The beautiful work "" was called a prose poem. N.V. Gogol is trying to reveal in him the epic images of Russia, the common people, the Russian land. And the lyrical digressions are created so that the author can express his personal opinion and attitude to the characters of the poem, to the events that are discussed in the chapters.
In the seventh chapter, we get acquainted with the images of Russian men, which have been described in detail, with all the features of their appearance and character. This is the hero Stepan Probka. He was a carpenter, traveled all over Russia up and down. Maxim Telyatnikov is introduced to us as a shoemaker who learned his skills from the Germans. After a failed plan to sell low-quality boots, he fell into a booze and blamed the Germans for everything. We see love for a riotous and free life in the character of Abakum Fyrov. Many people from the common people loved to take a walk after a fruitful working day.
In many lyrical digressions, the reader learns about the deep tragedy of the common people, who were enslaved and enslaved by landowners and officials.
The author expressed his special love for the homeland, his patriotic sentiments in, which is rapidly flying forward and personifies a strong and mighty Russia.
Thus, you can see that lyrical digressions play an unusually important role in the poem "Dead Souls". They pour out all the emotions and thoughts of the author on topics of vital importance to him.
By the end of the poem, the lyrical element almost completely captures the work. The final chapter is replete with author's discourse. This is where the key to understanding the ideological and compositional features of Dead Souls is given. A lyrical digression about human passions suggests that Gogol identifies each chapter about the landowner with some kind of overcome passion. For example, in the chapter about Manilov, despondency is defeated, about Korobochka - fear, with Nozdryov - anger, about Sobakevich - ignorance, and in the chapter about Plyushkin, a turning point occurs: the motive of the church appears, more church vocabulary, Plyushkin himself is associated with the holy fool, the motive arises " lifting ”. If before this chapter Chichikov constantly “descends” (falling during a thunderstorm), then from that moment he “rises” (for example, he runs up the stairs to the prosecutor), rises from the depths of hell after the ransom of “dead souls”. Thus, it turns out that Gogol's creative intention is concentrated in the lyrics, while the story of Chichikov's adventures is an illustration of morality, a parable told during a sermon, and Dead Souls is an artistic sermon (this is precisely the genre originality of the poem) ... Gogol, on the other hand, appears as a prophet bringing God's light to people (“Who, if not the author, should tell the holy truth?”). The writer tries to show humanity the way to God, to direct sinners on the true path. And in the last lyrical digression, he creates the image of a road, a road to light, to a miracle, to rebirth, to the second volume. Verbal magic takes the reader to another dimension (“the horses like a whirlwind, the spokes in the wheels are mixed into one smooth circle”, “and all inspired by God is racing”). Russia-three flies along the path of spiritual transformation. The image of Russia, striving “into the distance of centuries,” is also developed by Blok in his prophetic cycle “On the Kulikovo Field” (the Motherland is remarkable here in the image of a steppe mare, which embodies eternal movement).
Lyrical digressions and their role... Dead Souls is a mysterious and amazing work. For the first time, perhaps, you realize this when you pick up a solid prose work of the 1842 edition, and on the cover you read: “The Adventures of Chichikov. Dead Souls. Poem by N. V. Gogol ". Yes, and Gogol himself perceived "Dead Souls" as a "pre-long novel", but he defined the genre of his work in this way. And this, of course, is not accidental. A poem in the time of Gogol was a kind of quality mark. Certain requirements were imposed on works of this kind: sublime motives had to be present. The poems had to sound the author's voice, the author's position had to be clearly defined. In Gogol's work, all of his prose is colored with lyricism, because the writer considered it more effective for himself to directly deal with the word of truth and love. In Dead Souls, his voice sounded clear and piercing, in them confessional motives acquired special significance. Therefore, in the poem, some of the best pages are pages of lyrical digressions. Moreover, they differ in emotional coloring, in their subject matter, helping the reader to better understand the content of the work, to study in more detail the situation of the events taking place.
