Description of the street landscape in the poem dead souls. Description of nature in N.V. Gogol's poem "Dead Souls"

It is quite difficult for an inexperienced reader to feel the beauty of the works of N.V. Gogol. Reading “Dead Souls” for the first time, I simply followed the development of the plot, the author’s and speech characteristics of the characters and could not understand what was the secret of Gogol’s prose, why for two centuries it continues to excite and attract readers. But later, reading the lines of the poem, I saw that the world created by the writer on the pages of Dead Souls is full of amazing artistic details that Gogol saw through the eye of an artist. And Gogol's world came to life, sparkled with all the colors, awakening in the soul either joy, or bitterness, or compassion, or hatred.
Here is Manilov's office in front of us, in which lies a book that has been opened for two years at the fourteenth page, as faceless as its owner. The symbols of the boring and slovenly dreamer Manilov are the fat green duckweed on the pond, and the gazebo with blue columns and the pretentious inscription “Temple of Solitary Reflection”, and the details of the furnishings of the house, in which something was always missing. Beautiful furniture, upholstered in beautiful silk fabric, is adjacent to two armchairs covered with simple matting, and smart candlesticks made of dark bronze with three antique graces are adjacent to a lame copper invalid, curled up on the side. All these details perfectly confirm Gogol's words about Manilov: this is a man "so-so, neither this nor that, neither in the city of Bogdan, nor in the village of Selifan." His plans for upholstering armchairs and furnishing empty rooms are like empty dreams of a stone bridge with shops where goods would be sold to peasants. But, perhaps, the most expressive symbol of Manilov's lack of spirituality and worthlessness is the mounds of ashes, which he arranges in neat rows on the windowsill. This is the only art available to him.
The image of Sobakevich is also woven from a multitude of speaking details. His belongings have a "strange resemblance to the owner of the house himself." The pot-bellied walnut bureau, like Sobakevich himself, looks like a bear. “The table, the armchair, the chairs—everything was of the heaviest and most restless nature,” and each object seemed to say: “And I, too, Sobakevich!” Some kind of primitive animal power is felt in the landowner, which is visible even during lunch, when the owner absorbs an incredible amount of different dishes. He gnaws huge pieces to the last bone, and everything on the table is gigantic in size: a cheesecake the size of a large plate, a turkey the size of a calf. It is not surprising that one gets the impression that there is no soul in this body, and if there is, it is “closed with such a thick shell that everything that tossed and turned at the bottom of it did not produce any shock on the surface.”
But, perhaps, the most striking character, bred by Gogol in Dead Souls, is the landowner Plyushkin. A master of artistic detail, the writer notices completely incompatible objects in the decor of his house, giving an idea of ​​the hero's former and current life. So, unlike Manilov, Plyushkin once read: he has “some old leather-bound book”, possibly bought by the owner in the old days, when he was a thrifty owner and neighbors went to him to learn “wise stinginess” . The former luxury is reminiscent of the “wardrobe with antique silver”, the bureau, “lined with mother-of-pearl mosaics”. Signs of the current life of the landowner are a chandelier in a canvas bag, “due to the dust that has become like a silk cocoon in which a worm sits”, an inkwell with some kind of moldy liquid and a lot of flies at the bottom, a pile of unnecessary junk from which a broken piece of a wooden shovel sticks out and old shoe sole. Everything testifies to what “insignificance, pettiness, vileness” a person can reach.

Essay on literature on the topic: Mastery of artistic detail in the poem “Dead Souls”

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Mastery of artistic detail in the poem "Dead Souls"

Mekhtiev V.G. (Khabarovsk)

The purpose of the article is to analyze the structure-forming details of the landscape in the poem "Dead Souls", hinting at semantic echoes that go beyond the world of the characters themselves and expressing their author's assessment. The landscape images of the work have traditionally (and rightly) been understood in line with Gogol's characteristic method of typification. Gogol skillfully used his talent to fit "an infinitesimal" whole content. But the discoveries made in connection with the concepts of "outlook", "environment", "point of view" make it possible to see the non-linear strategy of the Gogol landscape.

In the dialogical concept of M.M. Bakhtin, "a twofold combination of the world with a person is possible: from within him - as his horizons, and from the outside - as his environment" . The scientist thought that “verbal landscape”, “description of the situation”, “image of everyday life”, etc. cannot be considered exclusively as "moments of the horizon of the acting, incoming consciousness of man." An aesthetically significant event takes place where the subject of the image “is turned outside of itself, where it exists value only in the other and for the other, participates in the world where it does not exist from within itself” .

The theory of horizons and the environment of the hero, created by Bakhtin, in the science of literature was associated with the concept of "point of view". Allocate an internal point of view - a first-person narrative, where the depicted world fits into the horizon of the character as much as possible; and an external point of view, giving scope to the author's omniscience, endowing the narrator with a higher consciousness. The external point of view has mobility, through it the plurality of perception and emotional and semantic evaluation of the subject is achieved. N.D. Tamarchenko wrote that “the point of view in a literary work is the position of the “observer” (narrator, narrator, character) in the depicted world.” The point of view, “on the one hand, determines his horizons - both in terms of “volume”, “and in terms of assessing what is perceived; on the other hand, it expresses the author's assessment of this subject and his outlook. On the basis of the foregoing, we can conclude that the boundaries between different points of view in the narrative indicate some kind of mobile, threshold meanings, due to the value position of the observers.

The borderline meanings of the landscape in "Dead Souls" can be understood in the context of M. Virolainen's reflections: "describing this or that area of ​​life, Gogol likes to break the direct connection with it", "turn to it from the outside" . As a result, "between the subject of the image and the author's view of the subject arises" "conflict interaction"; "the author's view violates all boundaries", "does not allow the described phenomenon to remain equal to itself" . This position, I think, goes back to the well-known notion of M. Bakhtin: "every moment of the work is given to us in the author's reaction to it." It "embraces both the subject and the hero's reaction to it." The author, according to the philosopher, is endowed with an "excess of vision", thanks to which he "sees and knows something" that the heroes are "fundamentally inaccessible" .

Indeed, an ordinary glance at the poem "Dead Souls" reveals, first of all, details of typical significance. In creating pictures of the provincial city, the life of the provincial landlords, there is a noticeable setting to show the dual unity of the external and internal. But the semantics of the landscape is not exhausted by the typifying function: Gogol presents the landscape from points of view bordering on each other. About the hotel in the county town where Chichikov stayed, it is said that it belonged to a "famous family." The landscape and the interior associated with it give rise to a sense of everydayness, typicality: that's all there is around and inside the hotel, but you can see it everywhere. The formula "here" and "everywhere" includes, in particular, "rooms with cockroaches peeking out like prunes from all corners." Typicality is expressed not only metaphorically, but sometimes through direct fixation of coincidences, canceling the boundaries between the outside and the inside: “The outer facade of the hotel corresponded to its inside<...>» .

