Happy is the writer who, past boring, disgusting characters, striking with their sad reality, approaches characters that demonstrate the high dignity of a person who, from the great pool of daily rotating images, has chosen only a few exceptions, who has never changed the sublime structure of his lyre, has not descended from the top to his poor, insignificant brothers, and, without touching the ground, he plunged entirely into his own images, far removed from it and exalted. His wonderful destiny is doubly enviable: he is among them, as in his own family; and yet his glory spreads far and loudly. He smoked people's eyes with intoxicating smoke; he wonderfully flattered them, hiding the sad things in life, showing them a wonderful person. Everyone rushes after him, applauding, and rushes after his solemn chariot. They call him a great world poet, soaring high above all other geniuses of the world, like an eagle soaring above other high-flying ones. At his very name, young, ardent hearts are already filled with trembling, reciprocal tears sparkle in everyone’s eyes... There is no one equal to him in strength - he is a god! But this is not the fate, and the fate of the writer is different, who dared to call out everything that is every minute before the eyes and what indifferent eyes do not see - all the terrible, stunning mud of little things that entangle our lives, all the depth of the cold, fragmented, everyday characters with which ours teems. an earthly, sometimes bitter and boring road, and with the strong power of an inexorable chisel, who dared to expose them prominently and brightly to the eyes of the people! He cannot gather popular applause, he cannot bear the grateful tears and unanimous delight of the souls excited by him; a sixteen-year-old girl with a dizzy head and heroic enthusiasm will not fly towards him; he will not forget himself in the sweet charm of the sounds he emitted; he cannot, finally, escape from the modern court, the hypocritically insensitive modern court, which will call the creatures he cherished insignificant and base, will assign him a despicable corner among the writers who insult humanity, will give him the qualities of the heroes he depicted, will take away his heart, both the soul and the divine flame of talent. For the modern court does not recognize that glass that looks at the sun and conveys the movements of unnoticed insects is equally wonderful; for the modern court does not recognize that a lot of spiritual depth is needed in order to illuminate a picture taken from a despicable life and elevate it to the pearl of creation; for the modern court does not recognize that high, enthusiastic laughter is worthy to stand next to high lyrical movement and that there is a whole abyss between it and the antics of a buffoon! The modern court does not recognize this and will turn everything into reproach and reproach for the unrecognized writer; without division, without answer, without participation, like a familyless traveler, he will remain alone in the middle of the road. His field is harsh, and he will bitterly feel his loneliness.
And for a long time it is determined for me by the wonderful power to walk hand in hand with my strange heroes, to survey the whole enormously rushing life, to survey it through laughter visible to the world and invisible, unknown to it tears! And the time is still far off when, in another key, a menacing blizzard of inspiration will rise from the head, clothed in holy horror and brilliance, and in confused trepidation they will sense the majestic thunder of other speeches...
Analyzing " Dead Souls Gogol, Belinsky noted the “deep, comprehensive and humane subjectivity” of the poem, subjectivity that does not allow the author “with apathetic indifference to be alien to the world he depicts, but forces him to conduct living phenomena through his soul outside world, and through that I breathe my soul into them...”
It was no coincidence that Gogol considered his work a poem. Thus, the writer emphasized the breadth and epic nature of the narrative, the meaning in it lyrical beginning. The same thing was noted by the critic K. Aksakov, who saw in the poem “an ancient, Homeric epic.” “It may seem strange to some that Gogol’s faces change without any particular reason... It is epic contemplation that allows this calm appearance of one face after another without external connection, while one world embraces them, connecting them deeply and inextricably with internal unity,” wrote critic.
The epic nature of the narrative, internal lyricism - all this was a consequence of Gogol’s creative ideas. It is known that the writer planned to create a large poem like “ Divine Comedy» Dante. The first part (volume 1) 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 rebirth, about the appearance in the poem of characters who embodied the “countless wealth of the Russian spirit” - “a husband gifted with divine virtues,” “a wonderful Russian maiden.” All this gave the story a special, deep lyricism.
Lyrical digressions The poems are very diverse in their themes, pathos and moods. Thus, describing Chichikov’s journey, the writer draws our attention to many details that perfectly characterize the life of the Russian province. For example, the hotel where the hero stayed was “of a certain kind, that is, exactly the same as hotels in provincial cities, where for two rubles a day, travelers get a quiet room with cockroaches peeking out like prunes from all corners.”
