INTRODUCTION
Literature plays a fundamentally important role in the formation of a person of the 21st century, who will participate in the process of development of a civilized community of people. special kind art. She fills the spiritual niche, responding to the internal needs of the individual. It is literature that shapes an individual capable of solving creative problems and striving for search. Accordingly, the demand for the reader and the quality of reading increases. As is known, reading activity is the ability to “assemble an imaginary whole of meaning without eliminating its complexity or moving away from it” (H.L. Borges).
To the creativity of N.V. Numerous literary studies have been devoted to Gogol, and significant methodological experience, varied in interpretations and ways of understanding the material. However, schoolchildren, while in search of " final meaning", "integrity", still face one motif of mystery that permeates all the texts of N.V. Gogol.
Aesthetic, poetic complexity of the artistic world writer XIX century creates substantive and stylistic barriers when reading, without overcoming which it is impossible to comprehend the “paradoxes” of N.V.’s work. Gogol, full of contradictions and charm inner world. The stylistic imbalance and metaphorical nature of Gogol’s writing first of all alarms students, amuses them, and sometimes causes protest and a feeling of rejection.
The purpose of this course work is to study techniques for analyzing the characters in N.V.’s play. Gogol "The Inspector General"
1. Explore educational literature on this topic.
2. Analyze the problem of the play “The Inspector General”.
3. Consider and characterize the characters in the play “The Inspector General”.
4. Draw conclusions on the topic studied and make recommendations.
5. Make a plan for a literature lesson in 8th grade based on the play “The Inspector General”
A study of the artistic features of the writer V.N. Gogol
Characteristics of the features of N.V.’s creativity Gogol in the works of Russian scientists
The appearance of Gogol's work was historically natural. In the late 20s and early 30s of the last century, new, great tasks arose before Russian literature. The rapidly developing process of the disintegration of serfdom and absolutism evoked in the advanced strata of Russian society an increasingly persistent, passionate search for a way out of the crisis, awakening the thought of further paths historical development Russia. Gogol's work reflected the people's growing dissatisfaction with the serfdom, its awakening revolutionary energy, its desire for a different, more perfect reality. Belinsky called Gogol “one of the great leaders” of his country “on the path of consciousness, development, progress.”
Gogol's art arose on the foundation that was erected before him by Pushkin. In "Boris Godunov" and "Eugene Onegin", " Bronze Horseman" And " The captain's daughter"The writer committed greatest discoveries. The amazing skill with which Pushkin reflected the entirety of contemporary reality and penetrated into the recesses of the spiritual world of his heroes, the insight with which in each of them he saw a reflection of real processes public life, the depth of his historical thinking and the greatness of his humanistic ideals - Pushkin discovered all these facets of his personality and his creativity new era in the development of Russian literature and realistic art.
Gogol was convinced that in the conditions of contemporary Russia, the ideal and beauty of life can be expressed, first of all, through the denial of ugly reality. This is exactly what his work was like, this was the originality of his realism [Mashinsky S.I. Art world Gogol - M.: Enlightenment, p.5.].
Of all the variety of literature about Gogol created by Russian writers (emigrants of the first wave), the most significant are the books by K.N. Mochulsky " Spiritual path Gogol" (1934), professor protopresbyter V.V. Zenkovsky "N.V. Gogol" (1961) and V.V. Nabokov "Nikolai Gogol" (1944).
They largely determined Gogol's thought not only in the West, but also in Russia. Along with these studies there is whole line less voluminous works, which also contributed to the study of the life and work of the great Russian writer. These are the works of S.L. Frank, Archpriest G.V. Florovsky, I.A. Ilyina, D.M. Chizhevsky, P.M. Bitsilli, V.N. Ilyina. Let us also mention publications by V.K. Zaitseva, V.F. Khodasevich, A.M. Remizova, G.I. Gazdanova, G.A. Meyer, Yu.P. Annenkova, A.L. Bema, R.V. Pletnev, abbot Konstantin (Zaitsev) - articles in which there are observations useful for the science of Gogol. Note that almost all those who wrote about Gogol in emigration used V. Veresaev’s book “Gogol in Life” (1933) as one of the most important sources, which, for all its merits, does not contain documents in the necessary completeness [Voropaev V. Gogol in criticism of Russian emigration. - p.19.].
