Plyushkin's favorite expressions. Speech characteristics of the characters in the poem by N.V.

In one of his articles, Belinsky notes that “the author of Dead Souls does not speak himself anywhere, he only makes his heroes speak in accordance with their characters. He expresses sensitive Manilov in the language of a person educated in philistine taste, and Nozdryov in the language of a historical person. ..” The speech of Gogol’s heroes is psychologically motivated, determined by their characters, lifestyle, type of thinking, situation.

Thus, in Manilov the dominant features are sentimentality, daydreaming, complacency, and excessive sensitivity. These qualities of the hero are extraordinarily accurately conveyed in his speech, elegantly florid, courteous, “delicate”, “sugary-sweet”: “observe delicacy in your actions”, “magnetism of the soul”, “name day of the heart”, “spiritual pleasure”, “ such a guy”, “a most respectable and most amiable person”, “I don’t have the high art of expressing myself”, “chance brought me happiness.”

Manilov gravitates toward bookish, sentimental phrases; in the speech of this character we feel Gogol’s parody of the language of sentimental stories: “Open your mouth, darling, I’ll put this piece in for you.” This is how he addresses his wife. Manilov is no less “kind” with Chichikov: “you honored us with your visit,” “let me ask you to sit in these chairs.”

One of the main features of the landowner’s speech, according to V.V. Litvinov, is “its vagueness, confusion, uncertainty.” Starting a phrase, Manilov seems to be under the impression of his own words and cannot clearly finish it.

The hero’s speech style is also characteristic. Manilov speaks quietly, ingratiatingly, slowly, with a smile, sometimes closing his eyes, “like a cat whose ears have been lightly tickled with a finger.” At the same time, the expression on his face becomes “not only sweet, but even cloying, similar to that mixture that the clever secular doctor sweetened mercilessly.”

In Manilov’s speech, his claims to “education” and “culture” are also noticeable. Discussing the sale of dead souls with Pavel Ivanovich, he asks him a pompous and florid question about the legality of this “enterprise.” Manilov is very concerned about “whether this negotiation will not be in accordance with civil regulations and future views of Russia.” At the same time, he shows “in all the features of his face and in his compressed lips such a deep expression, which, perhaps, has never been seen on a human face, except on some too smart minister, and even then at the moment of the most puzzling matter.” .

The speech of Korobochka, a simple, patriarchal landowner mother, is also characteristic in the poem. The box is completely uneducated and ignorant. In her speech, colloquialisms constantly slip through: “something”, “theirs”, “manenko”, “tea”, “so hot”, “you’re putting up a fight.”

The box is not only simple and patriarchal, but timid and stupid. All these qualities of the heroine are manifested in her dialogue with Chichikov. Fearing deception, some kind of catch, Korobochka is in no hurry to agree to the sale of dead souls, believing that they might “somehow be needed on the farm.” And only Chichikov’s lies about running government contracts had an effect on her.

Gogol also depicts Korobochka’s inner speech, which conveys the landowner’s everyday intelligence, the very trait that helps her collect “little by little money into colorful bags.” “It would be nice,” Korobochka thought to herself, “if he took flour and cattle from my treasury. We need to appease him: there is still some dough left from last night, so go tell Fetinya to make some pancakes...”

Nozd-rev’s speech in “Dead Souls” is unusually colorful. As Belinsky noted, “Nozdryov speaks in the language of a historical man, a hero of fairs, taverns, drinking bouts, fights and gambling tricks.”

The hero's speech is very colorful and varied. It contains both “ugly Frenchized army-restaurant jargon” (“bezeshki”, “clique-matradura”, “burdashka”, “scandalous”), and expressions of card jargon (“banchishka”, “galbik”, “parole”, “break the bank”, “play with a doublet”), and dog breeding terms (“face”, “barrel ribs”, “busty”), and many swear expressions: “svintus”, scoundrel”, “you’ll get a bald devil”, “fetyuk” , “bestial”, “you’re such a cattle breeder”, “Jewish”, “scoundrel”, “death I don’t like such meltdowns”.

