Lyrical digression in the poem Dead Souls 2. Themes of lyrical digressions in the poem "Dead Souls"
“Dead Souls”- lyro- epic work- a poem in prose, which combines two principles: epic and lyrical. The first principle is embodied in the author's intention to draw "all Rus'", and the second - in the author's lyrical digressions related to his intention, which form an integral part of the work.
epic storytelling in Dead souls” is now and then interrupted by lyrical monologues of the author, evaluating the behavior of the character or reflecting on life, art, Russia and its people, as well as touching on topics such as youth and old age, the appointment of the writer, which help to learn more about spiritual world writer, about his ideals.
Highest value have lyrical digressions about Russia and the Russian people. Throughout the poem, the author's idea of in a positive way of the Russian people, which merges with the glorification and glorification of the motherland, which expresses the civil-patriotic position of the author.
So, in the fifth chapter, the writer glorifies the “live and lively Russian mind”, his extraordinary ability for verbal expressiveness, that “if he rewards an oblique word, then it will go to his family and offspring, he will drag him with him both to the service and to retirement , and to St. Petersburg, and to the ends of the world. Chichikov's reasoning was prompted by his conversation with the peasants, who called Plyushkin "patched" and knew him only because he fed his peasants poorly.
Gogol felt the living soul of the Russian people, their prowess, courage, diligence and love for free life. In this respect, the author's discourses, put into the mouth of Chichikov, about the serfs in the seventh chapter, are of profound significance. What appears here is not a generalized image of Russian peasants, but specific people with real features, written out in detail. This is the carpenter Stepan Cork - “a hero who would be fit for the guard”, who, according to Chichikov’s assumption, went all over Rus' with an ax in his belt and boots on his shoulders. This is the shoemaker Maxim Telyatnikov, who studied with a German and decided to get rich at once, making boots from rotten leather, which fell apart after two weeks. On this, he abandoned his work, took to drink, blaming everything on the Germans, who do not give life to the Russian people.
Further, Chichikov reflects on the fate of many peasants bought from Plyushkin, Sobakevich, Manilov and Korobochka. But here's the idea of "revelry folk life” did not coincide so much with the image of Chichikov that the author himself takes the floor and continues the story on his own behalf, the story of how Abakum Fyrov walks on the grain pier with barge haulers and merchants, having worked out “under one, like Rus', song”. The image of Abakum Fyrov indicates the love of the Russian people for a free, wild life, festivities and fun, despite the hard life of a serf, the oppression of landlords and officials.
In lyrical digressions appears tragic fate enslaved people, downtrodden and socially humiliated, which was reflected in the images of Uncle Mityai and Uncle Minya, the girl Pelageya, who could not distinguish where the right was, where the left was, Plyushkin's Proshka and Mavra. Behind these images and pictures of people's life lies the deep and broad soul of the Russian people.
Love for the Russian people, for the motherland, the patriotic and lofty feelings of the writer were expressed in the image of the troika created by Gogol, rushing forward, personifying the mighty and inexhaustible forces of Russia. Here the author thinks about the future of the country: “Rus, where are you rushing to?” He looks to the future and does not see it, but how true patriot believes that in the future there will be no manilovs, dogs, nostrils, plushkins, that Russia will rise to greatness and glory.
The image of the road in lyrical digressions is symbolic. This is the road from the past to the future, the road along which every person and Russia as a whole develops.
The work ends with a hymn to the Russian people: “Eh! troika! Threesome bird, who invented you? You could have been born among a lively people...” Here, lyrical digressions perform a generalizing function: they serve to expand the artistic space and to create a holistic image Rus'. They reveal the positive ideal of the author - Russia of the people, which is opposed to landowner-bureaucratic Rus'.
But, in addition to lyrical digressions, glorifying Russia and its people, there are reflections in the poem lyrical hero on philosophical themes, for example, about youth and old age, the vocation and appointment of a true writer, about his fate, which are somehow connected with the image of the road in the work. So, in the sixth chapter, Gogol exclaims: “Take it with you on the road, leaving the soft youthful years into severe hardening courage, take with you all human movements, don’t leave them on the road, don’t pick them up later!..” did the landowners described in the novel, becoming “ dead souls". They do not live, but exist. Gogol, on the other hand, calls to preserve a living soul, freshness and fullness of feelings, and to remain so for as long as possible.
Sometimes, reflecting on the transience of life, on changing ideals, the author himself appears as a traveler: “Before, long ago, in the summers of my youth ... it was fun for me to drive up to an unfamiliar place for the first time ... Now I indifferently drive up to any unfamiliar village and indifferently look at it vulgar appearance; my chilled gaze is unpleasant, it’s not funny to me ... and my motionless lips keep an indifferent silence. O my youth! O my freshness!”