As the basis for his research “The Spiritual Path of Gogol” (Paris: YMCA-Press, 1934; 2nd ed., 1976; republished in the book: Mochulsky K. Gogol. Solovyov. Dostoevsky. - M., 1995) K. V. Mochulsky put the words of the writer expressed in a letter to his mother in 1844: “Try better to see in me a Christian and a person than a writer.” Considering Gogol not only a great artist, but also a teacher of morality and a Christian ascetic, Mochulsky sets the goal of his research to assess the religious feat of the writer. Speaking about Gogol's childhood, the author makes a number of comments relating primarily to the features of his spiritual appearance. “Gogol did not belong to those chosen ones who are born with the love of God,” writes Mochulsky, “the patriarchal religiosity surrounding his childhood remained alien and even hostile to him. Faith had to come to him in a different way, not from love, but from fear” (K. Mochulsky “Gogol. Solovyov. Dostoevsky”). From this position, the researcher concludes: “In Gogol’s soul, the experience of cosmic horror and elemental fear of death are primary...” [Voropaev V. Gogol in criticism of Russian emigration. - p.18.]
Gogol's creativity is socially determined. His views were formed among small landed nobles, oppressed both “from above” and “from below”: “from above” - by large feudal lords, who treated their nearly ruined fellow class members arrogantly, and at times simply mockingly (remember Pushkin, his Dubrovsky and Troekurov). From here, “from above,” the threatening new development of some kind of industry was approaching the ill-fated small landowners. But there, “above”, inaccessible to the small landowner public sphere High education was also concentrated there; the treasures of world philosophy and world art were mastered there. Pushkin’s Troyekurov labored there, but there, even higher up, were the princes Trubetskoy and the princes Volkonsky—the leaders of the Decembrists. The small landowner peered into the life of the “tops” with inquisitiveness, concern, and apprehension, and with a natural desire to learn from these “tops” the best that they possessed, to compete with them on equal terms. And “from below” are the peasants, whose murmurs are different forms and to varying degrees disturbed him, frightened him, or pushed him to naive attempts to reconcile everyone and everything [Turbin V.N. Heroes of Gogol. - Moscow “Enlightenment”, 1983. - p.22].
But the small landowner was also necessary for our history; and this necessity arose precisely from the intermediate position of his position in society. While living, so to speak, “below the highs,” he also lived “above the lows.” Be that as it may, the rays of spiritual wealth that the “tops” possessed reached him. At the same time, the small landowner, unlike his brother, the city dweller, the aristocrat, communicated with the people directly, every day. Voice of the people, covenants popular thought were not a distraction for him. The people in his eyes were represented in the person of those 20-30 “souls” who fed him and whom, in any case, he also fed, who made up his fortune and for whom he was responsible to himself and to the empire. The complex agricultural cycle, the annual and daily cycle of the sun, bad weather or a bucket and the hopes and tragedies associated with them - the small landowner experienced all this in the same way as the people experienced it from time immemorial. Closeness to the primeval and primordial in human life made his world very simple. This simplicity contained remarkable spiritual strength [Turbin V.N. Heroes of Gogol. - M.: Education, 1983. - p. 23.].
The more complexities around us, the closer Gogol is to us. The clearer is the beauty and depth of its simplicity, which becomes more relevant day by day.
The original family. Happiness to those who have a large and friendly life; It's bad for those who don't have it. But even if for some reason it doesn’t exist, some family, albeit the smallest one, that arose and then disappeared, unable to preserve itself, gave birth to us. And there are families around us: in nature, in society. And we simply cannot help but imagine ourselves as part of some kind of family.