The “common hall” where Chichikov goes is well known to everyone passing by: “the same walls, painted oil paint, darkened at the top from pipe smoke”, “the same smoked chandelier with many hanging pieces of glass that jumped and clinked every time the floorman ran on the worn oilcloths”, “the same paintings covering the entire wall, painted with oil paints”.
Describing the governor's party, Gogol talks about two types of officials: “fat” and “thin.” “Thin” in the author’s view are dandies and dandies hanging around the ladies. They are often prone to extravagance: “for three years, the thin one does not have a single soul left that is not pawned in a pawnshop.” Fat people are sometimes not very attractive, but they are “thorough and practical”: they never “take indirect places, but are all straight, and if they sit somewhere, they will sit securely and firmly...”. Fat officials are “the true pillars of society”: “having served God and the sovereign,” they leave the service and become famous Russian bars and landowners. The author's satire is obvious in this description: Gogol perfectly understands what this “official service” was like, which brought a person “universal respect.”
The author often accompanies the narrative with general ironic remarks. For example, when talking about Petrushka and Selifan, Gogol notes that it is inconvenient for him to occupy the reader with people of low class. And further: “Such is the Russian man: a strong passion to become arrogant with someone who is at least one rank higher than him, and a casual acquaintance with a count or prince is better for him than any close friendly relations.”
In lyrical digressions, Gogol talks about literature, writing, and various artistic styles. These arguments also contain the author's irony; one can discern the hidden polemic of the realist writer with romanticism.
So, depicting the character of Manilov, Gogol ironically notes that it is much easier to depict the characters big size, generously throwing paint onto the canvas: “black scorching eyes, drooping eyebrows, a wrinkled forehead, a cloak black or scarlet like fire thrown over his shoulder - and the portrait is ready...”. But it is much more difficult to describe romantic heroes, A ordinary people, “which look very similar to each other, but when you look closely, you will see many of the most elusive features.”
Elsewhere, Gogol talks about two types of writers, meaning a romantic writer and a realistic satirist writer. “A wonderful destiny is enviable” for the first, who prefers to describe sublime characters that demonstrate the “high dignity of man.” But this is not the fate of the second, “who dared to bring out all the terrible, stunning mud of little things that entangle our lives, all the depth of the cold, fragmented, everyday characters with which our earthly, sometimes bitter and boring road is teeming.” “His field is harsh,” and he cannot escape the modern court, which considers his works “an insult to humanity.” There is no doubt that Gogol is talking here about his own fate.
Gogol satirically describes lifestyle Russian landowners. So, talking about the pastime of Manilov and his wife, Gogol remarks, as if in passing: “Of course, one could notice that there are many other activities in the house, besides long kisses and surprises... Why, for example, is it stupid and useless to cook in the kitchen ? Why is the pantry pretty empty? Why is a thief a housekeeper? ...But all these are low subjects, and Manilova was brought up well.”
In the chapter dedicated to Korobochka, the writer talks about the “extraordinary ability” of the Russian person to communicate with others. And here comes the author's outright irony. Noting Chichikov’s rather unceremonious treatment of Korobochka, Gogol notes that the Russian man has surpassed the foreigner in the ability to communicate: “it is impossible to count all the shades and subtleties of our treatment.” Moreover, the nature of this communication depends on the size of the interlocutor’s fortune: “we have such wise men who will speak completely differently to a landowner who has two hundred souls than to one who has three hundred...”.
In the chapter on Nozdrev, Gogol touches on the same topic of “Russian communication,” but in a different, more positive, aspect of it. Here the writer notes the unique character of the Russian person, his good nature, easygoingness, and gentleness.
Nozdryov’s character is quite recognizable - he is a “broken fellow”, a reckless driver, a reveler, a gambler and a rowdy. He has a habit of cheating while playing cards, for which he is repeatedly beaten. “And what’s strangest of all,” Gogol notes, “which can only happen in Rus' alone, is that after some time he already met again with those friends who were pestering him, and they met as if nothing had happened, and he, as they say, nothing, and they are nothing.”
In the author’s digressions, the writer also talks about the Russian noble class, shows how far these people are from everything Russian, national: from them “you won’t hear a single decent Russian word,” but French, German, English “will be endowed in such quantities that if you want." High society worships everything foreign, forgetting its original traditions and customs. These people's interest in national culture limited to building a “hut in Russian taste” at the dacha. The author's satire is obvious in this lyrical digression. Gogol here calls on his compatriots to be patriots of their country, to love and respect native language, customs and traditions.