To recreate the completeness of the image of the author, it is necessary to say about lyrical digressions in which Gogol talks about two types of writers. One of them “never changed the sublime structure of his lyre, did not descend from his top to his poor, insignificant fellows, and the other dared to call out everything that is every minute before the eyes and that indifferent eyes do not see.” The fate of a real writer who dared to truthfully recreate reality hidden from the eyes of the people is such that, unlike the romantic writer, absorbed in his unearthly and sublime images, he is not destined to achieve fame and experience joyful feelings when you are recognized and sung. Gogol comes to the conclusion that the unrecognized writer-realist, the writer-satirist will remain without participation, that "his field is harsh, and he bitterly feels his loneliness."
The author also speaks of “connoisseurs of literature” who have their own idea of the purpose of a writer (“Better present us with something beautiful and exciting”), which confirms his conclusion about the fate of two types of writers.
So, lyrical digressions take significant place in Gogol's poem Dead Souls. They are remarkable from the point of view of poetics. They guess the beginnings of a new literary style, which will later acquire bright life in Turgenev's prose and especially in Chekhov's work.
Genre uniqueness of "Dead Souls" is that it is a fairly large work in terms of volume - a poem in prose. The genre of the novel did not satisfy N.V. Gogol, since the novel is an epic work that reveals the story of fate specific person, and the author's intention was to show "all of Rus'".
In "Dead Souls" Gogol combines the lyrical and epic beginnings. The poetry of the work is given by lyrical digressions that are in each chapter of the poem. They introduce the image of the author, give the work depth, breadth, lyricism. The subject of lyrical digressions is varied. The author reflects on the gentlemen of the "middle hand", "about youth and youth", about city people, the fate of the writer in Russia. Particularly interesting are the reflections on the education of a well-aimed Russian word, about Russia, about “thick and thin”.
In the second chapter, where the story is told about Manilov and his wife, N.V. Gogol writes, in particular, about the kind of education girls receive in boarding schools. The ironic tone of the narration (“... in boarding schools ... three main subjects form the basis of human virtues: French necessary for the happiness of family life; a pianoforte to deliver pleasant moments to the spouse, and ... the actual economic part: knitting purses and other surprises") makes it clear to the reader that the author does not consider such a method of education to be correct. Evidence of the futility of such an upbringing is the image of Manilova: in their house “something was always missing: in the living room there was beautiful furniture, upholstered in smart silk fabric ... but it was not enough for two chairs, and the chairs were simply covered with matting .. . ”, “in the evening a very smart candlestick made of dark bronze with three antique graces, with a mother-of-pearl smart shield, was served on the table, and next to it was placed some kind of simply copper disabled person, lame, curled up on the side and all in sala..." The pastime of the spouses consists in long and languid kisses, preparing birthday surprises, etc.
In the fifth chapter, the word “patched,” which a simple peasant called Plyushkin, makes the author think about the accuracy of the Russian word: tribesmen, and all himself is a nugget, a lively and lively Russian mind that does not reach into his pocket for a word, does not hatch it like a hen chickens, but sticks it right away, like a passport on an eternal sock, and there is nothing to add later, what your nose or lips - you are drawn from head to toe with one line! The author plays well famous proverb: "Pronounced aptly, just like writing, is not cut down with an ax." Thinking about the peculiarities of other languages, Gogol sums up: “The word of the British will respond with heart-study and wise knowledge of life; The short-lived word of a Frenchman will flash and scatter like a light dandy; the German will intricately invent his own, not accessible to everyone, smart-but-thin word; but there is no word that would be so bold, brisk, so burst out from under my own heart, so seething and quivering, as aptly said Russian word».
The author's reflections on the subtlety of treatment expose sycophants who have a fantastic ability to determine their line of behavior, the manner of treating people of different social status (and he notes this feature exclusively among Russians). A prime example Such chameleonism is served by the behavior of Ivan Petrovich, the “ruler of the office,” who, when he is “among his subordinates, you simply cannot utter a word from fear! pride and nobility ... Pro-metheus, resolute Prometheus! He looks out like an eagle, performs smoothly, measuredly. But, approaching the chief's office, he is already "like a partridge in a hurry with papers under his arm ...". And if he is in society and at a party, where people are a little higher in rank, then “with Prometheus such a transformation will take place, which even Ovid will not invent: a fly, even less than a fly, was destroyed in a grain of sand!”.
At the conclusion of the first volume, the author's words about Russia sound like a hymn to the glory of the Motherland. The image of the irrepressible troika rushing along the road personifies Rus' itself: “Aren’t you, Rus', that lively irresistible trio are you rushing?" Genuine pride and love resound in these lines: “Rus, where are you rushing to? Give an answer. Doesn't give an answer. A bell is filled with a wonderful ringing; rumbles and becomes a wind torn into pieces of air; everything that is on the earth flies past, and looking askance, step aside and give it the way other peoples and states.