Our neighbor is finally the original. It is original even now, because the neighbor accompanies us from the place of birth to the place of our last peace: we were barely born, and this one was already placed next to us, and this was our first neighbor, then involuntarily forgotten by us. And in our conscious life? Friendship between neighbors, enmity between them, love of neighbor for neighbor. The neighborhood of schoolboys in the Tsarskoye Selo Lyceum, the mournful neighborhood of prisoners in royal prisons and fortresses, the wary neighborhood of landowners in landholdings of different sizes, the neighborhood of peasants in the countryside - an innumerable tangle of neighborhoods. Neighborhood is also a concrete historical phenomenon, the social content here is very changeable; but the very fact of neighborhood, the very necessity of it for a person, has an enduring character. [Ibid., p. 34.]
In everyday life, laughter lives in different qualities. When a person surrenders himself to the life of the spirit, “the laughter in him dies.” Art is a spiritual matter. Gogol is “permeated with sincerity” not only in his works of art, but also when he concerns “moral and religious issues.” He has two main means at his disposal - “fiction and laughter.” Rushing towards the spiritual, Gogol breaks “the frames of art, not fitting into them.” There is a “duel between the ‘poet’ and the ‘moralist’.” “Gogol’s laughter is carefree, Gogol’s fantasy is carefree. But how much it already contains and how much even this laughter and this fantasy teach.” In terms of spirituality, Gogol’s laughter already partly possesses “great religious and moral power, invariably greater than Gogol’s fiction.” Explaining “The Inspector General,” Gogol reduces the “educational” power of his laughter, giving it the functions of a “religiously colored highest moral court.” In the Christian church consciousness, the role of satire and laughter is insignificant. “Human art, no matter how convincingly it speaks about the heavenly, no matter how attractively it paints, remains earthly. IN best case scenario it only leads a person to spiritual world" Gogol “takes the vulgarity of life he observed to the extreme - and reconciles the reader with it. At least - while the reader is under the spell of his artistic gift.” [Voropaev V. Gogol in criticism of Russian emigration. - p.19.]
There is a completely natural logic in how the assessment of Gogol’s works has changed historically. At the first stage of the functioning of works, the subject of discussion, debate and even struggle (democratic and aesthetic criticism) becomes that which distinguishes the text from the background of generally accepted literary norms, and at the same time - the question of the right of creativity to recognition, to a certain niche in literary space. At the next stage, readers’ attention moves to another plane: aspects of the relationship between creativity and real life(gallery of recreated types, positions of heroes, meaning of conflicts). At the same time aroused interest art form, features of language, style. The complexity and integrity of the artistic structure of the work was clarified: genre, stylistic specificity. [Esin A.B. Principles and techniques of analysis literary work. - M.: Vlados, 1998. - p. 112.
Since the end of the 20s. a number of journal articles appear and individual books, devoted to issues of Russian, Ukrainian and pan-Slavic ethnography, and one after another editions of monuments are published folk art: “Little Russian songs” by M. A. Maksimovich (1827-1834), “Zaporozhye antiquity” Revised. Iv. Sreznevsky (1834, 1835, and 1838), the three-volume “Tales of the Russian People” by I. P. Sakharov (1836-1837) and many others. etc. At the same time, the “Collection of Russian Songs” by Pyotr Kireevsky was being prepared, published later.
In line with this still nascent folk studies movement, Gogol finds himself as an artist, creates and publishes his first narrative cycle, “Evenings on a Farm near Dikanka.”
Gogol was born and raised in Ukraine and until the end of his life he considered it his micro-homeland, and himself a Russian writer with a “Khokhlatsky” sourdough.
Coming from among the middle-class Ukrainian nobility, he knew their rural and urban life well, with youth was burdened by the provincial-serf “scarcity” and “earthliness” of this way of life, admired the folk-poetic legends of the “Cossack antiquity”, which then lived not only among the people, but also revered in some “old-world” noble families, including in the house of a noble and highly educated distant a relative of the future writer - D. P. Troshchinsky, an ardent admirer and collector of Ukrainian “antiques”.
