On the way to Dead Souls
After the performance of The Government Inspector at the Alexandrinsky Theater in 1836, Gogol questions his own views. He believes that he does not know the nature of man in general and the Russian man in particular, that he himself is morally imperfect.
In 1840, Gogol's final turn to his personality, to his inner world, expanded by him to the borders of Russia, takes place.
Russia is a child, a child of Gogol. But she is also the Bride, the Beautiful Lady, the sweet symbol of the feminine. You need to go through a lot and re-feel in order to be able to write this!
And later Gogol said that "these sounds curl around my heart, and I even wonder why everyone does not feel the same in themselves ..."
The idea of the poem
Gogol wrote about the idea of the work in The Author's Confession (1847): "Pushkin found that the plot is good for me because it gives me complete freedom to travel all over Russia with the hero and bring out a lot of the most diverse characters." The plot is built on the principle of the hero's journey. Sufficiently independent scenes and episodes are held together by the image of Chichikov traveling across the expanses of Russia. The road in the poem is an independent through image. In a letter to A.S. Pushkin dated October 7, 1835. “Dead Souls” is mentioned for the first time, but not as a poem, but as a novel: “I want to show all of Russia in this novel, at least from one side.” And "a novel that ... will be very funny." In a letter to V.A. Zhukovsky on November 12, 1836. Gogol already spoke about the poem:
“... what a huge, what an original plot! .. All Russia will appear in it!” So the idea took on a wide scope, the author's super-task was born.
Gogol treated the work on "Dead Souls" as the fulfillment of a sacred duty, as a feat.
The idea was really grandiose: in volume 1, he wanted to "discover ... what is inside Russia, so that we feel how many heterogeneous beginnings our soil consists of." In volumes 2 and 3, Gogol wanted, having finally revealed the secret of Russian life and the Russian people, to show the ways of realizing this secret and to offer a “recipe” for transformation to everyone. The conversation was not about political, but about spiritual revolution, about the inner rebirth of man. At the same time, the approximate chain of "deliverance from filth" was conceived by Gogol as follows: one's own purification - the purification of the kings and rulers of the world - the purification of small forces - the purification of Russia - the purification of all mankind.
All this, according to the writer, should have happened immediately after the release of the entire poem.
1. Why did the writer make the “genius penny” Chichikov the main character of the poem? (Having taken as the main characters "through and through" a modern man, "the genius of a penny", Gogol hoped to turn his energetic, but purely mercantile, purely horizontal movement into a "vertical", into a rush to the high - the author himself makes such a movement in lyrical digressions. The horizontal movement of Chichikov (the first storyline, the novel) is considered by the author from the "height" of his own vertical movement (the second storyline, that which turns the novel into a poem).
There are no main and secondary characters in the work. The hero who says a few words plays the same important role in the structure of the work as Chichikov.
2. How to understand the title of the work? Who are the "dead souls"? (Checking an individual task - a message on the topic “Who are dead souls?” (on card 45).
Initially, the name "Dead Souls" was not passed by the censor, so the addition "The Adventure of Chichikov, or Dead Souls" appeared. Moreover, on the title page of the first edition of the poem, the words "Dead Souls" were typed in a larger font than "The Adventure of Chichikov", and the word "poem" was even larger. Gogol clearly makes it clear to the reader which side of the poem he considers to be the main one.
Thus, the symbolism of the title sets the opposition between the dead and the living. Gogol conveys to us the idea that the living as a possibility is hidden in the dead.
The problem allows to identify the features of the genre of the work. The first level corresponds to the novel's storyline - the swindle of the rogue Chichikov, which in turn involves a journey, the wandering of the hero, the second and third bring a powerful lyrical stream into the work. Behind the variety of phenomena, Gogol seeks to see their essence, idea, prototype, ideal, tries to guess the living soul behind the dead shell. Delight from the beauty and fullness of the world - this is what first of all makes the work a poem.
Gogol pointed out that for him "the subject has always been a person and the soul of a person." “My heroes are not villains at all; if I add only one good trait to any of them, the reader would be reconciled with them all. ("Selected places from correspondence with friends.")
The plot of Volume 2, reconstructed by researchers of Gogol's work, allows us to say that he tried to create a positive face, but these searches did not satisfy him. This was the reason for the burning of the manuscript. In addition, in that huge work of universal spiritual healing and enlightenment, the beginning of which Gogol hoped to lay with his poem, he wrote down his own improvement as the starting point. But how could a writer say that he had reached perfection!? The endless rewriting of the first volume was accompanied by the same endless attempts at internal self-improvement.
After the destruction of his work, he began to refuse food, stopped taking medicine. The fate of the author and the fate of the work are so closely intertwined that the death of one inevitably entailed the death of the other.
IV. Analysis of the first chapter.
teacher's word
Chapter 1 is a detailed introduction to the poem. The narrative begins without the traditional Russian prose of the 1930s and 1940s. nineteenth century expositions are businesslike and energetic: we do not know how Chichikov came to the idea of buying dead souls, we do not know his past life (we will learn about all this only in Chapter XI). Such a narrative was important for Gogol - most of the characters in the poem are static, which means that it was necessary to strengthen the internal dynamics of the plot. We note other compositional links in the poem: chapters II-VI - the image of the landowners, VII-X - the image of the provincial city.
Conversation on:
1. What did we learn from chapter 1 about Chichikov?
2. What did we learn about life in the provincial city? (Chichikov’s walk around the city allows you to create a recognizable, typical and at the same time grotesquely transformed “portrait” of the city: houses with an eternal mezzanine, very beautiful, but only in the opinion of provincial architects; wide streets that are not inferior to those in the capital. buildings, especially the sign on the store with caps and caps: "Foreigner Vasily Fedorov" (an example of Gogol's alogism). In the garden, props for trees are striking, but they are very beautifully painted with green paint. These and similar details, outwardly plausible, seem to be bent, lose real signs and proportions, which creates a comic effect.)
3. What do you see as the reason for the attention to Chichikov in the city of N? (Chichikov knew how to flatter everyone, as if taking on the form of another. The decency and dexterity of the hero charmed everyone.)
4. Which of the heroes do we meet in Chapter I? (These are Chichikov's servants, the coachman Selifan and the lackey Petrushka. Chichikov pays visits to the governor, vice-governor, prosecutor, chairman of the chamber, police chief and other dignitaries. All Chichikov's attention, The next day, at the police chief's, Chichikov met the landowner Nozdryov, and he left a pleasant impression on everyone.)
V. Homework.
1. Divide into five groups to prepare for the seminar. Each group receives a card with questions that will be discussed and approximate answers to them. The task of the students is to distribute these questions among themselves and prepare a detailed answer for each of them, if possible not limited to the information given in the cards (cards 46, 47, 48, 49, 50).
2. Individual task to prepare a report on the topic “Why does Sobakevich praise dead peasants”? (on card 51).
Card 46
Image of Manilov. Chapter II
1. Why did the writer fail this chapter for a long time? (Firstly, the character of Manilov was difficult to portray, and secondly, this chapter set the tone for the entire narrative, determined the style of the poem.
The writer was faced with the question: how to reveal the character of Manilov in his obvious spinelessness?
If we compare the various versions of this chapter, we can see how its ideological and artistic conception matured.
Indefinite pronouns, adverbs (any, some ...) give a shade of indefiniteness to the hero's speech, a feeling of semantic futility of speech is created.
Another example: a place where it is said that Manilov had not only no passion, but nothing at all.
1st edition: "Every person has some kind of skate ..."
2nd edition: "Everyone has some kind of attraction ..."
3rd edition: "Everyone has his own enthusiasm ..." - of all the words, Gogol chooses the last one as the most expressive word. (Snippet should be read.)
Passion, attraction, hobby- these words are too high for Manilov, and in the word " enthusiasm"There is a satirical mockery, because the "enthusiasm" of one "turns" to greyhounds, the other is a master of having a famous dinner, and for someone this enthusiasm extends to playing cards, and so on.
We see that Gogol's irony is directed not only at the hero; the writer ridicules the insignificance of the passions and aspirations inherent in society. Gogol described 7 varieties of "enthusiasm", each of which creates a feeling of a parody of a real human feeling, a feeling of the vulgarity of the society that Manilov represents.
With such double vision, Gogol surveys his heroes. Hence the source of the writer's comic.)
2. Why does Gogol open the gallery of the landlords Manilov? one
(Firstly, Chichikov decided to start a detour of the landlords from Manilov, because while still in town he charmed him with his courtesy and courtesy. Chichikov decided that dead souls would be acquired from him without difficulty.
Secondly, Chichikov's unusual enterprise is given in contrast to Manilov's dreamy ideality. If Chichikov had first encountered Sobakevich, Korobochka or Plyushkin, for whom the purchase of Chichikov is a real concern to some extent, then the contrast would have disappeared. Sobakevich, having listened to Chichikov's strange request, did not flinch in a single vein. Manilov's reaction was different: he "immediately dropped the chubuk with his pipe on the floor, and as he opened his mouth, he remained with his mouth open..." This is a direct consolidation of the motive that arose at the end of the previous chapter ("perfect bewilderment...") who was then to play such a large role.)
3. What impression can you make of Manilov before meeting him? (Mismanagement of Manilov is revealed before meeting the hero: Gogol gives a landscape of Manilovka, ironically plays with the name of the village (“Manilovka could not lure many with its location.”) The dullness, poverty, untidiness of everything that surrounds Manilov, like a shadow falls on him, characterizes the hero This technique Gogol will continue to use constantly.
Reading the fragment: "The manor's house stood alone in the south...")
4. Does Gogol talk about Manilov's past? Why? (Prepare your own answer to this question.)
5. How does the description of the situation at home help to understand the character of Manilov? (Reading fragments: “Something was always missing in his house ...” and “The room was, for sure, not without pleasantness ...” These descriptions emphasize, on the one hand, the uncertainty of the image - light gray tones accompany Manilov, on the other - his mismanagement, and finally - dreaminess (heaps of ash everywhere. However, Manilov's dreams are empty, not leading to any activity.)
6. What do the names of Manilov's children emphasize? (Manilov's sons are called Themistoclus and Alkid. Gogol chuckles at the desire of his father, a sentimental dreamer, to elevate himself and his children, giving them the names of the heroes of ancient Greece: Themistoclus is a statesman of Athens who lived in the 6th-5th centuries BC, Alkid is one of the names the hero of Greek mythology, Heracles.Gogol achieves a special comic effect by describing Manilov's children (one snotty, the other crying).
7. What features make up the "core" of Manilov's character? Pay attention to the material of I, II and VII chapters. (The character of Manilov is indefinite, elusive. There are no living human desires in him, the force of life that moves a person, makes him do things.