Lyrical digressions-- Very an important part any work. By the abundance of lyrical digressions, the poem "Dead Souls" can be compared with a work in verse by A.S. Pushkin "Eugene Onegin". This feature of these works is associated with their genres - a poem in prose and a novel in verse.
The lyrical digressions in "Dead Souls" are saturated with the pathos of affirming the high vocation of man, the pathos of great social ideas and interests. Does the author express his bitterness and anger at the insignificance of the characters shown to him, does he speak about the place of the writer in modern society whether he writes about the lively, lively Russian mind - the deep source of his lyricism is thoughts about service home country, about her destinies, her sorrows, her hidden, crushed gigantic forces.
Gogol created new type prose, in which the opposite elements of creativity - laughter and tears, satire and lyrics - are inextricably merged. Never before have they, as already established, met in one work of art.
The epic narrative in "Dead Souls" is continually interrupted by the author's excited lyrical monologues, evaluating the character's behavior or reflecting on life, on art. The true lyrical hero of this book is Gogol himself. We hear his voice all the time. The image of the author is, as it were, an indispensable participant in all the events taking place in the poem. He closely monitors the behavior of his characters and actively influences the reader. Moreover, the author's voice is completely devoid of didactics, because this image is perceived from within, as a representative of the same reflected reality as other characters in Dead Souls.
The lyrical voice of the author reaches the greatest tension on those pages that are directly dedicated to the Motherland, Russia. Another theme is woven into Gogol's lyrical thoughts - the future of Russia, its own historical destiny and place in the fate of mankind.
Passionate lyrical monologues of Gogol were the expression of his poetic dream of undistorted, correct reality. They revealed poetic world, in contrast to which the world of profit and self-interest was even more sharply exposed. Gogol's lyrical monologues are an assessment of the present from the standpoint of the author's ideal, which can only be realized in the future.
Gogol in his poem appears, first of all, as a thinker and contemplator, trying to unravel the mysterious bird-troika - the symbol of Rus'. The two most important themes of the author's reflections - the theme of Russia and the theme of the road - merge in a lyrical digression: “Aren't you, Rus, that a lively, unhindered troika rushing about? ...Rus! where are you going? Give an answer. Gives no answer."
The theme of the road is the second most important theme of Dead Souls, connected with the theme of Russia. The road is an image that organizes the whole plot, and Gogol introduces himself into lyrical digressions as a man of the path. “Before, a long time ago, in the summers of my youth ... it was fun for me to drive up to an unfamiliar place for the first time ... Now I indifferently drive up to any unfamiliar village and indifferently look at its vulgar appearance; my chilled gaze is uncomfortable, it’s not funny to me, .. and an indifferent silence is kept by my motionless lips. O my youth! O my conscience!
Of greatest importance are lyrical digressions about Russia and the Russian people. Throughout the poem, the author's idea of a positive image of the Russian people is affirmed, which merges with the glorification and glorification of the motherland, which expresses the civil-patriotic position of the author: real Russia- these are not sobakevichi, nostrils and boxes, but the people, the people's element. So, in the fifth chapter, the writer glorifies the “live and lively Russian mind”, his extraordinary ability for verbal expressiveness, that “if he rewards an oblique word, then it will go to his family and offspring, he will drag him with him both to the service and to retirement , and to St. Petersburg, and to the ends of the world. Chichikov's reasoning was prompted by his conversation with the peasants, who called Plyushkin "patched" and knew him only because he fed his peasants poorly.
In close contact with lyrical statements about the Russian word and popular character there is also the author's digression, which opens the sixth chapter.
The story about Plyushkin is interrupted by the angry words of the author, which have a deep generalizing meaning: “And a person could descend to such insignificance, pettiness, filth!”
Gogol felt the living soul of the Russian people, their boldness, courage, diligence and love for a free life. In this respect, the author's discourses, put into the mouth of Chichikov, about the serfs in the seventh chapter, are of profound significance. What appears here is not a generalized image of Russian peasants, but specific people with real features, written out in detail. This is the carpenter Stepan Cork - "a hero who would be fit for the guard", who, according to Chichikov's assumption, went all over Rus' with an ax in his belt and boots on his shoulders. This is the shoemaker Maxim Telyatnikov, who studied with a German and decided to get rich at once, making boots from rotten leather, which fell apart after two weeks. On this, he abandoned his work, took to drink, blaming everything on the Germans, who do not give life to the Russian people.
In lyrical digressions, the tragic fate of a enslaved people, downtrodden and socially humiliated, appears, which is reflected in the images of Uncle Mitya and Uncle Minya, the girl Pelageya, who could not distinguish where the right is, where the left is, Plyushkin's Proshka and Mavra. Behind these images and pictures of people's life lies the deep and broad soul of the Russian people.
