Features of the composition of the poem by N.V. Gogol " Dead souls»
I. Introduction
The composition of Gogol's poem is probably the most unconventional and unusual in world literature. The author's goal was to create a way of life for an entire nation, and not just to show individual typical characters. This required a lot high degree generalization that cannot be achieved with standard composition.
II. Main part
Composition is the composition, relationship and arrangement of parts of a work. It is extremely difficult to apply such a definition to Gogol’s poem, because parts of a work, as a rule, are logically completely unrelated to each other. Gogol was not very concerned about the coherence and consistency of the narrative. He created a free composition, in which the main thing was not the development of the plot, but the depiction of the everyday life of the average person, i.e. "vulgarity of a vulgar person":
a) plot composition. The latter is very peculiar. The fact is that there is clearly more than one plot in the poem. Purchase " dead souls", "The Tale of Captain Kopeikin", the parable of Kif Mokievich and Mokiya Kifovich, the background of Chichikov, the fate of the runaway peasants Plyushkin - all this is only a small part of the independent plots. They occupy great place in the poem, but there is no need to say that some plot is the main one and some is secondary. For Gogol, all plots, even the smallest ones, are equally important, because... they are all particles of Russian life;
b) composition of the character system. In the poem, characters appear all the time who are not at all connected with any of the plots, i.e. The composition of the character system is also very unique. The main, secondary, episodic characters differ only in the volume of text allocated to them, but not in the author's interest and attention to them.
Many characters do not influence the course of the plot in any way, but help to reveal the characters’ characters; they simply exist! in the poem themselves. Such, for example, is the lieutenant from Ryazan, who “has already ordered four pairs of<сапог>and constantly tried on the fifth” (seventh chapter), a district official walking on the way home, and all his relatives (sixth chapter), men talking about the wheel (first chapter)... It is impossible to mention everyone simply because there is an infinite number of them.
Moreover, in the characters that are often called the main ones, more than one person “exists”. Thus, Chichikov appears either as a “scoundrel”, sometimes as a “most pleasant person”, sometimes as simply an “acquirer”. Gogol talks about Sobakevich not only as a landowner, but also as a person who “has tasted the top of some science.” Even in such a seemingly simple character as Korobochka, there are as many as three people hidden;
c) the composition of the world of things is also completely unique. Things do not just serve to characterize the characters, they can (and do) exist in the poem completely separately from people. For example, the portrait of Bagration in Sobakevich’s house and Nozdryov’s barrel organ do not in any way characterize their owners. A huge amount of space is occupied by descriptions of things in Plyushkin’s house, the set table at the police chief’s (the seventh chapter), and the continuous meal of the “mediocre gentleman” (the fourth chapter). Following the logic of the plot development, it would be possible to do without them. But what is important to Gogol is not the dynamics of the action (what will happen next), but things, the world (!) of things in itself. And he cannot ignore any, even the most insignificant, phenomena of Russian life;
d) author's digressions. The most important feature The composition of the poem is a combination of plot and extra-plot elements (Cf.: plan on the topic “Features of the composition of the novel “Eugene Onegin”). Maybe Gogol needed the plot only in order to constantly go aside. That is why the author’s digressions, which relate to extra-plot elements of the work, occupy such a large place in the composition of the poem.
They are not always divorced from the plot. For example, after the author’s sublime thoughts about youth, there follows a description of the village of Plyushkin, where merciless old age has destroyed everything human. This creates a sharp contrast between the author’s ideal and reality (sixth chapter).
However, most of the author's digressions do not obey the classical principles of composition. Some of them are only formally related to the plot, for example, a discussion about fat and thin (first chapter), a parable about Kif Mokievich and Mokiya Kifovich (eleventh chapter), a story about the stomach of a “middle-class gentleman” (fourth chapter), discussions about ladies provincial town(eighth chapter). In fact, all these author’s digressions exist on their own; they tell their own stories that do not advance the plot and explain not the characters’ characters, but Russian life in general.
N.V. Gogol wanted to write a work “in which all of Rus' would appear.” This work was supposed to become a grandiose description of the life and customs of Russia first thirds of the XIX century. It was the poem “Dead Souls,” written in 1842. The first edition of the work was called “The Adventures of Chichikov, or Dead Souls.” This name reduced the satirical meaning of this work. Gogol changed the title for censorship reasons in order for the poem to be published.