Manilov is not only gentle and amiable, as we see him in communication with Chichikov. He combines these features with outright cruelty and indifference to people - he is not interested in how many peasants he has died and asks the clerk, and then carelessly says: “... I also assumed a high mortality; It is not known how many died. There are so many dead that it is impossible to remember them all. He is the same serf-owner as all the other soul-owners.)
8. How does Manilov react to Chichikov's offer to sell dead souls? Commented reading of the scene from the words: “And for what reasons do you need this? - Manilov asked the clerk after leaving. (During a conversation about the sale of dead souls, the naive and good-natured Manilov was puzzled, he “became embarrassed and confused,” thinking that Chichikov was joking, then he suspected that Chichikov was crazy.
Manilov is not accustomed to thinking, he does not understand that, thanks to Chichikov, he got involved in a dark and criminal business. Thus, he can become a victim in the hands of any scammer.
When Chichikov convinced Manilov of the legitimacy of the deal and spoke about the price, he was again surprised: “... take money for souls that in some way have ended their existence? ..” - and Manilov offers to give them to Chichikov, and take over the deed which he does, handing over the list of his peasants, folded into a tube and tied with a pink ribbon (Chapter VII.)
Card 47
Box image. Chapter III
1. Tell us how and why Chichikov got to Korobochka, because he was going to Sobakevich, whom he met in the city? (Answer yourself.)
2. What is the meaning of the romantic beginning of the chapter about the Box (night, thunder, rain)? (Here comes Gogol's style of writing, which gravitates towards contrasts - a romantic beginning and a prosaic denouement: Chichikov finds himself in the prosaic existence of Nastasya Petrovna Korobochka. In addition, the chapter on Korobochka is given in contrast with the chapter on Manilov. Such is the peculiarity of the composition of the poem. We add that the following the chapters about Nozdryov and Sobakevich are also constructed in contrast.)
3. What detail in the description of the village indicates the economy of the landowner Korobochka? (The abundance of dogs in the village indicates that Korobochka cares about the safety of his fortune. “Already by one dog barking, composed of such musicians, it could be assumed that the village was decent ...”)
4. How does Gogol emphasize the typicality of Korobochka? (Reading an excerpt from the words: “A minute later the hostess came in ... one of those mothers, small landowners ...”)
5. Read and compare two portraits of Korobochka. (In the portrait of Korobochka, almost the same details of clothing are repeated, but Gogol does not pay attention to the face, eyes, as if they do not exist. This also emphasizes the lack of spirituality of a person. Gogol repeats this principle of describing appearance in the poem repeatedly.)
6. After examining the text of the chapter, tell us about what traits make up the "core" of the character of the Box. Pay attention to the description of the room, the view from the window, the description of the village. (The box is neat and economic. She saves and saves money in motley bags and is well versed in the economy, thrifty, but nevertheless she is also a dead soul.
In terms of his mental development, Korobochka seems to be lower than all the other landowners. Limitation, "club-headedness", according to Chichikov's definition, knows no limits.
If Manilov "floats" above the earth in dreams, then she is absorbed in the prose of everyday earthly existence. Manilov does not know the economy - she went into him with her head. Unlike Manilov, she takes care of her household herself, enters into direct communication with the peasants, which is reflected in her speech, which is close to the peasant dialect.
Korobochka is a hospitable, hospitable hostess: she regrets that it is already late and it is impossible to cook food, but offers to “drink tea”. They prepared a bed for Chichikov “almost to the ceiling”, offered to scratch his heels for the night, in the morning they offered him a “snack” - reading an excerpt from the words: “Chichikov looked around and saw that mushrooms, pies were already on the table ...”
Let's pay attention to the fact that Korobochka treats Chichikov exclusively with flour dishes. This is understandable: meat is expensive, she will not beat cattle.
Find out what Korobochka Chichikova treated. What are “fast-thinkers”, “springs”, “snapshots”, “shanishki”, “flat cakes with all sorts of flavors” (see “Explanatory Dictionary of the Living Great Russian Language” by V.I. Dahl)?
How did Korobochka react to Chichikov's proposal to sell dead souls?
Is it only the fear of miscalculation that explains her unwillingness to sell them to Chichikov? (The whole character of Korobochka, her whole nature is reflected in her behavior when selling dead souls. A complete misunderstanding of the meaning of this transaction, the fear of selling cheap and being deceived when selling a “strange, completely unprecedented product”, a desire to “try on” market prices, stupidity, slowness - all the character traits of the “club-headed” landowner, brought up by a long lonely life (“an inexperienced widow”) and the need to independently resolve all issues, came to light in a deal with Chichikov.
The unwillingness to sell Chichikov’s souls is also explained by the fact that she has strived for hoarding all her life, therefore she believes that they “will somehow be needed in the household somehow.”
She is stubborn and suspicious. She is puzzled, however, by the penny profit. And she doesn’t know how to manage a penny, they lie in her pouches like a dead weight.
So she did not go far from Manilov, who also could not understand Chichikov's "negotiations".)
8. What is the meaning of the name Korobochki? (The landowner is indeed enclosed in a “box” of her space and concepts. For example, she says about Sobakevich that there is no such thing in the world, on the grounds that she has not heard of him.)
9. Compare Chichikov's behavior in chapters I and II. What new is revealed to us in the hero? (Chichikov does not stand on ceremony with Korobochka, perhaps because she is a widow, a "collegiate secretary", which equals the 10th grade of the "Table of Ranks".)
Card 48
The image of Nozdrev. Chapter IV
1. How does Chichikov meet with Nozdrev and his son-in-law? What is the role of this character? (Answer yourself.)
2. Read the description of Nozdryov's appearance (“He was of medium height, a very well-built fellow ...”) and the details of his characteristics. (“Nozdryov’s face, it’s true, is already somewhat familiar to the reader ...”)
What in the hero, despite his healthy appearance, betrays the deadness of his soul? (At 35, he is the same as at 18 and 20. Lack of development is a sign of the inanimate.)
3. Why does Gogol call Nozdrev a "historical man"? (Gogol ironically calls Nozdryov a "historical man", in the sense that "wherever he was, everywhere he could not do without history."
The most important feature of the poem is that the "background" for such "historical" characters is a real story. That is why heroes and commanders look at them and readers from portraits. They look and seem to reproach.)
4. What are the distinguishing features of Nozdrev's character that manifest themselves in relation to Chichikov. (First of all, Nozdryov is rude. As soon as he gets to know Chichikov, he calls him “you”, although “there was no reason for that.” Nozdryov calls Chichikov a “svintus” and a “cattle breeder”, his speech is full of curses, words of a gambling lexicon, unceremonious expressions.)
5. Is it possible to compare Nozdrev with Khlestakov? If so, what do they have in common? What is the difference?
(Probably, in some ways he resembles Khlestakov. But the types are different: Khlestakov is a small person, a “wick”, due to circumstances forced to play the role of a “significant person” that is not characteristic of him. After all, at first it never occurs to him to impersonate And only after he realized that he was mistaken for another, Khlestakov begins to enter "into the role."
Nozdrev is completely different. This is a liar by vocation and conviction. He deliberately piles one nonsense upon another. He behaves defiantly, impudently, aggressively.)
6. Read the description of Nozdryov's office from the words "Nozdryov took them to his office, in which, however, there were no traces of what happens in the offices ..." What details of the description especially brightly set off the "core" of the image? (Nozdrev is a crook and a liar, and this is emphasized by the inscriptions on the "Turkish daggers" - "Master Savely Sibiryakov" - "was cut by mistake.")
7. What are the features of the "core" of Nozdrev's character, which the reader learns about not only from Chapter IV. (Nozdryov is a gambler, a reveler, a frequenter of haunts, a dissolute person, but he is charming. There is some subtle catch in this charm, but even the shrewd Chichikov did not immediately notice him and made a mistake.
It was Nozdryov who informed everyone that Chichikov was trading "dead souls" with him, immediately swore that Chichikov was dearer to him than his own father, did not hesitate to confirm that Chichikov was going to steal the governor's daughter, then assured that Chichikov was a spy, and with he visited him and confessed his love and friendship.
8. From what motives does he act? (There is no calculation in his actions. And he acts out of purely “aesthetic” pleasure. The thirst to get everything instantly, without any mental costs, has become the main engine of life, suppressed all the properties of his human nature. The main refrain of his stories is “Oh, brother! How have a bite!")
9. How does Nozdryov behave when talking about dead souls? (Read this episode by role.)
10. What is the meaning of the appearance of the police captain at Nozdryov? (This appearance, perhaps, saves Chichikov's life. This visit can be correlated with the arrival of a real auditor in the comedy "The Government Inspector", that is, this is the beginning of Nozdryov's retribution.)
11. What is the attitude towards Nozdrev in society? (Nozdryov’s behavior does not shock anyone. Although his card frauds end in a scandal, and sometimes he returns home with only one sideburn. At the same time, he does not lose friendship with his friends, everyone takes his behavior for granted.
There is no one among the provincial authorities who would not have heard about Nozdryov's "weaknesses", but nevertheless, when ominous rumors spread that Chichikov was either Captain Kopeikin or Napoleon, rumors from which the officials almost went crazy , they again turned to Nozdryov. We decided to ask again carefully: what kind of person is Chichikov?
And again the author’s voice intrudes into the narrative: “These gentlemen are strange officials, and after them all other titles: after all, they knew very well that Nozdryov was a liar, that he could not be trusted in a single word, not in the trifle itself, but meanwhile they resorted to to him".
They cannot live without people like Nozdryov, just as he cannot live without them.)
Card 49
Image of Sobakevich. Chapter V
1. How does Gogol prepare the reader's meeting with Sobakevich? (The character of the hero begins to unfold before meeting him. Approaching the estate, Chichikov drew attention to a large wooden house with a mezzanine, a red roof and dark gray walls, “like those we build for military settlements and German colonists.” The courtyard is surrounded strong and thick wooden lattice. The master's buildings went "full-weight and thick logs, determined to stand for centuries." Even the well was built from such strong oak, "which goes only to mills and ships." The owner "took a lot of trouble about strength.")
2. How is he different from other landowners? (This is a prudent owner, a cunning tradesman, a tightfisted fist. He does not dream, like Manilov, does not go crazy like Nozdryov. Everything around him is solid, everything is in abundance (everything is ruined with Nozdryov). Korobochka’s stupidity is also not characteristic of him.
Everything in his village is sound, reliable, he knows the peasants perfectly, appreciates their labor qualities, skillfully advertises in order to sell the dead more profitably.
In the city, too, he will not be at a loss, he will not miss his profit anywhere. Gogol emphasizes in the hero strength, health, sedateness.