The image of the road in lyrical digressions is symbolic. This is the road from the past to the future, the road along which every person and Russia as a whole develops.
The work ends with a hymn to the Russian people: “Eh! troika! Threesome bird, who invented you? You could have been born among a lively people...” Here, lyrical digressions perform a generalizing function: they serve to expand the artistic space and to create a holistic image of Rus'. They reveal the positive ideal of the author - Russia of the people, which is opposed to landowner-bureaucratic Rus'.
To recreate the completeness of the image of the author, it is necessary to say about lyrical digressions in which Gogol talks about two types of writers. One of them “never changed the sublime structure of his lyre, did not descend from his top to his poor, insignificant fellows, and the other dared to call out everything that is every minute in front of his eyes and that indifferent eyes do not see” .
The fate of a real writer who dared to truthfully recreate reality hidden from the eyes of the people is such that, unlike the romantic writer, absorbed in his unearthly and sublime images, he is not destined to achieve fame and experience joyful feelings when you are recognized and sung. Gogol comes to the conclusion that the unrecognized realist writer, the satirist writer will remain without participation, that "his field is harsh, and he bitterly feels his loneliness."
Throughout the poem, lyrical passages are interspersed with great artistic tact. At first, they are in the nature of the author's statements about his characters, but as the action unfolds, their inner theme becomes broader and more multifaceted.
It can be concluded that the lyrical digressions in "Dead Souls" are saturated with the pathos of affirming the high vocation of man, the pathos of great social ideas and interests. Whether the author expresses his bitterness and anger at the insignificance of the heroes shown by him, whether he speaks about the place of the writer in modern society, whether he writes about the lively, lively Russian mind - the deep source of his lyricism is thoughts about serving his native country, about its fate, her sorrows, her hidden, crushed gigantic powers.
So, art space The poems "Dead Souls" make up two worlds, which can be designated as the real world and the ideal world. Real world Gogol builds, recreating the reality of his time, revealing the mechanism of distortion of a person as a person and the world in which he lives. The ideal world for Gogol is the height to which the human soul aspires, but due to its damage by sin, it does not find the way. In fact, all the heroes of the poem are representatives of the anti-world, among which the images of landowners, led by the main character Chichikov, are especially vivid. deep meaning The title of the work Gogol gives the reader an angle of reading his work, the logic of seeing the characters he created, including the landowners.
Kozak Nadezhda Vasilievna, teacher of Russian language and literature
MBOU "Secondary School No. 2", Tarko-Sale, the highest category.
YNAO, Purovsky district, Tarko-Sale.
Lyrical digressions in N.V. Gogol's poem "Dead Souls".
Goals: to form the ability of commented and analytical reading;
improve the skills of understanding the ideological and artistic meaning of lyrical digressions as integral plot and compositional elements, expressive means of depicting the image of the author, expressing his position;
develop proficiency in reading;
cultivate love and interest in literature.
Equipment: portrait n. V. Gogol, presentation, tables for work on SHV.
Behind dead souls are living souls.
A. I. Herzen
(1 slide)
DURING THE CLASSES
I. Organizational moment.
1. Greeting the teacher.
(2nd slide) Hello guys. Today at the lesson we are finishing the study of N.V. Gogol's poem "Dead Souls". This does not mean that we will put an end to acquaintance with the work and personality of the writer. What sign we will close the conversation will be decided at the end of the lesson.
Let's remember howN.V. Gogol began to work on the creation of "Dead Souls" in 1835.
(Slide 3) But soon after the production of The Inspector General, hunted down by the reactionary press, Gogol left for Germany. Then he travels to Switzerland and France, continuing to work on
"Dead Souls"During his visit to Russia in 1839-40s, he read to his friends chapters from the first volume of Dead Souls, which was completed in Rome in 1840-41.. (
4 slide) It is known that the writer planned to create a large poem similar to Dante's Divine Comedy. The first part (volume 1) of it was supposed to correspond to "Hell", the second (volume 2) - to "Purgatory", the third (volume 3) - to "Paradise". The writer thought about the possibility of Chichikov's spiritual revival.
2. Recording the date, topic of the lesson, epigraph in a notebook.
keywords in our conversation will be todaywords from the topic title.
II. The main part of the lesson.
(5 slide) The book "Dead Souls" by Gogol can rightly be called a poem. This right is given by special poetry, musicality, expressiveness of the language of the work, saturated with such figurative comparisons and metaphors, which can only be found in poetic speech. And most importantly - the constant presence of the author makes this work lyrical-epic.
(6 slide) Lyrical digressions permeate the entire artistic canvas of "Dead Souls". It is lyrical digressions that determine the ideological and compositional and genre originality Gogol's poems, its poetic beginning, associated with the image of the author. As the plot develops, new lyrical digressions appear, each of which clarifies the thought of the previous one, develops new ideas, and more and more clarifies the author's intention.
