At the time of the creation of “The Inspector General,” Gogol had already begun work on “ Dead souls" According to the original plan, they were supposed to differ from The Inspector General, in addition to the genre, by a greater and, in principle, all-encompassing breadth of critical depiction of serfdom. The plot of “Dead Souls” suggested by Pushkin was attractive to Gogol because it gave him the opportunity, together with their hero, the future Chichikov, to “travel” throughout Russia and show, although “from one side,” negative, “the whole of Rus'.” But soon this creative task gave way to another, immeasurably more voluminous and complex - along with all the bad, “to expose to the eyes of the whole people” all the good that lurked in the depths of Russian life and promised the possibility of it national revival.
Such a significant restructuring of the concept of “Dead Souls” did not at all mean a fundamental ideological and creative reorientation of Gogol. On the contrary, it should be seen as a logically natural and mature result of the writer’s initial attraction to the utmost breadth of artistic generalization, to the artistic integration of objective contradictions public life in their world historical perspective. But the social “disorders” of Russian feudal reality and Western European bourgeois reality, so acutely felt by the author of “The Inspector General” and “Dead Souls,” both before and now seemed to him to be the product of the spiritual death of humanity. Hence "Dead Souls". Respectively social issues“Dead Souls,” like “The Inspector General,” is integrated into their figurative fabric by the problem of the spiritual state, or rather the lack of spirituality of the “modern” and, above all, “Russian man.” In letters to to different persons Gogol repeatedly and persistently explained that “it is not the province at all, and not a few ugly landowners, and not what is attributed to them, that is the subject of “Dead Souls””, that the real and only subject of the “art” of their author is “man and the soul of man ”, moreover, “modern man” and the “current state” of his “soul”.
All the social vices of feudal reality are related in “Dead Souls” to temporary, painful distortions of the true and good properties of the Russian character and, thus, in the idea they are dialectically combined with them as their own opposite. But there are other characters in “Dead Souls” that reflect the “alluvial” features of the time that are unusual for Russian nature, completely alien to it: for example, Colonel Koshkarev is an undoubted and evil satire on bureaucracy.
The concept of Russian character receives its artistic embodiment in socially specific images of rulers and officials, this time on a provincial scale, but just like their district predecessors from The Inspector General, characterizing various “shades” of the moral pathology of serfdom at all its social levels .
The social issues of “Dead Souls” cannot be understood outside of their moral and psychological issues, just as the latter cannot be understood outside of its specific social content. But in order to discover the point of their combination, it is necessary to take into account the fundamental philosophical and aesthetic conviction of Gogol, formulated in his statements about Pushkin and Herder - the conviction that the “reality” of social and historical life consists of “little things”, that in the little things it is in their contradictory diversity and both positive and negative tendencies of social existence and development, its ideal “straight road” and all temporary “deviations” from it are realized.
The striking and one-of-a-kind combination of fragmentation, detail, and hence the concreteness of artistic analysis with the philosophical and historical “ideality” of artistic synthesis constitutes a unique originality creative method Gogol, the single basis of his realistic essence and often romantic attire.
“Dead Souls” is the first and only work of Gogol, or rather, the first and only artistic concept of the writer, in which the principle of the contradiction of the “reality” of Russian life to its “fertile grain” was combined with the task of discovering this grain not in history, but in the writer’s own time. in reality, in its own potentialities. The realistic nature of this grandiose plan is obvious. But its historical limitations are just as obvious. It is expressed in the fact that for Gogol the “fertile grain” of Russian life was hidden not in the social, democratic trends of its development, but in the national specificity of the spiritual “nature” of the Russian person.
For the author of “Dead Souls,” artistic analysis of specific phenomena of social existence and consciousness is not an end in itself, but a means of revealing their national essence, its “distortions” and good opportunities, as well as the figurative embodiment of both in accordance with the real conditions of contemporary Russian life. Here Gogol’s realistic plan reveals its utopian side, which prevented its full implementation. The positive trends of national development sought by Gogol were not yet mature enough for their full-blooded development. artistic embodiment. But for Gogol they were not only national trends, but also purely spiritual and psychological, and therefore their self-purification and self-rebirth seemed to the writer the only possible path to national revival. For Gogol, its objective guarantee was the historical youth of the Russian people, just entering the mature period of their national development and called upon to take over the baton of historical progress from the no less great, but already “aging” peoples of Western European countries.
So the question about the future of the Russian people is combined in “Dead Souls” with the question about the future of all civilized humanity and overcoming the deepest contradictions and negative aspects bourgeois civilization. In the national aspect, this most important question for Russian literature was posed by Pushkin:
Where are you galloping, proud horse?
And where will you put your hooves?
The first volume of Dead Souls ends with the same question: “Rus, where are you rushing?” But he is no longer addressed to the “proud horse” - a symbol of Russian statehood, Europeanized (“raised”) by Peter, but to the “troika bird” - a symbol of the national element of Russian life, its future and world-historical self-determination. Certainly the entire nation as a certain historical individuality, or a person who has not yet said, but is called upon to tell the world his new word, to add his own feature to the “biography” of humanity.
The democratic and objectively revolutionary meaning of this philosophical and historical framing of the concept of “Dead Souls”, dating back to Herder, lay in the idea of historical initiative, the moral awakening of the Russian “national spirit”, and thereby the masses through criticism and self-criticism of the public, according to Gogol, moral consciousness. Far from idealizing the enslaved peasantry, as evidenced in the first and second volumes of Dead Souls by Selifan and Petrushka, uncles Minyai and Mityai and much more, Gogol, at the same time, in Chichikov’s lyrical thoughts about the “souls” of dead peasants he had just purchased very transparently hinted at their mental and moral superiority over those who sell and buy them, and previously had sole control over their destinies.
“Bird Troika” and its swift flight are the direct antithesis of Chichikov’s britzka and its monotonous, monotonous circling along the provincial roads from one landowner to another. But the “bird troika” is the same Chichikov’s chaise, only “ideally” transformed, escaped in the author’s imagination from its tedious wanderings in a circle onto a straight, largely mysterious, but majestic road of world-historical scale and significance. The miraculous transformation reveals, and demonstratively, the symbolic ambiguity of the whole artistic structure concept and its implementation in the first volume of “Dead Souls” as an epic of the national spirit, its movement from deathly sleep to a new and beautiful life. Hence, it is not a novel, but a “poem”, which, by design, embraces all the essential properties and historically heterogeneous states of the “Russian man” and in this sense is oriented towards the epic of Homer, and at the same time towards Dante’s “Divine Comedy”. The latter suggested the three-part structure of Gogol’s “poem,” conceived in the form of an epic trilogy. Its first part (the first and only completed volume) is devoted to the analytical image contemporary writer the dead state of the “Russian man”, painful and ugly growths on the “body” of Russian life. Each of these growths is analyzed separately and as if under a microscope, and in such an enlarged form, striking “indifferent eyes”, is personified in one of the “strange heroes” of the story. Strange not only because they are depicted “from one side,” in a purely negative way, but also because each of them “exposes to the eyes of the whole people” only one of the many ugly growths on the national body of Russian existence.