“Evenings” amazed contemporaries with its incomparable originality, poetic freshness and brightness. Pushkin’s review is well known: “...everyone was delighted with this lively description of the singing and dancing tribe, these fresh pictures of Little Russian nature, this gaiety, simple-minded and at the same time crafty.
How amazed we were at the Russian book, which made us laugh, we, who had not laughed since the time of Fonvizin! The mention of Fonvizin is not accidental. This is a hint that the simple-minded gaiety of “Evenings” is not as simple-minded as it might seem at first glance.
Belinsky, who greeted “Belkin’s Tale” very coldly, welcomed “Evenings”, also - and before Pushkin - noting in them the combination of “gaiety, poetry and nationality.”
“Merry People” sharply distinguished “Evenings” from the usual naturalistic depiction of serf life in the Russian and Ukrainian villages in the so-called “common folk” stories of that time, in which Belinsky rightly saw a profanation of the idea of nationality.
Gogol happily avoided this danger and did not fall into the other extreme - the idealization of “folk morals”, having found a completely new angle for their depiction. It can be called mirror image poetic, life-affirming consciousness of the people themselves. A “living”, as Pushkin put it, “a description of a tribe singing and dancing” is literally woven from motifs of Ukrainian folklore, drawn from its most diverse genres - heroic-historical “thoughts”, lyrical and ritual songs, fairy tales, anecdotes, nativity scenes.
This is the artistic authenticity of the cheerful and poetic folk of Gogol’s first narrative cycle. But his poetic world is permeated with a hidden longing for the former Zaporozhye freedom of the enslaved, like all “tribes” Russian Empire, “Dikan Cossacks,” which forms the epic beginning and ideological unity of all the stories included in it.
Romantically bright in its national coloring, the poetic world of “Evenings” is devoid of another mandatory attribute of a romantic epic - historical, temporal locality. The historical time in each story is different, special, sometimes definite, and in some cases, for example in “May Night,” conditional. But thanks to this, the national character (according to the philosophical and historical terminology of the 30-40s - “spirit”) of the Cossack tribe appears in “Evenings” from its ideal, invariably beautiful essence.
Its immediate reality is the linguistic consciousness of the people in all the stories of the cycle. The predominantly speech characteristics of the characters give fairy tale style“Evenings” has a “picturesque style of syllable” previously unknown in Russian prose, noted by Belinsky, and is one of Gogol’s most promising innovations.
The tale is a means of separating the author’s speech from the speech of his heroes, in “Evenings” - from the vernacular, which thereby becomes both a means and a subject artistic image. Russian prose did not know anything like this before Gogol’s Evenings.
The stylistic norm of the vernacular element of “Evenings” is rustic innocence, under the mask of which lies an abyss of “Khokhlatsky” cheerful slyness and mischief. The combination of one with the other is where the entire comedy of “Evenings” lies, mainly verbal, motivated by the artistic fiction of their “publisher”, “pasichnik” Rudy Panka, and a number of related storytellers.
The preface to “Evenings,” written on behalf of Rudy Panko, characterizes their “publisher” as the bearer of the speech norm not of the author, but of his storytellers and heroes. And this norm remains unchanged in all the stories of the cycle, which also emphasizes the constancy of fundamental properties national character"Dikan Cossacks" in all historical circumstances.
So, for example, the vernacular, and thereby the spiritual appearance of the characters in “Sorochinskaya Fair” and “The Night Before Christmas” are no different from one another, despite the fact that the action of the first story is related to modern times, takes place before the eyes of the author, and the action of the second dated to the end of the 18th century, to the time when the government decree promulgated in 1775 was being prepared, according to which the Zaporozhye army was deprived of all its liberties and privileges.