In his speeches, the hero is prone to “improvisation”: often he himself does not know what he can come up with in the next minute. So, he tells Chichikov that at dinner he drank “seventeen bottles of champagne.” Showing the guests the estate, he leads them to a pond where, according to him, there is a fish of such size that two people can hardly pull it out. Moreover, Nozdryov’s lie does not have any apparent reason. He lies “for the sake of words,” wanting to amaze those around him.

Nozdryov is characterized by familiarity: with any person he quickly switches to “you”, “affectionately” calling the interlocutor “sweetheart”, “cattle breeder”, “fetyuk”, “scoundrel”. The landowner is “straightforward”: in response to Chichikov’s request for dead souls, he tells him that he is a “big swindler” and should be hanged “on the first tree.” However, after this, Nozdryov, with the same “ardor and interest,” continues the “friendly conversation.”

Sobakevich’s speech is striking in its simplicity, brevity, and accuracy. The landowner lives alone and unsociable; he is skeptical in his own way, has a practical mind, and a sober view of things. Therefore, in his assessments of those around him, the landowner is often rude; his speech contains swear words and expressions. Thus, characterizing city officials, he calls them “swindlers” and “Christ-sellers.” The governor, in his opinion, is “the first robber in the world”, the chairman is a “fool”, the prosecutor is a “pig”.

As V.V. Litvinov notes, Sobakevich immediately grasps the essence of the conversation, the hero is not easily confused, he is logical and consistent in the argument. So, arguing for the price requested for dead souls, he reminds Chichikov that “this kind of purchase... is not always permissible.”

It is characteristic that Sobakevich is capable of a large, inspired speech if the subject of conversation is interesting to him. So, talking about gastronomy, he reveals knowledge of German and French diets, “hunger cure.” Sobakevich’s speech becomes emotional, figurative, and vivid when he talks about the merits of dead peasants. “Another swindler will deceive you, sell you rubbish, not souls; and I have a real nut”, “I’ll lay my head down if you can find such a guy anywhere”, “Maxim Telyatnikov, shoemaker: whatever pricks with an awl, then boots, whatever boots, then thank you.” Describing his “product”, the landowner himself is carried away by his own speech, acquires “trot” and “the gift of speech”.

Gogol also depicts Sobakevich’s inner speech and his thoughts. So, noting Chichikov’s “perseverance,” the landowner remarks to himself: “You can’t knock him down, he’s stubborn!”

The last of the landowners to appear in the poem is Plyushkin. This is an old curmudgeon, suspicious and wary, always dissatisfied with something. Chichikov's visit itself infuriates him. Not at all embarrassed by Pavel Ivanovich, Plyushkin tells him that “being a guest is of little use.” At the beginning of Chichikov's visit, the landowner talks to him warily and irritably. Plyushkin does not know what the guest’s intentions are, and just in case, he warns Chichikov’s “possible attempts”, remembering his beggar-nephew.

However, in the middle of the conversation the situation changes dramatically. Plyushkin understands the essence of Chichikov’s request and becomes indescribably delighted. All his intonations change. Irritation is replaced by outright joy, wariness - by confidential intonations. Plyushkin, who saw no use in visiting, calls Chichikov “father” and “benefactor.” Touched, the landowner remembers the “lords” and “saints”.

However, Plyushkin does not remain in such complacency for long. Unable to find clean paper to complete the deed of sale, he turns back into a grumpy, grumpy miser. He unleashes all his anger on the servants. In his speech, many abusive expressions appear: “what a face”, “fool”, “fool”, “robber”, “swindler”, “rascal”, “the devils will get you”, “thieves”, “shameless parasites”. The landowner’s vocabulary also includes the following colloquialisms: “bayut”, “boogers”, “hefty jackpot”, “tea”, “ehva”, “stuffed up”, “already”.