Prompted " Divine Comedy“The understanding of everything depicted in the first volume as the “hell” of feudal reality, and in the second volume as its “purgatory” and the intention to depict its future “paradise” in the third volume is beyond doubt and has been noted more than once by critics and researchers. But the deep and not yet fully clarified meaning of this undoubted fact lies in the much more complex likening of the existing national existence and its historical prospects to one that has become lost and is finding its own. true path the national soul, in turn likened to the human soul. The human soul in all three of its dimensions - individual, national and universal - is the true hero of Gogol’s “poem”, a philosophical and aesthetic indicator of all the phenomena and processes of Russian and Western European reality reflected in the “poem”, an artistic form of their understanding, mainly psychological.
The innovation of Dead Souls, their realistic quality, enormous strength social impact on contemporaries and paramount importance for the subsequent development and self-determination of Russian realism, and finally, their artistic incorruptibility - all this taken together is due to the social acuity and universal capacity of the psychological discoveries of their author, his psychologism artistic method. But this is a special kind of psychologism, a special transitional property from romanticism to realism, whose subject is not social psychology in its individual, personal expression, but national psychology in its socially typical manifestations.
The psychologism of the artistic method of the creator of “Dead Souls” has not yet been properly appreciated and is even resolutely denied by some – and very authoritative – researchers, but only because it is measured by the principles of the socio-psychological method of mature Russian realism, which really are not yet applicable to him.
Before understanding and depicting the personality as a clot social contradictions Gogol didn't make it. The “strange heroes” of Gogol’s poem do not and cannot claim the significance of individualized, as Balzac put it, social types according to their programmed psychological unilinearity and immobility. But the deliberate mask-like immobility and unambiguity of the internal and external appearance of each of the characters is colored with many subtle, life-reliable shades, diversely, volumetrically characterizing the psychological dominant of each, his “enthusiasm” - primarily by means of speech characteristics, its mainly dialogical form, which gives the majority The episodes have a scenic character, which brings them closer to the structure of “The Government Inspector” and other comedies by Gogol. But beyond that, it is of great importance physical characteristic and everyday, material surroundings - state peasant huts and outbuildings, the furnishings of the manor's house, the appearance and clothing of its owner. As a result, from the pages of the first volume of Dead Souls there emerges an image of serfdom that shocked contemporaries with its vulgarity and authenticity, represented not only by its landowner and bureaucratic strata, but also by serfs and tavern servants, barefoot girls and a number of similar characters.
Episodic characters differ from the main ones only in a significantly smaller volume of characteristics, but, despite their social polarity, they are outlined close-up The heroes of the story, like them, are made up of individual touches of the “vulgarity” of feudal reality. Her large characterological traits, captured separately in one character or another, interact with the equally unilinear “enthusiasm” of other characters as details of a single portrait of a certain historical figure, her national soul fallen into sleep.
Everything converges towards this center, including stillness. plot composition village chapters of the first volume. There is essentially no development of action as such here. There is only a monotonous repetition of the same situation - Chichikov’s visits to one landowner after another for the purpose of purchasing the revision “souls” of dead peasants, and the conversation (dialogue) on this topic again proceeds in a completely monotonous manner in terms of plot, with the exception of Nozdryov’s visit. Chichikov’s beginning “subtle” hints at first arouse bewilderment in his interlocutor, sometimes suspicion and fear, and in the end everything ends in the same thing: a fraudulent deal beneficial for both. What then is the “interest” of the story?
In what has already been said - in the endless variety of psychological shades and everyday details of the same monotonously repeating action. The strength of its artistic effect lies in the symbolic ambiguity of its psychological pattern.
If Chichikov’s chaise, with which the narrative begins at the entrance to the provincial town of N., is not just an ordinary “road projectile,” but at the same time a symbol of the monotonous whirling of the “soul” of the “Russian man” that has gone astray from the straight path, then so are the country roads along which this chaise drives around, also not only a realistic picture of the actual Russian impassability, but also a symbol of the crooked path of national development, again associated with a false path, a false purposefulness in the life of each of the existences, especially Chichikov. This is directly and directly stated in the second volume in the words of Murazov, addressed to Khlobuev and Chichikov.
The road - in all its meanings - is the compositional core of the narrative, combining its spatial coordinates (Russian provincial city, i.e. the administrative center and its local district) with temporal ones (the movement of the britzka) into a symbol of “all Rus'” and its path from feudal deadness to great future.
The very name of the poem is symbolic - “Dead Souls”. Its literal meaning, related to the plot, is the dead peasants who were not deleted from the audit (tax) lists, called “souls” in the language of official documents. But in addition, these are also the dead souls of the owners of living and dead peasant souls, concealing, however, the possibility of their awakening.
In the third volume, some of them were to be resurrected and turned into statesmen full of wisdom and virtue. First of all - Plyushkin and Chichikov. The final goal of the poem - to show the “heroes of virtue” - logically corresponded to the depiction and interpretation of the “heroes of shortcomings” as carriers of the falsely directed good properties of the Russian national character. In relation to Chichikov, this is perseverance, indomitable energy, willpower, although aimed at achieving an unworthy goal by unworthy means. In relation to Plyushkin - wise economic frugality, which was inherent in him earlier and turned into monstrous stinginess in old age.
The age characteristics of the landowners of the first volume and Chichikov also have a symbolic subtext. Pointless daydreaming is characteristic of youth. But it is unforgivable for a person and a people who have reached the age of “fierce courage.” The coming time of historical maturity of the Russian people symbolizes average age all the close-up characters of the first volume, including Chichikov and excluding Plyushkin. Therefore, it is no coincidence that the narrative begins with the empty dreamer Manilov - a symbol of the youthful good-heartedness of a person and people who were delayed in their development, and ends with Plyushkin - again, a symbolic warning about the danger of the irreversible spiritual ossification of the nation, plunged into a deathly sleep in the most crucial age period of its existence.
Direct authorial evidence of the parable-like symbolism of the concept, title and entire artistic structure of “Dead Souls” is the following draft working note by Gogol for their first volume, for its second, urban part: “The Idea of the City. Originated before highest degree Emptiness. Idle talk. Gossip that went beyond limits, how all this arose from idleness and took on the expression of the most ridiculous.” And then: “How the emptiness and powerless idleness of life are replaced by a dull, silent death. How this terrible event is happening is senseless. They don't touch. Death strikes the untouchable world. “Meanwhile, the reader should imagine a dead, insensitive life even more strongly.”
This is the enormous symbolic load that a seemingly insignificant, passing episode of the sudden death of a prosecutor has. And here is the broadest symbolic subtext of the ball itself:
“The whole city with all the whirlwind of gossip is a transformation of the idleness of life of all humanity in the mass. The ball and all the connections were born. Party main and ball society.
The opposite transformation into II<части?>occupied with torn idleness.
How can we reduce all the worlds of idleness in all kinds to a resemblance to urban idleness? and how can urban idleness be elevated to transforming the idleness of the world?”
“Nizvesti” means to express, to concentrate “many things in one.” “To erect” - to give the image of “one” (ball) the meaning of a symbol not only of the emptiness and idleness of the Russian secular society, but also “the idleness of life for all humanity en masse.”