On this basis, some critics believed that this character was almost positive compared to others. Gogol saw it differently.)
3. What alerts readers to the description of Sobakevich's strong economy? (Comparison with barracks, prison, military settlement.)
4. What details of appearance emphasize the deadness of Sobakevich? (His appearance “nature”, that is, life, “chopped from the whole shoulder” - you can chop like a girl! This emphasizes the “wooden” (non-living) essence of the hero’s face. But the soul of a person is most of all reflected in the face!)
What did the “soul” of Sobakevich demand? (The requirements are only gastronomic, and, moreover, colossal - the whole pig, the whole ram, the whole goose. Gogol writes: there was no soul in this body at all.)
5. What is the role of describing the details of everyday life in revealing the image of Sobakevich? (The thing bears the imprint of the character of the person to whom it belongs, so the person and the inanimate object approach each other. One helps to better understand the other.
Students give examples: portraits of Greek generals and heroes attract attention, and among them is the “thin” Bagration, “extremely attentive” looking at the deal between Chichikov and Sobakevich. This emphasizes the distance between the real exploits, deeds and "deeds" of the heroes of the poem.)
6. Prepare an annotated reading of the bargaining scene. (Pay attention to the combination of the characters' inner speech with their statements, to Chichikov's inner monologue.)
Card 50
Plushkin image. Chapter VI
1. What is the meaning of the name of this Gogol hero? (She emphasizes the “flattenedness”, the distortion of the hero and his soul. He has one concern - he collects all good and rots him, and even makes sure that no one steals. There is a lot of everything and everything disappears, decays, everything is in desolation.)
2. Let's read the description of Plyushkin's house and garden from the words: "The master's house began to show itself in parts ..." to the words: "... for a giant castle hung in an iron loop."
Let's pay attention to the details accompanying this description. Why is Plushkin's house compared to a castle? (This shows the irony of the author - knightly times have passed. There is nothing that would enliven this picture - everything seems to have died out here. The giant castle is a symbol of the owner's suspicion, which locks everything.)
3. Read and comment on the description of the portrait with the words: “His face did not represent anything special ...” (Plyushkin’s appearance is such that Chichikov, having seen him at the church, would not have resisted and filed a copper penny.
Plyushkin's first name is "figure". Chichikov does not understand who is in front of him - "a woman or a man", in any case, not a landowner. Chichikov thought it was the housekeeper. And one more important detail: Plyushkin's characterization is accompanied by the word "hole", for the author he turns into "a hole in humanity".)
4. What detail in Plyushkin's portrait is especially significant and why? (These are the eyes: “the little eyes have not yet gone out ... like mice ...” But this detail emphasizes not human liveliness, but animal life, the lively briskness and suspicion of a small animal is conveyed here.)
5. Reading the fragment from the words: “He stepped into the dark wide porch ...” What detail in the description of the interior indicates that life has died in this house? (It’s dark and dusty in Plyushkin’s house, it blew cold on Chichikov, like from a cellar. Everything is a mess, and in the corner of the room there is a pile of rubbish, from which sticks out a piece of a wooden shovel and an old boot sole.
A notable detail is the stopped clock: time has died in Plyushkin's house, life has stopped.)
6. Why did Gogol give a biography only to this hero, spoke about his past, about how the process of his degradation went? (The author had the hope that this hero was capable of moral change. Apparently, it is not by chance that he was given last in the gallery of landowners.
There is another point of view: among all the landowners.
It is important for Gogol to show how a person has turned into a “hole in humanity”, so he reveals the character of the hero in development.)
7. Find details in the story about Plyushkin's past that alarm the reader, forcing him to foresee the terrible present of the hero. (The comparison with the "industrious spider" suggests that Gogol does not seek to turn Plyushkin into a tragic face. The writer ends his story about Plyushkin's past with the words: "... such a phenomenon rarely comes across in Russia ..." Spider, a phenomenon - these comparisons they talk about the deadness of Plyushkin's nature. Gogol directly calls Plyushkin's face "wooden", although one day "a warm beam - a pale reflection of feeling" glides on it.)
8. What reception was given to Chichikov at Plyushkin's? “I haven’t seen guests for a long time ...” and “Put the samovar, you hear, but take the key and give it to Mavra to go to the pantry ...”)
9. What is Plyushkin's reaction to Chichikov's proposal to "pay taxes for all the peasants"? Reading from the words: “The proposal seemed to completely astonish Plyushkin. He widened his eyes and looked at him for a long time ... "
10. Why, after such a reception, was Chichikov "in the most cheerful mood"? (A real gift for him was not only the dead, but also the fugitives "only two hundred and a half people", bought at a price of 30 kopecks.)
11. Why, in your opinion, does the image of a landowner appear on the pages dedicated to Plyushkin, reveling, as they say, “through life”? What does this landowner and Plyushkin have in common, despite the difference in their characters and way of life? (Gogol interrupted the story of the miser with a description of the opposite type - a nobleman who plundered the labor of the people in a different way. The writer knew many such cases, and his words about “wild and threatening violent lighting in this world” and “terrible sky” express a premonition of an impending catastrophe for the noble class .)
Card 51
Why is Sobakevich praising dead peasants? 1
In Chapter V, Chichikov ends up with the landowner Sobakevich, a cunning, economic and tight-fisted man. Chichikov asks him to set a price for dead souls, that is, for peasants who have died, but are still on the revision lists, And he hears in response a fantastic figure: "one hundred rubles apiece!"
Chichikov cautiously reminds that these are not people, they died long ago and “one sound that is not tangible by the senses” remains. But Sobakevich ignores these considerations.
“Milishkin, a bricklayer, could put a stove in any house. Maxim Telyatnikov, shoemaker: whatever pricks with an awl, then boots, that boots, then thank you, and even if it’s drunk in your mouth! And Eremey Sorokoplekhin! yes, this peasant alone will stand for everyone, he traded in Moscow, he brought one quitrent for five hundred rubles. After all, what a people! This is not something that some Plyushkin will sell you, ”he praises his product.
Sobakevich's rantings at one time baffled the critic of Shevyrev: “... It seems unnatural to us that Sobakevich, a positive and respectable person, should begin to praise his dead souls and embark on such a fantasy. Rather, Nozdryov could have been carried away by her, if such a thing had worked out with him. Indeed, why should Sobakevich praise the dead peasants?
The practical mind of Sobakevich, his fraudulent cunning and savvy are beyond doubt. One can also assume his conscious intention to mock Chichikov - but still this is nothing more than an assumption. Gogol deliberately does not reveal the inner world of his hero, his true feelings and thoughts.
There was no need for Sobakevich to deceive the chairman. It wasn't even safe to say that. And yet Sobakevich cannot resist again indulging in his "fantasies" about the peasants sold to Chichikov.
It is natural to assume that Sobakevich to some extent really believes in what he says. Approximately as Khlestakov believed that he once managed the department and that he himself was afraid of the State Council, And it is easy to believe in the dignity of the peasants: they were really talented and hardworking, they ensured the life and life of the masters. Shevyrev called Sobakevich's behavior unnatural. But in fact, the whole inimitable comedy of Sobakevich's speeches lies in their complete naturalness, in the fact that he, with complete naivety and innocence, tells things that are obviously absurd. And that is why Sobakevich is "not afraid" of the chairman; that is why he was not embarrassed by the reminder of the interlocutor that Mikheev had died. A notorious deceiver, perhaps, this exposure would have baffled. But Sobakevich got out of a difficult situation with the same ease with which Khlestakov “rejected” the objection that Zagoskin wrote “Yuri Miloslavsky”: “... This is true, this is exactly Zagoskin; but there is another Yuri Miloslavsky, so that one is mine. Compare the logic of Sobakevich's answer: it is certain that Mikheev died, but his brother is alive and has become healthier than before...
And is Sobakevich the only one in Gogol's poem who believes in the obviously improbable and absurd?
For example, Korobochka, a prudent and practical landowner. Soon after the departure of Chichikov, who bought dead souls from her, she “felt such anxiety about what might happen on the part of his deceit that, without sleeping for three nights in a row, she decided to go to the city ...”.
Why did she worry, what kind of “deception” did she suspect? another, sane person would think with alarm about Chichikov: was it not some kind of madman who came, obsessed with a crazy idea?
But Box's anxiety is of a different kind. She is tormented by the thought of whether she sold cheap, whether the visitor deceived her, and Korobochka goes to the city "to find out for sure how much dead souls go." And this means that the very unusualness of the goods does not bother her, that she is ready to believe even in "dead souls", if they are in demand on the market.
LESSONS 73-74
GALLERY OF IMAGES OF LANDSHOPS IN GOGOL'S POEM
"DEAD SOULS"
Dead Souls is a gallery for
aging, aging, losing
vital juices of souls.
Yu.M. Lotman
DURING THE CLASSES
I. The word of the teacher.
We begin our acquaintance with the heroes of the poem by comparing the various points of view of our famous writers, literary critics, and the author.
For Vasily Vasilyevich Rozanov (writer, philosopher, publicist of the late 19th - early 20th centuries), all the heroes of the poem are dead, "puppets, miserable and funny", the fruit of "great, but empty and meaningless skill", the author seemed to him "the bishop of the dead", an evil genius, almost the Antichrist.
V.V. Nabokov saw in the characters of the foreground, grouped around Chichikov, subhuman, a product of the otherworldly, diabolical world. In Chichikov himself, he agrees to see in part a man, although a fool. He explains this by the fact that "it was stupidity to trade dead souls with an old woman who was afraid of ghosts, unforgivable recklessness - to offer such a dubious deal to a braggart and boor Nozdryov." Nabokov goes on to call Chichikov "a low-paid agent of the devil" because the vulgarity that the hero personifies is the property of the devil.
Nevertheless, the writer did not want to create caricatures and monsters, he created people who were by no means vile.
Recall that when Gogol read excerpts from the poem to Pushkin, the poet said: “God, how sad our Russia is!” And this amazed Gogol: “From that time on, I began to think only about how to soften the painful impression that “Dead Souls” could make.
Gogol created in "Dead Souls" "standard models" of various variants of coarsening, vulgarization of the human soul.
Whose point of view is closest to you? To resolve this issue, we continue to work in groups.
II. Conversation with students on the card 46. The image of Manilov.
teacher's word
Irony is always present in Gogol's satire. On the one hand, he used this method in censored conditions, on the other hand, satirical irony helped to expose the objective contradictions of reality. Gogol believed that irony is generally characteristic of Russian thinking. At the same time, I think this method helped the writer to show the complexity of a person and the ambiguity of the author's attitude towards him. A comparison of Manilov with a minister suggests that the minister is not so different from him, and Manilovism is a typical phenomenon in society. At the same time, we do not forget Gogol's words about heroes: "My heroes are not villains..."