Chichikov sees what corresponds to his adventurous plan. In the ideological assessment of the county landscape, he is passive. But the narrative initiative here belongs to the writer. It is the author who acts as the highest authority, forms the value-semantic space of the provincial city. N.V. Gogol seems to be following the character, taking a transpersonal position, coinciding "with the position of this character in terms of spatial characteristics", but diverging "from it in terms of ideology, phraseology, etc." . True, if we disassemble the fragment in isolation from the context of the work, then the belonging of the evaluative paradigm to the writer is not so obvious. From what does it follow that the subject of perception is not only Chichikov, but also the author?

The fact is that Chichikov's point of view cannot perform a compositional function. She is devoid of narrative memory: she grasps what suits her situational interests. Quite another matter is the author's evaluative position. With the help of verbal details of the landscape and interior, a structural whole is created not only for individual episodes, but also for the text as a whole. Thanks to the culture of borders, the “closed form” “from the subject of the image” turns “into a way of organizing a work of art” (italics saved - M.V.) .

This can be seen from the example of the epithets “yellow”, “black”, used in the description of the hotel: the lower floor of the hotel “was chiselled and remained in dark red bricks, darkened even more by the dashing weather changes”; "the upper one was painted with eternal yellow paint". The expression "was painted with eternal yellow paint" can be understood in such a way that the walls of the hotel were painted yellow long ago; can be seen in the "eternal yellow paint" and a symbol of unflappable static.

The epithet "black" is also given a special status, fulfilling not only a stylistic, but also a compositional role. The epithet is used in different episodes of the poem in thirteen cases, included in the contextual synonymous series with the words "dark" and "gray".

The dominance of the epithets "dark", "black" should be attributed to the sphere of deliberate, dictated by the author's intention. The description ends with a mention that one of the two samovars standing on the window "was black as pitch." The word-detail, as well as its contextual synonyms, create an annular composition of the landscape. The epithet "black" incorporates the integral characteristics of "internal" and "external". At the same time, the symbolic meaning of the word is not limited to a single picture, but extends to other episodes. In the description of a luxurious evening in the governor's house, the epithet "black" enters into semantic connections with "an air squadron of flies", "black tailcoats" and, finally, into unusual connections with "light", "white shining refined sugar": "Everything was flooded with light. Black tailcoats flashed and rushed apart and in heaps here and there, like flies rush on a white shining refined sugar ... ".

Thus, the same picture in "Dead Souls" is drawn from two angles - from the place where the adventurer Chichikov sees it, and from the value point from which the narrator contemplates it. On the moving border of Chichikov's practical view of things and their author's emotional, evaluative and creative perception, semantic levels of the landscape appear, acting as something other than just a means of typing. These levels of semantics appear due to the combination of "different positions" that play the role of compositional means.

The landscape in the chapter on Manilov is given at the level of conflict interaction between two points of view - Chichikov and the author. The description is preceded by a three-dimensional picture, which, the further, the more rapidly strives to master the “internal” space of Manilov: “The master’s house stood alone in the south, that is, on a hill, open to all winds ...”. This is followed by “sloping mountains”, on them “mowed sods”, two or three “scattered English-style flower beds”, “five or six birches” “in some places raised their small-leaved thin tops”. Under two of them there was a gazebo with the inscription: "Temple of solitary reflection", and there, lower - "a pond covered with greenery<...>At the foot of this elevation, and partly along the very slope, gray log huts darkened along and across.<...>Between them there was no growing tree or any greenery; everywhere looked only one log. At some distance, to the side, a pine forest darkened with some dull bluish color.

The landscape is subject to compaction, semantically significant details grow in it, but the description here is directed not in depth, but in breadth - it is linear. This perspective of the landscape reveals not the depth of character, but rather its absence. But the movement in breadth still has a border, noticed by the author. It passes where the presence of another world is noted - a darkening pine forest, as if boredom contemplating the man-made landscape of Manilov from things.

A constant detail in the characterization of Manilovism, denoted by the word “dandy”, involves in its orbit a synonymous series that expands the reader’s perception: a house on an “elevation”, “English gardens of Russian landowners”, “scattered flower beds in English”, etc. The space of "made beauty" can stretch to infinity, increase in volume through the accumulation of details. But in any case, its openness is illusory, doomed to horizontality and devoid of verticality. The Manilov landscape rests on the limit of the "top": "The day was not either clear, or gloomy, but some kind of light gray color, which happens only on the old uniforms of garrison soldiers" . Here even the "top" loses its substantive meaning, since it is reduced to comparison with the uniforms of garrison soldiers.

The word "dandy", still only tangible in the description of Manilov's surroundings, is used as a key word when describing the interior: "beautiful furniture covered with dandy silk fabric", "dandy candlestick made of dark bronze with three antique graces, with a dandy shield" . The expressive word "dandy" compositionally connects the story of Manilov with the image of an urban young man "in white kanifas pantaloons, very narrow and short, in a tailcoat with attempts on fashion." Thanks to the associative connection, the “young man” and Manilov fall into the same semantic series.

INTRODUCTION

1. PLACE AND ROLE OF N. V. GOGOL'S POEM "DEAD SOULS" IN RUSSIAN LITERATURE.

1. 1 HISTORY OF CREATING THE POEM

1. 2 GENRE FEATURES OF THE POEM

1. 3 COMPOSITIONAL FEATURES OF THE POEM

2. DESCRIPTIONS OF NATURE AS A MEANS OF CHARACTERISTICS OF CHARACTERISTICS IN GOGOL'S POEM "DEAD SOULS"

2. 1 MANILOV

2. 2 BOX

2. 3 NOZDRYOV

2. 4 SOBAKEVICH

2. 5 PLYUSHKIN

2. 6 CHICHIKOV

CONCLUSION

LITERATURE

APPLICATION. DOMINANT MOTIFS IN THE DESCRIPTION OF LANDSCAPE IN THE CHARACTERISTIC OF EACH LOWER

Extract from the text

The subject of our research in this work is descriptions of nature and their role in the structure of a whole work of art. The direct object of the study was Gogol's poem "Dead Souls".

