Presentation "The Role of Irony in N. Gogol's Poem" Dead Souls ". Sarcasm in dead souls are examples. A satirical depiction of landowners in Nikolai Gogol's poem "Dead Souls". II. Teacher's introduction The story of the creation of Dead Souls

/ V.G. Belinsky. Adventures of Chichikov, or Dead Souls. Poem by N. Gogol. Moscow. At the university printing house. 1842. In the 8th d. L. 475 pp. /

We see an equally important step forward on the part of Gogol's talent in the fact that in Dead Souls he completely renounced the Little Russian element and became a Russian national poet in the entire space of this word. With every word of his poem, the reader can say:

Here is the Russian spirit, here it smells of Russia! eight

This Russian spirit is felt both in humor, and in irony, and in the expression of the author, and in the sweeping power of feelings, and in the lyricism of digressions, and in the pathos of the entire poem, and in the characters of the characters, from Chichikov to Selifan and the "scoundrel chubary" inclusive , - in Petrushka, who carried with him his own special air, and in the booth, which, by the light of the lamp, in a dream, executed the animal on the nail and fell asleep again. We know that the prim feeling of many readers will be offended in the press by what is so subjective in it in life, and will call antics like a beast executed on the nail as greasy; but this means not to understand the poem, based on the pathos of reality, as it is.<...>

"Dead Souls" will be read by everyone, but, of course, not everyone will like it. Among many reasons, there is one that "Dead Souls" does not correspond to the crowd's concept of the novel as a fairy tale, where the characters fell in love, parted, and then got married and became rich and happy. Gogol's poetry can be fully enjoyed only by those who have access to the thought and artistic fulfillment of the creation, to whom the content is important, not the "plot"; for the admiration of all others, only places and particulars remain. Moreover, like any deep creation, "Dead Souls" do not fully reveal themselves from the first reading, even for thinking people: reading them a second time, as if reading a new, never seen work.

Dead Souls require study. In addition, I must also repeat that humor is available only to a deep and highly developed spirit. The crowd does not understand and does not love him. In our country, every scribbler just stares at drawing mad passions and strong characters, copying them, of course, from himself and from his friends. He considers it humiliation for himself to condescend to the comic and hates it by instinct, like a mouse to a cat. Most of us understand "comic" and "humor" as buffoonery, as a caricature, and we are sure that many will say and write without jesting, with a sly and rather smile from their insight, that Gogol jokingly called his novel a poem. .. Exactly! After all, Gogol is a great wit and joker, and what a merry man, my God! He himself constantly laughs and makes others laugh! .. That's right, you guessed it, smart people ...

As for us, we do not consider ourselves entitled to speak in print about the personal character of a living writer, we can only say that Gogol called his novel "poem" in earnest and that he does not mean a comic poem by it. It was not the author who told us this, but his book. We do not see anything comic or funny in it; in no word of the author did we notice any intention to amuse the reader: everything is serious, calm, true and deep ... Do not forget that this book is only an exposition, an introduction to the poem, that the author promises two more equally great books in which we we will meet Chichikov again and see new faces in which Russia will express itself from its other side ... It is impossible to look more mistakenly at "Dead Souls" and to understand them more roughly, as seeing satire in them. But we will talk about this and about many other things in our place, in more detail; now let him say something himself

<...> And what Russian doesn't like driving fast? Should his soul, striving to whirl around, take a walk, sometimes say: "the devil take it all!", Should his soul not love her? Is it not to love her when you hear something wonderfully ecstatic in her? It seems that an unknown force grabbed you on the wing to itself - and you yourself fly, and everything flies: miles fly, merchants fly towards them on their wagons, a forest flies from both sides with dark lines of fir and pine trees, with a clumsy clatter and a crow's cry, flies all the way there is somewhere in the disappearing distance - and something terrible is contained in this quick flashing, where the disappearing object does not have time to signify; only the sky overhead, and light clouds, and the wading month alone seem motionless. Eh, three! bird three! who invented you? To know, you could only be born to a lively people, in that land that does not like to joke, and scattered about half the world evenly, and go count miles until it hits you in your eyes. And not a cunning, it seems, a road projectile, not with an iron screw, but hastily alive, with one ax and a chisel, equipped and assembled you by a quick Yaroslavl man. Not in German boots the coachman: beard and mittens, and the devil knows what; but he got up, and swung, and began to sing a song - the horses like a whirlwind, the spokes in the wheels mixed into one smooth circle, only the road trembled, and a pedestrian who stopped in fright screamed! And there she rushed, rushed, rushed! .. And now you can see in the distance how something is dusting and drilling the air ...

Is it not so you, Russia, that a brisk, unattainable troika rushing? Smoke smokes under you road, bridges thunder, everything lags behind and remains back. The contemplator, struck by the miracle of God, stopped: is it not lightning thrown from the sky? What does this terrifying movement mean? And what kind of unknown power is contained in these horses unknown to light? Oh, horses, horses, what horses! Are there whirlwinds in your manes? Does a sensitive ear burn in every vein of yours? We heard a familiar song from above, together and at once strained their copper breasts and, almost without touching the ground with their hooves, turned into only elongated lines flying through the air - and all inspired by God rushes! .. Russia, where are you rushing, give an answer? Doesn't give an answer! The bell is filled with a wonderful ringing; air ripped into pieces thunders and becomes the wind; everything that is on the earth flies by, and looking sideways, other peoples and states give way to it.<...>

It is sad to think that this lofty lyrical pathos, these thundering, singing praises of 9 blissful national self-consciousness, worthy of the great Russian poet, will not be available to everyone, that good-natured ignorance from the heart will laugh out loud because of the other's hair will stand on his head when sacred trembling ... And yet it is so, and it cannot be otherwise. The lofty, inspirational poem will go for the majority of the "amazing thing." There will also be patriots, about whom Gogol speaks on page 468 of his poem and who, with their characteristic insight, will see in Dead Souls an evil satire, a consequence of coldness and dislike for their relatives, for the homeland - they who are so warm in the houses and houses they have acquired on the sly, and maybe even villages - the fruits of a well-meaning and diligent service ... Perhaps they will also shout about personalities ... However, this is good on the one hand: it will be the best critical assessment of the poem ...