Manilov, although he does not follow the economy, but "thinks and thinks", creates projects for human well-being, theoretically making sure that Russia does not suffer any damage, but flourishes.
III. Conversation with students on the card 47 Image of the Box.
teacher's word
And in this chapter of the poem, the author's voice sounded again: "... a different and respectable, and even statesman man, but in reality the perfect Box comes out." As in the case of Manilov, Gogol directs the edge of his satire to the very top of the social pyramid of landowner-bureaucratic society.
Moreover, Gogol compares Korobochka with Petersburg ladies, owners of ruined estates, and concludes that the “chasm” between them is small, that the real “dead souls” are representatives of high society, cut off from the people.
IV. Conversation with students on the card 48. The image of Nozdrev.
V. Conversation with students on the card 49. The image of Sobakevich.
teacher's word
(After discussing the fourth question.)
In the creative world of Gogol, things begin to play an active role, helping to more clearly identify the character traits of the characters. Things seem to become doubles of their owners and an instrument of their satirical denunciation.
The details of the real world characterize Gogol's landowners: (Manilova - the famous gazebo, "The Temple of Solitary Reflection", Nozdryova - the immortal hurdy-gurdy, the game of which is suddenly interrupted and the waltz begins to sound, or the song "Malbrug went on a campaign", And now the hurdy-gurdy has already stopped sounding , and one brisk pipe in it does not want to calm down in any way and continues to whistle for a long time.It is here that the whole character of Nozdryov is captured - he himself is like a spoiled hurdy-gurdy: restless, mischievous, violent, absurd, ready at any moment for no reason to do something unforeseen and inexplicable.
Conclusion: the spiritual world of Gogol's heroes is so petty and insignificant that a thing can fully express their inner essence.
The most closely fused things with their owner in the house of Sobakevich.
VI. Checking an individual task - a message on the topic "Why does Sobakevich praise dead peasants?" (on card 51).
VII. Conversation with students on card 50. The image of Plyushkin.
teacher's word
Reading Chapter VI, one cannot but pay attention to its lyrical tone. It begins with a lyrical digression about youth, the main feature of which is curiosity; maturity and old age bring indifference to a person. The author’s voice also breaks through in the story about Plyushkin, for example: “And a person could descend to such insignificance, pettiness, disgust! ..”, and this exclamation ends with a fiery appeal to young people: “Take with you on the road ... all movement, do not leave them on the road, do not raise them later ... "
VIII. Summing up the lessons. Collective discussion of the problem of lessons.
1. What unites the heroes of the chapters about landlords? (Each of the heroes is individual, each has some kind of “devilish” energy, because everything around them acquires their features: around Nozdryov it smells like a tavern, a scandal, in Sobakevich every thing says: “... and I, too, Sobakevich!” Around Manilov even the landscape and the weather have a kind of greyish uncertainty.The same can be said about Korobochka and Plyushkin.
Leads the story Chichikov. It binds together all events and human destinies. Each chapter expands our understanding of Chichikov.)
2. Why does Gogol build chapters II-VI according to approximately the same plan (the surroundings of the estate and the estate itself, the interior of the house, a description of the hero’s appearance, a meeting between the host and the guest, a conversation about acquaintances, dinner, a scene of buying and selling dead souls)? What do you see as the meaning of such a construction of chapters? (The repetitive plan of the chapters creates a sense of the uniformity of the phenomena depicted. In addition, the description is structured in such a way that it makes it possible to characterize the personalities of the landowners.)
IX. Homework.
1. Reading chapters I, VII, VIII, IX, X.
2. Individual tasks - prepare messages on the topics: “What does the story of Captain Kopeikin have to do with the action of the poem?” and “What suggested the plot to Gogol, The Tale of Captain Kopeikin”? (on cards 52, 53).
Card 52
What suggested to Gogol the plot of The Tale of Captain Kopeikin? 1
It is possible that the idea to write "The Tale of Captain Kopeikin" was suggested to Gogol by folk songs about the robber Kopeikin, who is dying in a foreign country. Here is an abbreviation of one of the songs recorded in the city of Syzran, the former Simbirsk province:
The thief Kopeikin is going
On the glorious at the mouth of Karastan.
In the evening he went to bed the thief Kopeikin,
By midnight the thief Kopeikin was getting up...
On the east side, he prayed to God:
Get up, brothers and sisters!
Not good for me, brothers, I had a dream:
As if I, a good fellow, walk along the edge of the sea,
I stumbled with my right foot
I grabbed onto a strong tree...
But the fierce snake hissed here,
The lead bullet flew by.
This text, along with other songs about Kopeikin, was published after Gogol's death by the folklorist P. Bezsonov.
In a brief preface to the cycle, the publisher wrote: “... The proposed samples are extremely curious in the sense that, together with the legends surrounding them, they gave rise under Gogol’s pen to the famous story about the tricks of the extraordinary Kopeikin in Dead Souls, the hero appears there without legs precisely because, according to the songs, he stumbled with his foot (either left, then right) and injured it; after failures in St. Petersburg, he appeared as an ataman in the Ryazan forests ... "
Perhaps folk songs prompted Gogol both the name of the character and the very fact of his “robbery”. That is why Gogol was afraid that censorship would find fault with the name "Kopeikin": apparently, this folklore image was quite famous.
The name of the hero is important to Gogol also because, in accordance with its hidden meaning, with etymology, it suggested associations with reckless prowess and audacity: remember the current expression: "life is a penny." By the way, in the draft edition of the “tale”, this expression was played up: “... All this is used, you know, to dissolute life, everyone’s life is a penny, life is hammered everywhere, even though the grass does not grow ...”
But anyone who, on this basis, would exaggerate the similarity of The Tale of Captain Kopeikin with a cycle of folk songs would make a big mistake. The publisher of this cycle put it very unsuccessfully, saying that Gogol's Kopeikin "appears ... without a leg precisely because he stumbled on his foot in the songs ...". If it is meant that the folklore image suggested such a detail to Gogol, this is possible. If, however, it is said about the reason, about the artistic motivation of the event, then there is nothing in common between the folk song and Gogol's "story". Captain Kopeikin did not “stumble.” His lameness has a very real motivation that does not carry any symbolic connotation: “whether under Krasny or near Leipzig ... his arm and leg were torn off.”
In addition, in the folk song there is no mention of the cruelty and callousness of those in power, the theme of a dead soul is not raised, there is no tone of ingenuous praise-mocking, in a word, there is nothing that makes Gogol's "story" an original work, but also organically, indissolubly fastens it with the rest of the text of Dead Souls.
Card 53
What does the story of Captain Kopeikin have to do with the action of the poem? one
At first glance, none. The action of the poem takes place in the provincial town and the nearest landowners' estates (volume 1). The action of "The Tale of Captain Kopeikin" - in St. Petersburg. The story does not talk about Chichikov's scam, none of the characters in it act.
The story about the captain is told by the postmaster (Chapter 10), with a clear desire to convince the officials that Chichikov is none other than Captain Kopeikin. But his story did not convince anyone, and the postmaster's version was rejected.
At first glance, this is the only thread connecting the "story" and the action of the poem. It seems that if this thread breaks, nothing will change in the development of the action of the work. However, the story continues the theme of the necrosis of the human soul, begun in the poem, and thus forms an inseparable unity with the text of the poem.
Captain Kopeikin, a participant in the war of 1812, crippled and disfigured, extends his hand to the nobleman for help and does not receive it. The answer is icy coldness, indifference, contempt.
Thus, Gogol's thought about people who are dead in spirit passes from the chapters of the poem into The Tale of Captain Kopeikin. One has only to take a closer look at the three-time appearance on the stage of the “nobleman” (the narrator also calls him “general”, “general-in-chief”), to his manner of treating the petitioner, indifferent and contemptuously cold, to be convinced of this.
And what a porter standing at the general's house! “One porter already looks like a generalissimo: a gilded mace, a count's physiognomy, like some fat pug of some kind...” The reducing function of comparison, which equates a person to a pug, is clearly visible in this description. And we already know that such comparisons reflect one of the facets of the image of the "dead soul" - mortification, lack of spirituality.
Gogol gave one and only explanation why The Tale of Captain Kopeikin is necessary in the poem. In a letter to Nikitenko dated April 10, 1842, known to us, he said that “this piece is necessary not to connect events, but in order to distract the reader for a moment, to replace one impression with another, and whoever is an artist in his soul will understand that without it there is a strong gap.
"Connection of events", the history of the sale and purchase of "dead souls" is broken. But one of the cross-cutting themes of the poem - a dead, frozen soul - continues. It continues with a complete change in material, setting, time of action - and this is the special artistic effect of the "story".
Among these changes, the most important was the change in the situation, the stage: not a province, not a province, but the capital, the very heart of the Russian Empire. And not provincial landowners and provincial officials of various calibers and suits, but the highest state administration!
True, under the pressure of censorship, Gogol was forced, as they say, to demote his characters. The nobleman, the general became just a "boss." Generals are not mentioned among his petitioners. All events unfold in another, lower sphere: “Wait for the arrival of Mr. Minister,” the head says to Kopeikin. And in the pre-censored edition, the “nobleman” advised him to wait for the arrival of the sovereign. Even the name "Palace Embankment", where the nobleman's house is located, Gogol removes, since it was known that both the royal residence - the Winter Palace, and the palaces of the most prominent dignitaries were located here.
And still: the most important thing remains. After all, Petersburg remained, some very important metropolitan authority and its ministers remained. And this is what Gogol needed.
Among the features of the "story" that helped "one impression to replace another" and gave rise to a sense of change, we note the following. With state power, with stupid indifference, with deadness, none other than a man who suffered in the war, immensely patient, unpretentious, honest, faced. Among the main characters of the poem there was no such hero and, consequently, no such conflict.
True, under the influence of censorship, Gogol was forced to soften the novelty of the conflict of the “tale”. On the one hand, he added "dark paint" to the portrait of the main character. It turns out that Kopeikin is finicky and impatient (“he also visited guardhouses under arrest ...”). It turns out that he does not achieve the most necessary, not daily bread: “I need, he says, to eat a cutlet, a bottle of French wine, to entertain myself too, to the theater, you understand.” On the other hand, under the pressure of censorship, the boss became softer, more pliable. He enters into the position of Kopeikin, gives him modest "assistance".
And all the same: much remains in the censored edition. After all, the very fact remains that a war invalid walks the threshold of a high commission, seeking a pension, and never receives it.