But the main theme of the lyrical digressions in the poem is the theme of Russia and the Russian people. Here the author’s voice becomes excited, the tone becomes pathetic, irony and satire recede into the background.
In the fifth chapter, Gogol glorifies the “living and lively Russian mind”, the extraordinary talent of the people, “the aptly said Russian word" Chichikov, asking a man he met about Plyushkin, receives a comprehensive answer: “... patched, patched! - the man exclaimed. He also added a noun to the word “patched”, which is very successful, but not commonly used in social conversation...” "It is expressed strongly Russian people! - exclaims Gogol, “and if he rewards someone with a word, then it will go to his family and posterity, he will drag him with him into service, and into retirement, and to St. Petersburg, and to the ends of the world.”
The image of the road that runs through the entire work is very important in lyrical digressions. The theme of the road appears already in the second chapter, in the description of Chichikov’s trip to Manilov’s estate: “As soon as the city went back, they began to write, according to our custom, nonsense and game on both sides of the road: hummocks, a spruce forest, low thin bushes of young pines, charred trunks old, wild heather and similar nonsense.” In this case, this picture is the background against which the action takes place. This is a typical Russian landscape.
In the fifth chapter, the road reminds the writer of the joys and sorrows of human life: “Everywhere, across whatever sorrows from which our life is woven, brilliant joy will rush merrily, like sometimes a brilliant carriage with golden harness, picture horses and the sparkling shine of glass suddenly and unexpectedly will rush past some dead poor village..."
In the chapter about Plyushkin, Gogol discusses the susceptibility of people of different ages to life impressions. The writer here describes his childhood and youthful feelings associated with the road, with travel, when everything around him aroused keen interest and curiosity in him. And then Gogol compares these impressions with his current indifference, cooling towards the phenomena of life. The author’s reflection ends here with a sad exclamation: “Oh my youth! oh my freshness!
This reflection of the author imperceptibly turns into the idea of how a person’s character and inner appearance can change with age. Gogol talks about how a person can change in old age, to what “insignificance, pettiness, disgustingness” he can reach.
Both author’s digressions here echo the image of Plyushkin, with the story of his life. And therefore, Gogol’s thought ends with a sincere, excited appeal to readers to preserve in themselves the best that is characteristic of youth: “Take it with you on the journey, leaving the soft teenage years into stern, embittering courage, take with you all human movements, do not leave them on the road, you will not pick them up later! The old age coming ahead is terrible, terrible, and nothing gives back and back!
The first volume ends with " Dead souls” with a description of the troika rapidly flying forward, which is a real apotheosis of Russia and the Russian character: “And what Russian doesn’t like driving fast? Is it possible for his soul, striving to get dizzy, to go on a spree, to sometimes say: “Damn it all!” - Is it his soul not to love her? ...Oh, three! bird-three, who invented you? to know, you could have been born to a lively people, in that land that does not like to joke, but has spread out smoothly across half the world... Rus', where are you rushing to? Give an answer. Doesn't give an answer. The bell rings with a wonderful ringing; The air, torn into pieces, thunders and becomes the wind; everything that is on earth flies past, and, looking askance, other peoples and states move aside and give way to it.”
Thus, the lyrical digressions in the poem are varied. These are satirical sketches by Gogol, and pictures of Russian life, and the writer’s reflections on literature, and ironic observations on the psychology of the Russian person, the peculiarities of Russian life, and pathetic thoughts about the future of the country, about the talent of the Russian people, about the breadth of the Russian soul.
The role of lyrical digressions in the poem "Dead Souls"
N.V. Gogol is one of the greatest figures of Russian literature. The pinnacle of his work is the poem "Dead Souls". All the main features of the author’s talent are reflected in it.
The most important role in compositional structure"Dead Souls" plays lyrical digressions and inserted episodes, characteristic of the poem as literary genre. In them, Gogol touches on the most acute Russian public issues. The author's thoughts about the high purpose of man, about the fate of the Motherland and the people are here contrasted with gloomy pictures of Russian life.
At the beginning of the poem, the lyrical digressions are in the nature of the author’s statements about his heroes, but as the action unfolds, their internal theme becomes increasingly broader and multifaceted.
Having talked about Manilov and Korobochka, the author interrupts the story so that the picture of life drawn becomes clearer to the reader. The author's digression, which interrupts the story about Korobochka, contains a comparison with her “sister” from aristocratic society, who, despite other appearance, is no different from the local mistress.