One of the most significant lyrical digressions is Gogol's reflections on the fate of writers who display a positive or negative hero in their works. The author of "Dead Souls" bitterly says that the modern public remains indifferent to tears "through ... laughter." Gogol defends the literature of critical realism, that is, that literature that is not afraid to show society all the bad sides of his life. He also defends satire, since he believes that it is based on humanistic principles, that the satirical depiction is based on love for people, a desire to correct their soul. As if continuing the theme he had begun, Gogol tells the story of Kifa Mokievich and Mokiy Kifovich and touches on the issue of true and false patriotism. According to the writer, true patriots are not those who think not about “not doing bad things, but about not saying that they are doing bad things,” but those who say the “holy truth” and are not afraid to focus on something deep gaze.
But if Gogol's reflections on the fate of writers or on patriotism are filled with regret and bitterness, then his satirical talent is fully manifested in his discussions about officials. Biting criticism of officials and landlords is contained in the famous story about the fat and thin. "Alas! - remarks Gogol, - fat people know how to handle their affairs better in this world than thin ones. Brilliant characteristics of officials were given by the writer when describing the behavior of landowners in a conversation with Chichikov. Manilov, having heard Chichikov's offer to sell dead souls, did not understand anything, but made an intelligent face. In his lyrical digressions, miniatures, Gogol compares his heroes with St. Petersburg dignitaries. So, for example, Gogol speaks of the expression on Manilov's face, which can be seen "only in some too clever minister, and even then at the moment of the most dizzying thing." Such digressions help to present the reader with the most complete portraits of the heroes of the work.
There are also moral digressions in Dead Souls. So, in the story of the meeting between Chichikov and Plyushkin, there are Gogol's addresses to youth. The writer calls on young people to preserve "all human movements" that allow a person to preserve himself and avoid degradation, which will not give the opportunity to turn into Plyushkin and his ilk.
But the most heartfelt digressions of Dead Souls were dedicated by Gogol to the Russian people. The writer's boundless love for the Russian person is manifested, for example, in the characteristics of the serf craftsmen (Mikheeva, Telyatnikova). But Gogol understands that a conflict is brewing between two worlds: the world of serfs and the world of landowners, and he warns of an impending clash throughout the book. And the author of Dead Souls hopes that the Russian people will have a flourishing culture ahead, the basis of which should be language. Gogol talks about this, reflecting on the accuracy of the Russian word. The author believes that there is no word that would be “so sweeping, boldly, so bursting out from under the very heart, so boiling and burning like a well-spoken Russian word”.
The poem ends with lyrical reflections on the fate of Russia. The image of Russia-Troika affirms the idea of the unstoppable movement of the Motherland, expresses the dream of its future and the hope for the emergence of real “virtuous people” who can save the country: “Oh, horses, horses, what horses! and at once they strained their brass breasts and, almost without touching the ground with their hooves, turned into only elongated lines flying through the air; and all inspired by God rushes! .. ”The author's faith in the future of the country is imbued with great emotional power.
In "Dead Souls", especially in lyrical digressions, the whole suffering soul of the great Russian writer, all his thoughts and feelings are reflected. Today it is worthwhile to refer to this work more often, to listen more often to the voice of N.V. Gogol. VG Belinsky noted: “Like any deep creation, Dead Souls are not fully revealed from the first reading, even for thinking people: reading them a second time, it’s as if you’re reading a new, never seen work. Dead Souls need to be studied. "
Not a biography of one or even several heroes, but a wide panorama of the life of Russia at that time. Here are not the main adventures, his successes and failures. Gogol himself wrote to VA Zhukovsky about the plot of the poem: “What a huge, what an original plot! What a diverse bunch! All Russia will appear in it! " Depicting "all Russia" in his work, Gogol clearly lets the reader feel the author's voice in him.
It is the constant presence of the author that makes it possible to consider the poem a lyrical work. Lyrical digressions take a significant place in the structure of the work, which is characteristic of the poem as a literary genre. Lyrical digressions in Dead Souls are of a varied nature: sometimes it is a commentary on some action of the hero, sometimes it is a minor comment by the author on any occasion, sometimes it is an independent reasoning. The author's agitated monologues are devoted to the character of the Russian person, the images of serfs.