It is noteworthy that "dead souls" are saturated with lyrical digressions unevenly. Until the fifth chapter, only minor lyrical insertions come across, and only at the end of this chapter does the author place the first major lyrical digression about "a myriad of churches" and how "the Russian people express themselves strongly."
III. Research conversation based on the implementation of individual homework
1. Quick survey
Students talk about the theme of lyrical digressions.
(7 slide) Lyrical digression - an extra-plot element of the work; compositional and stylistic device, which consists in the author's retreat from the direct plot narrative; author's reasoning, reflection, statement expressing attitude to the depicted or having an indirect relation to it. Lyrically, the digressions in Gogol's poem "Dead Souls" bring a life-giving, refreshing beginning, set off the content of the pictures of life that appear before the reader, and reveal the idea.
2. Comparative work with a reference table
(8 slide) Lyrical digressions in the poem n. V. Gogol "Dead Souls"
Chapter 1 About "thick" and "thin".
Chapter 2 About what characters are easier for a writer to portray.
Chapter 3 On the various shades and subtleties of treatment in Rus'.
Chapter 4 About gentlemen of a large and average hand; about the vitality of the nostrils.
Chapter 5 About the "smart, lively Russian word."
Chapter 6 About the departing life, youth, lost "youth and freshness"; "terrible", "inhuman" old age.
Chapter 7 About two types of writers and the fate of the satirist writer; the fate of the peasants bought by Chichikov.
Chapter 11 Appeal to Rus'; thoughts about the road, about why the author could not take a virtuous person as a hero; "Rus is a troika bird".
"About thick and thin officials" (ch. 1); the author resorts to a generalization of the images of civil servants. Greed, bribery, servility are their characteristic features. Seeming at first glance, the opposition of thick and thin actually reveals common negative traits and those and others.
"On the Shades and Subtleties of Our Appeal" (ch. 3); it speaks of fawning over the rich, servility, self-humiliation of officials before superiors and an arrogant attitude towards subordinates.
4. Ideological and thematic analysis of the lyrical digression.
About the "smart, lively Russian word"
What does the “smart, lively Russian word” testify to?
How does it characterize the people?
Why does Gogol place this digression at the end of the fifth chapter, Dedicated to Sobakevich?
Conclusion. Language, the word reveals the essential features of the character of each people. The “smart” Russian word reveals the lively and lively mind of the people, their observation, the ability to aptly and accurately characterize the whole person in one word. It is evidence of the living soul of the people, not killed by oppression, a guarantee of its creative forces and abilities.
"On the Russian people and their language" (5ch); the author notes that the language, speech of the people reflects its national character; a feature of the Russian word and Russian speech is amazing accuracy.
“About two types of writers, about their destinies and destinies” (ch. 7); the author contrasts the realist writer and the writer romantic direction, indicates character traits creativity of the romantic writer, speaks of the wonderful destiny of this writer. With bitterness, Gogol writes about the lot of a realist writer who dared to portray the truth. Reflecting on the realist writer, Gogol determined the meaning of his work.
“Much has happened in the world of delusions” (Ch. 10); a lyrical digression about the world chronicle of mankind, about his delusions is a manifestation of the Christian views of the writer. All of humanity has gone off the straight path and is standing on the edge of the abyss. Gogol points out to everyone that the direct and bright path of mankind consists in following moral values embedded in Christian doctrine.
"About the expanses of Rus', national character and about the bird troika”; the final lines of "Dead Souls" are connected with the theme of Russia, with the author's reflections on the Russian national character, on the Russia-state. IN symbolically Three birds expressed Gogol's faith in Russia as a state to which a great historical mission was destined from above. At the same time, one can trace the idea of the originality of Russia's path, as well as the idea of the difficulty of foreseeing specific forms of Russia's long-term development.
3. Statement of a problem question.
Teacher. Why did the writer need lyrical digressions?
What caused their need for an epic work written in prose?
The widest range of the author's moods is expressed in lyrical digressions.
Admiration for the accuracy of the Russian word and the briskness of the Russian mind at the end of Chapter 5 is replaced by a sad and elegiac reflection on the outgoing youth and maturity, about the “loss of living movement” (the beginning of the sixth chapter).
(Slide 9) At the end of this digression, Gogol directly addresses the reader: “Take with you on the road, leaving your soft youthful years into severe, hardening courage, take with you all human movements, do not leave them on the road, you will not pick them up later! Terrible, terrible is the coming old age ahead, and gives nothing back and back!
(10 slide) 4. An expressive prepared reading of an excerpt about Rus' - a “troika bird” and an analyzing conversation on it.
Very important in lyrical digressions is the image of the road passing through the whole work.
(11 slide) - What do the expressions “singing voice”, “horses stirred”, “light britzka” mean?