As for us, we, on the contrary, would reproach the author for the excess of feelings, unconquered by calmly reasonable contemplation, in places too youthfully carried away, rather than for the lack of love and fervor for the native and domestic ... We are talking about some, fortunately, few, although, unfortunately, and harsh - places where the author too easily judges the nationality of alien tribes and not too modestly indulges in dreams of the superiority of the Slavic tribe over them.<...> We think that it is better to leave everyone our own and, being aware of our own dignity, to be able to respect the dignity in others ... Much can be said about this, as well as about many other things, which we will do soon in our time and place.

Other articles by critics about the poem N.V. Gogol "Dead Souls":

V.G. Belinsky. Adventures of Chichikov, or Dead Souls. Poem by N. Gogol

The Russian spirit in Dead Souls. Humor, irony and satire in the poem

K.S. Aksakov. A few words about Gogol's poem: The Adventures of Chichikov, or Dead Souls

Content and syllable of the poem "Dead Souls". The essence of the Russian people
Gogol is a poet from Little Russia. Little Russian language of Gogol

S.P. Shevyrev. Adventures of Chichikov, or Dead Souls. Poem by N. Gogol

1. The meaning of the poem "Dead Souls".
2. Irony and satire in the work.
3. Image of landlords.
4. Satire in the image of officials.
5. Irony in the image of the common people.

"Dead Souls" is a medical history written by the hand of a master.
A. I. Herzen

"Dead Souls" by N. V. Gogol is an immortal satirical work of Russian literature. However, this poignant and funny poem does not at all suggest joyful and cheerful thoughts. A feature of Gogol's talent is that he effortlessly, harmoniously and subtly combined the tragic and comic principles in his works. That is why the comedic and satirical moments of the work only emphasize the general tragedy of the picture of life in Russia at the beginning of the nineteenth century. Satire dominates the text of the poem for the reason that the author considered it to be the most effective way to combat social vices and shortcomings. How much this satire helped in the framework of the restructuring of Russia is not for us to decide.

The general picture of the life of Russians, full of irony and light mockery, begins already with a description of the city in which Pavel Ivanovich Chichikov arrives. Here there are houses, lost against the background of huge spaces of streets, and half-worn, half-washed-out signs with ridiculous boots and bagels, with the only surviving inscription: "Foreigner Vasily Fedorov." The description of the city is detailed and full of subtle but important details. It gives an idea of \u200b\u200bthe life and customs of its inhabitants. For example, it turns out that residents are not alien to lies. So, after the scene in which Chichikov is walking through the garden, where the trees have just been planted and they are not taller than a cane, the hero comes across a note in the local newspaper, where there is a message about the appearance of a garden consisting of "shady broad-leaved trees." The pathos and pathos of these lines only underline the squalor of the real picture of what is happening in the city, where a traveler for just a couple of rubles a day can get "a quiet room with cockroaches peeping out like prunes from all corners" or have a snack in the dining room two weeks ago.

In the same spirit, the landowners and the bureaucratic brethren are portrayed with a rather evil irony. So Manilov is called “very courteous and courteous, and these are his favorite words, the very characteristics that he lacks so much. By the sweetness of his gaze, his eyes are compared to sugar, causing the reader to associate with disgusting sweetness. It is no coincidence that Sobakevich's appearance is related to the bear - through this image, the author brings the character closer to an animal devoid of aesthetic and spiritual principles. And the interior of Sobakevich's office is described in such a way as to highlight the main characteristics of the owner: "The table, armchairs, chairs - everything was of the most difficult and restless nature." Nozdryov becomes ridiculous in the eyes of the reader after the phrase that calls people like him good comrades is followed by the following line: "... with all that, they are very painfully beaten."

In addition to the irony, which is rather angry and poignant, the text of the work is also full of comedic situations, where laughter becomes softer and less evil. Many readers must have remembered the scene about how Manilov and Chichikov for several minutes cannot enter the room, persistently conceding to each other the right to cross the threshold of the room first. The scene of Chichikov's visit to Korobochka is also interesting for consideration, where in the dialogue between the club-headed Nastasya and the cunning businessman, Korobochka's confusion, her stupidity and stupidity and amazing economy are alternately manifested.

However, not only landowners and officials are satirically depicted in the work. The depiction of peasant life is also associated with satire. A funny situation is connected with the coachman Selifan and the courtyard girl Pelageya, who explains the way, but does not distinguish between right and left. This concise passage will tell the reader a lot - about the general level of illiteracy among the common people, about darkness and underdevelopment - the natural consequences of a long stay in a state of serfdom. The same motives are visible in the episode with Uncle Mitya and Uncle Minyay, who, rushing to take apart the horses, got entangled in the lines. Even the serf Chichikova Petrushka, a person considered educated, looks like a living laughing stock, since all his learning consists only in the ability to put words out of letters, without thinking too much about their meaning.

By means of sarcasm, such features characteristic of the landowners of that time as bribery, embezzlement, dishonesty, squalor of interests are distinguished. Hence a thought for reflection: will such people benefit the state by holding high posts in the bureaucratic apparatus?

In the depiction of perhaps the most disgusting character in the work, Plyushkin, grotesque is widely used. Plyushkin is the last degree of degradation, which consists in the complete death of the soul. Even the outward appearance begins to succumb to the spiritual crisis of the hero, because his belonging to a particular gender becomes more and more difficult. The fate of children and grandchildren is indifferent to him. And he himself abstracted himself from the world around him behind the high wall of his own egoism. All emotions and feelings have been erased from his soul forever, leaving only boundless, impossible stinginess. And this hero is the most terrible example of an official's crime against his people and state.

The many-sided evil, picturesquely depicted by Gogol in the poem "Dead Souls", convinces the reader that serfdom was the main problem and the main disease that infected the body of Russia, which acted equally ruthlessly against both those in power and against ordinary peasants.

Gogol created his works in the historical conditions that developed in Russia after the failure of the first revolutionary action - the uprising of the Decembrists in 1825. The new socio-political situation set new tasks for the leaders of Russian social thought and literature, which were deeply reflected in Gogol. Turning to the most important social problems of his time, he went further along the path of realism, which was discovered by Pushkin and Griboyedov. Developing the principles of critical realism, Gogol became one of the greatest representatives of this trend in Russian. As Belinsky notes, "Gogol was the first to boldly and directly look at Russian reality."