The methodology of the work is based on a combination of historical-literary, cultural-typological and comparative-typological methods, as well as philological analysis and interpretation of a literary text.

The desire to find out the specifics of the semantic and grammatical properties of impersonal sentences and to determine their place in the system of types of a simple sentence forced researchers of impersonal sentences to study their logical basis.

Bondaletov, V. Interest in anthroponymy is not accidental: proper names bear the imprint of time, place, tradition, historical events.

In our study, we were guided by the following hypothesis: the systematic and purposeful use of various methods of educational commenting in the work on the text of the novel by N.V. Gogol's "Dead Souls" by students of a general education school contributes to the most complete perception of this work of art as an aesthetic and historical-literary fact, helps schoolchildren to master the techniques of analyzing a literary work and improves their language culture.

Literature

1. Gogol N. V. Dead souls. T. 1. M., 1980. Ed. S. I. Mashinsky and M. B. Khrapchenko

2. Vinogradov I. A. Gogol? artist and thinker. Christian foundations of world outlook. M., 2000

3. Voropaev V. A. N. V. Gogol. Life and art. M., 2002. S. 22

4. Gukovsky G. A. Gogol's Realism. M., L., 1959

5. Dokusov A. M. Kachurin M. G. Gogol's poem "Dead Souls". M., 1982

6. Eremina L. I. On the language of N. V. Gogol's fiction. M., 1987

7. Zolotussky I. P. Gogol. M., 1984. P. 235 Mann Yu. V. Gogol's Poetics. M., 1988

8. Mashinsky S. I. "Dead Souls" by Gogol. M., 1978. S. 11

9. Smirnova E. A. Gogol's poem "Dead Souls". L., 1987. S. 188

10. Troyat A. Nikolai Gogol. M., 2004

11. Shevyryov S. P. Adventures of Chichikov or Dead Souls. Poem by N. Gogol. Article two // Russian criticism of the XVIII-XIX centuries. Reader. Comp. V. I. Kuleshov. M., Education, 1978.

bibliography

Municipal educational institution

"Secondary school No. 3"

the city of Shumikha, Kurgan region

Detail as a means of creating images in a poem

N.V. Gogol "Dead Souls".

Completed by: Petrova Anna Alexandrovna,

10 A class

Head: Styshnykh Svetlana Valerievna

G. Shumikha

Plan.

1. Introduction.

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

3. Detail as a means of typification and individualization

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

Manilov

box

Nozdrev

Sobakevich

Plushkin

4. Conclusion. The compositional role of details.

5. Literature.

Introduction.

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

Relevance: while studying the poem by N.V. Gogol's "dead souls" we get acquainted with the history of the creation of the poem, consider the chapters that tell about Chichikov's visit to the landlords . This is due to the artistic details. This type of research provides a better understanding of the topic and idea of ​​a literary work.

Goals:

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

Teaching analytical reading and retelling.

Development of memory, attention, thinking.

Education of a value attitude to knowledge

Tasks:

Realize the deep intention of N.V. Gogol.

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

Learn to compare, analyze the artistic details of a literary work.

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

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

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

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

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

Describing almost all social groups in Dead Souls: landlords, officials, the emerging bourgeoisie, the working masses, Gogol pays special attention to artistic details, the so-called “mud of trifles”, because this is the main means of depicting Russian life. In the article "Gogol's Mastery", Andrei Bely wrote: "World literature did not know such greatness in the depiction of trifles, as in Gogol's."

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

"Acquirer" - Chichikov.

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

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

Detail of a portrait In the poem, we clearly notice what a huge role the detail plays in the creation of the portrait of Chichikov. She shows the brightest images at his portrait.

It is very difficult for us to immediately grasp and clearly present the portrait of Chichikov. The portrait of Chichikov at first glance seems somewhat amphora. And Gogol emphasizes this feeling from the very first appearance of the hero - “Not handsome, but not bad-looking”, “Not too fat, not too thin”, “You can’t say that it would be old, but not so that it would be too young”, "A middle-aged man." Such is he - the main character of "Dead Souls". In everything, moderation and the middle, impersonality completely excluding truly human passions and movements of the soul and leaving room only for serving the “penny”. From all this, we understand that Chichikov is able to disguise himself from one image to another, and a not too conspicuous appearance is in his hand. the author deprives Pavel Ivanovich of originality, memorable features, his own "face". Against the backdrop of bright, extremely individualized images of the landowners, Chichikov's figure looks colorless, indefinite, elusive. The absence of an individual beginning is also found in the speech behavior of the hero - not having his own "face", he does not have his own "voice". It is the facelessness and colorlessness that allow Chichikov to transform beyond recognition when the "interests of the cause" require it.

interior detail- Chichikov comes to town; Gogol immediately draws the reader's attention to some men talking about the wheels of the hero's cart, and a certain young man with a Tula pin in the form of a pistol (interestingly, these characters will never appear on the pages of the book again). Chichikov gets a room in a local hotel; here Gogol even speaks of cockroaches and the door to the next room, lined with a chest of drawers. And even that the neighbor is usually curious and interested in the life of the traveler. Only whether Chichikov had such a neighbor, whether he came when the hero was absent, or whether there was no neighbor at all, we will not know this, but from now on we have an accurate idea of ​​\u200b\u200bhotels of a “known kind”.

Detail of the character's behavior Finding yourself in any new environment, in a new environment,
he immediately becomes "his man." He comprehended the “great secret to like”, with each of the characters he speaks his language, discusses topics close to the interlocutor. The soul is still alive in this hero, but every time, drowning out the pangs of conscience, doing everything for his own benefit and building happiness on the misfortunes of other people, he kills her. Insult, deceit, bribery, embezzlement, fraud at customs - Chichikov's tools. The hero sees the meaning of life only in acquisition, hoarding. But for Chichikov, money is a means, not an end: he wants well-being, a decent life for himself and his children. From the rest of the characters in the poem, Chichikov is distinguished by strength of character and determination. Having set himself a certain task, he stops at nothing, shows perseverance, perseverance and incredible ingenuity to achieve it.
He is not like the crowd, he is active, active and enterprising. Chichikov is alien to the daydreaming of Manilov and the innocence of Korobochka. He is not greedy, like Plyushkin, but he is not prone to reckless revelry, like Nozdryov. His enterprise is not like the rough businesslike Sobakevich. All this speaks of his clear superiority.
A characteristic feature of Chichikov is the incredible versatility of his nature. Gogol emphasizes that it is not easy to unravel people like Chichikov. Appearing in the provincial town under the guise of a landowner, Chichikov very quickly wins universal sympathy. He knows how to show himself as a man of the world, comprehensively developed and decent. He can support any conversation and at the same time speaks “neither loudly nor quietly, but exactly as it should.” For each person in which Chichikov is interested, he knows how to find his own special approach. While flaunting his benevolence towards people, he is only interested in taking advantage of their location. Chichikov very easily “reincarnates”, changes his behavior, but at the same time he never forgets about his goals.