Gogol also presents us with Plyushkin’s inner speech, revealing the landowner’s suspicion and mistrust. Chichikov’s generosity seems incredible to Plyushkin, and he thinks to himself: “The devil knows, maybe he’s just a braggart, like all these little money-makers: he’ll lie, lie, to talk and drink tea, and then he’ll leave!”

Chichikov’s speech, like Manilov’s, is unusually elegant, florid, full of bookish phrases: “an insignificant worm of this world,” “I had the honor to cover your deuce.” Pavel Ivanovich has “excellent manners”; he can carry on any conversation - about a horse farm, and about dogs, and about refereeing tricks, and about playing billiards, and about making hot wine. He talks especially well about virtue, “even with tears in his eyes.” Chichikov’s conversational style itself is also characteristic: “He spoke neither loudly nor quietly, but absolutely as he should.”

It is worth noting the hero’s special maneuverability and mobility of speech. When communicating with people, Pavel Ivanovich masterfully adapts to each of his interlocutors. With Manilov, he speaks floridly, significantly, uses “vague periphrases and sensitive maxims.” “And really, what didn’t I suffer? like a barge

among the fierce waves... What persecution, what persecution he did not experience, what grief he did not taste, but for the fact that he observed the truth, that he was clear in his conscience, that he gave his hand to a helpless widow and a wretched orphan!.. - Even he is here! wiped away a tear that rolled out with a handkerchief.”

With Korobochka, Chichikov becomes a kind patriarchal landowner. “Everything is God’s will, mother!” - Pavel Ivanovich states thoughtfully in response to the landowner’s complaints about the numerous deaths among the peasants. However, having realized very soon how stupid and ignorant Korobochka is, he no longer stands on ceremony with her: “get lost and begone with your whole village,” “like some, not to say a bad word, mongrel lying in the hay: and She doesn’t eat it herself, and she doesn’t give it to others.”

In the chapter about Korobochka, Chichikov’s inner speech appears for the first time. Chichikov’s thoughts here convey his dissatisfaction with the situation, irritation, but at the same time the unceremoniousness and rudeness of the hero: “Well, the woman seems to be strong-headed!”, “Eck, what a clubhead!... Go and have fun with her! she broke into a sweat, the damned old woman!”

Chichikov speaks simply and laconically with Nozdryov, “trying to get on familiar footing.” He understands perfectly well that there is no need for thoughtful phrases and colorful epithets here. However, the conversation with the landowner leads nowhere: instead of a successful deal, Chichikov finds himself drawn into a scandal, which ends only thanks to the appearance of the police captain.

With Sobakevich, Chichikov at first adheres to his usual manner of conversation. Then he somewhat reduces his “eloquence.” Moreover, in Pavel Ivanovich’s intonations, while observing all external decency, one can feel impatience and irritation. So, wanting to convince Sobakevich of the complete uselessness of the subject of bargaining, Chichikov declares: “It’s strange to me: it seems that some kind of theatrical performance or comedy is happening between us, otherwise I can’t explain it to myself... You seem to be a pretty smart person, you know information about education."

The same feeling of irritation is present in the hero’s thoughts. Here Pavel Ivanovich is no longer shy about “more definite” statements and outright abuse. “What is he, really,” Chichikov thought to himself, “does he take me for a fool?” Elsewhere we read: “Well, damn him,” Chichikov thought to himself, “I’ll give him half a dime, for the dog’s nuts!”

In a conversation with Plyushkin, Chichikov returns to his usual courtesy and pompous statements. Pavel Ivanovich declares to the landowner that “having heard about his economy and rare management of his estates, he considered it his duty to make his acquaintance and personally pay his respects.” He calls Plyushkin “a venerable, kind old man.” Pavel Ivanovich maintains this tone throughout his conversation with the landowner.