The same principle of symbolic “transformation” of the psychological springs of feudal “morality” is used to build the characters of the “ugly landowners” in the first volume of “Dead Souls” that personify them. In this respect, they are identical to the characters of The Inspector General. And if in auto-comments to the comedy Gogol more than once pointed out the moral necessity and at the same time the reluctance of every Russian person to discover Khlestakov in himself, then the similar universal significance of the characters of the “ugly landowners” is repeatedly emphasized in the text of “Dead Souls” itself. It is said about Sobakevich that he sits among many dignitaries in St. Petersburg; about Korobochka - that in reality she turns out to be “another respectable and statesmanlike person”; about Nozdryov - that “he is everywhere between us, only in a different caftan.” About Chichikov, in the form of an appeal to readers, what was said earlier about Khlestakov is repeated: “And which of you... in moments of solitary conversations with yourself, will deepen this difficult question into the interior of your own soul: “Isn’t there some part of Chichikov in me too?” ?“ Yes, no matter how! But if at that time some acquaintance of his, with a rank neither too high nor too low, passed by him, he would at that very moment push his neighbor’s arm and say to him, almost snorting with laughter: “Look, look, there Chichikov, Chichikov has gone!”
Chichikov, like Khlestakov, resides in every person and that is why he is the main character of Dead Souls. He is the only character that has a precise verbal definition: “Master, acquirer.” The acquirer of a new, bourgeois formation, active, inventive, purposeful, and this makes him stand out sharply from the general background of the creatures inhabiting “Dead Souls”. Chichikov is by no means an existence, but a businessman, and, moreover, a commoner who knows the value of a penny. All this, combined with irrepressible trickery, expresses the infection of the “Russian man” with the senile vices of bourgeois civilization, the danger of which the image of Plyushkin also warns against. But at the same time, Chichikov’s shameless and irrepressible trickery is a distortion, a false direction of one of the most life-giving features of the Russian national character - his practical acumen and hidden energy. That is why the commoner Chichikov, and not the governor general, and not the “milenist” Murazov, and not the successful landowner of the new bourgeois formation Kostanzhoglo, was assigned by Gogol the role of a man who, from a rogue and rogue, turned into an exemplary figure of national revival. But before that, he had to go through the treadmill of various kinds of crimes committed in the name of personal success, and experience the full severity of punishment for them, including exile to Siberia. In the symbolism of all these supposed transformations, the contours of the problematic of Dostoevsky’s “Crime and Punishment” emerge, albeit very roughly.
The new characters appearing in the second volume of Dead Souls, with the exception of Colonel Koshkarev, differ significantly in their structure from the characters of the first volume. They are much more voluminous and dynamic, but at the same time much less expressive. While remaining “heroes of shortcomings,” they are not without positive traits and, each striving for good in his own way, they do not find the strength to approach it (Tentetnikov, Khlobuev) or they falsely understand good. The most obvious example of the latter is Kostanzhoglo. In early editions of the second volume it is called Skudronzhoglo. And one of Gogol’s etymological notes reads: “A skaldirnik is a person who wants to grab a profit from everything; hymen with g<…>rip off." Kostanzhoglo’s ability to “grab” or “tear off” profit from anything, even fish scales, is distinguishing feature his character is active, economic and in this regard positive. But the desire for profit for the sake of profit is not a virtue, but a vice, the same as acquisition.
Kostanzhoglo is contrasted with Murazov, whose millions, on the one hand, are real millions, but “honestly” acquired and used to “do good,” and on the other, a symbol of spiritual good that multiplies itself.
Murazov and the Governor General are conventional figures, well-intentioned in terms of censorship, mouthpieces for the most ill-intentioned author’s thoughts in the same sense. The speech of the Governor General to his subordinates, with which the second volume should have ended, is a rather frank “lesson to the kings,” a frank denunciation of the complete disintegration of the entire government system of the autocratic bureaucratic regime. Chernyshevsky understood this and appreciated it. In his words, “whoever does not bow down to man, last words[who] this speech was addressed to us is not worthy of being a reader of Gogol.”
The same “lesson for kings” was taught by the author of “Dead Souls” and “The Tale of Captain Kopeikin.” The time of its action is precisely indicated: “six years after the French,” i.e. 1819. This is the time of the height of the Alexander reaction, the time of Arakcheev and the birth of the Decembrist movement. Captain Kopeikin is one of those participants in the War of 1812, whom the subsequent reaction turned from a defender of the Fatherland into a robber chieftain. An echo of “Dubrovsky” is clearly heard in the story.
The action of the first two volumes of “Dead Souls” dates back to the post-war and pre-Decembrist times, just like “Eugene Onegin”! It is enough to compare these two equal encyclopedias of Russian life to understand what Chernyshevsky meant when he called Gogol “the founder of the critical trend in Russian literature,” despite the fact that “Dead Souls” remained unfinished. What prevented Gogol from finishing them? There were many reasons for this. Among them was Gogol’s undoubted and severe nervous disorder, which lasted for years and intensified from year to year. It caused a sharp, painful decline for the writer in his creative activity, which manifested itself in the late 30s. But it is undoubtedly connected with something else: with the objective impossibility of a full-fledged artistic embodiment of the concept of “Dead Souls” in the full scope of its internal inconsistency. The uncompromising denunciation of the autocratic serfdom system, everything that constituted its real reality, the reality of Russian life of that time as a whole, is combined in the concept of the “poem”, as well as in the consciousness of Gogol, with the unshakable confidence that only this system corresponds to the national spirit of the Russian people and will save Russia from the threat of revolutionary explosions shaking Western Europe. The Tale of Kopeikin reminds us of the threat of a revolutionary “revolt” in Russia. There is reason to think that it was written as an independent work and only later was inserted into Dead Souls.
Read the fragment of the work below and complete tasks 1–7; 8, 9.
N.V. Gogol, "Dead Souls"
So do you think?..
When completing tasks 1-7, write down your answer in answer form No. 1 to the right of the number of the corresponding task, starting from the first cell. The answer must be given in the form of a word or combination of words. Write each letter legibly in a separate box. Write words without spaces, punctuation marks or quotation marks.
1
What type of literature does “Dead Souls” by N.V. belong to? Gogol?
2
What is Gogol's definition of the Dead Souls genre?
3
What is the name of the image of the internal experiences of the hero, manifested in his behavior? (“confused, blushed all over, made a negative gesture with his head”)?
4
Chichikov visits, in addition to Manilov, other landowners. Establish a correspondence between the surnames of the landowners and the features of their appearance: for each position in the first column, select the corresponding position from the second column.
Write your answer in numbers without spaces or other symbols
5
Indicate the name of the detail that gives the story special expressiveness (for example, the tear that rolled out from Chichikov).
6
What is the name of an artistic technique based on the comparison of phenomena and objects (“like some kind of barge among the fierce waves”)?
7
In the above fragment, an exchange of remarks takes place between Chichikov and Manilov. What is this type of speech called?
Part 2.
Read the work below and complete tasks 10–14; 15, 16.
“Night Rain” by A.A. Tarkovsky
Those were raindrops
Flying from light to shadow.