One of the critics of the last century well said that in Gogol "somehow the words are put in a special way"; it seems that nothing of the kind is said, nothing is specially denounced or ridiculed, but the impression is amazing. Gogol's "words" mercilessly hit the "monuments", the shrines of the Russian Empire.
The awkwardly comical manner of narration (let's not forget that the "story" is told by the postmaster) casts a glimpse on what is being said - on the subject of narration. Not a high commission, but "a kind of high commission". Not board, but "government, you know, such." The difference between the nobleman and captain Kopeikin was transferred to the money account: “90 rubles and zero!”
Sometimes critics express the idea that Gogol needed such "tricks" to deceive censorship (like the way a fabulist needs wolves and bears). There is nothing more naive than such a thought. This is not disguise, not camouflage, but an integral part of Gogol's artistic world. Through such and such a dense network of words: “in some way”, “such”, “can you imagine”, etc. - the royal capital is seen, And some motley, oscillating ripple falls on its monumental, majestic face (and on everything that happens in the Tale ...).
Herzen wrote: “... If the lower ones are allowed to laugh in front of the higher ones, or if they cannot help laughing, then goodbye to servility. To make the god Apis smile at him means to cut him from the priesthood into simple bulls.
By making the reader laugh, Gogol defrocked royal institutions and institutions. The question arises: could something like this be in the thoughts of the postmaster, the narrator of the story? But that's the point: his tongue-tied manner of narration is so naive, so sincere, that admiration in it is indistinguishable from malicious mockery. And if so, then this manner is capable of conveying the caustic mockery of the author of Dead Souls himself.
The narrator, for example, admires the doorknob in the nobleman’s house: “... so, you know, you need to run ahead to a petty shop, and buy soap for a penny, and rub your hands with it for about two hours, and then decide to grab onto it.” Who knows: maybe the postmaster really thinks so. Is servility, reverence and awe before the highest - not in his character? But all this is expressed so clumsily - naively and tongue-tied that we have the right to suspect a mockery in these words.
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1. What is the meaning of the name of this Gogol hero? (She emphasizes the “flattenedness”, the distortion of the hero and his soul. He has one concern - he collects all good and rots him, and even makes sure that no one steals. There is a lot of everything and everything disappears, decays, everything is in desolation.)
2. Let's read the description of Plyushkin's house and garden from the words: "The master's house began to show itself in parts ..." to the words: "... for a giant castle hung in an iron loop."
Let's pay attention to the details accompanying this description. Why is Plushkin's house compared to a castle? (This shows the irony of the author - knightly times have passed. There is nothing that would enliven this picture - everything seems to have died out here. The giant castle is a symbol of the owner's suspicion, which locks everything.)
3. Read and comment on the description of the portrait with the words: “His face did not represent anything special ...” (Plyushkin’s appearance is such that Chichikov, having seen him at the church, would not have resisted and filed a copper penny.
Plyushkin's first name is "figure". Chichikov does not understand who is in front of him - "a woman or a man", in any case, not a landowner. Chichikov thought it was the housekeeper. And one more important detail: Plyushkin's characterization is accompanied by the word "hole", for the author he turns into "a hole in humanity".)
4. What detail in Plyushkin's portrait is especially significant and why? (These are the eyes: “the little eyes have not yet gone out ... like mice ...” But this detail emphasizes not human liveliness, but animal life, the lively briskness and suspicion of a small animal is conveyed here.)
5. Reading the fragment from the words: “He stepped into the dark wide porch ...” What detail in the description of the interior indicates that life has died in this house? (It’s dark and dusty in Plyushkin’s house, it blew cold on Chichikov, like from a cellar. Everything is a mess, and in the corner of the room there is a pile of rubbish, from which sticks out a piece of a wooden shovel and an old boot sole.
A notable detail is the stopped clock: time has died in Plyushkin's house, life has stopped.)
6. Why did Gogol give a biography only to this hero, spoke about his past, about how the process of his degradation went? (The author had the hope that this hero was capable of moral change. Apparently, it is not by chance that he was given last in the gallery of landowners.
There is another point of view: among all the landowners.
It is important for Gogol to show how a person has turned into a “hole in humanity”, so he reveals the character of the hero in development.)
7. Find details in the story about Plyushkin's past that alarm the reader, forcing him to foresee the terrible present of the hero. (The comparison with the "industrious spider" suggests that Gogol does not seek to turn Plyushkin into a tragic face. The writer ends his story about Plyushkin's past with the words: "... such a phenomenon rarely comes across in Russia ..." Spider, a phenomenon - these comparisons they talk about the deadness of Plyushkin's nature. Gogol directly calls Plyushkin's face "wooden", although one day "a warm beam - a pale reflection of feeling" glides on it.)
8. What reception was given to Chichikov at Plyushkin's? “I haven’t seen guests for a long time ...” and “Put the samovar, you hear, but take the key and give it to Mavra to go to the pantry ...”)
9. What is Plyushkin's reaction to Chichikov's proposal to "pay taxes for all the peasants"? Reading from the words: “The proposal seemed to completely astonish Plyushkin. He widened his eyes and looked at him for a long time ... "
10. Why, after such a reception, was Chichikov "in the most cheerful mood"? (A real gift for him was not only the dead, but also the fugitives "only two hundred and a half people", bought at a price of 30 kopecks.)
11. Why, in your opinion, does the image of a landowner appear on the pages dedicated to Plyushkin, reveling, as they say, “through life”? What does this landowner and Plyushkin have in common, despite the difference in their characters and way of life? (Gogol interrupted the story of the miser with a description of the opposite type - a nobleman who plundered the labor of the people in a different way. The writer knew many such cases, and his words about “wild and threatening violent lighting in this world” and “terrible sky” express a premonition of an impending catastrophe for the noble class .)
Card 51
Why is Sobakevich praising dead peasants?
In Chapter V, Chichikov ends up with the landowner Sobakevich, a cunning, economic and tight-fisted man. Chichikov asks him to set a price for dead souls, that is, for peasants who have died, but are still on the revision lists, And he hears in response a fantastic figure: "one hundred rubles apiece!"
Chichikov cautiously reminds that these are not people, they died long ago and “one sound that is not tangible by the senses” remains. But Sobakevich ignores these considerations.
“Milishkin, a bricklayer, could put a stove in any house. Maxim Telyatnikov, shoemaker: whatever pricks with an awl, then boots, that boots, then thank you, and even if it’s drunk in your mouth! And Eremey Sorokoplekhin! yes, this peasant alone will stand for everyone, he traded in Moscow, he brought one quitrent for five hundred rubles. After all, what a people! This is not something that some Plyushkin will sell you, ”he praises his product.
Sobakevich's rantings at one time baffled the critic of Shevyrev: “... It seems unnatural to us that Sobakevich, a positive and respectable person, should begin to praise his dead souls and embark on such a fantasy. Rather, Nozdryov could have been carried away by her, if such a thing had worked out with him. Indeed, why should Sobakevich praise the dead peasants?
The practical mind of Sobakevich, his fraudulent cunning and savvy are beyond doubt. One can also assume his conscious intention to mock Chichikov - but still this is nothing more than an assumption. Gogol deliberately does not reveal the inner world of his hero, his true feelings and thoughts.
There was no need for Sobakevich to deceive the chairman. It wasn't even safe to say that. And yet Sobakevich cannot resist again indulging in his "fantasies" about the peasants sold to Chichikov.
It is natural to assume that Sobakevich to some extent really believes in what he says. Approximately as Khlestakov believed that he once managed the department and that he himself was afraid of the State Council, And it is easy to believe in the dignity of the peasants: they were really talented and hardworking, they ensured the life and life of the masters. Shevyrev called Sobakevich's behavior unnatural. But in fact, the whole inimitable comedy of Sobakevich's speeches lies in their complete naturalness, in the fact that he, with complete naivety and innocence, tells things that are obviously absurd. And that is why Sobakevich is "not afraid" of the chairman; that is why he was not embarrassed by the reminder of the interlocutor that Mikheev had died. A notorious deceiver, perhaps, this exposure would have baffled. But Sobakevich got out of a difficult situation with the same ease with which Khlestakov “rejected” the objection that Zagoskin wrote “Yuri Miloslavsky”: “... This is true, this is exactly Zagoskin; but there is another Yuri Miloslavsky, so that one is mine. Compare the logic of Sobakevich's answer: it is certain that Mikheev died, but his brother is alive and has become healthier than before...
And is Sobakevich the only one in Gogol's poem who believes in the obviously improbable and absurd?
For example, Korobochka, a prudent and practical landowner. Soon after the departure of Chichikov, who bought dead souls from her, she “felt such anxiety about what might happen on the part of his deceit that, without sleeping for three nights in a row, she decided to go to the city ...”.
Why did she worry, what kind of “deception” did she suspect? another, sane person would think with alarm about Chichikov: was it not some kind of madman who came, obsessed with a crazy idea?
But Box's anxiety is of a different kind. She is tormented by the thought of whether she sold cheap, whether the visitor deceived her, and Korobochka goes to the city "to find out for sure how much dead souls go." And this means that the very unusualness of the goods does not bother her, that she is ready to believe even in "dead souls", if they are in demand on the market.
Mann Yu. Poetics of Gogol. M.: Fiction, 1988.
Mann Yu. The audacity of invention. M.: Children's literature, 1979.
Box image. Chapter III
1. Tell us how and why Chichikov got to Korobochka, because he was going to Sobakevich, whom he met in the city? (Answer yourself.)
2. What is the meaning of the romantic beginning of the chapter about the Box (night, thunder, rain)? (Here comes Gogol's style of writing, which gravitates towards contrasts - a romantic beginning and a prosaic denouement: Chichikov finds himself in the prosaic existence of Nastasya Petrovna Korobochka. In addition, the chapter on Korobochka is given in contrast with the chapter on Manilov. Such is the peculiarity of the composition of the poem. We add that the following the chapters about Nozdryov and Sobakevich are also constructed in contrast.)
3. What detail in the description of the village indicates the economy of the landowner Korobochka? (The abundance of dogs in the village indicates that Korobochka cares about the safety of his fortune. “Already by one dog barking, composed of such musicians, it could be assumed that the village was decent ...”)
4. How does Gogol emphasize the typicality of Korobochka? (Reading an excerpt from the words: “A minute later the hostess came in ... one of those mothers, small landowners ...”)
5. Read and compare two portraits of Korobochka. (In the portrait of Korobochka, almost the same details of clothing are repeated, but Gogol does not pay attention to the face, eyes, as if they do not exist. This also emphasizes the lack of spirituality of a person. Gogol repeats this principle of describing appearance in the poem repeatedly.)