After visiting Nozdryov, Chichikov meets a beautiful blonde on the road. The description of this meeting ends with the author’s remarkable digression: “Wherever in life, whether among the callous, rough-poor and unkempt and moldy low-lying ranks of it, or among the monotonously cold and boringly neat upper classes, everywhere at least once you will meet on the way to a person, a phenomenon unlike everything he has ever seen before, which will at least once awaken in him a feeling not similar to those that he is destined to feel all his life.” But what is characteristic of many people, what appears “across” any kind of sadness - all this is completely alien to Chichikov, whose cold prudence is compared here with the direct manifestation of feelings.
The lyrical digression at the end of the fifth chapter is of a completely different nature. 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 connection with the entire previous development of the action, but it is very important for revealing the main idea of the poem: real Russia is not the Sobakevichs, Nozdryovs and Korobochki, but the people, the element of the people.
In close contact with lyrical statements about the Russian word and national character is the author’s digression that opens the sixth chapter.
The story about Plyushkin is interrupted by the author’s angry words, which have a deep generalizing meaning: “And a person could condescend to such insignificance, pettiness, and disgusting!”
Of considerable importance are lyrical statements about the creative and life fate of the writer in Gogol’s contemporary society, about two different destinies awaiting the writer who creates “exalted images” and the realist writer, satirist. This lyrical digression, full of deep thoughts and vivid generalizations, reflected not only the writer’s views on art, but also his attitude towards the ruling elite of society, towards the people. It determines both the writer’s ideological path and his assessment of the main social forces.
In the chapters devoted to the depiction of the city, we encounter the author’s statements about the extreme irritability of ranks and classes - “now all ranks and classes are so irritated in our country that everything that is in a printed book already seems to them to be a person: this is apparently how they are disposed in the air." Gogol ends his description of the general confusion with reflections on human delusions, on the false paths that humanity has often followed in its history - “but the current generation laughs and arrogantly, proudly begins a series of new delusions, which the descendants will also laugh at later.”
The writer's civic pathos reaches particular strength in the lyrical digression - "Rus, Rus'! I see you from my wonderful, beautiful distance." Like the lyrical monologue at the beginning of the seventh chapter, this lyrical digression forms a clear line between two major links in the narrative - the city scenes and the story of Chichikov’s origins. Here, in a broad sense, the theme of Russia appears, in which it was “poor, scattered and uncomfortable,” but where heroes cannot but be born. The author's lyrical statements seem to be interrupted by the invasion of rough everyday prose. “And a mighty space threateningly embraces me, reflecting with terrible force in my depths; my eyes were illuminated with an unnatural power: oh! what a sparkling, wonderful distance, unfamiliar to the earth! Rus'!
Hold it, hold it, you fool! - Chichikov shouted to Selifan.
Here I am with a broadsword! - shouted a courier galloping towards him with a mustache as long as an arshin. “Don’t you see, damn your soul: it’s a government carriage!” “And, like a ghost, the troika disappeared with thunder and dust.”
The vulgarity, emptiness, baseness of life emerge even more clearly against the background of sublime lyrical lines. This technique of contrast was used by Gogol with great skill. Thanks to such a sharp contrast, we better understand the vile traits of the heroes of Dead Souls.
Immediately after this, the author shares with the reader the thoughts that the racing troika and the long road evoke in him. “How strange, and alluring, and carrying, and wonderful in the word road! and how wonderful it itself, this road.” One after another, Gogol sketches here pictures of Russian nature that appear before the gaze of a traveler racing on fast horses along an autumn road. Both in the general mood of the author’s monologue and in the quickly changing pictures, a hint of the image of a bird-three is clearly felt, from which this lyrical digression is separated by a large chapter dedicated to the adventures of Chichikov.
A high sense of patriotism pervades the image of Russia that concludes the first volume of the poem, an image that embodies the ideal that illuminated the artist’s path when depicting petty, vulgar life.
This is the role of lyrical digressions in the composition of the poem. But the most important thing is that they express many of the author’s views on art and relationships between people. On the pages of the poem, Gogol wanted not only to expose, but also to assert his moral ideal, and expressed it in his wonderful lyrical digressions, which reflected all his thoughts and feelings, and above all, a great feeling of love for his people and fatherland, the belief that the homeland will break out of the power of the “swamp lights” and return to true path: the path of the living soul.