How is the breadth of the Russian soul revealed, its desire for rapid movement? What visual means Is this movement conveyed by the writer, more like a flight?
What does the comparison of the troika with the bird mean? Make an associative series for the word "bird".
(Bird - flight, height, freedom, joy, hope, love, future ...)
Open the metaphorical image of the road? What other images have a metaphorical meaning?
Why Gogol to his question: "Rus, where are you rushing to?" - does not receive a response?
What does Gogol mean when he says: "... other peoples and states look sideways and give her way"?
Conclusion. So the two most important themes of the author's reflections - the theme of Russia and the theme of the road - merge in a lyrical digression, which completes the first volume of the poem. "Rus-troika", "all inspired by God", appears in it as a vision of the author, who seeks to understand the meaning of its movement; "Rus, where are you going? Give an answer. Doesn't give an answer."
(12 slide) Lyrical digressions not only expand and deepen its meaning, revealing the grandiose appearance of "all Rus'", but also help to more clearly present the image of its author - a true patriot and citizen. It was the lyrical pathos of affirming the great creative forces of the people and faith in the happy future of the motherland that gave him reason to call his work a poem.
Exercise. Now we will break up with you into pairs, in front of each pair on the desk there is a table with a task. Your task in 3-5 minutes is to add to the table the means of expression that the author used in a certain digression.
This activity will help you review and reflect on the impact artistic means not only in poetic, but also in epic works. We are preparing for the exam in the GIA format, in part A there is a task related to finding a means of expression. Today's work will help, I hope, to find and distinguish between paths and figures better and more clearly.
Let's see what you got. Read your passages, give examples of the means of expression offered to you.
So what did Gogol want to tell us in his digressions? The question, like all questions, to which we probably will not give a direct answer, just as Gogol could not give an answer to many questions posed in the poem.
Gogol's reflections on the fate of the people are inseparable from reflections on the fate of the motherland. Tragically experiencing the situation of Russia, given over to the power of "dead souls", the writer turns his bright and optimistic hopes to the future. But, believing in the great future of the motherland, Gogol, however, did not clearly imagine the path that should lead the country to power and prosperity.
(Slide 13) He appears in lyrical digressions as a prophet bringing the light of knowledge to people: “Who, if not the author, should tell the holy truth?”
But, as it is said, there are no prophets in their own country. The author's voice, sounded from the pages of the lyrical digressions of the poem "Dead Souls", was heard by few of his contemporaries, and even less understood. Gogol later tried to convey his ideas in the artistic and journalistic book "Selected passages from correspondence with friends", and in the "Author's confession", and - most importantly - in subsequent volumes of the poem. But all his attempts to reach the minds and hearts of his contemporaries were in vain. Who knows, maybe only now the time has come to discover the real Gogol's word, and it is up to us to do this.
your home. the task will be to answer the question: how do I imagine N.V. Gogol after reading the poem "Dead Souls"?
1 group. Lyrical digression in chapter 6, beginning, with the words: “Before, long ago, in the summer ... it amazed me ...”
following something
(words in a sentence, plot elements).
2Repetitions (repetitions of words or
single-root words, roots).
3 Appeals, exclamations.
4Parcellation (the method of dividing a phrase into
parts or even separate words in the form
independent incomplete sentence.
Its purpose is to give speech intonation
expression by
5 nominal sentences.
6Synonyms
7Antonyms (words with opposite meanings).
8Homogeneous members (syntactic means:
words with the meaning of listing facts,
events).
9Comparisons (one item is compared
with another).
10 Metaphorical epithets (metaphor -
to the subject).
11Sound: alliteration (repetition
identical or homogeneous consonants).
12Sound: Assonance (consonance of vowel sounds).
2 group. Lyrical digression in chapter 5 with the words: “It is expressed strongly Russian people!»
Expressive means Examples
1Inversion - changing the usual order
plot elements).
2 Repetitions (repetitions of words
or single-root words, roots).
3 Appeals, exclamations.
4 Gradation.
5 Synonyms (words that are close in meaning).
art medium,
use of the word in figurative meaning
to define something or
a phenomenon similar to it in certain features
or
relation to the subject).
8Space.
9 Phraseologisms.
3rd group. A lyrical digression in chapter 11 with the words: “And what kind of Russian does not like fast driving! ... For a month, some seem to be motionless.”
Expressive means Examples
1Inversion - changing the usual order
following something (words in a sentence,
plot elements).
2Repetitions (repetitions of words or
single-root words, roots).
3 Appeals, exclamations.
4 Synonyms (words that are close in meaning).
5 Gradation.
6 Personifications (inanimate object
endowed with living qualities).
7 Metaphorical epithets (metaphor -
art medium,
use of the word in a figurative sense
to define something or
a phenomenon similar to it in certain features
or parties; epithet - colorful adjective,
relation to the subject).
8Space.