By chance, for the first time
We met on a stormy day
And only rainbows in the fog
Around dim streetlights
Told you in advance
About the closeness of my love,
That summer is over,
That life is anxious and bright,
And no matter how you lived, it was not enough,
She lived so little on earth.
Like tears, raindrops
Glowed on your face
And I still didn’t know what
We can't help each other
And the rain hits the roof all night,
Just like then, he knocked all night.
The answer to tasks 10–14 is a word or phrase, or a sequence of numbers. Enter your answers without spaces, commas or other additional characters.
10
What term denotes the image of a person who says “I” about himself in a lyric poem?
11
What is the name for the consonance of the ends of lines in a poem (rainy - for the first time, in the shade - day)
12
Indicate the method of animating the inanimate, which the author resorts to in the lines:
And only rainbows in the fog
Around dim streetlights
Told you in advance
About the closeness of my love...
13
From the list below, select three names of artistic means and techniques used by the poet in the third stanza of this poem (indicate the numbers in ascending order).
2) Sound recording
3) Inversion
4) Hyperbole
5) Anaphora
14
Determine the size of A. A. Tarkovsky’s poem (without indicating the number of feet).
The internal monologue shows that Chichikov knows how to understand people.For example, he noticed that the girl was probably “a graduate of some boarding school or institute...”Another trait of the hero is prudence. When meeting a young stranger, Pavel Ivanovich is more concerned about the condition of her father.He looks at a girl as a means by which he can get rich, and only then as an object of love, tenderness, and respect.
Thus, from the monologue it is clearly seen that Chichikov is an observant and calculating person.
Read the fragment of the work below and complete tasks 1.1.1.-1.1.2.
N.V. Gogol. "Dead Souls"
- 1.1.2. For what purpose does the author mention a twenty-year-old boy in his thoughts?
N.V. Gogol talks about a twenty-year-old youth in order to contrast him with Chichikov.
The young man, unlike the main character, is capable of sincere feelings. Chichikov talks dryly; he is more concerned about the condition of the stranger’s father.Thus, the technique of antithesis gives an even more vivid and accurate idea of the main character of the novel, for whom enrichment is more important than feelings.
- 1.1.1. Why does the city Chichikov comes to have no name?
The poem “Dead Souls” depicts an ordinary provincial town with its dark power. Its officials take bribes and rob the state treasury. Similar things happen in other Russian cities. That is why he does not have a name in the work, since he is a model of any Russian city.
2. 1.1.2. How does the portrait presented in the fragment characterize the hero?
“In the chaise sat a gentleman, not handsome, but not bad-looking either, neither too fat nor too thin; one cannot say that he is old, but not that he is too young,” - this is how Gogol describes his hero. The author in the portrait does not give an accurate description of Pavel Ivanovich. From it we can say that this is a cunning and secretive person.
- 1.1.3. Compare fragments of the poem by N.V. Gogol's "Dead Souls" and the comedy of D.I. Fonvizin "Undergrowth". In what ways is Skotinin similar to Chichikov, who thought about the “young stranger”?
Chichikov is a calculating person. The main meaning of his life was money. Therefore, he evaluates any event from the point of view of profit. Pavel Ivanovich is not capable of romance, of purity of feelings. He is not ready to perceive others as they are. In this, Skotinin is similar to him. He also thinks about profit. He is attracted to Sofya only by “the fact that it is found in the villages and what my mortal desire is.”
Read the fragment of the work below and complete task 1.1.3.
Skotinin. Why can't I see my bride? Where is she? There will be an agreement in the evening, so isn’t it time to tell her that they are marrying her off?
Mrs. Prostakova. We'll make it, brother. If we tell her this ahead of time, she may still think that we are reporting to her. Although by marriage, however, I am related to her; and I love that strangers listen to me.
Prostakov (to Skotinin). To tell the truth, we treated Sophia like an orphan. After her father she remained a baby. About six months ago, her mother, and my in-law, had a stroke...
Mrs. Prostakova (shows as if she is baptizing her heart). The power of the god is with us.
Prostakov. From which she went to the next world. Her uncle, Mr. Starodum, went to Siberia; and since there has been no rumor or news of him for several years now, we consider him dead. We, seeing that she was left alone, took her to our village and look after her estate as if it were our own.
Mrs. Prostakova. Why are you so spoiled today, my father? My brother might also think that we took her in for fun.
Mrs. Prostakova. If only you could teach us, brother father; but we just can’t do it. Since we took away everything the peasants had, we can’t take anything back. Such a disaster!
Prostakov. So next door to her village?
Skotinin. And not the villages, but the fact that it is found in the villages and what my mortal desire is. Mrs. Prostakova. Until what, brother?
D. I. Fonvizin. "Undergrown"
Chichikov looked very carefully at the young stranger. He tried to talk to her several times, but somehow he didn’t have to. Meanwhile, the ladies left, the pretty head with delicate features and a thin figure disappeared, like something similar to a vision, and again what was left was the road, the chaise, the three horses familiar to the reader, Selifan, Chichikov, the smooth surface and emptiness of the surrounding fields. Wherever in life, whether among the stale, rough-and-poor and unkempt and moldy low-lying ranks of it, or among the monotonously cold and boringly neat upper classes, everywhere at least once a person will encounter on his way a phenomenon that is not similar to all that what he had seen before, which at least once would awaken in him a feeling different from those that he was destined to feel all his life. Everywhere, across whatever sorrows from which our lives are weaved, shining joy will rush merrily, as sometimes a brilliant carriage with golden harness, picture horses and the sparkling shine of glass will suddenly suddenly rush past some stalled poor village that has seen nothing but a rural cart, and the men stood for a long time, yawning, with their mouths open, without putting on their hats, although the marvelous carriage had long since sped away and disappeared from sight. So the blonde, too, suddenly appeared in our story in a completely unexpected way and disappeared in the same way. If at that time you had come across some twenty-year-old youth instead of Chichikov, whether he was a hussar, a student, or simply someone who had just begun the career of life, - and God! no matter what wakes up, moves, speaks in him! For a long time he would stand senseless in one place, staring senselessly into the distance, forgetting the road, and all the reprimands that awaited ahead, and scoldings for delay, forgetting himself, and the service, and the world, and everything that is in the world.
But our hero was already middle-aged and of a cautiously cool character. He, too, became thoughtful and thought, but his thoughts were more positive, not so unaccountable, and even partly very grounded. “Nice grandma! - he said, opening the snuffbox and sniffing the tobacco. - But what, most importantly, is good about it? The good thing is that she has just now, apparently, been released from some boarding school or institute, that, as they say, there is nothing feminine about her yet, that is, exactly what they have that is most unpleasant. She is now like a child, everything about her is simple, she will say whatever she wants, laugh wherever she wants to laugh. You can make anything out of it, it can be a miracle, or it can turn out to be rubbish, and it will turn out to be rubbish! Now let the mothers and aunties take care of her. One year it will be so filled with all sorts of women that he himself biological father won't know. Where does the pout and stiffness come from, he will begin to toss and turn according to the established instructions, he will begin to rack his brains and figure out with whom, and how, and how much to speak, how to look at whom, he will be afraid at every moment, so as not to say more than necessary, he will get confused finally herself, and will end up lying all her life, and what will come out is just God knows what!” Here he was silent for a while and then added: “Wouldn’t it be interesting to know whose it is? what, how is her father? Is he a rich landowner of respectable character or simply a well-meaning person with capital acquired in the service? After all, if, let’s say, this girl was given a dowry of two thousand thousand, she could make a very, very tasty morsel. This could constitute, so to speak, the happiness of a decent person.” Two hundred thousand rubles began to appear so attractively in his head that he inwardly began to be annoyed with himself, why, while continuing to fuss around the carriages, he did not find out from the postilion or coachman who the travelers were. Soon, however, the appearance of Sobakevich's village dispelled his thoughts and forced them to turn to their constant subject.