“Dead Souls” is a lyric-epic work - a prose poem that combines two principles: epic and lyrical. The first principle is embodied in the author’s plan to paint “all of Rus',” and the second – in the author’s lyrical digressions related to his plan, which form an integral part of the work.
The epic narrative in “Dead Souls” is continually interrupted by lyrical monologues of the author, assessing the character’s behavior or reflecting on life, art, RF and its people, as well as touching on topics such as youth and old age, the purpose of the writer, which help to learn more about the spiritual world of the writer, about his ideals.
The most important are lyrical digressions about RF and the Russian people. Throughout the entire poem, the author’s idea of a positive image of the Russian people is affirmed, which merges with the glorification and celebration of the homeland, which expresses the author’s civic-patriotic position.
Thus, in the fifth chapter, the writer praises the “lively and lively Russian mind”, his extraordinary ability for verbal expressiveness, that “if he rewards a slant with a word, then it will go to his family and posterity, he will take it with him both to the service and to retirement , and to St. Petersburg, and to the ends of the world.” Chichikov was led to such reasoning by his conversation with the peasants, who called Plyushkin “patched” and knew him only because he did not feed his peasants well.
Gogol felt living soul of the Russian people, their daring, courage, hard work and love for a free life. In this regard, the author’s reasoning, put into Chichikov’s mouth, about serfs in the seventh chapter is of deep significance. What appears here is not a generalized image of Russian men, but specific people with real features, described in detail. This is the carpenter Stepan Probka - “a hero who would be fit for the guard,” who, according to Chichikov’s assumption, walked 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 instantly by making boots from rotten leather, which fell apart in two weeks. At this point, he abandoned his work, started drinking, blaming everything on the Germans, who did not allow Russian people to live.
Next, Chichikov reflects on the fate of many peasants bought from Plyushkin, Sobakevich, Manilov and Korobochka. But here is the idea of “revelry” folk life” did not coincide so much with the image of Chichikov that the author himself takes the floor and, on his own behalf, continues the story, the story of how Abakum Fyrov walks on the grain pier with barge haulers and merchants, having worked out “to one song, like Rus'.” 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 serfdom, the oppression of landowners and officials.
In lyrical digressions appears tragic fate enslaved people, downtrodden and socially humiliated, which was reflected in the images of Uncle Mitya and Uncle Minya, the girl Pelageya, who could not distinguish between right and left, Plyushkin’s Proshka and Mavra. Behind these images and pictures of folk life lies the deep and broad soul of the Russian people.
The love for the Russian people, for the homeland, the patriotic and sublime feelings of the writer were expressed in the image of the troika created by Gogol, rushing forward, personifying powerful and inexhaustible forces RF. Here the author thinks about the future of the country: “Rus, where are you rushing?” He looks into the future and does not see it, but how true patriot believes that in the future there will be no Manilovs, Sobakeviches, Nozdrev Plyushkins, that Russia will rise to greatness and glory.
The image of the road in the lyrical digressions is symbolic. This is the road from the past to the future, the road along which the development of every person and RF generally.
The work ends with a hymn to the Russian people: “Eh! troika! Bird-three, who invented you? You could have been born among a lively people...” Here, lyrical digressions perform a generalizing function: they serve to expand artistic space and to create a holistic image of Rus'. They reveal positive ideal the author - people's Russia, which is opposed to landowner-bureaucratic Rus'.
But, in addition to lyrical digressions glorifying Russia and its people, the poem also contains reflections lyrical hero on philosophical themes, for example, about youth and old age, the vocation and purpose 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 with you on the journey, emerging from the soft youthful years into stern, embittering courage, take with you all human movements, do not leave them on the road, you will not pick them up later!..” Thus, the author wanted declare that all the best things in life are connected precisely with youth and not necessary forget about it, as the landowners described in the novel did, stasis “ dead souls" They do not live, but exist. Gogol calls for preserving a living soul, freshness and fullness of feelings and remaining like that 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 summer of my youth ... it was fun for me to approach an unfamiliar place for the first time ... Now I indifferently approach every unfamiliar village and indifferently look at it vulgar appearance; It’s unpleasant to my chilled gaze, it’s not funny to me... and my motionless lips keep an indifferent silence. O my youth! Oh my freshness!”