9 Rhetorical questions.
10 Antonyms.
11Parcellation (reception of dismemberment
her abrupt pronunciation).
4 group. Lyrical digression in chapter 11 with the words: “Oh, troika! Bird - troika yes drills the air.
Expressive means Examples
1Inversion is a change in the usual
order of things (words)
in a sentence, plot elements).
2Repetitions (repetitions of words or
single-root words, roots).
3 Appeals, exclamations.
4Hyperbole.
5 Gradation.
6 Personifications (inanimate object
endowed with living qualities).
7 Metaphorical epithets (metaphor -
art medium,
use of the word in a figurative sense
to define something or
a phenomenon similar to it in certain features
or parties; epithet - colorful adjective,
relation to the subject).
8Space.
9 Rhetorical questions.
10 Sayings, catchphrases.
11 Parceling. (Reception of dismemberment of the phrase
into parts or even single words
in the form of an independent incomplete sentence.
Its purpose is to give speech intonational expression.
by its abrupt pronunciation).
12 Anaphora (the same beginning of sentences).
5 group. A lyrical digression in chapter 11 with the words: “Isn’t it you, Rus', that is lively ...”
Expressive means Examples
1Repetitions (repetitions of words or
single-root words, roots).
2 Appeals, exclamations.
3Synonyms.
4 Metaphorical epithets (metaphor -
art medium,
use of the word in a figurative sense
to define something
or a phenomenon similar to it
features or sides; epithet - colorful
adjective that expresses
5 Rhetorical questions.
phrases into parts or even separate
words in the form of an independent incomplete
offers. Its purpose is to give speech
intonation expression through its
abrupt pronunciation.)
7 Anaphora (the same beginning
suggestions).
6 group. Lyrical digression in chapter 11 with the words: “Rus! Rus!…"
Expressive means Examples
1 Personifications.
2 Appeals, exclamations.
3 Repetitions.
4 Metaphorical epithets
parties; epithet - colorful adjective,
relation to the subject).
5 Rhetorical questions.
6Parcellation. (Reception of dismemberment
phrases into parts or even separate
words in the form of an independent incomplete
offers. Its purpose is to give speech
intonation expression through
her abrupt pronunciation).
7 Anaphora (the same beginning
suggestions).
7 group 1 chapter "About thick and thin."
Expressive means Examples
1Repetitions (repetitions of words or
single-root words, roots).
2 Metaphorical epithets
(metaphor is a means of artistic
figurativeness, word usage
in a figurative sense to define
any object or phenomenon
similar to him in certain features or
parties; epithet - colorful adjective,
relation to the subject).
3 Appeals, exclamations.
4Synonyms, antonyms
5 Rhetorical questions,
Exclamations.
6. Antithesis (opposition)
Gogol had long dreamed of writing a work "in which all of Rus' would appear." It was supposed to be a grandiose description of the life and customs of Russia in the first third of the 19th century. Such a work was the poem "Dead Souls", written in 1842.
Why did Gogol call his work a poem? The definition of the genre became clear to the writer only at the last moment, since, while still working on the poem, Gogol calls it either a poem or a novel. The genre of the novel did not satisfy N.V. Gogol, since the novel is an epic work that reveals the story of the fate of a particular person, and the author's intention was to show "all of Russia." Genre uniqueness of "Dead Souls" is that it is a rather large work in terms of volume - a poem in prose.
To understand the features of the genre of the poem "Dead Souls", you can compare this work with the "Divine Comedy" by Dante, a poet of the Renaissance. Her influence is felt in Gogol's poem. " The Divine Comedy"consists of three parts. In the first part, the shadow of the ancient Roman poet Virgil appears to the poet, which accompanies the lyrical hero to hell, they go through all the circles, a whole gallery of sinners passes before their eyes. The fantasy of the plot does not prevent Dante from revealing the theme of his homeland - Italy, her fate. In fact, Gogol conceived to show the same circles of hell, but the hell of Russia. No wonder the title of the poem "Dead Souls" ideologically echoes the title of the first part of Dante's poem "The Divine Comedy", which is called "Hell". Along with satirical denial, Gogol introduces an element glorifying, creative - the image of Russia. With this image is connected the "high lyrical movement", which in the poem sometimes replaces the comic narrative.
A significant place in the poem "Dead Souls" is occupied by lyrical digressions and insert episodes which is characteristic of the poem as a literary genre. In them, Gogol touches on the sharpest Russian public issues. The author's thoughts about the high purpose of man, about the fate of the Motherland and the people are contrasted here with the gloomy pictures of Russian life.
Lyrical digression- extra-plot element of the work; compositional and stylistic device, which consists in the author's retreat from the direct plot narrative; copyright reasoning, reflection, statement, expressing attitude to the depicted or having an indirect relation to it. It can take the form of memoirs, addresses of the author. It is used in epic or lyrical-epic works.