6. After examining the text of the chapter, tell us about what traits make up the "core" of the character of the Box. Pay attention to the description of the room, the view from the window, the description of the village. (The box is neat and economic. She saves and saves money in motley bags and is well versed in the economy, thrifty, but nevertheless she is also a dead soul.
In terms of his mental development, Korobochka seems to be lower than all the other landowners. Limitation, "club-headedness", according to Chichikov's definition, knows no limits.
If Manilov "floats" above the earth in dreams, then she is absorbed in the prose of everyday earthly existence. Manilov does not know the economy - she went into him with her head. Unlike Manilov, she takes care of her household herself, enters into direct communication with the peasants, which is reflected in her speech, which is close to the peasant dialect.
Korobochka is a hospitable, hospitable hostess: she regrets that it is already late and it is impossible to cook food, but offers to “drink tea”. They prepared a bed for Chichikov “almost to the ceiling”, offered to scratch his heels for the night, in the morning they offered him a “snack” - reading an excerpt from the words: “Chichikov looked around and saw that mushrooms, pies were already on the table ...”
Let's pay attention to the fact that Korobochka treats Chichikov exclusively with flour dishes. This is understandable: meat is expensive, she will not beat cattle.
Find out what Korobochka Chichikova treated. What are “fast-thinkers”, “springs”, “snapshots”, “shanishki”, “flat cakes with all sorts of flavors” (see “Explanatory Dictionary of the Living Great Russian Language” by V.I. Dahl)?
How did Korobochka react to Chichikov's proposal to sell dead souls?
Is it only the fear of miscalculation that explains her unwillingness to sell them to Chichikov? (The whole character of Korobochka, her whole nature is reflected in her behavior when selling dead souls. A complete misunderstanding of the meaning of this transaction, the fear of selling cheap and being deceived when selling a “strange, completely unprecedented product”, a desire to “try on” market prices, stupidity, slowness - all the character traits of the “club-headed” landowner, brought up by a long lonely life (“an inexperienced widow”) and the need to independently resolve all issues, came to light in a deal with Chichikov.
The unwillingness to sell Chichikov’s souls is also explained by the fact that she has strived for hoarding all her life, therefore she believes that they “will somehow be needed in the household somehow.”
She is stubborn and suspicious. She is puzzled, however, by the penny profit. And she doesn’t know how to manage a penny, they lie in her pouches like a dead weight.
So she did not go far from Manilov, who also could not understand Chichikov's "negotiations".)
8. What is the meaning of the name Korobochki? (The landowner is indeed enclosed in a “box” of her space and concepts. For example, she says about Sobakevich that there is no such thing in the world, on the grounds that she has not heard of him.)
9. Compare Chichikov's behavior in chapters I and II. What new is revealed to us in the hero? (Chichikov does not stand on ceremony with Korobochka, perhaps because she is a widow, a "collegiate secretary", which equals the 10th grade of the "Table of Ranks".)
Card 48
The image of Nozdrev. Chapter IV
1. How does Chichikov meet with Nozdrev and his son-in-law? What is the role of this character? (Answer yourself.)
2. Read the description of Nozdryov's appearance (“He was of medium height, a very well-built fellow ...”) and the details of his characteristics. (“Nozdryov’s face, it’s true, is already somewhat familiar to the reader ...”)
What in the hero, despite his healthy appearance, betrays the deadness of his soul? (At 35, he is the same as at 18 and 20. Lack of development is a sign of the inanimate.)
3. Why does Gogol call Nozdrev a "historical man"? (Gogol ironically calls Nozdryov a "historical man", in the sense that "wherever he was, everywhere he could not do without history."
The most important feature of the poem is that the "background" for such "historical" characters is a real story. That is why heroes and commanders look at them and readers from portraits. They look and seem to reproach.)
4. What are the distinguishing features of Nozdrev's character that manifest themselves in relation to Chichikov. (First of all, Nozdryov is rude. As soon as he gets to know Chichikov, he calls him “you”, although “there was no reason for that.” Nozdryov calls Chichikov a “svintus” and a “cattle breeder”, his speech is full of curses, words of a gambling lexicon, unceremonious expressions.)
5. Is it possible to compare Nozdrev with Khlestakov? If so, what do they have in common? What is the difference?
(Probably, in some ways he resembles Khlestakov. But the types are different: Khlestakov is a small person, a “wick”, due to circumstances forced to play the role of a “significant person” that is not characteristic of him. After all, at first it never occurs to him to impersonate And only after he realized that he was mistaken for another, Khlestakov begins to enter "into the role."
Nozdrev is completely different. This is a liar by vocation and conviction. He deliberately piles one nonsense upon another. He behaves defiantly, impudently, aggressively.)
6. Read the description of Nozdryov's office from the words "Nozdryov took them to his office, in which, however, there were no traces of what happens in the offices ..." What details of the description especially brightly set off the "core" of the image? (Nozdrev is a crook and a liar, and this is emphasized by the inscriptions on the "Turkish daggers" - "Master Savely Sibiryakov" - "was cut by mistake.")
7. What are the features of the "core" of Nozdrev's character, which the reader learns about not only from Chapter IV. (Nozdryov is a gambler, a reveler, a frequenter of haunts, a dissolute person, but he is charming. There is some subtle catch in this charm, but even the shrewd Chichikov did not immediately notice him and made a mistake.
It was Nozdryov who informed everyone that Chichikov was trading "dead souls" with him, immediately swore that Chichikov was dearer to him than his own father, did not hesitate to confirm that Chichikov was going to steal the governor's daughter, then assured that Chichikov was a spy, and with he visited him and confessed his love and friendship.
8. From what motives does he act? (There is no calculation in his actions. And he acts out of purely “aesthetic” pleasure. The thirst to get everything instantly, without any mental costs, has become the main engine of life, suppressed all the properties of his human nature. The main refrain of his stories is “Oh, brother! How have a bite!")
9. How does Nozdryov behave when talking about dead souls? (Read this episode by role.)
10. What is the meaning of the appearance of the police captain at Nozdryov? (This appearance, perhaps, saves Chichikov's life. This visit can be correlated with the arrival of a real auditor in the comedy "The Government Inspector", that is, this is the beginning of Nozdryov's retribution.)
11. What is the attitude towards Nozdrev in society? (Nozdryov’s behavior does not shock anyone. Although his card frauds end in a scandal, and sometimes he returns home with only one sideburn. At the same time, he does not lose friendship with his friends, everyone takes his behavior for granted.
There is no one among the provincial authorities who would not have heard about Nozdryov's "weaknesses", but nevertheless, when ominous rumors spread that Chichikov was either Captain Kopeikin or Napoleon, rumors from which the officials almost went crazy , they again turned to Nozdryov. We decided to ask again carefully: what kind of person is Chichikov?
And again the author’s voice intrudes into the narrative: “These gentlemen are strange officials, and after them all other titles: after all, they knew very well that Nozdryov was a liar, that he could not be trusted in a single word, not in the trifle itself, but meanwhile they resorted to to him".
They cannot live without people like Nozdryov, just as he cannot live without them.)
Card 49
Image of Sobakevich. Chapter V
1. How does Gogol prepare the reader's meeting with Sobakevich? (The character of the hero begins to unfold before meeting him. Approaching the estate, Chichikov drew attention to a large wooden house with a mezzanine, a red roof and dark gray walls, “like those we build for military settlements and German colonists.” The courtyard is surrounded strong and thick wooden lattice. The master's buildings went "full-weight and thick logs, determined to stand for centuries." Even the well was built from such strong oak, "which goes only to mills and ships." The owner "took a lot of trouble about strength.")
2. How is he different from other landowners? (This is a prudent owner, a cunning tradesman, a tightfisted fist. He does not dream, like Manilov, does not go crazy like Nozdryov. Everything around him is solid, everything is in abundance (everything is ruined with Nozdryov). Korobochka’s stupidity is also not characteristic of him.
Everything in his village is sound, reliable, he knows the peasants perfectly, appreciates their labor qualities, skillfully advertises in order to sell the dead more profitably.
In the city, too, he will not be at a loss, he will not miss his profit anywhere. Gogol emphasizes in the hero strength, health, sedateness.
On this basis, some critics believed that this character was almost positive compared to others. Gogol saw it differently.)
3. What alerts readers to the description of Sobakevich's strong economy? (Comparison with barracks, prison, military settlement.)
4. What details of appearance emphasize the deadness of Sobakevich? (His appearance “nature”, that is, life, “chopped from the whole shoulder” - you can chop like a girl! This emphasizes the “wooden” (non-living) essence of the hero’s face. But the soul of a person is most of all reflected in the face!)
What did the “soul” of Sobakevich demand? (The requirements are only gastronomic, and, moreover, colossal - the whole pig, the whole ram, the whole goose. Gogol writes: there was no soul in this body at all.)
5. What is the role of describing the details of everyday life in revealing the image of Sobakevich? (The thing bears the imprint of the character of the person to whom it belongs, so the person and the inanimate object approach each other. One helps to better understand the other.
Students give examples: portraits of Greek generals and heroes attract attention, and among them is the “thin” Bagration, “extremely attentive” looking at the deal between Chichikov and Sobakevich. This emphasizes the distance between the real exploits, deeds and "deeds" of the heroes of the poem.)
6. Prepare an annotated reading of the bargaining scene. (Pay attention to the combination of the characters' inner speech with their statements, to Chichikov's inner monologue.)
Card 50
Plushkin image. Chapter VI
1. What is the meaning of the name of this Gogol hero? (She emphasizes the “flattenedness”, the distortion of the hero and his soul. He has one concern - he collects all good and rots him, and even makes sure that no one steals. There is a lot of everything and everything disappears, decays, everything is in desolation.)
2. Let's read the description of Plyushkin's house and garden from the words: "The master's house began to show itself in parts ..." to the words: "... for a giant castle hung in an iron loop."
Let's pay attention to the details accompanying this description. Why is Plushkin's house compared to a castle? (This shows the irony of the author - knightly times have passed. There is nothing that would enliven this picture - everything seems to have died out here. The giant castle is a symbol of the owner's suspicion, which locks everything.)
3. Read and comment on the description of the portrait with the words: “His face did not represent anything special ...” (Plyushkin’s appearance is such that Chichikov, having seen him at the church, would not have resisted and filed a copper penny.
Plyushkin's first name is "figure". Chichikov does not understand who is in front of him - "a woman or a man", in any case, not a landowner. Chichikov thought it was the housekeeper. And one more important detail: Plyushkin's characterization is accompanied by the word "hole", for the author he turns into "a hole in humanity".)