"Sugar" - Manilov

In the course of my observations, I come to the conclusion that an integral part of Gogol's portrait drawing, which connects the appearance of the hero with the spiritual appearance into one whole, are postures, gestures, movements, facial expressions, clothing, and speech. It is with the help of this that the writer enhances the comic coloring of the images, revealing the true social essence through the individual features of the hero. The author's satirical blows, one more painful than the other, fall on Manilov unceasingly. Stinging and stigmatizing Gogol's mockery lies in wait for him everywhere. It will be interesting to think about why the author does not give the landowner Manilov a name and patronymic. Manilov's children have names (Themistoclus and Alkid), his wife (Liza). Every detail of the situation exposes its owner, every step, every deed turns against him. Manilov fantasizes about building bridges and castles - the author of the poem points to two armchairs that the dreamer did not bother to sheathe in two years. In condemnation, ridicule of the negative is the most important feature of Gogol's satire. This is not just a mockery - this is a merciless trial that Gogol is administering. To create the image of Manilov, Gogol uses various artistic means, including the landscape, the landscape of the Manilov estate, and the interior of his dwelling. The things surrounding him characterize Manilov no less than the portrait and behavior.“You will not expect any living word from him, or even an arrogant word, which you can hear from almost anyone, if you touch the subject that bullies him. Everyone has his own enthusiasm: one has turned his enthusiasm to greyhounds; to another it seems that he is a strong lover of music and surprisingly feels all the deep places in it; the third is a master of famously dine; the fourth to play a role at least one inch higher than the one assigned to him; the fifth, with a more limited desire, sleeps and dreams about how to take a walk with the adjutant wing, showing off to his friends, acquaintances and even strangers; the sixth is already gifted with such a hand that feels a supernatural desire to break the corner of some diamond ace or deuce, while the hand of the seventh climbs somewhere to put things in order, to get closer to the personality of the stationmaster or coachmen - in a word, everyone has his own, but Manilov had nothing.” This reasoning of the great writer is imbued with sharp satirical mockery.

Detail of the landscape informality, vagueness” of the hero’s inner world is emphasized by a characteristic landscape. So the weather on the day when Chichikov arrived at Manilov was extremely uncertain: the day was either clear or gloomy, but of some kind of light gray color, which happens only on the old uniforms of garrison soldiers.

In the description of the master's estate, new features of Manilov are revealed to us. Here we already see a person claiming to be “cultured”, “educated”, “aristocratic”, however, Gogol does not leave the reader with any illusions on this score - “all the hero’s attempts to appear as an educated and refined aristocrat are vulgar and ridiculous. So, Manilov’s house stands “alone in the south, that is, on a hill open to all winds”, but the mountain on which the estate stands is “dressed with trimmed turf”, on it “two or three flower beds are scattered in English with bushes of lilacs and yellow acacias." Nearby you can see the gazebo "with wooden blue columns" and the inscription "Temple of solitary reflection". And next to the “temple” is an overgrown pond covered with greenery, along which, “picturously picking up dresses and tucking from all sides”, two women wander, dragging a tattered nonsense behind them. In these scenes, Gogol's parody of sentimental stories and novels is guessed.

Detail of a portrait Manilov “was a prominent person, his features were not devoid of pleasantness, but this pleasantness, it seemed, was too much transferred to sugar; in his manners and turns there was something ingratiating himself with favors and acquaintances. He smiled enticingly, was blond, with blue eyes. Portrait of Manilov built on the principle of forcing enthusiasm, hospitality to the extreme excess, turning into a negative quality. Sugar is a detail that indicates sweetness, i.e. flattering.

interior detail- Manilov's “incompleteness of nature” (nature seems to have stopped at the “pleasant” appearance of the hero, “not imparting” character, temperament, and love of life to him) is also reflected in the description of his home environment. In everything, Manilov has an incompleteness that creates disharmony. A number of interior details testify to the propensity of the hero to luxury and sophistication, but in this tendency itself there is still the same incompleteness, the impossibility of completing the matter. In Manilov's drawing room there is "beautiful furniture upholstered in smart silk fabric", which is "very expensive", but it is missing for two armchairs, and the armchairs are "simply upholstered in matting". In the evening, “a dandy candlestick made of dark bronze with three antique graces” is served on the table, and next to it is placed “a simple copper invalid, lame, curled up on the side and covered in fat ...”. For two years now, the hero has been reading the same book, reaching only the fourteenth page.M.'s office is covered with "blue paint like gray", which indicates the lifelessness of the hero, from whom you will not expect a single living word. But the culmination of Manilov's image is "heaps of ash knocked out of a pipe, arranged, not without diligence, in very beautiful rows." Like all "noble gentlemen", Manilov smokes a pipe. Therefore, in his office there is a kind of "cult of tobacco", which is poured into caps, and into a tobacconist, and "just a bunch on the table." So Gogol emphasizes that Manilov's "passing time" is completely worthless, meaningless.

"Savers" - Box.

The third chapter of the poem is devoted to the image of Korobochka Nastasya Petrovna.

Detail of the landscape many qualities of the landowner are symbolically revealed in the landscape preceding her meeting with Chichikov - "the darkness was such, even gouge out the eye." Such details of the landscape clearly show her stupidity and ignorance in relation to herself and the people around her. Time at which Chichikov will arrive at Korobochka Nastasya Petrovna. Gogol chose the night. After all, only the night can so fully reflect all the dark. the extraordinary boring life of a landowner in which there is nothing but such words as “accumulate”, “collect”, “sell”. The psychological landscape can also be seen if we recall the weather that was when Chichikov Korobochka visited - it was night and it was pouring very heavy rain. Even the location of the village of K. (away from the main road, away from real life) indicates the impossibility of its correction and revival. In this she is similar to Manilov and occupies one of the lowest places in the "hierarchy" of the heroes of the poem. The pettiness of Korobochka, the animalistic limitation of her interests solely to care for her own household, is emphasized by the bird-animal entourage around Korobochka. The landowners living near Korobochka are Bobrov, Svinin.