Lyrical digressions give the author the opportunity to communicate directly with the reader. Their excitement, sincerity have a special power of persuasion. At the same time, the lyricism of digressions does not mean that the writer closes himself in the world of his own "I" only: they convey thoughts, feelings, and moods that are important for everyone. The generally significant content is usually expressed in them on behalf of a narrator or a lyrical hero, embodying the typical position of a contemporary, his views and feelings.
In "Dead Souls" Gogol combines the lyrical and epic beginnings. The poetry of the work is given by lyrical digressions that are in each chapter of the poem. They introduce the image of the author, give the work depth, breadth, lyricism. The subject of lyrical digressions is diverse. The author reflects on the gentlemen of the "middle hand", "about youth and youth", about city people, the fate of the writer in Russia. Particularly interesting are reflections on education, the well-aimed Russian word, about Russia, about “thick and thin”.
In the second chapter, where the story is told about Manilov and his wife, N.V. Gogol writes, in particular, about what kind of upbringing girls receive in boarding schools. The ironic tone of the narration (“... in pensions ... three main subjects form the basis of human virtues: the French language, which is necessary for the happiness of family life; the piano, for delivering pleasant moments to the spouse, and ... the actual economic part: knitting surprises") makes it clear to the reader that the author does not consider this method of education correct. The proof of the futility of such upbringing is the image of Manilova: in their house “something was always missing: in the living room there was beautiful furniture, covered with smart silk fabric ... but it was not enough for two chairs, and the chairs were simply covered with matting ...”, “ in the evening, a very smart candlestick made of dark bronze with three antique graces, with a mother-of-pearl smart shield, was served on the table, and next to it was placed some kind of simply copper invalid, lame, curled up on the side and all in fat ... ". The pastime of the spouses consists in long and languid kisses, preparing birthday surprises, etc.
In the fifth chapter, the word "patched", which a simple peasant called Plyushkin, makes the author think about the accuracy of the Russian word. The author plays on a well-known proverb: "What is said aptly, like writing, is not cut down with an axe." Reflecting on the peculiarities of other languages, Gogol sums up: “... there is no word that would be so bold, brisk, so burst out from under the very heart, so seething and vibrant, like the aptly spoken Russian word.”
The author's reflections on the subtlety of conversion expose sycophants, who have a fantastic ability to determine their line of behavior, the manner of treating people of different social status (and he notes this feature exclusively among Russians). A vivid example of such chameleonism is the behavior of Ivan Petrovich, the “ruler of the office,” who, when he is “among his subordinates, you simply cannot utter a word out of fear! pride and nobility... Prometheus, resolute Prometheus! He looks out like an eagle, performs smoothly, measuredly. But, approaching the chief's office, he is already "like a partridge in a hurry with papers under his arm ...". And if he is in society and at a party, where people are a little higher in rank, then “with Prometheus such a transformation will take place, which even Ovid will not invent: a fly, even less than a fly, was destroyed in a grain of sand!”.
After visiting Nozdreva Chichikov meets a beautiful blonde on the road. The description of this meeting ends with a remarkable digression: “... everywhere at least once on the way a person will meet a phenomenon that is not like everything that he happened to see before, which will awaken in him a feeling at least once, unlike those that he is destined to feel all his life. But all this is completely alien to Chichikov: his cold discretion is here compared with the direct manifestation of human feelings.
At the end of the fifth chapter"lyrical digression" has a completely different character. Here the author is no longer talking about the hero, not about the attitude towards him, but about the mighty Russian man, about the talent of the Russian people. Outwardly, this “lyrical digression” seems to have little to do with the entire previous development of the action, but it is very important for revealing the main idea of the poem : genuine Russia- these are not dogs, nostrils and boxes, but the people, the element of the people.
At the conclusion of the first volume, the author's words about Russia sound like a hymn to the glory of the Motherland. The image of the irrepressible troika rushing along the road personifies Rus' itself:
BY HEART:
“Isn’t it true that you too, Rus', that a brisk, unbeatable troika are rushing about? The road smokes under you, the bridges rumble, everything lags behind and is left behind. The contemplator, struck by God's miracle, stopped: is it not lightning thrown from the sky? what does this terrifying movement mean? and what kind of unknown power lies in these horses unknown to the light? Oh, horses, horses, what horses! Are whirlwinds sitting in your manes? Does a sensitive ear burn in every vein of yours? They heard a familiar song from above, together and at once strained their copper breasts and, almost without touching the ground with their hooves, turned into only elongated lines flying through the air, and all inspired by God rushes! .. Rus', where are you rushing to? Give an answer. Doesn't give an answer. A bell is filled with a wonderful ringing; the air torn to pieces rumbles and becomes the wind; everything that is on the earth flies past, and, looking sideways, step aside and give it the way other peoples and states.