One of the main themes in the work of Gogol is the Russian landlord class, the Russian nobility as the ruling class, its fate and role in public life. It is characteristic that the main way of depicting landowners in Gogol is satire. The images of landowners reflect the process of gradual degradation of this class, all its vices and shortcomings are revealed. Gogol's satire is colored with irony and "hits right in the forehead." Irony helped the writer to talk about what it was impossible to talk about under censorship. Gogol's laugh seems good-natured, but he spares no one, each phrase has a deep, hidden meaning, subtext. Irony is a characteristic element of Gogol's satire. It is present not only in the author's speech, but also in the speech of the characters. Irony - one of the essential signs of Gogol's poetics - gives the narration greater realism, becoming an artistic means of critical analysis of reality.

In Gogol's greatest work, the poem Dead Souls, the images of landowners are given in the most complete and multifaceted way. The poem is constructed as the adventures of Chichikov, an official who buys up "dead souls". The composition of the poem allowed the author to tell about different landowners and their villages. Almost half of the first volume of the poem (five chapters out of eleven) is devoted to the characterization of various types of Russian landowners. Gogol creates five characters, five portraits that are so unlike each other, and at the same time, typical features of a Russian landowner appear in each of them.

Our acquaintance begins with Manilov and ends with Plyushkin. This sequence has its own logic: from one landowner to another, the process of impoverishment of the human personality deepens, an increasingly terrible picture of the disintegration of serf society unfolds.

Opens portrait gallery of landowners Manilov. Already in the surname itself, his character is manifested. The description begins with a picture of the village of Manilovka, which "could not lure many with its location." With irony he describes the manor's courtyard, with a claim to "an English garden with an overgrown pond", thin bushes and with a pale inscription: "The Temple of Solitary Meditation." Speaking about Manilov, the author exclaims: "God alone could have said what Manilov's character was." He is kind by nature, polite, courteous, but all this took on ugly forms. Manilov is fine-minded and sentimental to the point of cloying. The relationship between people seems to him idyllic and festive. Manilov does not know life at all, reality is replaced by empty fantasy. He loves to reflect and dream, and sometimes even about things that are useful to the peasants. But his projecting is far from the demands of life. He does not know and never think about the real needs of the peasants. Manilov considers himself to be a bearer of spiritual culture. Once in the army, he was considered the most educated person. The author speaks ironically about the atmosphere of Manilov's house, in which "something was always lacking," about his sugary relationship with his wife. At the moment of talking about dead souls, Manilov is compared to an overly clever minister. Here Gogol's irony seems to inadvertently intrude into the forbidden area. Comparing Manilov with a minister means that the latter is not so different from this landowner, and "Manilovism" is a typical phenomenon of this vulgar world.

The third chapter of the poem is devoted to the image of the Korobochka, which Gogol refers to as those "small landowners who complain of crop failures, losses and keep their heads a little to one side, and meanwhile collect a little money in variegated bags placed on the drawers of the chest." This money is obtained from the sale of a wide variety of subsistence products. Korobochka understood the benefits of trade and, after much persuasion, agrees to sell such an unusual product as dead souls. The author is ironic in describing the dialogue between Chichikov and Korobochka. The "club-headed" landowner for a long time cannot understand what they want from her, drives Chichikov out of herself, and then bargains for a long time, fearing "just to make a mistake." Korobochka's outlook and interests do not go beyond the boundaries of her estate. The economy and all its life are patriarchal in nature.

Gogol paints a completely different form of decomposition of the nobility in the image of Nozdryov (Chapter IV). This is a typical jack of all trades. There was something open, direct, daring in his face. He is characterized by a kind of "breadth of nature". As the author ironically notes, "Nozdryov was in some respects a historical person." Not a single meeting he attended was complete without stories! Nozdryov with a light heart loses a lot of money at cards, beats a simpleton at the fair and immediately "squanders" all the money. Nozdryov is a master of "casting bullets", he is a reckless braggart and utter liar. Nozdryov always behaves defiantly, even aggressively. The speech is full of swear words, while he has a passion "to spoil his neighbor." In the image of Nozdrev, Gogol created a new in Russian literature socio-psychological type of "nozdrevshchina".

When describing Sobakevich, the author's satire acquires a more accusatory character (Chapter V of the poem). He bears little resemblance to the previous landowners: he is a "landlord-kulak", a cunning, tight-fisted huckster. He is alien to Manilov's dreamy complacency, Nozdryov's exuberant extravagance, Korobochka's hoarding. He is laconic, has an iron grip, on his own mind, and there are few people who could deceive him. Everything with him is solid and strong. Gogol reflects a person's character in all the surrounding things of his life. Everything in Sobakevich's house was surprisingly reminiscent of him. Each thing seemed to say: "And I, too, Sobakevich." Gogol draws a figure striking in its rudeness. To Chichikov, he seemed very similar to "an average size bear." Sobakevich is a cynic, not ashamed of moral deformity, either in himself or in others. This is a person far from enlightenment, a die-hard serf owner who cares about the peasants only as a labor force. It is characteristic that, apart from Sobakevich, no one understood the essence of the "scoundrel" Chichikov, but he perfectly understood the essence of the proposal, which reflects the spirit of the times: everything is to be bought and sold, everything should be profitable.

Chapter VI of the poem is devoted to Plyushkin, whose name has become a household name to denote stinginess and moral degradation. This becomes the last step in the degeneration of the landlord class. The acquaintance of the reader with the character Gogol begins, as usual, with a description of the village and the estate of the landowner. On all buildings there was a noticeable "some special dilapidation." The writer paints a picture of the complete ruin of the once wealthy landlord economy. The reason for this is not the extravagance and idleness of the landowner, but painful avarice. This is an evil satire on the landowner, who has become a “hole in humanity.” - The owner himself is a sexless creature resembling a housekeeper. This hero does not cause laughter, but only bitter regret.

So, the five characters created by Gogol in Dead Souls diversify the state of the noble-serf class. Manilov, Korobochka, Nozdrev, Soba-kevich, Plyushkin - all these are different forms of the same phenomenon - the economic, social, and spiritual decline of the serf-landlord class.

Need a cheat sheet? Then save - "SATIRE IN THE POEM BY NV GOGOL" DEAD SOULS ". Literary works!