Detail of a portrait The hostess went out to the guest in a sleeping cap, in the morning she would come out without him, but something would still be tied around her neck. Chichikov will find a similar cap in the morning on a scarecrow in the garden to scare away birds. By this, Gogol compares the landowner with a scarecrow, showing that she has the same empty soul. Women love beautiful new things, but Korobochka wears tattered, old and sloppy things. She saves and thereby lost her feminine principle .. Box - "an elderly woman<...>, one of those mothers, small landowners who cry for crop failures, losses and keep their heads somewhat to one side, and meanwhile they collect a little money in motley bags placed in drawers of chests of drawers. Chests of drawers store linen, night blouses, hanks of thread, ripped cloak, which a thrifty landowner intends for a dress. But the dress will not wear out, and the cloak will go to the niece of the great sister, along with all other rubbish, according to the spiritual will, these details clearly show her stinginess and greed.The image of the hoarder Korobochka is already devoid of those “attractive” features that distinguish Manilov. The surname Korobochka metaphorically expresses the essence of her nature: thrifty, distrustful, timid, dull-witted, stubborn and superstitious. The box is “one of those mothers, small landowners, who cry for crop failures, losses and keep their heads somewhat to one side, and meanwhile they collect a little money in motley bags ... In one ... rubles, in another fifty dollars, in the third quarters. ..". A chest of drawers, where, in addition to linen, night blouses, thread hanks, an open coat, bags of money, are an analogue of the Box. Chichikov's box with drawers, partitions, nooks, a hidden money box is also identical to the image of the Box. Symbolically, the Box opened up, publicizing Chichikov's secret. Thus, a magic box, a box with a "double bottom", thanks to the Box, reveals its secret. The name and patronymic of Korobochka - Nastasya Petrovna - resembles a fairy-tale bear (cf. Sobakevich - Mikhail Semenovich) and points to the "bear corner" where Korobochka climbed, isolation, narrow-mindedness and stubbornness of the landowner.

interior detail- Things in Korobochka's house, on the one hand, reflect Korobochka's naive ideas of lush beauty; on the other hand, her hoarding and the circle of domestic entertainment (fortune-telling on cards, darning, embroidery and cooking): “the room was hung with old striped wallpaper; pictures with some birds; between the windows there are small antique mirrors with dark frames in the form of curled leaves; behind every mirror there was either a letter, or an old pack of cards, or a stocking; wall clock with painted flowers on the dial...”. The sound image of Korobochka's striking clock is built on the contrast of the ominous hissing of a snake in the dwelling of Baba Yaga and, at the same time, the image of an old woman's life that has been unchanged for decades, “hoarse” from time to time: “the noise was like the whole room was filled with snakes<...>the wall clock began to strike. The hissing was immediately followed by wheezing, and finally, straining with all their strength, they struck two o'clock with such a sound as if someone was pounding a broken pot with a stick ... ". A small house and a large yard Boxes, symbolically reflecting her inner world, are neat and strong; new tess on the roofs; the gate did not squint anywhere; feather bed - up to the ceiling; flies are everywhere, which in Gogol always accompany the frozen, stopped, internally dead modern world.Everything in her house is arranged in the old fashioned way. In Korobochka's farm, "there were no number of turkeys and chickens." According to the folklore tradition, the birds mentioned in connection with the Box (turkeys, chickens, magpies, sparrows) symbolize stupidity, senseless troubles.

Detail of the character's behavior The universal human passion, depicted by Gogol in the image of the Box, is “club-headedness”. Korobochka is afraid to sell cheap when selling "dead souls", she is afraid that Chichikov will deceive her, she wants to wait, so as not to "incur a loss somehow";Korobochka trades in peasants with the efficiency with which he sells other signs of his household. For her, there is no difference between an animate and an inanimate being. There is only one thing that scares her about Chichikov's proposal: the prospect of missing something, not taking what can be obtained for "dead souls." Korobochka is not going to give them to Chichikov on the cheap. The landowner Korobochka is thrifty, “gaining little by little money”, lives closed in her estate, as if in a box, and her thriftiness eventually develops into hoarding. All these details clearly show the essence of her surname! A box is a box.

Sobakevich is a “fist” man.

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

Detail of the landscape Chichikov had long dreamed of getting to Sobakevich. But all sorts of accidents now and then turn out to be on his way. Having lost his way, he gets to Korobochka. The meeting in the tavern with Nozdryov again moves him away from the goal. Finally, the long-awaited meeting took place. The character of Sobakevich begins to unfold even, in fact, before our meeting with him. Approaching the estate of Sobakevich, Chichikov, and with him we noticed a large wooden house with a mezzanine, a red roof and dark gray, wild walls, “like those we build for military settlements and German colonists.” The yard was surrounded by a strong and very thick wooden lattice. On the outbuildings went "full-weight and thick logs, defined for centuries of standing." Even the well was built from such strong oak, "which is only for mills and ships." In a word, it was evident from everything that the owner "had a lot of trouble about strength." So gradually the reader is psychologically prepared for the perception of this image.

Detail portrait- Sobakevich - portrait-comparison: “When Chichikov looked askance at Sobakevich, this time he seemed to him very similar to a medium-sized bear. To complete the resemblance, the tailcoat on him was completely bearish in color, the sleeves were long, the pantaloons were long, he stepped with his feet and at random and stepped incessantly on other people's legs. These details speak of the stinginess of the soul, despite the fact that he had money. The very name and appearance of this hero (reminiscent of a “medium-sized bear”, the tailcoat on him is “completely bearish” in color, steps at random, his complexion is “hot, hot”) indicate his power of his nature. The heroic power of S. (a leg shod in a gigantic boot), exploits at the dinner table (cheesecakes “much larger than a plate”, “a turkey as tall as a calf”, eaten at once “half a side of a lamb”), S.’s heroic health (“fifth dozen I live, I have never been sick”) parody the appearance and deeds of fabulous and epic heroes. S.'s surname is not formally related to his appearance: S. looks like “a medium-sized bear”; complexion "hot, hot, which happens on a copper penny"; his name - Mikhailo Semenovich - also indicates a folkloric bear. However, associatively, the surname corresponds to the character and portrait: S. has a “bulldog” grip and face; in addition, he treats people like a chained dog (cf. Gogol's ironic words of S. after agreeing to sell souls: “yes, such a dog’s temper: I can’t help but give pleasure to my neighbor”). Rudeness and clumsiness are the essence of the portrait of S. Nature, creating his face, “chopped from the whole shoulder: she grabbed with an ax once - her nose came out, she grabbed another - her lips came out, she poked her eyes with a large drill and, without scraping, let her into the light ... ". The soullessness of S. is emphasized by the metaphorical substitution of the face with a wide Moldavian pumpkin, and the legs with cast-iron pedestals. In the portrait of Sobakevich, there is no description of the eyes at all, which, as you know, are the mirror of the soul. Gogol wants to show that Sobakevich is so rude, uncouth, that in his body "there was no soul at all."