If the landowners or officials in the poem, and Chichikov himself, are heroes, spiritually dead, then the images of people from the people, peasants, carry a living principle. This is the artist's paradox: he speaks of the dead souls bought by the hero as living. The inner monologue of Chichikov, reflecting on the lists of the dead, turns into the author's lyrical reasoning about the soul of the people. The hero-carpenter Stepan Probka, who went all the provinces in search of good earnings, the drinking shoemaker Maxim Telyatnikov, accusing the Germans of "no living for the Russian man", the coachman Grigory Doezzhay, you will not get there - all these images that the author reflects on, embody the truly living soul of the Russian people.
And the fugitive courtyard Popov, wandering through prisons for lack of a passport! And the walking haulers who pull the strap “under one, endless, like Russia, song”! This is how Gogol expresses the opposition of living and dead souls: physically living heroes are spiritually dead, and the dead souls bought by Chichikov are a morally living embodiment of the people's soul. Behind the terrible world of landowners and bureaucrats, Gogol sees a laboring, people's Russia. Lyrical pathos reaches its highest rise when it comes to the fate of the homeland and art.
At the beginning of the seventh chapter, the author draws us two types of writers. One is a lucky man who talks about lofty subjects, who has shown people a "wonderful person", thus "wonderfully flattering" them. He is at the pinnacle of fame, he is called "the great world poet."
How not to recall the dedicated to Gogol by NA Nekrasov "Blessed is the non-malicious ...": And his contemporaries cook for him during his lifetime. This is not the lot of another writer who “dared to call out ...
all the terrible, stunning slime of little things that have entangled ours ”, to expose the bitter and boring truth of life for all to see. The writer's field is harsh, "and he will feel his loneliness bitterly." Of course, Gogol has in mind his own literary fate and those accusations of lack of patriotism and denigration of reality, which he has repeatedly heard in his address. The problem of true and false patriotism caused passionate controversy: it was difficult for critics to agree that love for the homeland consists not in embellishing life, but in the desire to change it for the better. Undoubtedly, when he dedicated his poem to Gogol, N. A. Nekrasov meant that the author of Dead Souls chose the thorny path of a satirist, a merciless denouncer and inertia.
And for Gogol, both the right to depict the vices of society and the choice of a formidable weapon - laughter - are indisputable. Gogol is a true patriot. In lyrical digressions, he admires endless steppes and fields, villages and villages. The motive of the road is very important in the poem: the whole plot represents wanderings across the expanses of the homeland.
These roads are now even, now bumpy, now impassable mud, or they "crawled in all directions, like caught crayfish." This motif acquires symbolic meaning in the last chapter of the poem, when the road with Chichikov's chaise turns into a path along which a three-bird rushes. Here is the catch phrase: "And what Russian doesn't like driving fast?" Here are the arguments about the properties of the national Russian character and the further fate of Russia. Like the "brisk, unattainable troika", Russia rushes, and, "looking sideways, other peoples and states are making way for it and making way for it."
“Rus, where are you rushing? Give All S about h. R U answer. Doesn't give an answer. " The further paths of the bird-three are unknown, just as the paths of Russia are unknown, its fate is unknown. But one thing is certain: the fate of a country like Russia will be extraordinary. The most important thing that the author's excited voice speaks about in the lines of lyrical digressions is love for his great and long-suffering Motherland.
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Lyrical digressions permeate the entire canvas of Dead Souls. It is the lyrical inserts that reveal the ideological, compositional and genre originality of Gogol's poem, its polemical origin and the image of the author. As the plot develops, new lyrical digressions appear, each of which clarifies the thought of the previous one, develops a new idea and more and more clarifies the author's intention. It is noteworthy that "Dead Souls" are saturated with lyrics at all not evenly. Until the fifth chapter there are only insignificant lyrical insertions, and only at the end of the fifth part does the author place the first major lyrical digression about “the myriad of churches” and how “the Russian people are expressed strongly”.
chapter, and the parallel word - Logos indicate that spiritual instruction is concentrated in the lyrics. This idea is confirmed by the lyrical insertion placed in the sixth chapter, where Gogol directly addresses people: "Take away with you on the journey, leaving your soft youthful years into severe, hardening courage, take with you all human movements ..." Drawing the image of the road , the life path of a person, the author acts as a mentor, teacher. And in the next chapter, this thought is filled with new ideological content. Gogol contrasts the writer, "who dared to bring out everything that is in front of his eyes every minute," and the writer who "did not descend from his summit to his poor insignificant brothers."