In the breadth of historical time covered by “Evenings,” their lyrical and ethnographic principles merge together and acquire an epic scale.
“The Night Before Christmas” opens the second part of “Evenings”, published at the beginning of 1832. And if the epic of the first part (“Sorochinskaya Fair”, “Evening on the Eve of Ivan Kupala”, “May Night”) declares itself only with the historical overtones of folk fantasy, oral poetic “truths” and “fables”, then the stories of the second part, together with the “Missing Letter” that concludes the first part, have a fairly clearly defined historical space - from the era of the struggle of the “Cossack people” against Polish rule (“Terrible Vengeance”) to its feudal modernity (“Ivan Fedorovich Shponka and his aunt”).
Thus, history merges with modernity on the principle of contrasting the beauty of the heroic past of the freedom-loving “tribe” with the ugliness and dullness of its serf existence.
Exactly the same ideological and artistic connection exists between the stories of Gogol’s second cycle - “Mirgorod” (1835). If two of them - "Old World Landowners" and especially "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich" - are stylistically and thematically adjacent to the story about Shponka, then the other two - "Viy" and "Taras Bulba" - stand in one along with the overwhelming majority of the stories in “Evenings”, they have in common with them a bright poetic flavor.
It is no coincidence that Gogol gave “Mirgorod” the subtitle “Continuation of evenings on a farm near Dikanka,” thereby emphasizing the ideological and artistic unity of both cycles and the very principle of cyclization. This is the principle of contrast between the natural and the unnatural, the beautiful and the ugly, high poetry and low prose of national life, and at the same time its two social poles - popular and small-scale.
But both in “Evenings” and in “Mirgorod” these social polarities are attached to different eras national existence and correlate with one another as its beautiful past and ugly present, with the present outlined in its immediate feudal “reality”, and the past - as it was imprinted in popular consciousness, was deposited in the national “spirit” of the people and continues to live in their legends, beliefs, tales, and customs.
Here it appears most important feature artistic method Gogol - his philosophical historicism, the Walter Scott beginning of the writer’s creativity.
The depiction of popular movements and customs is one of the most promising innovations historical novels V. Scott. But this is only the historical background of their action, the main “interest” of which is the love affair and the associated fates of the personal heroes of the story, voluntary or involuntary participants in the depicted historical events.
The nationality of Gogol's Ukrainian stories is already significantly different.
National specificity and historical projection of their Cossack world act as a form of critical understanding of “scarcity” and “earthliness” contemporary writer Russian life, recognized by the writer himself as a temporary “sleep” of the national spirit.
History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983.
Gogol began his creative activity like a romantic. However, he turned to critical realism, opened a new chapter in it. As a realist artist, Gogol developed under the noble influence of Pushkin, but was not a simple imitator of the founder of new Russian literature. Gogol’s originality was that he was the first to give the broadest image of the district landowner-bureaucratic Russia and the “little man”, a resident of the corners of St. Petersburg. Gogol was a brilliant satirist who castigated the “vulgarity of a vulgar man” and extremely exposed the social contradictions of contemporary Russian reality. Gogol's social orientation is also reflected in the composition of his works. The plot and plot conflict in them are not love and family circumstances, but events of public importance. At the same time, the plot serves only as an excuse for a broad depiction of everyday life and the disclosure of character types. Deep penetration into the essence of the main socio-economic phenomena of contemporary life allowed Gogol, a brilliant artist of words, to draw images of enormous generalizing power. For bright purposes satirical image Gogol's heroes are served by a careful selection of many details and their sharp exaggeration. For example, portraits of the heroes of “Dead Souls” were created. These details in Gogol are mainly everyday: things, clothes, homes of the heroes. If in romantic stories Gogol are given underlined picturesque landscapes, giving the work a certain elevation of tone, then in his realistic works, especially in “ Dead souls", landscape is one of the means of depicting types and characteristics of heroes. The subject matter, social orientation and ideological coverage of life phenomena and people’s characters determined