N.V. Gogol. "Dead Souls"
- 1.1.1. What “passions” possess Nozdryov?
Nozdryov - This is the third landowner to whom Chichikov approached with an offer to purchase dead souls. This hero is a liar and a braggart. For no particular reason, Nozdryov can annoy his best friend. He is very passionate. However, he is not playing fair. Thus, the landowner has a passion for cards, fraud and sabotage.
Read the fragment of the work below and complete tasks 1.1.1-1.1.2.
Nozdryov’s face is probably already somewhat familiar to the reader. Everyone has encountered many such people. They are called broken fellows, they are reputed even in childhood and at school for being good comrades, and for all that they can be beaten very painfully. In their faces you can always see something open, direct, and daring. They soon get to know each other, and before you know it, they’re already saying “you.” They will make friends, it seems, forever: but it almost always happens that the person who has become friends will fight with them that same evening at a friendly party. They are always talkers, carousers, reckless people, prominent people. Nozdryov at thirty-five was exactly the same as he was at eighteen and twenty: a lover of a walk. Marriage did not change him at all, especially since his wife soon departed for the next world, leaving behind two children who he absolutely did not need. However, the children were looked after by a pretty nanny. He could not sit at home for more than a day. His sensitive nose could hear him several dozen miles away, where there was a fair with all sorts of conventions and balls; in the blink of an eye he was there, arguing and causing chaos at the green table, for, like all of them, he had a passion for cards. At cards, as we have already seen from the first chapter, he did not play completely sinlessly and purely, knowing many different overexposures and other subtleties, and therefore the game very often ended in another game: either they beat him with boots, or they gave him overexposure thick and very good sideburns, so that he sometimes returned home with only one sideburn, and then a rather runny one. But his health and full cheeks were so well created and contained so much plant power that his sideburns soon grew back, even better than before. And what’s strangest of all, which can only happen in Rus', is that after some time he already met again with those friends who were pestering him, and he met as if nothing had happened, and he, as they say, was nothing, and they were nothing.
Nozdryov was in some respects a historical person. Not a single meeting he attended was complete without a story. Some kind of story would certainly happen: either the gendarmes would lead him out of the hall by the arm, or his own friends would be forced to push him out. If this doesn’t happen, then something will happen that won’t happen to anyone else: either he will cut himself at the buffet in such a way that he only laughs, or he will lie in the most cruel way, so that he himself will finally become ashamed. And he will lie completely without any need: he will suddenly tell that he had a horse with some kind of blue or pink wool, and similar nonsense, so that those listening finally all leave, saying: “Well, brother, it seems you have already begun to pour bullets.” " There are people who have a passion to spoil their neighbors, sometimes for no reason at all.<...>Nozdryov had the same strange passion. The closer someone got with him, the more likely he was to annoy everyone: he spread a tall tale, the stupidest of which is difficult to invent, upset a wedding, a trade deal, and did not at all consider himself your enemy; on the contrary, if chance brought him to meet you again, he would treat you again in a friendly manner and even say: “You’re such a scoundrel, you’ll never come to see me.”
N.V. Gogol “Dead Souls”
- 1.1.3. Compare the given fragment from the story by A. S. Pushkin “ Captain's daughter"with an excerpt from N.V. Gogol's poem "Dead Souls". What conclusions did your comparison of two parental orders to their sons lead you to?
The instructions that fathers give to their sons in the story “The Captain's Daughter” and in the poem “Dead Souls” are directly opposite. For example, Petrusha Grinev’s father wants to see his son as a decent, worthy, honest person. That’s why he advises his son to take care of his honor from a young age. And Pavlush Chichikov’s father teaches him to be vile, not to think about honor and nobility. The main thing for him is that Pavel Ivanovich strives for profit. Thus, my reflections convince me that parental orders differ from each other in their content.
3. 1.1.3. How does the description of Lensky’s possible “ordinary” fate compare with the author’s reflection from chapter 6 of N.V. Gogol’s poem “Dead Souls” (see below)?
In the above passage, Pushkin makes it clear that Lensky can be drawn into philistine life, and he will become the same provincial landowner that he meets in the Larins’ house. There are prerequisites for this: the hero has already settled in the village, has become a landowner, and is going to marry Olga Larina, a narrow-minded young lady, devoid of high ideals, an empty coquette. Gogol reflects on human degradation using the example of Plyushkin. Warns how terrible this fall can become. Calls for preserving the Human within. XXXVI My friends, you feel sorry for the poet: In the color of joyful hopes, Having not yet completed them for the light, Almost out of baby clothes, Withered! Where is the hot excitement? Where is the noble aspiration And the feelings and thoughts of young people, Tall, gentle, daring? Where are the stormy desires of love, And the thirst for knowledge and work, And fear of vice and shame, And you, cherished dreams, You, ghost of unearthly life, You, holy dreams of poetry! XXXVII Perhaps he is for the good of the world Or at least he was born for glory; His silent lyre Loud, continuous ringing In centuries I could lift it. Poet, Perhaps on the steps of light A high stage awaited. His suffering shadow Perhaps she took it with her Holy secret, and for us The life-giving voice has died, And beyond the grave line The anthem of the times will not reach her, Blessing of the Tribes. XXXVIII.XXXIX Or maybe even that: a poet The ordinary one was waiting for his destiny. The youthful summers would have passed: The ardor of his soul would cool. He would change in many ways I would part with the muses, get married, In the village, happy and horny, I would wear a quilted robe; I would really know life I would have gout at the age of forty, I drank, ate, got bored, got fat, grew weaker And finally in my bed I would die among children, Whining women and doctors. |
A. S. Pushkin “Eugene Onegin”
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Mavra left, and Plyushkin, sitting down in an armchair and taking the pen in his hand, spent a long time turning the four in all directions, wondering if it was possible to separate another eight from it, but finally became convinced that it was impossible; stuck the pen into an inkwell with some kind of moldy liquid and a lot of flies at the bottom and began to write, making letters that looked like musical notes, constantly holding his agility hand, which was scattered all over the paper, sparingly molding line after line and not without regret thinking that there will still be a lot of blank space left.
And a person could stoop to such insignificance, pettiness, and disgustingness! could have changed so much! And does this seem true? Everything seems to be true, anything can happen to a person. Today's fiery young man would recoil in horror if they showed him his own portrait in old age. Take with you on the journey, emerging from the soft years of youth into stern, embittered courage, take with you all human movements, do not leave them on the road, you will not pick them up later! The old age coming ahead is terrible, terrible, and nothing gives back and back! The grave is more merciful than her; on the grave it will be written: “A man is buried here!” - but you can’t read anything in the cold, unfeeling features of inhuman old age.