Why did Gogol call his work a poem? This title, like the poem itself, has many meanings. One of the meanings is quite realistic. The work is about a kind of population census: the enterprising businessman Chichikov is buying up the names of those peasants who have died. IN pre-revolutionary Russia male peasants were called souls and assigned to some landowner. By acquiring non-existent people into his possession, Chichikov unwittingly exposes the shaky and fragile foundation of the existing system. At least in this, the satirical orientation of Gogol’s poem is visible.
Next to the satirical denial of deformities Russian life The poem contains lyrical elements that glorify the beautiful image of Russia. Associated with this image is the “high lyrical movement”, which in the poem at times gives way to a comic narrative.
Very important in the poem “Dead Souls” lyrical digressions author and inserted episodes. In them, Gogol touches on the most pressing social issues in Russia. The author's thoughts about the high destiny of man, about the fate of the Fatherland and the people form a sharp contrast with the gloomy pictures of Russian reality.
So, let’s go with the hero of the poem “Dead Souls” Chichikov to the city of N.
From the very first pages of the work, we feel the fascination of the plot, since we cannot assume that after Chichikov’s meeting with Manilov there will be meetings with Sobakevich and Nozdrev. The reader cannot guess the end of the poem, because all its characters are depicted according to the principle of gradation: one is worse than the other. For example, Manilov as a separate image does not seem positive character(on his table there is a book open on the same page, and his politeness is insincere: “Let me not allow you to do this”), but compared to Plyushkin, he even wins in many ways. It is interesting that Gogol placed the image of Korobochka in the center of the composition, because her features can be found in each of the landowners. According to the author, she is the personification of the irrepressible thirst for accumulation and acquisition.
To the world of landowners who are real dead souls in the poem, contrasted lyrical image people's Russia, about which Gogol writes with love and admiration.
The image of the troika quickly rushing forward is very important in the poem. The troika of horses embodies the strength, prowess, and recklessness of Russia: “Aren’t you, Rus', like a brisk, unstoppable troika, rushing along?” But the troika is also a symbol of a wild ride that can take you to unknown lands.
FEATURES OF THE GENRE AND COMPOSITION OF THE POEM “DEAD SOULS”
Defining the genre of his own work, N.V. Gogol called “Dead Souls” a poem. This genre definition was preserved at all stages of work, right up to the publication of the book. This is due, first of all, to the fact that in “Dead Souls,” which were originally thought of under the sign of “gaiety” and comedy, there is also another, non-comic element - in the form of lyrical digressions of a serious and pathetic nature. It is a mistake to believe that Gogol called his work a poem “for fun,” although the first critics of “Dead Souls” expressed the following opinion: “This is simply a story put on paper by an intricate, supposedly simple-minded Little Russian in a circle of good friends,” who “do not require a plan.” “No unity, no syllable, just something to laugh about.”
More on initial stage work on the poem, Gogol saw it as something huge and great. So, in a letter to Zhukovsky, the writer reported: “If I complete this creation the way it needs to be accomplished, then... what a huge, what an original plot!.. All of Rus' will appear in it!” Later he develops this idea, believing that the hero of the poem can be a “private, invisible” person, but at the same time significant for the observer of the human soul.
The author leads his hero through a chain of adventures and changes with the goal of “presenting at the same time a true picture of everything significant in the traits and morals of the time he took, that earthly, almost statistically captured picture of the shortcomings, abuses, vices and everything that he noticed in the era he took.” and time." As we can see, Gogol put an educational meaning into the definition of “poem in prose”: a satirical picture of the morals, shortcomings and vices of society should be “a living lesson for the present.”
The life of the protagonist of the work - the petty swindler and rogue Chichikov - is inextricably linked with the life of the lyrical hero of the poem, who sits invisible in Chichikov's chaise, accompanies him to the ball, is present at fraudulent trade transactions, explaining, analyzing and evaluating the behavior of Pavel Ivanovich. The author, in the guise of a lyrical hero, is indignant and “mocks the world, which directly contradicts his abstract idea of virtue and truth.” In the last chapter, from the moment when the chaise leaves the city and endless fields stretch along the road, the lyrical hero of the poem becomes driving force plot. He deepens his discussion about the purpose of the writer-revealer (his fate is not enviable), and decided to present to the reader’s eyes “all the terrible, stunning power of the little things that entangle our lives, all the depth of the cold, fragmented, everyday characters with which our earth is teeming.” Wonderful power granted the lyrical hero-author the opportunity to walk hand in hand with “strange heroes, to survey the whole enormously rushing life, to survey it through laughter visible to the world and invisible, unknown to him tears!”