the originality of literary speech Gogol. The two worlds depicted by the writer - the people's collective and the "existents" - determined the main features of the writer's speech: his speech is sometimes enthusiastic, imbued with lyricism, when he talks about the people, about the homeland (in "Evenings...", in "Taras Bulba ", V lyrical digressions“Dead Souls”), then becomes close to live conversational (in everyday paintings and scenes of “Evenings...” or in stories about bureaucratic and landowner Russia). The originality of Gogol's language lies in the wider use of common speech, dialectisms, and Ukrainianisms than that of his predecessors and contemporaries. Gogol loved and had a keen sense of popular colloquial speech, skillfully using all its shades to characterize his heroes and phenomena of public life. The character of a person social status, profession - all this is unusually clearly and accurately revealed in the speech of Gogol’s characters. Gogol's strength as a stylist lies in his humor. In his articles about “Dead Souls,” Belinsky showed that Gogol’s humor “consists in the opposition of the ideal of life with the reality of life.” He wrote: “Humor is the most powerful weapon of the spirit of negation, destroying the old and preparing the new.”Gogol began his creative career as a romantic. However, he turned to critical realism and opened a new chapter in it. As a realist artist, Gogol developed under the noble influence of Pushkin, but was not a simple imitator of the founder of new Russian literature.
Gogol’s originality was that he was the first to give the broadest image of the district landowner-bureaucratic Russia and the “little man”, a resident of the corners of St. Petersburg.
Gogol was a brilliant satirist who castigated the “vulgarity of a vulgar man” and extremely exposed the social contradictions of contemporary Russian reality.
Gogol's social orientation is also reflected in the composition of his works. The plot and plot conflict in them are not love and family circumstances, but events of social significance. At the same time, the plot serves only as an excuse for a broad depiction of everyday life and the disclosure of character types.
Deep penetration into the essence of the main socio-economic phenomena of contemporary life allowed Gogol, a brilliant artist of words, to draw images of enormous generalizing power.
The purposes of a vivid satirical portrayal of the characters are served by Gogol's careful selection of many details and their sharp exaggeration. For example, portraits of the heroes of “Dead Souls” were created. These details in Gogol are mainly everyday: things, clothes, homes of the heroes. If in Gogol’s romantic stories there are emphatically picturesque landscapes that give the work a certain uplifting tone, then in his realistic works, especially in “Dead Souls,” the landscape is one of the means of depicting types and characteristics of heroes. Subject matter, social orientation and ideological coverage of life phenomena and the characters of people determined the originality of Gogol’s literary speech. The two worlds depicted by the writer - the people's collective and the "existents" - determined the main features of the writer's speech: his speech is sometimes enthusiastic, imbued with lyricism, when he talks about the people, about the homeland (in "Evenings...", in "Taras Bulba ”, in the lyrical digressions of “Dead Souls”), then becomes close to live conversational (in everyday pictures and scenes of “Evenings...” or in stories about bureaucratic and landowner Russia).
The originality of Gogol's language lies in the wider use of common speech, dialectisms, and Ukrainianisms than that of his predecessors and contemporaries.
Gogol loved and had a keen sense of popular colloquial speech, skillfully using all its shades to characterize his heroes and phenomena of public life.
The character of a person, his social status, profession - all this is unusually clearly and accurately revealed in the speech of Gogol’s characters.
Gogol's strength as a stylist lies in his humor. In his articles about “Dead Souls,” Belinsky showed that Gogol’s humor “consists in the opposition of the ideal of life with the reality of life.” He wrote: “Humor is the most powerful weapon of the spirit of negation, destroying the old and preparing the new.”
Currently watching:
Literature from the end of the 19th century to the beginning of the 20th century is one of the most important stages in the development of world literature. The knowledge of humanity still has beautiful images of classical literature of the 19th century, and the new century dictates its own criteria of values. Therefore, there are literary and mystical trends, currents, styles, among some new literary trends, which have received the name symbolism. Poetry, along with the theory of the Symbolists, may come to action And through subtle hints and colors, beauty and truth are revealed.