In his thoughts, Chichikov discards “all ceremonies”; his inner speech is far from bookish and quite primitive. Plyushkin is unfriendly and inhospitable towards Pavel Ivanovich. The landowner does not invite him to dinner, citing the fact that his kitchen is “low, very nasty, and the chimney has completely fallen apart, if you start heating it, you’ll start a fire.” “Look there it is! - Chichikov thought to himself. “It’s good that I grabbed a cheesecake and a piece of lamb side from Sobakevich.” Asking Plyushkin about the sale of runaway souls, Pavel Ivanovich first refers to his friend, although he buys them for himself. “No, we won’t even let our friend smell this,” Chichikov said to himself...” Here the hero’s joy from a successful “deal” is clearly felt.

Thus, the speech of the heroes, along with the landscape, portrait, and interior, serves in the poem “Dead Souls” as a means of creating integrity and completeness of the images.

The hero's surname has become a household name for centuries. Even someone who has not read the poem represents a stingy person.

The image and characterization of Plyushkin in the poem “Dead Souls” is a character deprived of human traits, who has lost the meaning of the appearance of his light.

Character appearance

The landowner is over 60 years old. He is old, but he cannot be called weak and sick. How does the author describe Plyushkina? Stingily, like himself:

• An incomprehensible floor hidden under strange rags. Chichikov takes a long time to figure out who is in front of him: a man or a woman.
• Coarse gray hair sticking out like a brush.
• An insensitive and vulgar face.
• The hero’s clothing evokes disgust, one is ashamed to look at it, ashamed of a person dressed in something like a robe.

Relationships with people

Stepan Plyushkin reproaches his peasants for theft. There is no reason for this. They know their owner and understand that there is nothing left to take from the estate. Everything has been tidied up at Plyushkin's, rotting and deteriorating. Reserves are accumulating, but no one is going to use them. A lot of things: wood, dishes, rags. Gradually, the reserves turn into a pile of dirt and scrap. The heap can be compared to the trash heap collected by the owner of the manor's house. There is no truth in the landowner's words. People don't have time to steal and become a swindler. Due to unbearable living conditions, stinginess and hunger, men run away or die.

In relationships with people, Plyushkin is angry and grumpy:

Likes to argue. He quarrels with men, argues, and never immediately accepts the words spoken to him. He scolds for a long time, talks about the absurd behavior of his interlocutor, although he is silent in response.

Plyushkin believes in God. He blesses those who leave him on their journey, he is afraid of God’s judgment.

Hypocritical. Plyushkin tries to pretend to care. In fact, it all ends in hypocritical actions. The gentleman enters the kitchen, he wants to check if the courtiers are eating him, but instead he eats most of what he has cooked. Whether people have enough cabbage soup and porridge is of little interest to him, the main thing is that he is full.

Plyushkin does not like communication. He avoids guests. Having calculated how much his household loses when receiving them, he begins to stay away and abandons the custom of visiting guests and hosting them. He himself explains that his acquaintances fell out of touch or died, but what is more likely is that no one simply wanted to visit such a greedy person.

Character of the hero

Plyushkin is a character in whom it is difficult to find positive traits. He is completely permeated with lies, stinginess and sloppiness.

What traits can be identified in the character’s character:

Incorrect self-esteem. Behind the external good nature lies greed and a constant desire for profit.

The desire to hide your condition from others. Plyushkin becomes poor. He says he has no food when barns full of grain rot for years. He complains to the guest that he has little land and no patch of hay for the horses, but this is all a lie.

Cruelty and indifference. Nothing changes the mood of the stingy landowner. He does not experience joy, despair. Only cruelty and an empty, callous look are all that the character is capable of.

Suspicion and anxiety. These feelings develop in him at breakneck speed. He begins to suspect everyone of stealing and loses his sense of self-control. Stinginess occupies his entire essence.