4. What detail in Plyushkin's portrait is especially significant and why? (These are the eyes: “the little eyes have not yet gone out ... like mice ...” But this detail emphasizes not human liveliness, but animal life, the lively briskness and suspicion of a small animal is conveyed here.)
5. Reading the fragment from the words: “He stepped into the dark wide porch ...” What detail in the description of the interior indicates that life has died in this house? (It’s dark and dusty in Plyushkin’s house, it blew cold on Chichikov, like from a cellar. Everything is a mess, and in the corner of the room there is a pile of rubbish, from which sticks out a piece of a wooden shovel and an old boot sole.
A notable detail is the stopped clock: time has died in Plyushkin's house, life has stopped.)
6. Why did Gogol give a biography only to this hero, spoke about his past, about how the process of his degradation went? (The author had the hope that this hero was capable of moral change. Apparently, it is not by chance that he was given last in the gallery of landowners.
There is another point of view: among all the landowners.
It is important for Gogol to show how a person has turned into a “hole in humanity”, so he reveals the character of the hero in development.)
7. Find details in the story about Plyushkin's past that alarm the reader, forcing him to foresee the terrible present of the hero. (The comparison with the "industrious spider" suggests that Gogol does not seek to turn Plyushkin into a tragic face. The writer ends his story about Plyushkin's past with the words: "... such a phenomenon rarely comes across in Russia ..." Spider, a phenomenon - these comparisons they talk about the deadness of Plyushkin's nature. Gogol directly calls Plyushkin's face "wooden", although one day "a warm beam - a pale reflection of feeling" glides on it.)
8. What reception was given to Chichikov at Plyushkin's? “I haven’t seen guests for a long time ...” and “Put the samovar, you hear, but take the key and give it to Mavra to go to the pantry ...”)
9. What is Plyushkin's reaction to Chichikov's proposal to "pay taxes for all the peasants"? Reading from the words: “The proposal seemed to completely astonish Plyushkin. He widened his eyes and looked at him for a long time ... "
10. Why, after such a reception, was Chichikov "in the most cheerful mood"? (A real gift for him was not only the dead, but also the fugitives "only two hundred and a half people", bought at a price of 30 kopecks.)
11. Why, in your opinion, does the image of a landowner appear on the pages dedicated to Plyushkin, reveling, as they say, “through life”? What does this landowner and Plyushkin have in common, despite the difference in their characters and way of life? (Gogol interrupted the story of the miser with a description of the opposite type - a nobleman who plundered the labor of the people in a different way. The writer knew many such cases, and his words about “wild and threatening violent lighting in this world” and “terrible sky” express a premonition of an impending catastrophe for the noble class .)
Card 51
Why is Sobakevich praising dead peasants? 1
In Chapter V, Chichikov ends up with the landowner Sobakevich, a cunning, economic and tight-fisted man. Chichikov asks him to set a price for dead souls, that is, for peasants who have died, but are still on the revision lists, And he hears in response a fantastic figure: "one hundred rubles apiece!"
Chichikov cautiously reminds that these are not people, they died long ago and “one sound that is not tangible by the senses” remains. But Sobakevich ignores these considerations.
“Milishkin, a bricklayer, could put a stove in any house. Maxim Telyatnikov, shoemaker: whatever pricks with an awl, then boots, that boots, then thank you, and even if it’s drunk in your mouth! And Eremey Sorokoplekhin! yes, this peasant alone will stand for everyone, he traded in Moscow, he brought one quitrent for five hundred rubles. After all, what a people! This is not something that some Plyushkin will sell you, ”he praises his product.
Sobakevich's rantings at one time baffled the critic of Shevyrev: “... It seems unnatural to us that Sobakevich, a positive and respectable person, should begin to praise his dead souls and embark on such a fantasy. Rather, Nozdryov could have been carried away by her, if such a thing had worked out with him. Indeed, why should Sobakevich praise the dead peasants?
The practical mind of Sobakevich, his fraudulent cunning and savvy are beyond doubt. One can also assume his conscious intention to mock Chichikov - but still this is nothing more than an assumption. Gogol deliberately does not reveal the inner world of his hero, his true feelings and thoughts.
There was no need for Sobakevich to deceive the chairman. It wasn't even safe to say that. And yet Sobakevich cannot resist again indulging in his "fantasies" about the peasants sold to Chichikov.
It is natural to assume that Sobakevich to some extent really believes in what he says. Approximately as Khlestakov believed that he once managed the department and that he himself was afraid of the State Council, And it is easy to believe in the dignity of the peasants: they were really talented and hardworking, they ensured the life and life of the masters. Shevyrev called Sobakevich's behavior unnatural. But in fact, the whole inimitable comedy of Sobakevich's speeches lies in their complete naturalness, in the fact that he, with complete naivety and innocence, tells things that are obviously absurd. And that is why Sobakevich is "not afraid" of the chairman; that is why he was not embarrassed by the reminder of the interlocutor that Mikheev had died. A notorious deceiver, perhaps, this exposure would have baffled. But Sobakevich got out of a difficult situation with the same ease with which Khlestakov “rejected” the objection that Zagoskin wrote “Yuri Miloslavsky”: “... This is true, this is exactly Zagoskin; but there is another Yuri Miloslavsky, so that one is mine. Compare the logic of Sobakevich's answer: it is certain that Mikheev died, but his brother is alive and has become healthier than before...
And is Sobakevich the only one in Gogol's poem who believes in the obviously improbable and absurd?
For example, Korobochka, a prudent and practical landowner. Soon after the departure of Chichikov, who bought dead souls from her, she “felt such anxiety about what might happen on the part of his deceit that, without sleeping for three nights in a row, she decided to go to the city ...”.
Why did she worry, what kind of “deception” did she suspect? another, sane person would think with alarm about Chichikov: was it not some kind of madman who came, obsessed with a crazy idea?
But Box's anxiety is of a different kind. She is tormented by the thought of whether she sold cheap, whether the visitor deceived her, and Korobochka goes to the city "to find out for sure how much dead souls go." And this means that the very unusualness of the goods does not bother her, that she is ready to believe even in "dead souls", if they are in demand on the market.
LESSONS 73-74
GALLERY OF IMAGES OF LANDSHOPS IN GOGOL'S POEM
"DEAD SOULS"
Dead Souls is a gallery for
aging, aging, losing
vital juices of souls.
Yu.M. Lotman
DURING THE CLASSES
I. The word of the teacher.
We begin our acquaintance with the heroes of the poem by comparing the various points of view of our famous writers, literary critics, and the author.
For Vasily Vasilyevich Rozanov (writer, philosopher, publicist of the late 19th - early 20th centuries), all the heroes of the poem are dead, "puppets, miserable and funny", the fruit of "great, but empty and meaningless skill", the author seemed to him "the bishop of the dead", an evil genius, almost the Antichrist.
V.V. Nabokov saw in the characters of the foreground, grouped around Chichikov, subhuman, a product of the otherworldly, diabolical world. In Chichikov himself, he agrees to see in part a man, although a fool. He explains this by the fact that "it was stupidity to trade dead souls with an old woman who was afraid of ghosts, unforgivable recklessness - to offer such a dubious deal to a braggart and boor Nozdryov." Nabokov goes on to call Chichikov "a low-paid agent of the devil" because the vulgarity that the hero personifies is the property of the devil.
Nevertheless, the writer did not want to create caricatures and monsters, he created people who were by no means vile.
Recall that when Gogol read excerpts from the poem to Pushkin, the poet said: “God, how sad our Russia is!” And this amazed Gogol: “From that time on, I began to think only about how to soften the painful impression that “Dead Souls” could make.
Gogol created in "Dead Souls" "standard models" of various variants of coarsening, vulgarization of the human soul.
Whose point of view is closest to you? To resolve this issue, we continue to work in groups.
II. Conversation with students on the card 46. The image of Manilov.
teacher's word
Irony is always present in Gogol's satire. On the one hand, he used this method in censored conditions, on the other hand, satirical irony helped to expose the objective contradictions of reality. Gogol believed that irony is generally characteristic of Russian thinking. At the same time, I think this method helped the writer to show the complexity of a person and the ambiguity of the author's attitude towards him. A comparison of Manilov with a minister suggests that the minister is not so different from him, and Manilovism is a typical phenomenon in society. At the same time, we do not forget Gogol's words about heroes: "My heroes are not villains..."
Manilov, although he does not follow the economy, but "thinks and thinks", creates projects for human well-being, theoretically making sure that Russia does not suffer any damage, but flourishes.
III. Conversation with students on the card 47 Image of the Box.
teacher's word
And in this chapter of the poem, the author's voice sounded again: "... a different and respectable, and even statesman man, but in reality the perfect Box comes out." As in the case of Manilov, Gogol directs the edge of his satire to the very top of the social pyramid of landowner-bureaucratic society.
Moreover, Gogol compares Korobochka with Petersburg ladies, owners of ruined estates, and concludes that the “chasm” between them is small, that the real “dead souls” are representatives of high society, cut off from the people.
IV. Conversation with students on the card 48. The image of Nozdrev.
V. Conversation with students on the card 49. The image of Sobakevich.
teacher's word
(After discussing the fourth question.)
In the creative world of Gogol, things begin to play an active role, helping to more clearly identify the character traits of the characters. Things seem to become doubles of their owners and an instrument of their satirical denunciation.
The details of the real world characterize Gogol's landowners: (Manilova - the famous gazebo, "The Temple of Solitary Reflection", Nozdryova - the immortal hurdy-gurdy, the game of which is suddenly interrupted and the waltz begins to sound, or the song "Malbrug went on a campaign", And now the hurdy-gurdy has already stopped sounding , and one brisk pipe in it does not want to calm down in any way and continues to whistle for a long time.It is here that the whole character of Nozdryov is captured - he himself is like a spoiled hurdy-gurdy: restless, mischievous, violent, absurd, ready at any moment for no reason to do something unforeseen and inexplicable.
Conclusion: the spiritual world of Gogol's heroes is so petty and insignificant that a thing can fully express their inner essence.
The most closely fused things with their owner in the house of Sobakevich.
VI. Checking an individual task - a message on the topic "Why does Sobakevich praise dead peasants?" (on card 51).
VII. Conversation with students on card 50. The image of Plyushkin.
teacher's word
Reading Chapter VI, one cannot but pay attention to its lyrical tone. It begins with a lyrical digression about youth, the main feature of which is curiosity; maturity and old age bring indifference to a person. The author’s voice also breaks through in the story about Plyushkin, for example: “And a person could descend to such insignificance, pettiness, disgust! ..”, and this exclamation ends with a fiery appeal to young people: “Take with you on the road ... all movement, do not leave them on the road, do not raise them later ... "
VIII. Summing up the lessons. Collective discussion of the problem of lessons.
1. What unites the heroes of the chapters about landlords? (Each of the heroes is individual, each has some kind of “devilish” energy, because everything around them acquires their features: around Nozdryov it smells like a tavern, a scandal, in Sobakevich every thing says: “... and I, too, Sobakevich!” Around Manilov even the landscape and the weather have a kind of greyish uncertainty.The same can be said about Korobochka and Plyushkin.