Sky, sun, clouds... Oblomov. Earth, moon, clouds... Stolz. This is exactly how I imagine Oblomov and Stolz. They are both organic people, so they clearly follow the laws of nature. Oblomov is soft, gentle, clumsy. Stolz is firm, tough, purposeful. I consider them absolute antipodes. This can be proven by considering their life, described in the novel by I.A. Goncharov "Oblomov". Oblomov was born in noble family. Ilyusha grew up as a lively and cheerful boy. All his attempts to make samosas
Member of the Great Patriotic War Vasil Bykov began publishing in the late 50s - early 60s. The intense manner of his narration, the ability to say a lot in a small work - all this attracted the attention of readers. From story to story, Bykov returns to the thoughts that excite him, moving towards the central problem of his work - the problem of heroism. Created in the seventies, “Sotnikov” and “Obelisk” belongs to the “partisan” cycle. The story “Obelisk” is dedicated to a number of feats
Meaning of Russian literature XVIII century is not limited to the fact that it posed and, if possible, solved the pressing issues of its time and in many ways prepared brilliant achievements literature of the 19th century century: the work of a number of writers last decades XVIII century (to a greater or lesser extent, in one form or another) became one of the organic components in the development of living things literary process the beginning of the next century. Among such writers we should first of all include Fonvizin, Radishche
The skin care master has one number of the most expensive yomu creations that he teaches to children. These are the things that Mr. could not help but tell people - these are the pains that linger in our thoughts, the guilts and experiences that pass through the heart. The film “The Enchanted Desna” became such a creation for O. Dovzhenko. The grave and terrible fate of 1942 is marked by the suffering, grief, and heroic struggle against fascism in my memory, and pictures of distant childhood emerge. “I had a grandfather,” O. Dovzhenko guesses, “similar to Bo
I really like to read and read different books: popular science and fiction. Popular science books help me a lot in my studies. They are much more interesting than textbooks. You read a book like this, for example, on physics, and without noticing it, you master something that you would have been struggling with for hours. In addition, they are written in such a way that you want to read them, which is not always the case with textbooks. From works of art I like fantasy novels the most. When you read them, a whole world is created in your imagination.
The work of the Russian writer Ivan Sergeevich Turgenev belongs to best pages world literature. He wrote many novels, novellas, and short stories, but his poetic cycle “Poems in Prose” became especially outstanding. This is a collection of small lyrical miniatures, united general plan author. Turgenev wrote these works at the end of his life, so they bear the subtitle Zenilia - “senile”. During the author's lifetime, 51 poems were published. They were published in the journal “Bulletin of Evr.
A. M. Volodin Elder sister Sisters live in Leningrad - Nadya and Lida Ryazaev. They were left without parents early and grew up in orphanage. Now Nadya works at a construction site and studies at a technical school. Lida is a schoolgirl. Arriving home one day, Nadya finds her friend from school, Kirill, at Lida’s place. They argue about happiness. Lida believes that happiness lies in work, when you work not for yourself, but for others. However, when Kirill asks her if she herself is happy, Lida answers “no.” The Ryazaevs' uncle, Ukhov, arrives. He believes that
Gogol began his creative career as a romantic. However, he soon turned to critical realism and opened a new chapter in it. As a realist artist, Gogol developed under beneficial influence Pushkin. But he was not a simple imitator of the founder of new Russian literature.
Gogol’s originality was that he was the first to give the broadest image of the district landowner-bureaucratic Russia and “ little man", a resident of St. Petersburg corners.
Gogol was a brilliant satirist who castigated the “vulgarity of a vulgar man” and extremely exposed the social contradictions of contemporary Russian reality.