N.V. Gogol “Dead Souls”
- 1.1.2. What human vices does Gogol expose in the above scene?
In the above scene, the hero’s greed, stinginess and pettiness are exposed. Gogol emphasizes that Plyushkin is a slave to his things. We see that his life is filled with emptiness.
3. 1.1.3. Compare the fragment in question from N. V. Gogol’s poem “Dead Souls” with the scene below from D. I. Fonvizin’s comedy “The Minor.” What conclusions did this comparison lead you to?
Chichikov looked very carefully at the young stranger. He tried to talk to her several times, but somehow he didn’t have to. Meanwhile, the ladies left, the pretty head with delicate features and a thin figure disappeared, like something similar to a vision, and again what was left was the road, the chaise, the three horses familiar to the reader, Selifan, Chichikov, the smooth surface and emptiness of the surrounding fields. Wherever in life, whether among the callous, rough-and-poor and unkempt and moldy low-lying ranks of it, or among the monotonously cold and boringly neat upper classes, everywhere at least once a person will encounter on his way a phenomenon that is not similar to all that what he had seen before, which at least once would awaken in him a feeling different from those that he was destined to feel all his life. Everywhere, across whatever sorrows from which our lives are weaved, shining joy will rush merrily, as sometimes a brilliant carriage with golden harness, picture horses and the sparkling shine of glass will suddenly suddenly rush past some stalled poor village that has seen nothing but a rural cart, and the men stood there for a long time, yawning, with their mouths open, without putting on their hats, although the marvelous carriage had long since sped away and disappeared from sight. So the blonde, too, suddenly appeared in our story in a completely unexpected way and disappeared in the same way. If at that time, instead of Chichikov, some twenty-year-old youth had come across, whether he was a hussar, a student, or simply someone who had just begun a career in life, and God! whatever would wake up, move, speak within him! For a long time he would stand senseless in one place, mindlessly gazing into the distance, forgetting the road, and all the reprimands awaiting ahead, and scoldings for delay, forgetting himself, and the service, and the world, and everything that is in the world.
But our hero was already middle-aged and of a cautiously cool character. He also became thoughtful and thought, but his thoughts were more positive, less unaccountable, and even partly very grounded. “Nice grandma!” he said, opening the snuffbox and sniffing the tobacco, “But what, most importantly, is good in it? The good thing is that she has just now, apparently, been released from some boarding school or institute; that, as they say, there is nothing feminine about her yet, that is, precisely what they have that is most unpleasant. She is like a child now, everything about her is simple: she will say whatever she wants, laugh wherever she wants to laugh. Anything can be made of it, it can be a miracle, or it can turn out to be rubbish, and it will turn out to be rubbish! Just let the mothers and aunties take care of her now. One year she will be so filled with all sorts of womanly things that her own father himself will not recognize it. Where does the pout and stiffness come from? will begin to toss and turn according to the established instructions, will begin to rack his brains and figure out with whom, and how, and how much to speak, how to look at whom; he will be afraid at every moment, so as not to say more than necessary; she will finally get confused herself, and will end up lying all her life, and what will come out is simply God knows what!” Here he was silent for a while and then added: “Wouldn’t it be interesting to know whose it is? what, how is her father? Is he a rich landowner of respectable character or simply a well-meaning person with capital acquired in the service? After all, if, let’s say, this girl was given a dowry of two thousand thousand, she could make a very, very tasty morsel. This could constitute, so to speak, the happiness of a decent person.” Two hundred thousand rubles began to appear so attractively in his head that he inwardly began to be annoyed with himself, why, while continuing to fuss around the carriages, he did not find out from the postilion or coachman who the travelers were. Soon, however, the appearance of Sobakevich's village dispelled his thoughts and forced them to turn to their constant subject.
N.V. Gogol “Dead Souls”
Skotinin. Why can't I see my bride? Where is she? There will be an agreement in the evening, so isn’t it time to tell her that they are marrying her off?
Mrs. Prostakova. We'll make it, brother. If we tell her this ahead of time, she may still think that we are reporting to her. Although by marriage, however, I am related to her; and I love that strangers listen to me.
Prostakov (to Skotinin ). To tell the truth, we treated Sophia like an orphan. After her father she remained a baby. About six months ago, her mother, and my in-law, had a stroke...
Ms. Prostakova ( shows as if he is baptizing the heart). The power of the god is with us.
Prostakov. From which she went to the next world. Her uncle, Mr. Starodum, went to Siberia; and since there has been no rumor or news of him for several years now, we consider him dead. We, seeing that she was left alone, took her to our village and look after her estate as if it were our own.
Mrs. Prostakova. Why are you so spoiled today, my father? My brother might also think that we took her in for fun.
Prostakov. Well, mother, how should he think about this? After all, we can’t move Sofyushkino’s real estate estate to ourselves.
Skotinin. And although the movable has been put forward, I am not a petitioner. I don’t like to bother, and I’m afraid. No matter how much my neighbors offended me, no matter how much loss they caused, I did not attack anyone, and any loss, rather than going after it, I would rip off from my own peasants, and the ends would go to waste.
Prostakov. It’s true, brother: the whole neighborhood says that you are a master at collecting rent.
Mrs. Prostakova. If only you could teach us, brother father; but we just can’t do it. Since we took away everything the peasants had, we can’t take anything back. Such a disaster!
Skotinin. Please, sister, I will teach you, I will teach you, just marry me to Sophia.
Mrs. Prostakova. Did you really like this girl that much?
Skotinin. No, it's not the girl I like.
Prostakov. So next door to her village?
Skotinin. And not the villages, but the fact that it is found in the villages and what my mortal desire is.
Mrs. Prostakova. Until what, brother?
Skotinin. I love pigs, sister, and in our neighborhood there are such large pigs that there is not a single one of them that, standing on its hind legs, would not be taller than each of us by a whole head.
D. I. Fonvizin “Minor”
The description of the provincial town in The Inspector General is similar to the description of the city N in Dead Souls. Both fragments pose problems that affect issues of public life in Russia. For example, the news of the arrival of the auditor shows what kind of arbitrariness reigns in the city of the mayor. We see the same disorder, the same bribery in the city of N, where Chichikov comes. His officials are also concerned about the appointment of a new governor general.
Ammos Fedorovich. Here you go!
(stopping)
(Sighing.)
N. V. Gogol “The Inspector General”
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N.V. Gogol “Dead Souls”
3. 1.1.3. Compare a fragment of the comedy “The Inspector General” with the fragment below from N. V. Gogol’s poem “Dead Souls”. What conclusions did this comparison lead you to?
1.2.3. Compare the ballads of V. A. Zhukovsky “Revenge” and “Three Songs”. What conclusions did this comparison lead you to?
Read the fragments of the works below and complete task 1.1.3.
Mayor. I invited you, gentlemen, in order to tell you some very unpleasant news: an auditor is coming to visit us.
Ammos Fedorovich. How's the auditor?