"Dead Souls" appears as a preacher, a prophet who aims to correct, first of all, the moral image of man (Gogol's concept was later developed in the works of Dostoevsky and Leo Tolstoy). In the same lyrical digression, the author of Dead Souls predicts that his plan will not be understood: the world will see only laughter, satire and will not notice the “invisible”, “unknown” tears. And "Dead Souls" is more than a satire ("Not a province at all, and not a few ugly landowners, and not what they are instilled in is the subject of Dead Souls," Gogol writes). In many ways, Gogol's intention is clarified and the words from his letter about the subject of the poem are explained by a lyrical digression in which images of deceased serfs are resurrected.
"Dead souls", the rhythm of Gogol's prose almost turns into a hexameter. The list of men is reminiscent of the list of ships in Homer's Iliad. Like many other Homeric and Dante motives connecting Gogol's work with the great poems, this comparison reveals the meaning of the title of "Dead Souls" by the poem. It seems that this indicates that the work is written in the spirit of the ancient epic, that Gogol here makes fun of not social evil, but the focus of evil, laughs at the devil (according to Merezhkovsky, "Gogol's laughter is the struggle of a person with the devil"). And the biblical motive seen in this lyrical insert - the list of men resembles the Book of Life, in which the actions of each person are recorded - reveals the meaning of another idea of the author: at the Last Judgment, people will be judged by how they fulfilled their earthly purpose.
The "withdrawal" of the peasants from hell is possible because they have done their job (but the governor is embroidering on tulle): Stepan Probka, the coachman Mikheev, are masters of their craft. However, Gogol's task is to show the true path to sinners (the Bible says that Christ came to save not the righteous, but sinners). And in the lyrical insert, placed in the eighth chapter, the author argues that a person himself must take the first step towards spiritual rebirth: “... they want the Russian language to suddenly come out of the clouds ... and sit right on their tongue .. . ”It seems that it is only possible for God to descend from the clouds, and such a seemingly insignificant detail against the background of biblical motives allows us to interpret Gogol's phrase in this way. Further search for a way to save souls continues. In the lyrical digression of the tenth chapter, a direct question arises: "Where is the exit, where is the road?" The writer sees cleansing from sins through spiritual rebirth, leading precisely to God (this lyrical insert * is especially saturated with church vocabulary: "heavenly fire", "magnificent temple appointed to the king's palaces", "this chronicle").
"Dead Souls". A lyrical digression about human passions suggests that Gogol identifies each chapter about the landowner with some kind of overcome passion. For example, in the chapter about Manilov, despondency is defeated, about Korobochka - fear, about Nozdryov - anger, about Sobakevich - ignorance, and in the chapter about Plyushkin, a turning point occurs: the motive of the church appears, more church vocabulary, Plyushkin himself is associated with the holy fool, the motive arises " lifting ". If before this chapter Chichikov constantly “descends” (falling during a thunderstorm), then from that moment he “rises” (for example, he runs up the stairs to the prosecutor), rises from the depths of hell after the ransom of “dead souls”.
"Dead Souls" is an artistic sermon (this is precisely the genre originality of the poem). Gogol, on the other hand, appears as a prophet bringing God's light to people (“Who, if not the author, should tell the holy truth?”). The writer tries to show humanity the way to God, to direct sinners on the true path. And in the last lyrical digression, he creates the image of a road, a road to light, to a miracle, to rebirth, to the second volume. Verbal magic transports the reader to another dimension (“the horses like a whirlwind, the spokes in the wheels are mixed into one smooth circle”, “and all inspired by God is racing”). Russia-three flies along the path of spiritual transformation. The image of Russia, striving “into the distance of centuries,” is also developed by Blok in his prophetic cycle “On the Kulikovo Field” (the Motherland is remarkable here in the image of a steppe mare, which embodies eternal movement).