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

Detail of the character's behavior From the very beginning, the image of S. is associated with the theme of money, housekeeping, and calculation (at the time of entering the village, S. Chichikov dreams of a 200,000-strong dowry). Talking with Chichikov S., not paying attention to Chichikov's evasiveness, he busily moves on to the essence of the question: "Do you need dead souls?" The main thing for S. is the price, everything else does not interest him. With knowledge of the matter, S. bargains, praises his goods (all souls are “like a vigorous nut”) and even manages to cheat Chichikov (slips him a “female soul” - Elizaveta Sparrow). Unlike Nozdryov, Sobakevich cannot be counted as people hovering in the clouds. This hero stands firmly on the ground, does not entertain illusions, soberly evaluates people and life, knows how to act and achieve what he wants. With the character of his life, Gogol notes solidity and fundamentality in everything. These are natural features of Sobakevich's life. He is devoid of any spiritual inquiries, far from daydreaming, philosophizing and noble impulses of the soul. The meaning of his life is to saturate the stomach. He himself has a negative attitude towards everything connected with culture and education: "Enlightenment is a harmful invention." The local being and the hoarder coexist in it. Unlike Korobochka, he understands the environment well and understands the time in which he lives, knows people. Unlike other landowners, he immediately understood the essence of Chichikov. Sobakevich is a cunning rogue, an impudent businessman who is difficult to deceive. He evaluates everything around him only from the point of view of his own benefit. In his conversation with Chichikov, the psychology of a kulak is revealed, who knows how to make the peasants work for themselves and extract the maximum benefit from it. He is straightforward, quite rude and does not believe in anyone. Unlike Manilov, in his perception all people are robbers, scoundrels, fools.

Nozdrev is a "historical man".

Gogol writes: "Nozdryov will not leave the world for a long time. He is everywhere between us and, perhaps, only walks in a different caftan; but people are frivolously impenetrable, and a person in a different caftan seems to them a different person."

Detail of the landscape The landscape framing the episode of Chichikov's visit to the landowner is also characteristic. “Nozdryov led his guests through the field, which in many places consisted of hummocks. The guests had to make their way between the fallows and the raised fields... In many places their feet squeezed out the water under them, the place was so low. At first they were careful and stepped carefully, but then, seeing that this was of no use, they wandered straight on, not making out where the dirt was and where it was the smallest. This landscape speaks of the disordered household of the landowner and at the same time symbolizes the carelessness of Nozdryov. Nozdryov's estate helps to better understand both his character and the miserable condition of his serfs, from whom he beats everything he can. Therefore, it is not difficult to draw a conclusion about the disenfranchised and impoverished position of the serfs of Nozdryov. Unlike Korobochka, Nozdryov is not prone to petty hoarding. His ideal is people who always know how to have fun living life, not burdened with any worries. There are few details in the chapter about Nozdryov that reflect the life of his serfs, but the description of the landowner itself provides comprehensive information about this, since for Nozdryov serfs and property are equivalent concepts.

Detail portrait- Like other landowners, he does not develop internally, does not change depending on age. "Nozdryov at thirty-five was the same perfect as he was at eighteen and twenty: a hunter for a walk." In the portrait of Nozdryov, attention is drawn to the details of his appearance: full ruddy cheeks, snow-white teeth, jet-black whiskers. The physical attractiveness of this character only sets off his inner emptiness. Nozdryov's unpredictable aggression, the fragility of the ties that he has with other people, are symbolically conveyed by the details of his life Nozdrev - portrait description: “He was of medium height, a very well-built fellow with full ruddy cheeks, with snow-white teeth and jet-black sideburns. He was fresh as blood and milk; health seemed to spurt from his face. The portrait is also revealed with the help of a description of Nozdryov's demeanor and nature: “Nozdryov's face, it is true, is already somewhat familiar to the reader. Everyone had to meet a lot of such people. They are called broken fellows, they are known even in childhood and at school for good comrades, and for all this they are very painfully beaten. Something open, direct, daring is always visible in their faces. They soon get to know each other, and before you have time to look back, “you” are already telling you. Friendship will start, it seems, forever: but it almost always happens that the one who makes friends will fight with them that same evening at a friendly feast. They are always talkers, revelers, reckless people, a prominent people. The very motif of “revelry of the daring”, “broad Russian soul”, which is present in Gogol throughout the entire story, is comically reduced in the image of Nozdryov. As a pre-revolutionary researcher notes, Nozdrev is only “the appearance of a broad nature. He can least of all claim to be recognized as his “broad nature”: impudent, drunkard, liar, he is at the same time a coward and an absolutely insignificant person. Complements portrait Nozdreva his surname, consisting of a large number of consonants, giving the impression of an explosion. In addition, the combination of letters evokes associations with the hero’s favorite word “nonsense”.

interior detail- In Nozdryov's house one can see a chaotic mixture of objects that are not connected by any logic: sabers and guns, "Turkish" daggers, pipes, chubuk, "a pouch embroidered by some countess"; unpredictable and frustrated hurdy-gurdy Nozdryova, and a meal in his house - the cook Nozdryova used to put in dishes ""the first thing that came to hand." The details in the description of Nozdrev's house are exceptionally expressive. In his study, “there were no noticeable traces of what happens in studies, that is, books and paper; only sabers and two guns hung, one worth three hundred and the other eight hundred rubles ... Then Turkish daggers were shown, on one of which was mistakenly carved: Master Savely Sibiryakov. After that, the immortal hurdy-gurdy appeared to the guests. Nozdryov immediately turned something over in front of them. The hurdy-gurdy played not without pleasure, but in the middle of it, it seems, something happened, for the mazurka ended with the song: “Malbrugh went on a campaign”; and “Mallbrug went camping” unexpectedly ends with some familiar waltz. And already Nozdryov stopped turning the hurdy-gurdy, she should have been silent, and one very lively pipe in it does not want to calm down in any way, and for a long time another one continues to whistle. “Then pipes appeared - wooden, clay, meerschaum, stoned and unsmoked, covered with suede and not covered, a shank with an amber mouthpiece, recently won, and a pouch embroidered by some countess, somewhere at the post station, who fell head over heels in love with him” . Here the whole character of Nozdryov is already captured. He himself is like a spoiled hurdy-gurdy: restless, mischievous, violent, ready at any moment, without any reason, to mischief, mischief or do something unforeseen and inexplicable. The barking of dogs is an important detail in the episodes of the chapter on Nozdryov. . Everything in his house is splattered with paint: the men are whitewashing the walls. A pond where there used to be "a fish of such size that two people could hardly pull a thing out."