The main distinguishing feature is stinginess. The curmudgeon Stepan Plyushkin is such that it is difficult to imagine unless you meet him in reality. Stinginess manifests itself in everything: clothes, food, feelings, emotions. Nothing in Plyushkin is fully manifested. Everything is hidden and hidden. The landowner saves money, but for what? Just to collect them. He does not spend either for himself, or for his relatives, or on the household. The author says that the money was buried in boxes. This attitude towards a means of enrichment is amazing. Only the miser from the poem can live from hand to mouth on sacks of grain, having thousands of serf souls and vast areas of land. The scary thing is that there are many such Plyushkins in Russia.

Attitude towards relatives

The landowner does not change in relation to his relatives. He has a son and a daughter. The author says that in the future his son-in-law and daughter will happily bury him. The hero's indifference is frightening. The son asks his father to give him money to buy uniforms, but, as the author says, he gives him “shish.” Even the poorest parents do not abandon their children.

The son lost at cards and again turned to him for help. Instead, he received a curse. The father never, even mentally, remembered his son. He is not interested in his life, fate. Plyushkin does not think whether his offspring are alive.

A rich landowner lives like a beggar. The daughter, who came to her father for help, takes pity on him and gives him a new robe. The 800 souls of the estate surprise the author. Existence is comparable to the life of a poor shepherd.

Stepan lacks deep human feelings. As the author says, feelings, even if they had the beginnings, “diminished every minute.”

A landowner living among garbage and rubbish is no exception, a fictional character. It reflects the reality of Russian reality. Greedy misers starved their peasants, turned into semi-animals, lost their human features, and aroused pity and fear for the future.

The image of Plyushkin is built on one leading feature: it is an all-encompassing and devastating passion - stinginess. Hence the unsociability, distrust of people, suspicion. Plyushkin is constantly in a state of irritation, ready to snap at every person. He sank to the point of losing his human image and turning into a “tear in humanity.” Gogol with unique skill conveys all these features in Plyushkin’s language. Almost nothing remains in it from its former cultural owner; its language is replete with colloquial expressions or abuse. His speech is terse and incoherent, sharply colored emotionally, since Plyushkin is constantly in a state of irritation. Irritation and hostility are felt in the following explanation between Plyushkin and Chichikov.

When Chichikov asks Plyushkin, whom he mistook for the housekeeper: “Where is it?” [master], Plyushkin answers biliously: What, father, are they blind or what?.. Ehwa! And I'm the owner!. When Chichikov considered it his duty to express respect to the owner, he “muttered something disapprovingly through his lips,” probably (Gogol suggests): Damn you and your respect. True, Plyushkin formally and politely addresses the guest with the words please kindly sit down, but immediately shows himself to be extremely inhospitable, speaking sharply negatively about hospitality in general: I see little use in them (the guests). They have established a very indecent custom of visiting each other, but there are omissions in the household, and feed their horses with hay. From the very first words, Plyushkin launches into grumbling complaints about shortcomings: My kitchen is so nasty, and the pipe has completely fallen apart. There's at least a tuft of hay on the whole farm. The land is small, the guy is lazy, doesn’t like to work, thinks like he’s going to a tavern. And he concludes pessimistically: Just look, you'll be walking around the world in your old age" The irritation of the gloomy miser Plyushkin, who does not trust people, can be heard in his next remark. When Chichikov noticed that Plyushkin, as he was told, had more than a thousand souls, he asked with some annoyance in his voice, increasingly turning into a rude tone: Who said this? And you, father, would spit in the eyes of the one who said this! He, the mockingbird, apparently wanted to joke with you. And the reluctance to show that he is still rich, and the distrust of the person, and petty resentment towards the guest’s questions turn out to be in his words. As soon as Chichikov asked in amazement: “A whole hundred and twenty?”, Plyushkin answered sharply and touchily: Father, I’m too old to lie: I’m living in my seventies! And although Chichikov immediately rushed to express condolences to Plyushkin, nevertheless the latter continues in the same unfriendly, irritable tone: But you can’t put condolences in your pocket, and in confirmation of his words, he biliously ridicules the condolences shown to him by the captain, who poses as a relative of Plyushkin. And only when Chichikov stunned his interlocutor by saying that he was “ready for a loss,” Plyushkin softens, expresses undisguised joy, and hears completely different words; “Oh, father! oh, my benefactor! They consoled the old man! Oh, my goodness! oh, you are my saints!” The joy that flashed on Plyushkin’s face instantly disappears, and again his speech is peppered with complaints about fate, complaints about his “people”: The clerks are so unscrupulous... I've been running around for a year now. The people are painfully gluttonous, out of idleness they have acquired the habit of eating, but I myself have nothing to eat. For the sake of my poverty they would have given me forty kopecks. Fasten two kopecks. And only at the moment of Chichikov’s departure, when Plyushkin received money from him, when the guest showed himself to be so well-mannered that he even refused tea, he finds a few polite words for him: Farewell, father, may God bless you! Plyushkin's suspicion is further manifested further, in his attitude towards Proshka, Mavra and the courtyard servants in general. .