Satire is a special way of depicting the negative phenomena of life, vices and shortcomings of people. The negative can be depicted not only in satirical works - it is enough to recall, for example, "Journey from St. Petersburg to Moscow" by A. N. Radishchev, "The Village" by A. S. Pushkin, "Duma" by M. Yu. Lermon and many others. But in the satirical work, vices are not only depicted and condemned, but also angrily, sharply ridiculed. Laughter is the main weapon of satire, a sharp and powerful weapon. “Laughter,” wrote A. V. Lunacharsky, “inflicts painful blows on the enemy, makes him lose confidence in his own strength and, in any case, makes the enemy's powerlessness obvious in the eyes of witnesses. Sharply mocking, scourging evil, the satirist, thereby makes the reader feel his positive ideal, awakens the craving for this ideal. "Under satire," wrote VG Belinsky, "one should understand not the innocent scoffing of cheerful witches, but the thunder of indignation, the thunder of the spirit, offended by the shame of society."

But in life there are also such phenomena that cause a kind smile, friendly banter. We both laugh and sympathize with the one we are joking about. This is humor, kind, good-natured smile. It is worth abolishing, which is traditional, humor is achieved by a calm, objective narration, a certain selection of fak, figurative means - epithe, metaphors, comparisons, etc.

Irony is a type of humor. This is a subtle, hidden mockery. An ironic meaning is achieved, for example, by an exaggeratedly enthusiastic definition of such qualities, or phenomena, or actions, which in fact are only worthy of blame; irony resounds in the praise of precisely those qualities that the one who is being praised does not actually have. One of the striking examples of irony is the author's characterization of Uncle Onegin: "The old man, having a lot to do, did not look at other books" (and all his affairs - "for forty years he scolded with the housekeeper, looked out the window and pressed flies").

A caustic, stinging mockery, which also contains a feeling of anger, hatred, is called sarcasm. "Satire," wrote Lunacharsky, "can be brought to an extreme degree of malice, which makes laughter poisonous and biting." Sarcastic laughter can be heard, for example, in Chatsky's monologues. Poems, stories, poems, novels can be satirical, but there are also special types of satirical works - a fable, a parody, an epigram, a feuilleton

There are many funny situations in the poem, into which the heroes fall not according to the author's production, but according to the properties of their character.

The comic nature of situations based on life's unacceptability is a feature of the satirical work.

Portrait of Manilov accompanied by the author's ironic assessments: "he was a prominent person" - but only "by sight"; pleasant features - but "too sugar-rich"; smiled "tempting". Blond hair and blue eyes complete the impression of cloying sweetness. The speech of the characters of the satirical work openly comically expresses their character. Belinsky wrote that Gogol's heroes “are not his invention, they are not funny because of his whim; the poet is strictly faithful to reality in them. And to whom every person speaks and acts in the environment of his life, his character and the circumstance under the influence of which he is located.

It's funny when Manilov speaks of the city officials as the most beautiful and worthy people, and Sobakevich calls the same people swindlers and Christ-sellers. It's funny when Chichikov, trying to match Sobakevich's tone, dodges, wants to please the landowner, but he just doesn't succeed. It's funny when, as proof of the intelligence and erudition of the police chief, Chichikov unexpectedly says: “We lost at his whist together with the prosecutor and the chairman of the chamber until the very late cocks. A very, very worthy person! " And at the same time, everything is organic for this particular character.

It was in satire that hyperbole (exaggeration) received the greatest spread. Gogol makes extensive use of this technique to make the disgusting features of the "masters of life" more clear and prominent.

So, the methods of creating a satirical canvas are the same as in a non-satirical work: the life basis of the plot, portrait, descriptions, dialogues (speech of the characters); the same pictorial and expressive means: epithets, metaphors, comparisons, etc. But there is a significant difference - in order to use these techniques and means, in the pronounced comic of the satirical work.

As you do your work, pay attention to these features of Gogol's humor and satire. How do you define the typicality of landowners - Korobochka, Nozdrev, Sobakevich, Plyushkin?

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The image of Chichikov is written out with that measure of psychological certainty and with that precise sense of the truth of life, which for decades anticipated the disclosure of the essence of this then new phenomenon. Back in the fifties and sixties of the last century, examples of honest acquisitions and entrepreneurship were seriously exhibited, and it was written about “honest Chichikovism”. Gogol in 1841 looked at his hero much more soberly and shrewdly. Everything that has happened to Pavel Ivanovich Chichikov so far is still only, so to speak, the prehistory of character. But it is explored with such skill and with such insight that everything that follows in the hero's fate is perceived by the reader as something absolutely natural and natural in the development of character. Chichikov's past comprehensively explains his present.

Desperate to make a career, Chichikov decided to radically change his life. He decided to become a landowner. This is where we come to the main phase of Chichikov's biography. In the epic with "dead souls" the devilish energy and ingenuity of Chichikov were most clearly revealed. He never dreamed of a career. Service occupied him only as a means of enrichment. Chichikov's admiration was caused not by people with high dignity, but by people with capital. For the first time in Russian literature, the psychology and philosophy of the money man, the "millionaire", appeared with such remarkable plasticity.

He was a “new” person in Russia, arousing the greatest interest and curiosity. The landowner led a semi-subsistence economy. His bins were bursting with an excess of bread and all that the earth produced, but he needed money. Let us recall with what frenzy the most "economic" landowners Korobochka and Sobakevich bargain with Chichikov for every kopeck. City officials also need money, whose salaries clearly do not correspond to the broad lifestyle to which each of them strives. Embezzlement, bribes, and extortions are widespread everywhere. Capital becomes the true master of life.

Without family and tribe, he unceremoniously invaded secular living rooms and more and more aggressively pushed aside the noble aristocracy in various areas of public life. The question of the power of money, the charm of a million seriously worried Russian writers at the beginning of the last century. They also noticed the character of the person captured by this charm. But it was also a figure like Pushkin's Hermann, who was deceived by the "Queen of Spades" and went mad. In 1835, Gogol published the first version of the "Portrait", in which the theme of money took on an even more fantastic coloring and was directly connected by the writer with the devil's obsession. The reference to the devil did not explain anything, and in 1841, as we know, almost at the same time as Dead Souls, Gogol completed a radical revision of the story.

The fantastic element was largely (not without the influence of Belinsky's criticism) weakened and realistic motives were strengthened. In this version of the story, the hero, captured by the thirst for money, ends up mad and ruin. In Dead Souls, a character is taken for which acquisition is not an external passion that breaks talent and life, but the very essence, the constant life of this character.