We can confidently say that in his work Gogol showed that satire can be poetic, since his lyrical hero “recreates before our eyes the image of a corrupted reality in such a way that this corruption is destroyed in itself due to its own absurdity.”
The composition of Gogol's poem “Dead Souls” is somewhat dependent on the plot. The underlying anecdote is based on the conditional assumption that the officials of the city of N do not understand the meaning of Chichikov’s actions. A clever swindler bought several hundred peasant “souls” on the cheap, physically non-existent, dead, but legally alive. I bought them to pawn them at a pawn shop and get a substantial amount. The officials became worried when they learned about Chichikov’s purchases: “dead souls,” “which, however, the devil knows what they mean, but they also contain something very nasty and bad.” Due to his own carelessness, the swindler revealed his secret and was forced to hastily flee the city. Such a plot gave the author the opportunity, on the one hand, to bring out many different characters, and on the other hand, to present a wide panorama of life Russian society. Lyrical digressions and author's reflections establish the author's personal connection with the world he depicts. This world is addressed to him, he expects a certain word from him, at least the author clearly sees this appeal. A typical example is the reflections on Rus' at the beginning of Chapter XI: “Why is your melancholy song heard and heard incessantly in your ears, rushing along your entire length and width, from sea to sea? What's in it, in this song? What calls and cries and grabs your heart? What sounds painfully kiss and strive into the soul and curl around my heart? Rus! What do you want from me? What incomprehensible connection lies between us?
Words about the merits of the Russian word also appear here. At the beginning, the author emphasizes that the Russian people are a great hunter of giving everything their own names and nicknames, many of which are not used in social conversation, but are very apt and correct. Through a series of expressive details and descriptions, through comparative characteristics various languages he comes to enthusiastic praise of the Russian word: “The word of a Briton will respond with heartfelt knowledge and wise knowledge of life, the short-lived word of a Frenchman will flash with light dandy and scatter..., but there is no word that would be so sweeping, so smart, so quick and would burst out so quickly and it trembled vividly, like a well-spoken Russian word.”
Despite the fact that the main place in the poem is given to the depiction of negative, vicious phenomena, in its text the positive principle appears more and more clearly.
In this regard, the key is “The Tale of Captain Kopeikin,” which was banned from publication by the censor. Main character story - the one-legged and one-armed captain Kopeikin. After returning from the battlefield, Kopeikin found himself deceived and rejected by society, for the sake of which he, in general, lost his health. The father abandons his son because he barely has enough bread himself. Kopeikin decides to go to St. Petersburg “to ask the sovereign if there will be any royal mercy,” and there he waits for a long time for an audience or at least a solution to his question. It was difficult for a frail disabled person in a city where “you walk down the street, and your nose can hear that it smells of thousands.”
At first, Kopeikin succumbed to the minister’s deceitful promises and store and restaurant lures, but he did not become their victim, but turned into a rebel - an avenger for the people killed by the capital. Expelled from St. Petersburg to his homeland, Kopeikin disappeared to God knows where, but not even two months had passed before a gang of robbers appeared in the Ryazan forests at the head... At this point the story ends and Gogol gives the reader the opportunity to guess for himself that it was Kopeikin who led the gang. Thus, he demanded that the world of “dead souls” pay for his death. Thus, in a satire poem about the world of “dead souls,” a living soul suddenly appears, rebelling against the soullessness of the social system.
As we see, in N.V. Gogol’s poem “Dead Souls” there are two principles – descriptive and lyrical, which determine the features of the genre and composition of the work. F. M. Dostoevsky in “A Writer’s Diary” for 1876 emphasized that Gogol has moral and philosophical content does not fit within the framework of specific political issues: the images in the poem “almost crush the mind with the deepest, overwhelming questions, evoke in the Russian mind the most restless thoughts, which, one feels, can not be dealt with now; Moreover, will you ever cope again?”