Plyushkin's speech is replete with edifying maxims, which are the result of his many years of life experience, and his gloomy, grumpy character, and his extreme suspicion and curmudgeoning: You can't put condolences in your pocket. After all, no matter what you say, you cannot resist the word of God. You can recognize a person in good company anywhere: he doesn’t even eat, but he’s full.

Plyushkin turned into an unsociable misanthrope. He is distrustful of people. Characteristic are the epithets with which he defines people who, from his point of view, are unworthy: swindlers, thieves, scammers. Already in these very epithets one can see the miser. Plyushkin's speech is compressed, laconic, caustic, interspersed with many colloquial words and expressions, which makes it even more vivid and individualized. Here are some examples: Here they are; thousands of souls, and just count them, but you won’t count anything. It’s crazy that from that time on it will reach one hundred and twenty. Ehwa! And I am the owner! And such a bad joke that there would be at least a tuft of hay on the whole farm. He, the mockingbird, apparently wanted to joke with you. We were friends together and climbed fences together. The theater actress lured out (money). Boogers and all sorts of rubbish were stuffed. .

PLYUSHKIN is a character in the poem by N.V. Gogol’s “Dead Souls” (first volume, 1842, under the title “The Adventures of Chichikov, or Dead Souls”; second, volume 1842-1845).