Among the characters in Gogol's poem "Dead Souls" Chichikov occupies a special place. Being the central (in terms of plot and composition) figure of the poem, this hero remains a mystery to everyone up to the last chapter of the first volume - not only to officials ...

Gogol has long dreamed of writing a work "in which all of Russia would appear." This was supposed to be a grandiose description of the life and customs of Russia in the first third of the 19th century. Such a work was the poem "Dead Souls", written in 1842 ...

In the fall of 1835, Gogol began work on the poem "Dead Souls", the plot of which was suggested to him by Pushkin. Gogol had long dreamed of writing a novel about Russia, and was very grateful to Pushkin for the idea. “I would like to show in this novel at least one ...

But is it always fun for me to struggle with an insignificant load of petty passions, to go hand in hand with my strange heroes? Oh, how many times would I like to strike the lofty strings, to captivate the admirers proudly and triumphantly to chain them to my victorious chariot ...

Russia in Gogol's work is shown from a variety of sides, created with the help of satirical and lyrical means. In his works, the writer analyzes many "diseases" of Russian society. One of the main moral and social ills, in his opinion, was serfdom, as it devastated the human soul. Showing various characters, Nikolai Vasilyevich highlights the common thing in them: they are all “dead souls”.
A close-up of the poem depicts the images of landowners, these "masters of the country" who are responsible for its economic and cultural condition, for the fate of the people. Critics and publicists - defenders of autocracy and serfdom - argued that the nobles are people of a high mental warehouse, exceptional nobility, bearers of high culture, honor and civic duty, that is, they are the backbone of the state. Gogol dispelled this myth, which had formed over the centuries. Of course, he did not deny the merits of the progressive noble intelligentsia, but in his work the writer portrayed not Chatsky, Onegin or Pechorin, but the bulk of this class. He draws those people who consider themselves better than others, are the pillars of society. All these persons belonging to the upper class are shown by Gogol to be worthless and vulgar. They are deprived of the consciousness of civic duty, honor and conscience. Nikolai Vasilyevich masterfully reveals the images of all the heroes of his poem. The sweetness and sentimentality depicted in Manilov's portrait are the essence of his idle lifestyle. He constantly thinks and dreams of something unreal, considers himself to be the most educated person, wants to “follow some sort of science,” although he always had a book on his table, bookmarked on page 14, which he read two years already". Manilov creates fantastic projects, one more absurd than the other, without relating them to real life. He is not engaged in farming, "he never even went to the field, the farming went somehow by itself."
The box, seized by the thirst for profit, trades in everything that is available in its subsistence economy: lard, hemp, bird feathers, serfs. For her, people are an animated commodity. Gogol reveals Korobochka's pitiful selfishness in the scene of the sale of dead souls. The landowner is not surprised at Chichikov's strange proposal, but is only afraid to sell too cheap. "They are ... they are somehow worth more," she realizes.
Poor in spirit and mind, Korobochka does not see anything that lies outside her estate. The writer expressed the moral ugliness and mental primitivism of the landowner in one apt definition: "club-headed."
In the character of Nozdrev, Gogol singles out his aimless activity, constant readiness to do something. But he does not bring a single business started to the end, since all his undertakings are devoid of purpose and are not dictated by necessity. Dashing and reveler, he brags shamelessly and deceives everyone who meets him. He has no moral principles. Nozdryov brings only confusion to any society, his appearance always portends a scandal.
With the way of life of Sobakevich, Gogol opens a new page in the chronicle of the life of the owners of the estates. This hero has a kulak, animal nature, which manifests itself in his actions, in his way of thinking and leaves an imprint on the whole life. Every object in the house seemed to say: "I, too, Sobakevich."
Sobakevich knows that everything is bought and sold in this world. He realized that Chichikov saw a benefit in buying dead souls, and without further ado, he offered: "Excuse me, I'm ready to sell." “No, whoever is already a fist cannot bend into the palm,” concludes Chichikov.
The theme of moral decline, spiritual death of the "masters of life" ends with a chapter dedicated to Plyushkin. The description of the village and the estate of this "owner" is permeated with melancholy: "The windows in the huts were without glass, others were plugged with a rag or zipun." The manor house looks like a huge burial vault where a man is buried alive. Gogol shows the gradual degradation of the human personality. Once Plyushkin was only a thrifty owner, but the thirst for enrichment led to the fact that he broke off relations with friends and children, guided by considerations that friendship and family ties entail material costs. The landowner turned into "some kind of hole in humanity."
The gallery of "dead souls" is not limited to images of landowners. Complete stagnation reigns in the provincial city, where officials dominate. The state apparatus has become a profitable means of profit for bureaucrats. They all take bribes. Among them "meanness, completely disinterested, pure meanness" flourishes. Nikolai Vasilyevich angrily laughs at how cowardly bureaucrats immersed in criminal activity, endowed with power, help a swindler in his dirty machinations, fearing their exposure.
All depicted human vices, as we now see, received their development in the future, since they are assimilated by people of a new formation, to whom Chichikov belongs in the work. Pavel Ivanovich's initial petty speculations are being replaced by major machinations. But almost all of his "affairs" end in failure. This does not stop Chichikov. Hiding the traces of the crime, he embarks on a new plan with more energy. On the surface, Pavel Ivanovich was the most decent man who never allowed himself to use a harsh word in speech. Chichikov unmistakably determines the strengths and weaknesses of people, quickly adapts to various circumstances. In relations with people, he has many faces: he adapts to the one with whom he is talking. Chichikov is insulted by dirty clerical desks, not bribe officials. The more epidemics and peasant graves in the country, the better for him!
Showing the agony of the human soul, the triumph of the forces of evil, Gogol does not lose hope for the revival of Russia. He believes in the potential strengths and capabilities of the Russian people. The category of movement is the writer's positive philosophical ideal. Movement is peculiar to Chichikov and Plyushkin, although for the latter movement is degradation. Not a static, but a developing character has a chance of rebirth. Movement and faith are the means to the salvation and resurrection of Russia. It is thanks to these categories that the symbolic image of the bird-three is born: “Aren't you, Russia, rushing like a brisk, unattainable troika? .. Rus, where are you rushing? Give an answer. Doesn't give an answer. "

1. The meaning of the poem "Dead Souls".
2. Irony and satire in the work.
3. Image of landlords.
4. Satire in the image of officials.
5. Irony in the image of the common people.