This social orientation of Gogol is also reflected in the composition of his works. The plot and plot conflict in them are not love and family circumstances, but events of social significance. At the same time, Gogol’s plot serves only as a pretext for a broad depiction of everyday life and the disclosure of character types.
Deep insight into the essence of the main socio-economic phenomena of contemporary life allowed Gogol to genius artist words, to draw images of enormous generalizing power.
The names of Khlestakov, Manilov, Korobochka, Nozdryov, Sobakevich and others became household names. Even the minor characters depicted by Gogol on the pages of his works (for example, in “Dead Souls”): Pelageya, the serf girl Korobochka, or Ivan Antonovich, the “jug’s snout,” have great power of generalization and typicality. Gogol emphasizes one or two of his most significant features in the character of the hero. Often he exaggerates them, which makes the image even more vivid and prominent.
The purposes of a vivid, satirical portrayal of the characters are served by Gogol’s careful selection of many details and their sharp exaggeration. For example, portraits of the heroes of “Dead Souls” were created. These details in Gogol are mainly everyday: things, clothes, the hero’s home.
If Gogol’s romantic stories contain emphatically picturesque landscapes, giving the work a certain uplifting tone, then in his realistic works, especially in “Dead Souls,” landscape is one of the means of depicting types and characteristics of heroes.
The subject matter, social orientation and ideological coverage of life phenomena and people's characters determined the originality of Gogol's literary speech.
The two worlds depicted by Gogol - the people’s collective and the “existents” - determined the main features of the writer’s speech: his speech is sometimes enthusiastic, imbued with lyricism, when he talks about the people, about the homeland (in “Evenings”, in “Taras Bulba”, in lyrical digressions of “Dead Souls”), then it becomes close to a live conversational one (in everyday pictures and scenes of “Evenings” or when the story is told about bureaucratic and landowner Russia).
The originality of Gogol's language lies in the wider use of common speech, dialectisms, and Ukrainianisms than that of his predecessors and contemporaries. Gogol loved and had a keen sense of folk speech and skillfully used all its shades to characterize his heroes and phenomena of public life.
1) periodic structure phrases when many sentences are connected into one whole (“Taras saw how vague the Cossack ranks became and how despondency, indecent for the brave, began to quietly embrace the Cossack heads, but was silent: he wanted to give time to everything so that they would get used to the despondency brought on by farewell with his comrades, and meanwhile in the silence he was preparing at once and suddenly to wake them all up, whooping like a Cossack, so that again and with greater strength than before, cheerfulness would return to everyone’s soul, which only the Slavic breed is capable of, a broad, powerful breed before others , that the sea is in front of shallow rivers");
2) the introduction of lyrical dialogues and monologues (for example, the conversation between Levko and Ganna in the first chapter of “May Night”, monologues - appeals to the Cossacks of Koshevoy, Taras Bulba, Bovdyug in “Taras Bulba”);
3) an abundance of exclamatory and interrogative sentences (for example, in the description of the Ukrainian night in “May Night”);
4) emotional epithets that convey the power of the author’s inspiration, born of love for native nature(description of the day at the Sorochinskaya Fair) or to the folk group (Taras Bulba).
Gogol uses everyday speech in different ways. IN early works(in “Evenings”) its bearer is the narrator. The author puts into his mouth both vernacular words (everyday words and phrases), and such appeals to listeners that have a familiar, good-natured character characteristic of this environment: “By God, I’m already tired of telling! What are you thinking
The character of a person, his social status, profession - all this is unusually clearly and accurately revealed in the speech of Gogol’s characters.
Gogol's strength as a stylist lies in his humor. Gogol's humor - “laughter through tears” - was determined by the contradictions of the Russian reality of his time, mainly by the contradictions between the people and the anti-people essence of the noble state. In his articles about “Dead Souls,” Belinsky showed that Gogol’s humor “consists in the opposite of the ideal
life with the reality of life." He wrote: “Humor is the most powerful weapon of the spirit of negation, destroying the old and preparing the new.”