Literary sources of the image of P. are images of misers from Plautus, J.-B. Molière, Shylock W. Shakespeare, Gobsek O. Balzac, Baron A.S. Pushkin, also, obviously, Prince Ramirsky from D.N. Begichev’s novel “Family” Kholmsky", Melmoth the Elder from C.R. Methurin's novel "Melmoth the Wanderer", Baron Baldwin Furenhoff from I.I. Lazhechnikov's novel "The Last Newcomer". The life prototype of P.’s image was probably the historian M.M. Pogodin. Gogol began writing a chapter about P. in the house of Pogodin, famous for his stinginess, near Moscow; Pogodin’s house was surrounded by a garden, which served as a prototype for P.’s garden (cf. A. Fet’s memoirs: “in Pogodin’s office there was unimaginable chaos. Here all kinds of ancient books lay in piles on the floor, not to mention hundreds of manuscripts with works begun, the places of which, as well as only Pogodin knew the banknotes hidden in various books.”) Gogol’s predecessor of P. is the image of Petromikhali (“Portrait”). P.'s surname is a paradoxical metaphor in which self-denial is embedded: the bun - a symbol of contentment, a joyful feast, cheerful excess - is contrasted with P.'s gloomy, decrepit, insensitive, joyless existence. The image of a moldy cracker left over from the Easter cake brought by P.'s daughter is identical to the metaphorical meaning his last name. P.’s portrait is created with the help of hyperbolic details: P. appears as a sexless creature, more like a woman (“The dress she was wearing was completely indefinite, very similar to a woman’s hood, there was a cap on her head...”), Chichikov takes P. for the housekeeper, since she has on her belt P. has the keys, and he scolds the man with “rather obscene words”; “the little eyes had not yet gone out and were running like mice”; “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 flaps dangling” (a comic doubling characteristic of Gogol); the back, stained with flour, “with a large hole lower down.” The fictitious image (hole, hole) becomes a common noun for the universal human type of miser: P. - “a hole in humanity.” The objective world around P. testifies to rottenness, decay, dying, and decline. Korobochka's thriftiness and Sobakevich's practical prudence in P. turns into the opposite - “into rot and a hole” (“luggage and stacks turned into pure manure, flour into stone; cloth and linens turned into dust). P.'s economy still maintains a grandiose scale: huge storerooms, barns, drying linens, cloth, sheepskins, dried fish, and vegetables. However, the bread is rotting in the storerooms, green mold covers the fences and gates, the log pavement moves “like piano keys,” there are dilapidated peasant huts all around, where “many roofs leak like a sieve,” two rural churches are empty. P.’s house is an analogue of the medieval castle of the miser from a Gothic novel (“This strange castle looked like some kind of decrepit invalid…”); it is completely filled with cracks, all the windows, except for the two “low-blind” windows behind which P. lives, are boarded up. The symbol of P.’s “heroic” stinginess, acquisitiveness taken to the extreme limit, is a giant castle in an iron loop on the main gate of P.’s house. The image of P.’s garden, through which the chisel of nature passed, making it a beautiful garden, contrasts with the image of the “decrepit castle "(hell) and is a prototype of P.'s appeal - Gogol's thought to resurrect P. from the dead in the 3rd volume of the poem, hinting at the “Garden of Eden.” On the other hand, in the description of P.’s garden there are metaphors with elements of P.’s real portrait (“thick stubble” of the “gray-haired chapyzhnik”), and “the neglected area of ​​the garden acts as a kind of emblem of a person who left his “spiritual economy” without care, according to Gogol” (E. Smirnova). The deepening of the garden, “yawning like a dark mouth,” also reminds of hell for those whose soul dies alive, which happens to P. From a zealous, exemplary owner, whose mills, fulling mills moved at a measured pace, cloth factories, carpenters worked looms, spinning mills,” P. transforms into a spider. At first, P. is a “hardworking spider”, busily running “at all ends of his economic web,” he is famous for his hospitality and wisdom, his pretty daughters and son, a broken boy who kisses everyone. (Compare with Nozdryov; symbolically Nozdryov is P.’s son, throwing his wealth to the wind.) After the death of his wife, the eldest daughter runs away with the headquarters captain - P. sends her a curse; P. refuses funds to his son, who became a military man and violated the will of his father, and also curses him; buyers, unable to bargain with P., stop buying goods from him. P.'s "spider" essence is evolving. P.’s things are deteriorating, time stops, eternal chaos freezes in P.’s rooms: “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 a web.” The concrete metonymy of P.’s image, separated from him like a soul from a dead body, is a worn cap on the table. Objects shrink, dry out, turn yellow: a lemon “no bigger than a hazelnut,” two feathers, “dried up, as if in consumption,” “a toothpick, completely yellowed, with which the owner, perhaps, picked his teeth even before the French invaded Moscow.” . A dusty heap in the corner, where P. drags all sorts of rubbish: a piece of wood he found, an old sole, an iron nail, a clay shard, a bucket stolen from a gaping woman - symbolizes the complete degradation of everything human.” In contrast to Pushkin's Baron, P. is depicted not surrounded by piles of chervonets, but against the background of decay that destroyed his wealth. “P.’s stinginess is like the other side of his falling away from people...” (E. Smirnova). P.'s mental abilities are also in decline, reduced to suspicion and insignificant pettiness: he considers the servants to be thieves and swindlers; compiling a list of “dead souls” on a quarter sheet of paper, he laments that it is impossible to separate another eighth, “sparingly molding line after line.” Delighted with Chichikov’s stupidity, P. remembers the hospitality and offers Chichikov a decanter of liqueur “in the dust, like in a sweatshirt” and a cracker from the Easter cake, from which he first orders the mold to be scraped off and the crumbs taken to the chicken coop. P.'s bureau, where he buries Chichikov's money, symbolizes the coffin where, in the depths of inert matter, his soul is buried, a spiritual treasure that died from money-grubbing (cf. the Gospel parable about a talent buried in the ground). Outstanding performers of the role of P. in dramatizations and film adaptations of the poem are L.M. Leonidov (MKhAT, 1932) and I.M. Smoktunovsky (1984). An incident in the artistic fate of this image was the fact that in R.K. Shchedrin’s opera “Dead Souls” (1977) the role of P. was intended for a singer (mezzo-soprano).