To recreate the completeness of the author’s image necessary declare about lyrical digressions in which Gogol talks about two types of writers. One of them “never once changed the sublime structure of his lyre, did not descend from its top to his poor, insignificant brothers, and the other dared to call out everything that is every minute before the eyes and which indifferent eyes do not see.” The lot of a real writer, who dared to truthfully recreate a reality hidden from the eyes of the people, is such that, unlike a romantic writer, absorbed in his unearthly and sublime images, he is not destined to achieve fame and experience the joyful feelings of being recognized and sung. Gogol comes to the conclusion that the unrecognized realist writer, satirist writer will remain without participation, that “his field is harsh, and he bitterly feels his loneliness.”
The author also talks about “connoisseurs of literature” who have their own idea of the purpose of a writer (“It’s better to present to us the beautiful and fascinating”), which confirms his conclusion about the fate of two types of writers.
So, lyrical digressions occupy a significant place in Gogol’s poem “Dead Souls”. They are remarkable from a poetic point of view. They reveal new beginnings literary style, which would later acquire bright life in the prose of Turgenev and especially in the works of Chekhov.
Kozak Nadezhda Vasilievna, teacher of Russian language and literature
MBOU "Secondary School No. 2" Tarko-Sale, highest category.
Yamalo-Nenets Autonomous Okrug, Purovsky district, Tarko-Sale.
Lyrical digressions in N.V. Gogol’s poem “Dead Souls”.
Goals: develop the ability to comment 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 proficient reading skills;
cultivate a love and interest in literature.
Equipment: portrait of N. V. Gogol, presentation, tables for working on agricultural storage.
Behind the dead souls are living souls.
A. I. Herzen
(1 slide)
DURING THE CLASSES
I. Organizational moment.
1. Greeting from the teacher.
(2nd slide) Hello guys. Today in class we are finishing our study of N.V. Gogol’s poem “Dead Souls.” This does not mean that we will put an end to our acquaintance with the work and personality of the writer. What sign we will close the conversation with will be decided at the end of the lesson.
Let's remember howN.V. Gogol began working on the creation of “Dead Souls” in 1835.
(3rd slide) But soon after the production of The Inspector General, hounded 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 1839–40, he read to 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) 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 rebirth.
2. Record the date, topic of the lesson, epigraph in a notebook.
Key words will be in our conversation todaywords from the title of the lesson topic.
II. The main part of the lesson.
(5 slide) Gogol’s book “Dead Souls” can rightfully be called a poem. This right is given by the special poetry, musicality, and expressiveness of the language of the work, saturated with such figurative comparisons and metaphors that can only be found in poetic speech. And most importantly, the constant presence of the author makes this work lyrical-epic.
(6 slide) Everything is permeated with lyrical digressions artistic canvas"Dead Souls". It is lyrical digressions that determine the ideological, compositional and genre originality of Gogol’s poem, its poetic beginning associated with the image of the author. As the plot develops, new lyrical digressions appear, each of which clarifies the idea of the previous one, develops new ideas, and increasingly clarifies the author's intention.
It is noteworthy that “dead souls” are unevenly filled with lyrical digressions. Until the fifth chapter there are only minor lyrical insertions, and only at the end of this chapter the author places the first major lyrical digression about the “myriad number of churches” and how “the Russian people express themselves strongly.”
III. Exploratory conversation based on the implementation of individual homework
1. Quick survey
Students talk about the topic of lyrical digressions.
(7 slide) Lyrical digression is 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 an attitude towards the depicted or having an indirect relation to it. Lyrically, the digressions in Gogol’s poem “Dead Souls” introduce a life-giving, refreshing beginning, highlight 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 which characters are easier for a writer to portray.
Chapter 3 About various shades and the intricacies of circulation in Rus'.
Chapter 4 About gentlemen big and mediocre; about the survivability of nostrils.
Chapter 5 About the “sweeping, lively Russian word.”
Chapter 6 About passing life, youth, lost “youth and freshness”; “terrible”, “inhuman” old age.
Chapter 7 About two types of writers and the fate of a satirical writer; the fate of the peasants bought by Chichikov.
Chapter 11 Appeal to Rus'; reflections on the road, on why the author could not take a virtuous person as a hero; “Rus is a bird-three.”
“About fat and thin officials” (1ch); the author resorts to generalizing the images of civil servants. Self-interest, bribery, veneration of rank are their characteristic features. The contrast between thick and thin, which seems at first glance, actually reveals common negative traits both of them.
