
The reader cannot guess the end of the poem, because all its characters are derived according to the principle of gradation: one is worse than the other. For example, Manilov, if considered as a separate image, cannot be perceived as a positive hero, but in comparison with Plyushkin, Manilov even wins in many ways.
Gogol put the image of Korobochka in the center of attention, since she is a kind of unified beginning of all the characters.
Almost all the characters in the poem are static, they do not develop. This technique emphasizes once again that all these Manilovs, Korobochki, Sobakevichs, Plyushkins are dead souls.
Are there still “living souls” in the poem?
The talent and hard work of the Sobakevich men
Accuracy of the Russian word (chapter 5)
Depth and integrity of folk feelings (soulful song, chapter 11)
The generosity of the people's soul (the brightness of the people's fun, ch. 8)
The inexhaustibility of strength lies in the reluctance of the peasants to endure oppression (chapter 7)
The main theme of the poem is the fate of Russia: its past, present and future. In the first volume, Gogol revealed the theme of the past of his homeland. The second and third volumes he conceived were supposed to tell about the present and future of Russia. However, these plans were not destined to come true. The second volume was destroyed by Gogol himself, but several chapters survived in drafts, and the third was never written. Therefore, Chichikov’s trip remained a trip into the unknown.

Description:

The work contains a large number of lyrical digressions. The author expressed deep personal experiences and reflections in them. Lyrical digressions in “Dead Souls” create a unique mood and serve as a kind of commentary by Gogol on certain events. N.V. Gogol managed to achieve a unique narrative that keeps the reader in suspense throughout the entire book.

Study of the poem by N.V. Gogol's "Dead Souls" is one of the most difficult tasks in school literary education. The majority of methodologists and teachers came to this opinion. Therefore, creating a truly high-quality presentation on this topic is quite difficult.

The presentation “Dead Souls” presents all the compositional, linguistic and stylistic features of the poem. Despite the fact that the incompleteness of the work and the complex system of images complicate perception, presenting the material in an interesting form for students, that is, in the form of a powerpoint presentation, helps to understand the expressiveness and depth of the lyricism of the poem, and to experience the subtle meaning of the work.

The presentation on the topic “Dead Souls” was created in a thematic sequence, in which an important place is given to illustrative material: photographs, paintings, drawings.

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