Artemy Filippovich. How's the auditor?
Gordnichiy. Inspector from St. Petersburg, incognito. And with a secret order.
Ammos Fedorovich. Here you go!
Artemy Filippovich. There was no concern, so give it up!
Luka Lukic. Lord God! also with a secret prescription!
Mayor. It was as if I had a presentiment: today I dreamed all night about two extraordinary rats. Really, I’ve never seen anything like this: black, of unnatural size! They came, they smelled it, and they left. Here I will read to you a letter that I received from Andrei Ivanovich Chmykhov, whom you, Artemy Filippovich, know. This is what he writes: “Dear friend, godfather and benefactor(mutters in a low voice, quickly running his eyes)... and notify you." A! Here it is: “I hasten, by the way, to notify you that an official has arrived with orders to inspect the entire province and especially our district(thumbs up significantly). I learned this from the most reliable people, although he represents himself as a private person. Since I know that you, like everyone else, have sins, because you are a smart person and you don’t like to miss what’s in your hands...(stopping) , well, there are people here... “then I advise you to take precautions, because he can arrive at any hour, unless he has already arrived and lives somewhere incognito... Yesterday I...” Well, let’s go now family matters: “...sister Anna Kirillovna came to us with her husband; Ivan Kirillovich has gained a lot of weight and keeps playing the violin...” - and so on and so forth. So this is the circumstance!
Ammos Fedorovich. Yes, this circumstance is... extraordinary, simply extraordinary. Something for nothing.
Luka Lukic. Why, Anton Antonovich, why is this? Why do we need an auditor?
Mayor. Why! So, apparently, it’s fate!(Sighing.) Until now, thank God, we have been approaching other cities; Now it's our turn.
Ammos Fedorovich. I think, Anton Antonovich, that here it is thin and larger political reason. This means this: Russia... yes... wants to wage war, and the ministry, you see, sent an official to find out if there is any treason.
Mayor. Eh, where have you had enough! More clever man! There is treason in the county town! What is he, borderline, or what? Yes, from here, even if you ride for three years, you won’t reach any state.
Ammos Fedorovich. No, I’ll tell you, you’re not that... you’re not... The authorities have subtle views: even though they are far away, they are shaking their heads.
Mayor. It shakes or doesn’t shake, but I, gentlemen, warned you. Look, I have made some arrangements for my part, I advise you. Especially you, Artemy Filippovich! Without a doubt, a passing official will want, first of all, to inspect the charitable institutions under your jurisdiction - and therefore you should make sure that everything is decent: the caps would be clean, and the sick would not look like blacksmiths, as they usually do at home.
Artemy Filippovich. Well, that's nothing yet. The caps, perhaps, can be put on clean.
N. V. Gogol “The Inspector General”
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All the searches carried out by the officials revealed to them only that they probably do not know what Chichikov is, but that, however, there must certainly be something like Chichikov. They finally decided to have a final talk about this subject and decide at least what and how they should do, and what measures to take, and what exactly he is: is he the kind of person who needs to be detained and captured as ill-intentioned, or is he the kind of person who can himself seize and detain them all as ill-intentioned. For all this, it was proposed to gather deliberately with the police chief, already known to readers as the father and benefactor of the city.
Having gathered with the police chief, the father and benefactor of the city already known to readers, the officials had the opportunity to notice to each other that they had even lost weight from these worries and anxieties. In fact, the appointment of a new governor-general, and these papers received with such a serious content, and these God knows what rumors, all this left noticeable marks on their faces, and the tailcoats on many became noticeably more spacious. Everything gave way: the chairman lost weight, and the inspector of the medical board lost weight, and the prosecutor lost weight, and some Semyon Ivanovich, who was never called by his last name, wore a index finger the ring that he let the ladies look at, even he lost weight. Of course, there were, as happens everywhere, a few timid people who did not lose their presence of mind, but there were very few of them: there was only one postmaster. He alone did not change in his constantly even character and always in similar cases used to say: “We know you, governors general! Maybe three or four of you will change, but I’ve been sitting in one place for thirty years, my sir.” Other officials usually remarked to this: “It’s good for you, sprechen zi deych Ivan Andreich; You have a postal matter: to receive and send an expedition; Unless you cheat by locking your presence half an hour earlier, charge a late merchant for accepting a letter at an unspecified time, or send another parcel that should not be sent, here, of course, everyone will be a saint. But let the devil get into the habit of turning up at your hand every day, so that you don’t want to take it, but he sticks it in himself. You, of course, are in a lot of trouble: you have one son; and here, brother, God endowed Praskovya Fedorovna with such grace - whatever the year brings: either Praskushka or Petrusha; here, brother, you’ll sing something else.”
N.V. Gogol “Dead Souls”
- 1.1.3. Compare the above fragment with an episode from A.P. Chekhov’s story “Chameleon”. How are the images of the county town in these texts similar?
Both passages depict county towns Russia XIX century. AND life in them
is the same There is chaos, drunk people are walking around. The attitude towards people in them is determined by the class they belong to. Thus, in “Dead Souls” Chichikov is assessed from the point of view of belonging to any class. In “Chameleon,” it is also important for Ochumelov who the dog belongs to. And depending on this, he decides what to do with her.
A rather beautiful little spring chaise, in which bachelors travel: retired lieutenant colonels, staff captains, landowners with about a hundred peasant souls - in a word, all those who are called middle-class gentlemen, drove into the gates of the hotel in the provincial town of NN. In the chaise sat a gentleman, not handsome, but not bad-looking either, neither too fat nor too thin; One cannot say that he is old, but not that he is too young. His entry made absolutely no noise in the city and was not accompanied by anything special; only two Russian peasants, standing at the door of the tavern opposite the hotel, made some comments, which, however, related more to the carriage than to those sitting in it. “Look,” one said to the other, “what a wheel! What do you think, if that wheel happened, would it get to Moscow or not?” “It will get there,” answered the other. “But I don’t think he’ll get to Kazan?” “He won’t get to Kazan,” answered another. That was the end of the conversation. Moreover, when the chaise pulled up to the hotel, he met a young man in white rosin trousers, very narrow and short, in a tailcoat with attempts at fashion, from under which a shirtfront was visible, fastened with a Tula pin with a bronze pistol. The young man turned back, looked at the carriage, held his cap with his hand, which was almost blown off by the wind, and went his way.
When the carriage entered the yard, the gentleman was greeted by the tavern servant, or sex worker, as they are called in Russian taverns, lively and fidgety to such an extent that it was impossible to even see what kind of face he had. He ran out quickly, with a napkin in his hand, all long and in a long jean coat with the back almost at the very back of his head, tossed his hair and quickly led the gentleman up the entire wooden gallery to show the peace bestowed upon him by God. The peace was of a certain kind, for the hotel was also of a certain kind, that is, exactly the same as hotels in provincial cities, where for two rubles a day travelers get a quiet room with cockroaches peeking out like prunes from all corners, and a door to the next room, always filled with a chest of drawers, where a neighbor settles down, a silent and calm person, but extremely curious, interested in knowing about everyone details of the person passing by. The outer facade of the hotel corresponded to its interior: it was very long, two floors; the lower one was not plastered and remained in dark red bricks, even darker from the wild weather changes and dirty in themselves; the top one was painted eternal yellow paint; below there were benches with clamps, ropes and steering wheels. In the corner of these shops, or, better yet, in the window, there was a whipper with a samovar made of red copper and a face as red as the samovar, so that from a distance one would think that there were two samovars standing on the window, if one samovar was not with pitch black beard.