“About the shades and subtleties of our treatment” (chap. 3); speaks of ingratiation to the rich, respect for rank, self-humiliation of officials in front of their superiors and an arrogant attitude towards subordinates.
4. Ideological and thematic analysis of the lyrical digression.
About the “sweeping, lively Russian word”
What does the “sweeping, lively Russian word” indicate?
How does it characterize the people?
Why does Gogol place this digression at the end of the fifth chapter, dedicated to Sobakevich?
Conclusion. Language and words reveal the essential characteristics of the character of each people. The “loose” Russian word reveals the lively and lively mind of the people, their observation, ability to accurately and accurately characterize the whole person in one word. It is evidence of the living soul of the people, not killed by oppression, a pledge of its creative powers and abilities.
“About the Russian people and their language” (chapter 5); the author notes that the language and speech of a people reflects its national character; A feature of the Russian word and Russian speech is amazing accuracy.
“About two types of writers, about their destiny and destinies” (chapter 7); the author contrasts a realist writer and a romantic writer, points out character traits creativity of a romantic writer, speaks of the wonderful destiny of this writer. Gogol writes with bitterness 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 error” (chap. 10); a lyrical digression about the world chronicle of mankind, about its errors is a manifestation of the writer’s Christian views. All of humanity has wandered away from the straight path and is standing on the edge of an abyss. Gogol points out to everyone that the straight and bright path of humanity consists in following moral values, embedded in Christian teaching.
"About the expanses of Rus', national character and about the bird three"; the final lines of “Dead Souls” are connected with the theme of Russia, with the author’s thoughts about the Russian national character, about Russia as a state. IN symbolic image The three birds expressed Gogol's faith in Russia as a state destined for a great historical mission from above. At the same time, there is an idea about the originality of Russia’s path, as well as the idea about the difficulty of foreseeing specific forms promising development Russia.
3. Statement of a problematic question.
Teacher. Why did the writer need lyrical digressions?
What caused their need for an epic work written in prose?
The lyrical digressions express the widest range of the author’s moods.
Admiration for the accuracy of the Russian word and the liveliness of the Russian mind at the end of chapter 5 is replaced by a sad and elegiac reflection on the passing of youth and maturity, on the “loss of living movement” (the beginning of the sixth chapter).
(9 slide) At the end of this digression, Gogol directly addresses the reader: “Take it with you on the journey, emerging from the soft youthful years into stern, bitter courage, take with you all human movements, do not leave them on the road, you will not pick them up later! The old age coming ahead is terrible, terrible, and nothing gives back and back!
(10 slide) 4. An expressive prepared reading of a passage about Rus' - the “three bird” and an analyzing conversation on it.
The image of the road that runs through the entire work is very important in lyrical digressions.
(11 slide) - What do the expressions “with a singing voice”, “the horses stirred up”, “a light chaise” 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 flight?
What does the comparison of a troika with a bird mean? Make an associative series for the word “bird”.
(Bird - flight, height, freedom, joy, hope, love, future...)\
Expand the metaphorical image of the road? What other images have a metaphorical meaning?
Why did Gogol answer his question: “Rus, where are you rushing?” - does not receive an answer?
What does Gogol mean when he says: “...other peoples and states sidestep and give her way”?
Conclusion. So two the most important topics The author's reflections - the theme of Russia and the theme of the road - merge in a lyrical digression that ends the first volume of the poem. “Rus'-troika,” “all inspired by God,” appears in it as the 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 the affirmation of the great creative forces of the people and faith in the happy future of the homeland that gave him the basis to call his work a poem.
Exercise. Now we will divide you into pairs; in front of each pair on the desk there is a table with a task. Your task is to add to the table in 3-5 minutes 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. You and I are preparing for an 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 better and more clearly find and distinguish paths and figures.
Let's see what you came up with. Read your passages, give examples of the means of expression proposed to you.
So what did Gogol want to tell us in his digressions? A question, like all questions, to which you and I probably will not give a direct answer, just as Gogol could not give an answer to many of the questions posed in the poem.
Gogol's thoughts about the fate of the people are inseparable from thoughts about the fate of his homeland. 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 his homeland, Gogol, however, did not clearly imagine the path that should lead the country to power and prosperity.
(13 slide) 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 has been 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 was understood by them. 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 Gogol’s real word, and it’s 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... I was amazed...”
following something
(words in a sentence, plot elements).
2Repetitions (repetitions of words or
cognate words, roots).