"Dead Souls" is a medical history written by the hand of a master.
A. I. Herzen

The name of N.V. Gogol belongs to the greatest names in Russian literature. In his work, he appears as a lyricist, as a science fiction writer, and as a storyteller, and as a caustic satirist. Gogol is at the same time a writer who creates the world of his "solar" ideal, and a writer who reveals the "vulgarity of a vulgar person" and "abominations" of the Russian order.

The most significant work, on which Gogol considered the work of his entire life, was the poem "Dead Souls", where he revealed the life of Russia from all its sides. The main aspiration of the author was to show that the existing serfdom and human trafficking not only bring with them lawlessness, darkness, impoverishment of the people and the decomposition of the landlord economy itself, they disfigure, destroy, deprive humanity of the human soul itself.

The author achieves an even greater likelihood of the picture of spiritual impoverishment and mortification by depicting the provincial city and its officials. Here, in contrast to life in the manors of the landowners, a stormy activity and movement is in full swing. However, all this activity is only external, "mechanical", revealing the true spiritual emptiness. Gogol creates a vivid, grotesque image of a city “rebelled” with rumors about Chichikov's strange actions. “... Everything was in ferment, and at least someone could understand something ... Go talk, talk, and the whole city started talking about dead souls and the governor's daughter, about Chichikov and dead souls, about the governor's daughter and Chichikov and everything that is, has risen. How a whirlwind whirled up until then, it seemed, a dormant city! " At the same time, a heavy expectation of retribution hung over everyone. In the midst of the general turmoil, the postmaster shares with the others the "witty" discovery that Chichikov is Captain Kopeikin, and tells the story of the latter.

Creating the image of a gradually degrading Russia, Gogol does not overlook a single trifle and detail. On the contrary, he draws the reader's attention to them, since he is sure that the essence of all surrounding reality consists precisely of the little things; it is they who conceal the source of evil, and therefore acquire a formidable symbolic meaning in the poem.

In his work, N. V. Gogol achieved his goal in the best way, which he formulated as follows: “... I thought that the lyrical power, which I had a reserve, would help me to portray so ... dignity that Russian a person, and the power of laughter, which I also had a reserve, will help me to portray flaws so vehemently that the reader will hate them, even if he found them in himself. "

The poem "Dead Souls" is a brilliant satire on feudal Russia. But fate has no mercy for the One whose noble genius Became the denouncer of the crowd, Her passions and delusions. Creativity N.V., Gogol is multifaceted and diverse. The writer has a talent ...

Since the genre of the poem presupposes the equality of lyric and epic principles, it is impossible to do without the author's word in this work. The lyrical beginning in the poem "Dead Souls" is realized precisely in the author's digressions. Not being the hero of the poem, ...

My favorite work by Nikolai Vasilyevich Gogol is Dead Souls. Almost every writer has a work that is the work of his entire life, a creation in which he embodied his searches and innermost thoughts. For Gogol it is, without a doubt, “The dead ...

N. V. Gogol's poem "Dead Souls" - a brilliant satire on feudal Russia

Approximate text of the essay

The poem "Dead Souls" by N. V. Gogol is a satirical work. This funny and cheerful book nevertheless leads the reader to sad thoughts about the fate of Russia and its people. A feature of Gogol's talent was the organic combination of the comic and the tragic. Therefore, in Dead Souls, funny scenes and characters only more vividly emphasize the overall tragic picture of Russian reality in the 30s and 40s of the 19th century. Gogol was convinced that one of the most effective means of transforming society is ridicule of the typical vices that hinder its further development. Therefore, the author makes extensive use of satirical pictorial means in the poem.

With irony Gogol describes the omens of a typical provincial town, which we see through the eyes of the recently arrived Pavel Ivanovich Chichikov. These are houses, lost among the wide, like a field, streets, and ridiculous signs with pretzels and boots almost washed away by the rains, among which stands out the proud inscription: "Foreigner Vasily Fedorov". The humorously depicted urban landscape gives an idea not only of the appearance of the city, but also of the life of its inhabitants, their general cultural level. Having visited the city garden, Chichikov saw trees that were no taller than reeds. However, the newspapers said that the city was adorned with a garden "of shady broad-leaved trees." The pathetic lines of a local journalist especially emphasize the squalor of this poor, uncomfortable city, where for two rubles a day a traveler can get in the hotel "a deceased room with cockroaches peeping out like prunes from all corners", or dine in a tavern with a dish two weeks old.

Ironically, the author also draws portraits of landowners and officials in the poem. Calling Manilov "very courteous and courteous," the author characterizes the hero with words from his own vocabulary. This is exactly how this landowner wants to appear, and that is how others perceive him. Gogol compares Manilov's eyes to sugar in the sweetness of their gaze, emphasizing the sugary sweetness. Describing the appearance of Sobakevich, the writer compares him with an average-sized bear, sharply ironically bringing the image of the hero closer to the animal. This allows us to reveal the characteristic features of this character: his animal nature, the complete absence of aesthetic feeling in him, a higher spiritual principle. This goal is also subordinated to the assimilation of Sobakevich's furniture to the owner himself. "The table, armchairs, chairs - everything was of the heaviest and most restless quality." The irony in the characterization of Nozdryov is connected with the contradiction between its first part, which calls people like him good comrades, and the following remark that "with all that, they are very painfully beaten."

In addition to the ironic characteristics of the heroes. Gogol saturates the poem with comic situations and positions. For example, the scene between Chichikov and Manilov is remembered, who for several minutes have not been able to enter the living room, because they persistently concede this honorable privilege to each other, as cultured, delicate people. One of the best comic scenes of the poem is the episode of Chichikov's visit to the landowner Korobochka. In this brilliant dialogue between the club-headed Nastasya Petrovna and the enterprising businessman, the whole gamut of the heroine's feelings is conveyed: bewilderment, confusion, suspicion, and economic prudence. It is in this scene that the main character traits of Korobochka are fully and psychologically convincingly revealed - greed, perseverance and stupidity.