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It found its expression in the fact that the images of landowners, peasants, the description of their life, economy and morals are depicted in the poem so clearly that after reading this part of the poem, you remember it forever. The image of landowner-peasant Rus' was very relevant in Gogol’s time due to the aggravation of the crisis of the serfdom system. Many landowners have ceased to be useful to society, have fallen morally and become hostages of their rights to land and people. Another layer of Russian society began to come to the fore - city residents. As earlier in “The Inspector General,” in this poem Gogol presents a broad picture of officialdom, ladies’ society, ordinary townspeople, and servants.
So, the image of Gogol’s contemporary Russia determines the main themes of “Dead Souls”: the theme of the homeland, the theme local life, theme of the city, theme of the soul. Among the motifs of the poem, the main ones are the road motif and the path motif. The road motif organizes the narrative in the work, the path motif expresses the central author’s idea - the acquisition by Russian people of a true and spiritual life. Gogol achieves an expressive semantic effect by combining these motifs with the following compositional technique: at the beginning of the poem Chichikov’s chaise enters the city, at the end it leaves. Thus, the author shows that what is described in the first volume is partly unimaginable long journey in search of a way. All the heroes of the poem are on the way - Chichikov, the author, Rus'.
“Dead Souls” consists of two large parts, which can be roughly called “village” and “city”. In total, the first volume of the poem contains eleven chapters: the first chapter, describing Chichikov’s arrival, acquaintance with the city and urban society, should be considered expositional; then there are five chapters about landowners (chapters two - six), in the seventh Chichikov returns to the city, at the beginning of the eleventh he leaves it, and the next content of the chapter is no longer connected with the city. Thus, the description of the village and the city account for equal parts of the text of the work, which fully correlates with the main thesis of Gogol’s plan: “All of Rus' will appear in it!”
The poem also has two extra-plot elements: “The Tale of Captain Kopeikin” and the parable of Kif Mokievich and Mokiya Kifovich. The purpose of including a story in the text of the work is to clarify some of the ideas of the poem. The parable serves as a generalization, connecting the characters of the poem with the idea of the purpose of intelligence and heroism as two priceless gifts given to man.
It is also noteworthy that the author tells the “story of Chichikov” in the eleventh chapter. The main purpose of placing the hero's backstory at the end of the chapter is that the author wanted to avoid the reader's preconceived, prepared perception of events and the hero. Gogol wanted the reader to form his own opinion about what was happening, observing everything as if it were in real life.
Finally, the relationship between the epic and the lyrical in the poem also has its own ideological meaning. The first lyrical digression in the poem appears at the end of the fifth chapter in a discussion about the Russian language. In the future, their number increases; at the end of Chapter 11, the author speaks with patriotism and civic passion about Rus', the bird-three. The lyrical beginning in the work increases because Gogol’s idea was to establish his bright ideal. He wanted to show how the fog that had thickened over “sad Russia” (as Pushkin described the first chapters of the poem) dissipates in the dream of a happy future for the country.
FEATURES OF THE GENRE AND COMPOSITION OF N. V. GOGOL’S POEM “DEAD SOULS”. ARTISTIC FEATURES OF THE POEM 5.00 /5 (100.00%) 1 vote
From the very beginning of writing activity
I dreamed of writing a work in
“whom all Rus' would appear.” This should
there was to be a grandiose description of life and morals
in Russia in the first third of the 19th century. So
the work was the poem “Dead Souls”
shi", written in 1842. First edition
The book was called “The Adventures of Chichikov,
or Dead Souls." This name reduces
lo true meaning works, translation
took him into the realm of an adventure novel. Go-
Gol went for it for censorship reasons -
niyam, wanting to publish a poem.
Why did you call your work
nie poem? The definition of the genre became clear
to the writer only in last moment, - ra-
working on the manuscript, he says something about the poem,
then about the novel.
To understand the features of the genre of the poem
“Dead Souls”, one can compare this to
work with the "Divine Comedy" Dan-
those of the Renaissance poet. Her influence
is felt in Gogol's poem. "Divine
comedy" consists of three parts. In the first
parts to Dante are a shadow of the ancient Roman
the poet Virgil, which accompanies the lyrical
ical hero to hell; they go round and round
a whole gallery appears before their eyes
sinners. The fantastic nature of the plot is not
Dante dares to reveal the theme of his homeland -
Italy. In fact, I decided to show those
The same circles of hell, but the hell of Russia. No wonder it was called
the poem “Dead Souls” ideologically overlaps
repents with the title of the first part of the poem Dan-
those " Divine Comedy", which is called
"Hell" is written.