Plyushkin

Plyushkin
One of the heroes of the poem “Dead Souls” (1842) //. V. Gogol (1809-1852), obsessed with pathological stinginess, a passion for collecting and storing the most useless things that are “a pity to throw away.” A common noun for people of this type.

Encyclopedic Dictionary of winged words and expressions. - M.: “Locked-Press”. Vadim Serov. 2003.

See what “Plyushkin” is in other dictionaries:

Plyushkin: Plyushkin is a character in N.V. Gogol’s poem “Dead Souls.” Plyushkin, Alexander Moldavian cyclist. Plyushkin, Fedor Mikhailovich Russian collector. Plyushkin syndrome Pathological hoarding ... Wikipedia

Cm … Synonym dictionary

- (Plyushkin), (P capital), Plyushkina, husband. (bookish contempt). A person whose stinginess reaches the point of mania, to the extreme; Generally a miser. (After the name of the landowner Plyushkin, the protagonist of Gogol’s Dead Souls.) Ushakov’s Explanatory Dictionary. D.N. Ushakov. 1935... ... Ushakov's Explanatory Dictionary

LEADERS In Tsarist Russia there was an elected position of a representative of the nobility of the province or district - leader of the nobility. But the founder of this surname, of course, was not the leader; the nobles had their own hereditary surnames.... ... Russian surnames

A character in N.V. Gogol’s poem “Dead Souls” (first volume 1842, under the title “The Adventures of Chichikov, or Dead Souls”; second volume 1842 1845). Literary sources of the image of P. images of misers in Plautus, J. B. Moliere, Shylock W. Shakespeare, Gobsek O. Balzac ... Literary heroes

PLYUSHKIN- (lit. character) Be afraid of Pushkinists. / Old-brained Plyushkin, / holding a feather, / will climb / with the rusty one. / Also, they say, / among the Lefs / Pushkin appeared. NAR... Proper name in Russian poetry of the 20th century: dictionary of personal names

- (foreigner) stingy, miser, stingy Wed. The fraudulent housekeeper completely abandoned it (the liqueur) and didn’t even seal it, you scoundrel! Boogers and all sorts of rubbish were stuffed in there, but I took out all the rubbish and now it’s clean, I’ll pour you a glass.... ... Michelson's Large Explanatory and Phraseological Dictionary

Plyushkin (foreigner) stingy, miser, stingy. Wed. The fraudulent housekeeper completely abandoned it (the liqueur) and didn’t even cork it, you scoundrel! Bugs and all sorts of rubbish were stuffed in there, but I took out all the rubbish and now it’s clean, I tell you... ... Michelson's Large Explanatory and Phraseological Dictionary (original spelling)

M. 1. 2. Used as a symbol of an extremely stingy person, reaching the point of mania of stinginess. Ephraim's explanatory dictionary. T. F. Efremova. 2000... Modern explanatory dictionary of the Russian language by Efremova

Plyushkin- Plushkin, and... Russian spelling dictionary

Books

• Dead Souls (play), Nikolai Gogol. The following people worked on the audio play: Authors of the dramatization - Viktor Trukhan, Igor Zhukov Stage director - Viktor Trukhan Composer - Sandor Kallosh Sound director - Galina Zasimova Editor -... audiobook