3 Appeals, exclamations.
4Parcellation (technique of dividing a phrase into
parts or even individual words in the form
independent incomplete sentence.
Its goal is to give speech intonation
expression by
5Name sentences.
6Synonyms
7Antonyms (words with opposite meanings).
8 Homogeneous members (syntactic means:
words with the meaning of listing facts,
events).
9Comparisons (one item is compared
with another).
10Metaphorical epithets (metaphor -
to the subject).
11Sound writing: alliteration (repetition
identical or homogeneous consonants).
12Sound writing: Assonance (consonance of vowel sounds).
2nd group. A lyrical digression in Chapter 5 with the words: “The Russian people express themselves strongly!”
Expressive means Examples
1Inversion - changing the usual order
plot elements).
2Repetitions (repetitions of words
or cognate words, roots).
3 Appeals, exclamations.
4Gradation.
5Synonyms (words close in meaning).
artistic medium,
using a word figuratively
to define any object or
a phenomenon similar to it in certain features
or
attitude towards the subject).
8Colloquial speech.
9Phraseological units.
3rd group. A lyrical digression in chapter 11 with the words: “And what kind of Russian doesn’t like driving fast!... for a month some seem motionless.”
Expressive means Examples
1Inversion - changing the usual order
following something (words in a sentence,
plot elements).
2Repetitions (repetitions of words or
cognate words, roots).
3 Appeals, exclamations.
4Synonyms (words close in meaning).
5Gradation.
6Personifications (inanimate object
endowed with living qualities).
7Metaphorical epithets (metaphor -
artistic medium,
using a word figuratively
to define any object or
a phenomenon similar to it in certain features
or by the parties; epithet – colorful adjective,
attitude towards the subject).
8Colloquial speech.
9Rhetorical questions.
10Antonyms.
11Parcellation (method of division
her abrupt pronunciation).
4th group. Lyrical digression in chapter 11 with the words: “Eh, three! The bird is a troika and drills into the air.”
Expressive means Examples
1Inversion - changing the usual
the order of something (words)
in a sentence, plot elements).
2Repetitions (repetitions of words or
cognate words, roots).
3 Appeals, exclamations.
4Hyperbole.
5Gradation.
6Personifications (inanimate object
endowed with living qualities).
7Metaphorical epithets (metaphor -
artistic medium,
using a word figuratively
to define any object or
a phenomenon similar to it in certain features
or by the parties; epithet – colorful adjective,
attitude towards the subject).
8Colloquial speech.
9Rhetorical questions.
10Sayings, catchphrases.
11Parcellation. (Method of dividing a phrase
into parts or even individual words
as an independent incomplete sentence.
Its goal is to give speech intonation expression
by its abrupt pronunciation).
12Anaphora (same beginning of sentences).
5 group. A lyrical digression in chapter 11 with the words: “Aren’t you, too, Rus', so lively…”
Expressive means Examples
1Repetitions (repetitions of words or
cognate words, roots).
2 Appeals, exclamations.
3Synonyms.
4Metaphorical epithets (metaphor -
artistic medium,
using a word figuratively
to define an object
or a phenomenon similar to it in some ways
features or sides; epithet – colorful
adjective used to express
5Rhetorical questions.
phrases into parts or even into separate ones
words as independent incomplete
offers. Its goal is to give speech
intonation expression by
abrupt pronunciation.)
7Anaphora (same beginning
proposals).
6 group. A lyrical digression in chapter 11 with the words: “Rus! Rus!…"
Expressive means Examples
1Personifications.
2 Appeals, exclamations.
3Reps.
4Metaphorical epithets
parties; epithet – colorful adjective,
attitude towards the subject).
5Rhetorical questions.
6Parcellation. (Method of dismemberment
phrases into parts or even into separate ones
words as independent incomplete
offers. Its goal is to give speech
intonation expression by
her abrupt pronunciation).
7 Anaphora (same beginning
proposals).
Group 7, chapter 1 “About thick and thin.”
Expressive means Examples
1Repetitions (repetitions of words or
cognate words, roots).
2Metaphorical epithets
(metaphor is a means of artistic
figurativeness, use of words
in a figurative sense to define
any object or phenomenon,
similar to it in certain features or
parties; epithet – colorful adjective,
attitude towards the subject).
3 Appeals, exclamations.
4Synonyms, antonyms
5Rhetorical questions,
Exclamations.
6.Antithesis (opposition)