, along with satirical denial
eats, introduces the chanting, creative element
telny - the image of Russia. With this image
associated with the “high lyrical movement”, which
which in the poem at times replaces the comic
ical storytelling.
A significant place in the poem “The Dead
souls" take lyrical digressions and
inserted episodes, which is typical for this
literary genre. They concern
the most pressing Russian public issues
pros. Author's thoughts on high appointment
man, about the fate of the Motherland and the people here
contrasted with the gloomy pictures of Russian
skaya life.
So, let's go after the hero of the poem "Dead"
"high souls" by Chichikov to the city of NN. From the first
same pages of the work we feel fascinated
relevance of the plot, since the reader cannot
may assume that after the meeting Chichi-
Kova and Manilov will have meetings with Sobakevi-
than, Nozdrev. The reader cannot guess
and about what will happen at the end of the poem,
because all her characters are based on
the principle of gradation: one is worse than the other.
For example, Manilov, if we consider
it cannot be perceived as a separate image
mother as positive hero(on
there is a book on his table, open on one
and the same page, and his politeness was
tvorna: “Let me not allow this to happen to you”),
but compared to Plyushkin, Manilov
He even wins a lot. However, to the center
put the box in attention, so
how she is a kind of unified
all the characters. According to Gogol,
This is a symbol of the “box man”, in which
lies the idea of an insatiable thirst for accumulation
government
The topic of exposing the bureaucracy is
flows through all of Gogol’s work: it is characteristic
Vienna and the collection “Mirgorod”, and comedy
"Inspector". In the poem “Dead Souls” she sings
intertwined with the theme of serfdom.
“The Tale” occupies a special place in the poem
about captain Kopeikin." She's not plot-wise
connected with the poem, but has great significance-‘
tion to reveal ideological content
works. The form of the tale gives the story
vital character: she denounces the under-
statistics public life Russia at all
levels...
The poem counters the world of “dead souls”
a lyrical image of the people's Russian
this, about which he writes with love and
admiration. For scary world placed
the writer felt the soul of kovs and officials
Russian people, which he embodied in the image
three quickly rushing forward, collecting
shed the strength of Russia within herself: “Isn’t it so you,
Rus', that lively, unstoppable troika is not
Are you sitting down?"
So, we know that in our pro-
the work depicts social ills
society. It is worth focusing on how
the writer manages to do this. Firstly,
uses social techniques
pization. In the gallery image there is room
Kov skillfully combines the general and the individual.
Almost all of his characters are static, they
development is not shown (this does not apply to
Plyushkin and Chichikov), we are almost nothing
we don't know about their past. This technique is
emphasizes once again that the Manilovs, box-
ki, dogevichs, Plyushkins are the dead
souls.
Uses to describe heroes
your favorite technique - characterization
character through detail. It can be called
“genius of detail”: the details are so precise
reflect character and inner world person-
chew. What is it worth, for example, a description of a house?
Manilova! When Chichikov entered the estate
Manilov, he drew attention to the overgrown
English pond, on a rickety gazebo,
to the desolation, to the wallpaper in the room Manilo-
va - either gray or blue, on a tight-fitting
two matted chairs, which were never reached
the owner's hands reach. These and other details
bring us to the main conclusion made
by the author himself: “Neither this nor that, but the devil knows
what's happened!".
Let us remember Plyushkin, this “hole in the face”
humanity,” which even lost its gender.
He comes out to Chichikov in a greasy robe,
with an incredible scarf on his head. Everywhere tsa-
there is dirt and disorder. Plyushkin personified
reaches an extreme degree of degradation, which exceeds
is given through details, through those little things of life
nor, whom A.S. admired so much. :
“No writer has ever done this before.”
the gift of exposing the vulgarity of life so vividly,
to be able to outline in such force the vulgarity of the vulgar
logo of a person, so that all the little things that
escapes the eye, would flash large in
everyone's eyes."
And yet main topic poems are
the fate of Russia: its past, present and future
future. In the first volume he devotes pain-
pay more attention to the past of the homeland. Conceived-
The second and third volumes they received were to
tell about the present and future of Russia
these. This idea could be compared
with the second and third parts of “Divine
comedies" by Dante: "Purgatory" and "Paradise". Od-
However, these plans were not destined
come true: the second volume was unsuccessful
idea, but the third was never written. This is
Chichikov's trip remained a trip to
unknown.