Comic situations in the poem are associated not only with landowners and officials, but also with people from the people. Such a scene, for example, is the conversation between the coachman Selifan and the courtyard girl Pelageya, who, pointing the way, does not know where is right and where is left. This laconic episode says a lot: about the extreme ignorance of the people, their underdevelopment and darkness, which was the result of centuries of serfdom. The same negative traits of the people are emphasized by the comic scene between Uncle Mitya and Uncle Minyai, who, obligingly rushing to disassemble the horses, got entangled in the lines. Even the literate serf Chichikova Petrushka is perceived as a parody of an educated person, for he enjoys the ability to put letters into words, absolutely not thinking about their meaning.

Sarcastically portraying bureaucracy in the poem. Gogol reveals in him such disgusting features as bribery, embezzlement of the embezzlement, dishonesty, squalor of interests. If such people are in the civil service, then the administrative system of tsarist Russia does not defend law and order, but breeds evil and arbitrariness. And this is a vivid proof of the anti-popular nature of the state apparatus.

Except irony and sarcasm. Gogol uses grotesque in the poem in the depiction of the most disgusting hero - Plyushkin. It represents the last degree of degradation, complete death of the soul. He even outwardly lost his human appearance, because Chichikov, seeing him, did not immediately understand what gender this figure was. In this ominous old man, all attachments and family feelings have long since died. He is indifferent to the fate of his children and grandchildren. He shut himself off from the whole world in gloomy selfish solitude. Everything had disappeared from his soul, except for the avarice, which had gone beyond all reasonable limits. Plyushkin's petty money-grubbing turned into its opposite. It is in the manner of Plyushkin that Gogol fully reveals the depth of the landowners' crime against their people.

Drawing in the poem the many-sided evil of Russian life, Gogol convinces the reader that serfdom was the main disease of Nicholas Russia, which caused great harm to the country, ruined and maimed the people. It is not for nothing that Herzen called Dead Souls "a case history written by a master's hand."

Indicate the main methods of satirical depiction that N.V. Gogol uses in "Dead Souls", and who of the Russian writers of the XIX-XX centuries is the successor of his traditions.

Read the fragment of the text below and complete tasks B1-B7; C1-C2.

It would be worth describing the office rooms that our heroes passed through, but the author has a strong shyness towards all public places. If he happened to pass them even in a brilliant and ennobled form, with lacquered floors and tables, he tried to run as soon as possible, humbly lowering and looking down at the ground, and therefore does not know at all how everything is prospering and prospering there. Our heroes saw a lot of paper, both rough and white, bowed heads, wide nape, dress coats, provincial cut coats and even just some kind of light gray jacket, which came off quite abruptly, which, turning its head to one side and putting it almost on the very paper, briskly and ambitiously wrote out some protocol on the seizure of land or a slip of the tongue of an estate seized by some peaceful landowner, peacefully living out his life on trial, who made his own children and grandchildren under his cover, and short expressions were heard in snatches, pronounced in a hoarse voice: “ Lend me, Fedosey Fedoseyevich, business for the number 368! " - "You will always drag the cork from the government inkwell somewhere!" Sometimes a more dignified voice, no doubt one of the chiefs, rang out imperatively: “Here, rewrite! otherwise they will take off their boots and stay with me for six days without eating. " The noise from the feathers was great and sounded as if several carts with brushwood were driving through a forest heaped with withered leaves a quarter of an arshin.

Chichikov and Manilov approached the first table, where two officials were still young, and asked:

Let me know where the fortress affairs are here?

What do you need? - said both officials, turning around.

And I need to submit a request.

What did you buy that?

I would like to know first where the fortress table is, here or elsewhere?

Yes, tell me first what you bought and at what price, so then we'll tell you where, otherwise you can't know.

Chichikov immediately saw that the officials were simply curious, like all young officials, and wanted to give more weight and importance to themselves and their occupations.

Listen, dear ones, - he said, - I know very well that all the affairs of the fortresses, whatever the price, are in one place, and therefore I ask you to show us the table, and if you do not know what is going on with you so we ask others.

The officials did not answer this, one of them just pointed his finger at the corner of the room, where an old man was sitting at the table, jotting down some papers. Chichikov and Manilov walked between the tables directly to him. The old man studied very attentively.

Let me find out, "said Chichikov with a bow," are the fortresses here?

The old man raised his eyes and said with consistency:

There are no fortress cases here.

This is a fortress expedition.

And where is the serf expedition?

This is with Ivan Antonovich.

And where is Ivan Antonovich?

The old man jabbed his finger to another corner of the room. Chichikov and Manilov went to see Ivan Antonovich.

Tchichikov, taking a piece of paper out of his pocket, put it in front of Ivan Antonovich, which he did not notice at all, and immediately covered it with a book. Tchichikov was about to show him her, but Ivan Antonovich, with a movement of his head, let him know that there was no need to show it.

"Here, he will lead you into the presence!" At one time he received a collegiate registrar, served our friends, as Virgil once served Dante, and led them into the presence room, where there were only wide armchairs, and in them, in front of the table, behind a mirror and two thick books, sat alone, like the sun, the chairman. At this point, the new Virgil felt such awe that he did not dare to put his foot there and turned back, showing his back, wiped like a mat, with a chicken feather stuck somewhere. Entering the hall of presence, they saw that the chairman was not alone; beside him sat Sobakevich, completely obscured by a mirror. The arrival of the guests made an exclamation, the government seats were noisily pulled back. Sobakevich, too, got up from his chair and became visible from all sides with his long sleeves. The chairman took Chichikov into his arms, and the room of presence resounded with kisses; asked each other about health; it turned out that both had lower back pain, which was immediately attributed to a sedentary life.

H. B. Gogol "Dead Souls"

Explanation.

To depict bureaucracy in his poem, N. V. Gogol uses satire. In "Dead Souls" none of the officials has a surname, but only rank, first name and patronymic. Gogol, using the techniques of the grotesque, sneering at the heroes, shows that officials, in fact, are worthless, stupid, envious, and sometimes cowardly people, ready to go even to betrayal of their colleagues, when it comes to a career, sometimes they are people too. they are not alike. "Our heroes saw ... even just a light gray jacket ... which, turning her head to one side and putting her elbows on the very paper, wrote out briskly and sweepingly some protocol." This is one of the methods of satirical depiction - grotesque. Gogol also resorts to the use of hyperbole to reveal the full depth of ignorance, historical limitation, inexpressiveness of the bureaucratic world. So, Chichikov officials compare with Napoleon; the prosecutor in "Dead Souls" dies from the first stress, and his death is an important key link in the portrayal of officials.