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

Plyushkin - "a hole in humanity."

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

From one chapter to another, Gogol's accusatory pathos grows. From Manilov to Sobakevich, the mortification of the landowners' souls inexorably intensifies, culminating in the almost completely petrified Plyushkin. In the image of Plyushkin, Gogol combines diverse artistic elements - realistically everyday paintings and a sharp sharpening of a satirical drawing. And this does not create a sense of stylistic dissonance at all. The everyday concreteness and authenticity of the image are combined with its characteristic exceptional breadth of generalization. Gogol considered the chapter on Plyushkin (ch. 6) to be one of the most difficult. It was altered several times, new details were introduced into it, reinforcing the impression of Plyushkin's appearance, his estate, and home. The writer strove for the utmost brevity and energy of the narrative. In Plyushkin there is that amazing power of artistic plasticity, which so distinguishes this image from other misers in world literature. The images of the landowners are revealed by Gogol outside of evolution, as characters already formed. The only exception is Plyushkin. He not only completes the gallery of landlord dead souls. Among them, it is the most ominous symptom of an incurable, deadly disease that infects the feudal system, the limit of the collapse of the human personality in general, "a hole in humanity." That is why it seemed important to Gogol to reveal this character in development, to show how Plyushkin became Plyushkin. Dumb, senseless greed destroyed the man in the once economic, energetic landowner. The tragedy of general desolation and extinction emphasizes the abandoned garden. It is located "behind the house", symbolizing the hero's past, in which he had a "living" life - a friendly wife, children, frequent guests in a hospitable house.

Detail of the landscape The description of the village and the estate of this owner is imbued with melancholy: “the log on the huts was dark and old; many roofs blew through like a sieve; on others there was only a ridge at the top and poles on the sides in the form of ribs ... the windows in the huts were without glass, others were plugged with a rag or zipun; balconies under roofs with railings, for unknown reasons made in other Russian huts, squinted and turned black, not even picturesquely. It seems that life has abandoned this village. Gogol emphasizes the spirit of death: “it was impossible to say that a living being lived in this room ...”. The manor's house looks like a huge grave crypt, where the owner himself locked himself from the outside world. Only a lushly growing garden reminds of life, of beauty, sharply contrasted with the ugly life of the landowner. The house wasn't beautiful either. Perhaps it used to be a beautiful and rich building, but years passed, no one followed it, and it fell into complete disrepair.
The owner used only a few rooms, the rest were locked. All but two of the windows were closed or plastered with newspaper. Both the house and the estate fell into complete disrepair. P.'s estate seems to fall apart into details and fragments; even a house - in some places on one floor, in some places on two. This speaks of the disintegration of the consciousness of the owner, who forgot about the main thing and focused on the third. For a long time he no longer knows what is happening in his household, but he strictly monitors the level of liquor in his decanter. The manor's house looks like a huge grave crypt, where a person is buried alive.Detail of a portrait The image of the moldy cracker left over from the Easter cake is a reverse metaphor for the surname. Plyushkin's portrait is created with the help of hyperbolic details: he appears as a sexless creature, Chichikov takes him for a housekeeper. “One chin only protruded very far forward, so that he had to cover it with a handkerchief every time so as not to spit.” On a greasy and greasy dressing gown, "instead of two, four floors dangled." This is a universal type of miser: "tear on humanity." His clothes were badly worn, his face seemed never to be able to express any feelings. Ch. says that if he saw him at the temple, he would certainly take him for a beggar. He is surprised and at first cannot believe that this man has 800 souls. Plyushkin had no teeth, and "small eyes ... ran from under high-growing eyebrows like mice." This comparison indicates the pettiness, suspicion, greed of the hero. Just as a mouse drags everything it finds into a hole, so Plyushkin walked the streets of his village and picked up all sorts of rubbish: an old sole, a shard, a nail, a rag. All this he dragged into the house and put in a heap.

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

Detail of the character's behavior Like a housekeeper, Plyushkin is a slave of things, not their master. The insatiable passion for acquisition led to the fact that he lost a real idea of ​​\u200b\u200bobjects, ceasing to distinguish useful things from unnecessary rubbish. Plyushkin rots grain and bread, while he himself is shaking over a small piece of Easter cake and a bottle of tincture, on which he made a mark so that no one would drink theft. Even Plyushkin refused his own children. Where is there to think about education, art, morality. D shows how human personalities gradually disintegrate. Once Plyushkin was a simple thrifty owner. The thirst for enrichment at the expense of the peasants subject to him turned him into a miser, isolated him from society. Plyushkin broke off all relations with friends, and then with relatives, guided by considerations that friendship and family ties lead to material costs. and family ties lead to material costs. Surrounded by things, he does not experience loneliness and the need to communicate with the outside world. Plyushkin considers the peasants parasites and swindlers, lazybones and thieves, and starves them. His serfs are dying "like flies", fleeing from starvation, they flee from the estate of the landowner. Plyushkin complains that the peasants, out of idleness and gluttony, "got into the habit of cracking," and he himself has nothing to eat. This living dead, misanthrope, has turned into a "hole in humanity." In M-souls, G flaunts all human shortcomings. Despite the fact that there is not a small amount of humor in the work, "M d" can be called "laughter through tears." The author reproaches people that in this struggle for power and money they forgot about eternal values. Only the outer shell is alive, and the souls of people are dead. Not only the people themselves are to blame for this, but also the society in which they live. Even such Russian traditions as hospitality and hospitality are forgotten.

CONCLUSION.

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

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

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

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

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

Literature:

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

1984 - 320pp.

Zolotussky I. Gogol. M., 1984.

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

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

"Handbook of a new type of student", publishing house "Ves" - St. Petersburg, 2003

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

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

The modern dictionary is a reference book on literature. Moscow 1999

Nikolai Vasilyevich Gogol is the most enigmatic and mysterious classic of Russian literature. His works are filled with mysticism and secrets. Getting acquainted with the work of this greatest writer, readers, each in their own way, understand the deepest meaning inherent in his works.