While the visiting gentleman was looking around his room, his belongings were brought in: first of all, a suitcase made of white leather, somewhat worn out, showing that he was not on the road for the first time. The suitcase was brought in by the coachman Selifan, a short man in a sheepskin coat, and the footman Petrushka, a fellow of about thirty, in a spacious second-hand frock coat, as seen from the master's shoulder, a little stern in appearance, with very large lips and nose. Following the suitcase was a small mahogany casket with individual displays made of Karelian birch, shoe lasts and a fried chicken wrapped in blue paper. When all this was brought in, the coachman Selifan went to the stable to tinker with the horses, and the footman Petrushka began to settle down in the small front, very dark kennel, where he had already managed to drag his overcoat and with it some kind of his own smell, which was communicated to the one brought followed by a bag with various lackeys' toiletries. In this kennel he fitted a narrow three-legged bed to the wall, covering it with a small semblance of a mattress, dead and flat as a pancake, and perhaps as oily as the pancake that he managed to demand from the innkeeper.
N.V. Gogol “Dead Souls”
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Police warden Ochumelov walks through the market square in a new overcoat and with a bundle in his hand. A red-haired policeman walks behind him with a sieve filled to the brim with confiscated gooseberries. There is silence all around... Not a soul in the square... The open doors of shops and taverns look sadly into the light of God, like hungry mouths; There are not even beggars around them.
So do you bite, you damned one? - Ochumelov suddenly hears. - Guys, don't let her in! Today it is forbidden to bite! Hold it! Ah...ah!
A dog squeal is heard. Ochumelov looks to the side and sees: a dog is running from the wood warehouse of the merchant Pichugin, jumping on three legs and looking around. A man in a starched cotton shirt and an unbuttoned vest is chasing after her. He runs after her and, leaning his body forward, falls to the ground and grabs the dog by the hind legs. A second dog squeal and cry is heard: “Don’t let me in!” Sleepy faces poke out of the shops, and soon a crowd gathers near the woodshed, as if growing out of the ground.
It’s not a mess, your honor!.. - says the policeman.
Ochumelov makes a half turn to the left and walks towards the gathering. Near the very gates of the warehouse, he sees, standing the above-described man in an unbuttoned vest and, holding up right hand, shows the crowd a bloody finger. It was as if it was written on his half-drunk face: “I’ll rip you off, you scoundrel!” and the finger itself looks like a sign of victory. In this man, Ochumelov recognizes the goldsmith Khryukin. In the center of the crowd, with his front legs spread out and his whole body trembling, the culprit of the scandal himself is sitting on the ground - a white greyhound puppy with a sharp muzzle and a yellow spot on his back. There is an expression of melancholy and horror in his teary eyes.
What is the occasion here? - asks Ochumelov, crashing into the crowd. - Why here? Why are you using your finger?.. Who screamed?
I’m going, your honor, not bothering anyone... - Khryukin begins, coughing into his fist. - About the firewood with Mitriy Mitrich, - and suddenly this vile one, for no reason, for no reason at all, for the finger... Excuse me, I am a person who works... My job is small. Let them pay me, because maybe I won’t lift this finger for a week... This, your honor, is not in the law to endure from the creature... If everyone bites, then it’s better not to live in the world...
Hm!.. Okay... - says Ochumelov sternly, coughing and wiggling his eyebrows. - Okay... Whose dog? I won't leave it like this. I'll show you how to loosen dogs! It's time to pay attention to such gentlemen who do not want to obey the regulations! When they fine him, the bastard, he will learn from me what a dog and other stray cattle mean! I’ll show him Kuzka’s mother!.. Eldyrin,” the warden turns to the policeman, “find out whose dog this is and draw up a report!” But the dog must be exterminated. Immediately! She must be mad... Whose dog is this, I ask?
This seems to be General Zhigalov! - says someone from the crowd.
General Zhigalov? Hm!.. Take off my coat, Eldyrin... It’s terribly hot! Probably before the rain... There’s only one thing I don’t understand: how could she bite you? - Ochumelov addresses Khryukin. - How can she reach her finger? She's small, but you look so healthy! You must have picked your finger with a nail, and then the idea came to your head to rip it off. You are... famous people! I know you, devils!
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The governor's ball. “Dead Souls” by N.V. Gogol.
Artist E.E. Bernardsky (1818-1889)
- How did N.V. Gogol define the genre of “Dead Souls”?
Answer:________
Answer:_________
3.What is the name of the visual device used by N. Gogol in this passage in literary criticism?
“Fat people never occupy indirect places, but all direct ones, and even more so if they sit down where, then sit down reliable and strong..."
Answer:__________
4. Establish a correspondence between quotes from this passage and the types of officials - fat or thin: for each position in the first column, select the corresponding position from the second column.
Write down the selected numbers in the table under the corresponding letters.
| A | B | IN |
5.What is the name of the artistic technique that the author used to describe the appearance of fat and thin people?
Answer:__________
7.What is the name of this passage in which the author expresses his thoughts, feelings, observations?
Answer:___________
8.Which men - fat or thin - did Chichikov join and why?
9. In which works of Russian classics does the theme of “thin and thick”, the theme of veneration of rank sound? How do these works relate to “Dead Souls” by N.V. Gogol?
ANSWERS
2.antithesis
3.metaphor
5.portrait
6. diminutive vocabulary
8. Chichikov joined “thin” for the following reasons:
- This kind of people attracted him, he strived to be like them: to become rich, wealthy, and have weight in society.
- Chichikov was sure that he was already like them, considered himself part of this society
- “Thick and thin” is an allegorical description of people occupying opposite places in society: some are part of the elite, elite, these are rich, wealthy people occupying high and prestigious positions; others belong to the category of people who have not achieved such a position. Some of the subtle ones have come to terms with this situation, while others strive with all their might to get out of it. This is a criticism of veneration and sycophancy.
This theme is reflected in A.P. Chekhov’s story “Thick and Thin.” Two characters who had known each other since childhood—a classmate at the gymnasium—met many years later. One is a typical representative of the “fat” people, the other is the “thin” one. The author showed how the attitude of one of them, Porfiry, changed dramatically when he learned that Mikhail was already a state councilor and still had two stars. The friendly tone changed to an obsequious one, even outwardly Porfiry and his entire family changed - everyone seemed to bend in a bow, pull themselves up, please, fawn. There are no more classmates left, before us there are only “fat” and “thin”.
The same theme is one of the main ones in A.S. Griboyedov’s comedy “Woe from Wit.” - a representative of the “fat”, the world of masters, and - a typical “thin” with his flattery, respect for rank, desire to please everyone who may somehow be involved in his career advancement.
How close Chichikov is to these heroes - both. The eternal theme of honoring rank, evaluating people by their position in society, and not by what they are - this unites all these works.