Dostoevsky and Chekhov continued Gogol's traditions in depicting bureaucracy. In Chekhov's stories and Dostoevsky's stories, the meager inner world of the Russian bureaucracy is exposed with renewed vigor. In Chekhov's story “The Death of an Official”, a miserable creature is shown, completely devoid of self-esteem, a pitiful one.

In Dostoevsky's Poor People, the petty official Devushkin at the service is afraid of the views of his colleagues and does not dare to take his eyes off the table. The hero is always afraid that he is being watched and tracked down, he sees enemies everywhere. He is painfully afraid of people, imagines himself a victim, and therefore is not able to communicate with others on equal terms.

So gradually, from the impersonal officials of Gogol, new images grow in the work of his followers.

1. The meaning of the poem "Dead Souls".
2. Irony and satire in the work.
3. Image of landlords.
4. Satire in the image of officials.
5. Irony in the image of the common people.

"Dead Souls" is a medical history written by the hand of a master.
A. I. Herzen

"Dead Souls" by N. V. Gogol is an immortal satirical work of Russian literature. However, this poignant and funny poem does not suggest joyful and cheerful thoughts. A feature of Gogol's talent is that he effortlessly, harmoniously and subtly combined the tragic and comic principles in his works. That is why the comedic and satirical moments of the work only emphasize the general tragedy of the picture of the life of Russia at the beginning of the 19th century. Satire dominates the text of the poem for the reason that the author considered it the most effective way to combat social vices and shortcomings. How much this satire helped in the framework of the restructuring of Russia is not for us to decide.

In the same spirit, the landowners and the bureaucratic brethren are portrayed with a rather evil irony. So Manilov is called “very courteous and courteous, and these are his favorite words, the very characteristics that he lacks so much. By the sweetness of his gaze, his eyes are compared to sugar, causing the reader to associate with disgusting sweetness. It is no coincidence that Sobakevich's appearance correlates with a bear - through this image, the author brings the character closer to an animal devoid of aesthetic and spiritual principles. And the interior of Sobakevich's office is described in such a way as to highlight the main characteristics of the owner: "The table, armchairs, chairs - everything was of the most difficult and restless nature." Nozdryov becomes ridiculous in the eyes of the reader after the phrase that calls people like him good comrades is followed by the following line: "... with all that, they are very painfully beaten."

However, not only landowners and officials are satirically depicted in the work. The depiction of peasant life is also associated with satire. A funny situation is connected with the coachman Selifan and the courtyard girl Pelageya, who explains the way, but does not distinguish between right and left. This concise passage will tell the reader a lot - about the general level of illiteracy among the common people, about darkness and undevelopment - the natural consequences of a long stay in a state of serfdom. The same motives are seen in the episode with Uncle Mitya and Uncle Minyai, who, rushing to take apart the horses, got entangled in the lines. Even the serf Chichikova Petrushka, a person considered educated, looks like a living laughingstock, since all his learning consists only in the ability to put words out of letters, without thinking too much about their meaning.

In the depiction of perhaps the most disgusting character in the work, Plyushkin, grotesque is widely used. Plyushkin is the last degree of degradation, which consists in the complete death of the soul. Even the outward appearance begins to succumb to the spiritual crisis of the hero, because his belonging to a particular gender becomes more and more difficult. The fate of children and grandchildren is indifferent to him. And he himself abstracted himself from the surrounding world behind the high wall of his own egoism. All emotions and feelings have been erased from his soul forever, leaving only boundless, impossible stinginess. And this hero is the most terrible example of an official's crime against his people and state.

Lesson type:formation of knowledge, skills and abilities.

Lesson objectives:1) determine the role of irony in the poem as an element of Gogol's style; 2) analyze chapter 1.

During the classes:

I. Organizational moment.

II. Introductory speech of the teacher.

- Gogol uses irony in his poem Dead Souls, which permeates the entire poem. What is the role of irony in the author's text?

III. Conversation with students.

- Who is the narrator in the poem "Dead Souls"?

(A writer. But this is not just Gogol: before us is a generalized image, it reflects Gogol's views, aspirations, moods, ideals, and at the same time - the features of a Russian patriotic writer.)

- Where in the text of Chapter 1 does Gogol speak of himself?

(In the mention of a woolen headscarf, “which a married wife prepares with her own hands, a spouse, supplying decent instructions on how to wrap herself up, and for a single, I probably cannot tell who does, God knows them: I have never worn such headscarves”, etc. )

- But an even more important sign of the author's presence is the tone of the narrative: irony is felt in all the diversity of its shades.

- Read the description of Chichikov. Where is the author's irony found in the description text?

- Read the description of the inn, find the hyperbole.

(The cavernous in the tavern was “alive and fidgety to such an extent that it was impossible to even see what his face was.” In the window “there was a knock-down man with a samovar of red copper and a face as red as a samovar, so that from a distance it was possible to think that there were two samovars on the window, if one samovar had not been with a beard as black as pitch. ")

- Read the governor's ball scene. Note the satirical comparison the author of the poem uses.

(The guests at the governor's ball are likened to a swarm of flies on sugar. In this comparison there are two plans. One is external: gentlemen in black tailcoats look like flies, ladies in white dresses with shiny decorations sparkle like pieces of sugar on a sunny day. The second is internal: the entire provincial aristocracy is like annoying flies, capable of "sitting up" anything.)

- Gogol uses parody in the poem. Let's re-read the description of the city garden. Gogol here parodies the style of official newspaper articles praising the "prosperity" of Russia in the Nikolayev era.

- These are some of the forms of Gogol's laughter in the poem. But why does Gogol say that for a long time he will have to “look at the whole immensely rushing life, look at it through the laughter visible to the world and invisible, unknown to him tears”? Who are these tears about?

(Let us read, for example, in the comparison of thick and thin and we will see the shallowing of the human soul. It is these fat ones who deftly handle their affairs and stuff the boxes, and the thin ones who serve "more on special assignments" and put down "all the father's good on couriers" - all this The “flower” of society are those that rule Russia)

IV. Student reports: “What do Chichikov’s things about their owner tell about?”, “History with a poster”, “Chichikov's speech characteristics”.

V. Lesson summary. One thing is clear that our hero is a grated roll, has seen a lot in life, is smart, dexterous and knows people well.