In this work, we will try to determine the role of the garden in the sixth chapter of the poem "Dead Souls" by N.V. Gogol, as well as to find out the meaning and function of each element.

Plushkin - purgatory

The whole journey of entrepreneur Chichikov is a journey through hell, purgatory and paradise. Ad-Manilov, Korobochka, Nozdrev and Sobakevich; purgatory is Plushkin. It is no coincidence that the description of his estate is in the middle, in the sixth chapter.

Gogol presented his creation on a par with Dante's "Divine Comedy", which consists of three parts: "Hell", "Purgatory", "Paradise". By analogy with this work, the author decided to play Chichikov: the first volume is hell, the second volume is purgatory, the third volume is paradise. This is the opinion of the Honored Teacher of Russia, Doctor of Pedagogical Sciences Natalya Belyaeva. We, analyzing the chapter, will adhere to this point of view and refer Plyushkin to purgatory.

A manor is a manor house in the countryside, with all the gardens, a garden, a kitchen garden, etc., therefore, setting as our goal to determine the meaning and function of the garden in the sixth chapter, we will touch upon, as necessary, those estates that are mentioned next to it (house) .

There is something human left in Plyushkin, he has a soul. This is confirmed, in particular, by the description of the transformation of Plyushkin's face when it comes to his comrade. An important distinguishing feature is the fact that Plyushkin has lively eyes: “ The little eyes had not yet gone out and were running from under high-growing eyebrows like mice...» . There are two churches in his village (presence of God).

House

In the chapter we are considering, a house and a garden are mentioned. The house even twice: at the entrance to the estate and at the exit from it. The house is seen by Chichikov when he drives up to the estate.

Let's pay attention to the windows denoting the "face" of the house: the facade - from face- face, and the window is from " eye"- eye. The author writes: “Of the windows, only two were open, the rest were covered with shutters or even boarded up. These two windows, for their part, were also half-sighted; one of them had a dark pasted triangle of blue sugar paper.. The triangle on one of the windows refers to "divine symbolism". The triangle is a symbol of the Holy Trinity, and blue is the color of the sky. The house symbolizes the descent into darkness before rebirth, that is, to get to heaven (in this case, the garden), you need to go through darkness. The garden is behind the house and thus grows freely, leaving the village and disappearing into the field.

Garden

The garden is one of the favorite images of fiction. The garden landscape is characteristic of the Russian tradition, especially the poetic one. So, A.S. Pushkin mentions the garden in "Eugene Onegin"; "Desolation" by E.A. Baratynsky; “Garden deaf and wild” by A.N. Tolstoy. Gogol, creating a landscape of Plyushkin's garden, was part of this tradition.

The garden, as an image of paradise, is the abode of the soul. And if we proceed from the fact that Plyushkin, as mentioned above, reveals signs of the soul, then the garden in the sixth chapter of the poem "Dead Souls" is a metaphor for the soul of our hero: " An old, vast garden stretching behind the house, overlooking the village and then disappearing into the field, overgrown and decayed ...". Plyushkin's garden has no fences, it goes beyond the village and disappears into the field. There is no watch over him, he is left to himself. He seems to be limitless. Like a soul.

The garden is the kingdom of plants, so it is always important what grows in it and how. In Plyushkin's garden, Gogol mentions birch, hops, elder, mountain ash, hazel, chapyzhnik, maple, aspen. Let us dwell on the first tree mentioned in Plyushkin's garden - a birch. The birch plays the role of the Cosmic tree, connecting the earthly and spiritual levels of the universe. The roots of the tree symbolize hell, the trunk - earthly life, kronary - paradise. The birch was deprived of the top, but not the entire crown. You can see a parallel with the image of Plyushkin, who still has a soul, unlike Manilov, Korobochka, Nozdryov and Sobakevich.

The author compares a birch with a column. The column symbolizes the world axis, holding the Sky and connecting it with the Earth; also symbolizes the Tree of Life. It follows from this that Plyushkin's soul is drawn to Heaven, to paradise.

The fracture at the end of the birch trunk is presented in the form of a bird. The bird is a symbol of the human soul freed from the flesh. But the bird is black. Black is a symbol of night, death, repentance, sin, silence and emptiness. Since black absorbs all other colors, it also expresses denial and despair, is opposed to white and denotes a negative beginning. In the Christian tradition, black symbolizes grief, mourning and sorrow. White is a divine color. Symbol of light, purity and truth.

Let us dwell on some other plants, the connection of which with Plyushkin and our understanding of him has been established. These are: hops, willow, chapyzhnik. " ... A hollow, decrepit trunk of a willow, a gray-haired chapyzhnik, sticking out from behind a willow withered from a terrible wilderness, tangled and crossed leaves and branches ...", - this fragment resembles the description of Plyushkin's appearance:" But then he saw that it was more of a housekeeper than a housekeeper: at least the housekeeper does not shave his beard, but this one, on the contrary, shaved, and it seemed quite rarely, because his entire chin with the lower part of the cheek looked like a comber from iron wire, which is used to clean horses in the stables ". The vegetation on Plyushkin's face is like a gray-haired, hard chapyzhnik. However, the wire comb is already losing its connection with the garden: it is not living flesh, but metal.

Hops grew throughout the garden. It grew from below, twisted around a birch tree to the middle and hung down from there, clung to the tops of other trees, hung in the air. Hops is considered a plant that connects a person with the spiritual world. Thus, in Plyushkin's garden there is not only a horizontal infinity, but also a vertical, connecting the earth with the sky. Broken in a birch, it is restored with hops.

Maple is mentioned next. Maple is a symbol of youth, youth, beauty, love, fresh strength, life. To these meanings is added the meaning of fire. Fire - symbolizes the sun and sunlight, energy, fertility, divine gift, purification. In addition, fire is a mediator that connects heaven and earth. Of course, one cannot think about the possible transformation of Plyushkin, but Gogol, apparently, hopes for the spiritual transformation of man.

Then follows the description of the aspen. The aspen represents the symbol of lamentation and shame. The crow is a symbol of loneliness. Plyushkin's life provides a basis for both.

Thus, everything that was or can be in a person is better, alive, goes into the garden. The human world is dull and dead, but the garden lives and shines wildly. The garden, as a place of residence of the soul, allows us to remember that in Gogol's world of the dead there is a glimpse of life.