Leads the story Chichikov. It binds together all events and human destinies. Each chapter expands our understanding of Chichikov.)
2. Why does Gogol build chapters II-VI according to approximately the same plan (the surroundings of the estate and the estate itself, the interior of the house, a description of the hero’s appearance, a meeting between the host and the guest, a conversation about acquaintances, dinner, a scene of buying and selling dead souls)? What do you see as the meaning of such a construction of chapters? (The repetitive plan of the chapters creates a sense of the uniformity of the phenomena depicted. In addition, the description is structured in such a way that it makes it possible to characterize the personalities of the landowners.)
IX. Homework.
1. Reading chapters I, VII, VIII, IX, X.
2. Individual tasks - prepare messages on the topics: “What does the story of Captain Kopeikin have to do with the action of the poem?” and “What suggested the plot to Gogol, The Tale of Captain Kopeikin”? (on cards 52, 53).
Card 52
What suggested to Gogol the plot of The Tale of Captain Kopeikin? 1
It is possible that the idea to write "The Tale of Captain Kopeikin" was suggested to Gogol by folk songs about the robber Kopeikin, who is dying in a foreign country. Here is an abbreviation of one of the songs recorded in the city of Syzran, the former Simbirsk province:
The thief Kopeikin is going
On the glorious at the mouth of Karastan.
In the evening he went to bed the thief Kopeikin,
By midnight the thief Kopeikin was getting up...
On the east side, he prayed to God:
Get up, brothers and sisters!
Not good for me, brothers, I had a dream:
As if I, a good fellow, walk along the edge of the sea,
I stumbled with my right foot
I grabbed onto a strong tree...
But the fierce snake hissed here,
The lead bullet flew by.
This text, along with other songs about Kopeikin, was published after Gogol's death by the folklorist P. Bezsonov.
In a brief preface to the cycle, the publisher wrote: “... The proposed samples are extremely curious in the sense that, together with the legends surrounding them, they gave rise under Gogol’s pen to the famous story about the tricks of the extraordinary Kopeikin in Dead Souls, the hero appears there without legs precisely because, according to the songs, he stumbled with his foot (either left, then right) and injured it; after failures in St. Petersburg, he appeared as an ataman in the Ryazan forests ... "
Perhaps folk songs prompted Gogol both the name of the character and the very fact of his “robbery”. That is why Gogol was afraid that censorship would find fault with the name "Kopeikin": apparently, this folklore image was quite famous.
The name of the hero is important to Gogol also because, in accordance with its hidden meaning, with etymology, it suggested associations with reckless prowess and audacity: remember the current expression: "life is a penny." By the way, in the draft edition of the “tale”, this expression was played up: “... All this is used, you know, to dissolute life, everyone’s life is a penny, life is hammered everywhere, even though the grass does not grow ...”
But anyone who, on this basis, would exaggerate the similarity of The Tale of Captain Kopeikin with a cycle of folk songs would make a big mistake. The publisher of this cycle put it very unsuccessfully, saying that Gogol's Kopeikin "appears ... without a leg precisely because he stumbled on his foot in the songs ...". If it is meant that the folklore image suggested such a detail to Gogol, this is possible. If, however, it is said about the reason, about the artistic motivation of the event, then there is nothing in common between the folk song and Gogol's "story". Captain Kopeikin did not “stumble.” His lameness has a very real motivation that does not carry any symbolic connotation: “whether under Krasny or near Leipzig ... his arm and leg were torn off.”
In addition, in the folk song there is no mention of the cruelty and callousness of those in power, the theme of a dead soul is not raised, there is no tone of ingenuous praise-mocking, in a word, there is nothing that makes Gogol's "story" an original work, but also organically, indissolubly fastens it with the rest of the text of Dead Souls.
Card 53
What does the story of Captain Kopeikin have to do with the action of the poem? one
At first glance, none. The action of the poem takes place in the provincial town and the nearest landowners' estates (volume 1). The action of "The Tale of Captain Kopeikin" - in St. Petersburg. The story does not talk about Chichikov's scam, none of the characters in it act.
The story about the captain is told by the postmaster (Chapter 10), with a clear desire to convince the officials that Chichikov is none other than Captain Kopeikin. But his story did not convince anyone, and the postmaster's version was rejected.
At first glance, this is the only thread connecting the "story" and the action of the poem. It seems that if this thread breaks, nothing will change in the development of the action of the work. However, the story continues the theme of the necrosis of the human soul, begun in the poem, and thus forms an inseparable unity with the text of the poem.
Captain Kopeikin, a participant in the war of 1812, crippled and disfigured, extends his hand to the nobleman for help and does not receive it. The answer is icy coldness, indifference, contempt.
Thus, Gogol's thought about people who are dead in spirit passes from the chapters of the poem into The Tale of Captain Kopeikin. One has only to take a closer look at the three-time appearance on the stage of the “nobleman” (the narrator also calls him “general”, “general-in-chief”), to his manner of treating the petitioner, indifferent and contemptuously cold, to be convinced of this.
And what a porter standing at the general's house! “One porter already looks like a generalissimo: a gilded mace, a count's physiognomy, like some fat pug of some kind...” The reducing function of comparison, which equates a person to a pug, is clearly visible in this description. And we already know that such comparisons reflect one of the facets of the image of the "dead soul" - mortification, lack of spirituality.
Gogol gave one and only explanation why The Tale of Captain Kopeikin is necessary in the poem. In a letter to Nikitenko dated April 10, 1842, known to us, he said that “this piece is necessary not to connect events, but in order to distract the reader for a moment, to replace one impression with another, and whoever is an artist in his soul will understand that without it there is a strong gap.
"Connection of events", the history of the sale and purchase of "dead souls" is broken. But one of the cross-cutting themes of the poem - a dead, frozen soul - continues. It continues with a complete change in material, setting, time of action - and this is the special artistic effect of the "story".
Among these changes, the most important was the change in the situation, the stage: not a province, not a province, but the capital, the very heart of the Russian Empire. And not provincial landowners and provincial officials of various calibers and suits, but the highest state administration!
True, under the pressure of censorship, Gogol was forced, as they say, to demote his characters. The nobleman, the general became just a "boss." Generals are not mentioned among his petitioners. All events unfold in another, lower sphere: “Wait for the arrival of Mr. Minister,” the head says to Kopeikin. And in the pre-censored edition, the “nobleman” advised him to wait for the arrival of the sovereign. Even the name "Palace Embankment", where the nobleman's house is located, Gogol removes, since it was known that both the royal residence - the Winter Palace, and the palaces of the most prominent dignitaries were located here.
And still: the most important thing remains. After all, Petersburg remained, some very important metropolitan authority and its ministers remained. And this is what Gogol needed.
Among the features of the "story" that helped "one impression to replace another" and gave rise to a sense of change, we note the following. With state power, with stupid indifference, with deadness, none other than a man who suffered in the war, immensely patient, unpretentious, honest, faced. Among the main characters of the poem there was no such hero and, consequently, no such conflict.
True, under the influence of censorship, Gogol was forced to soften the novelty of the conflict of the “tale”. On the one hand, he added "dark paint" to the portrait of the main character. It turns out that Kopeikin is finicky and impatient (“he also visited guardhouses under arrest ...”). It turns out that he does not achieve the most necessary, not daily bread: “I need, he says, to eat a cutlet, a bottle of French wine, to entertain myself too, to the theater, you understand.” On the other hand, under the pressure of censorship, the boss became softer, more pliable. He enters into the position of Kopeikin, gives him modest "assistance".
And all the same: much remains in the censored edition. After all, the very fact remains that a war invalid walks the threshold of a high commission, seeking a pension, and never receives it.
One of the critics of the last century well said that in Gogol "somehow the words are put in a special way"; it seems that nothing of the kind is said, nothing is specially denounced or ridiculed, but the impression is amazing. Gogol's "words" mercilessly hit the "monuments", the shrines of the Russian Empire.
The awkwardly comical manner of narration (let's not forget that the "story" is told by the postmaster) casts a glimpse on what is being said - on the subject of narration. Not a high commission, but "a kind of high commission". Not board, but "government, you know, such." The difference between the nobleman and captain Kopeikin was transferred to the money account: “90 rubles and zero!”
Sometimes critics express the idea that Gogol needed such "tricks" to deceive censorship (like the way a fabulist needs wolves and bears). There is nothing more naive than such a thought. This is not disguise, not camouflage, but an integral part of Gogol's artistic world. Through such and such a dense network of words: “in some way”, “such”, “can you imagine”, etc. - the royal capital is seen, And some motley, oscillating ripple falls on its monumental, majestic face (and on everything that happens in the Tale ...).
Herzen wrote: “... If the lower ones are allowed to laugh in front of the higher ones, or if they cannot help laughing, then goodbye to servility. To make the god Apis smile at him means to cut him from the priesthood into simple bulls.
By making the reader laugh, Gogol defrocked royal institutions and institutions. The question arises: could something like this be in the thoughts of the postmaster, the narrator of the story? But that's the point: his tongue-tied manner of narration is so naive, so sincere, that admiration in it is indistinguishable from malicious mockery. And if so, then this manner is capable of conveying the caustic mockery of the author of Dead Souls himself.
The narrator, for example, admires the doorknob in the nobleman’s house: “... so, you know, you need to run ahead to a petty shop, and buy soap for a penny, and rub your hands with it for about two hours, and then decide to grab onto it.” Who knows: maybe the postmaster really thinks so. Is servility, reverence and awe before the highest - not in his character? But all this is expressed so clumsily - naively and tongue-tied that we have the right to suspect a mockery in these words.
Sobakevich about dead peasants
1
What are you stingy about? Sobakevich said. - Right, cheap! Another swindler will deceive you, sell you rubbish, not souls; and I have like a vigorous nut, everything is for selection: not an artisan, but some other healthy man. You consider: here, for example, Mikheev's carriage maker! after all, he didn’t make any more crews, as soon as spring ones. And it’s not like Moscow work happens, that for one hour - such strength, it will beat itself and cover it with varnish!
Chichikov opened his mouth in order to notice that Mikheev, however, had long been gone from the world; but Sobakevich entered, as they say, into the very power of speech, where did the lynx and the gift of words come from:
- And Cork Stepan, the carpenter? I'll lay my head down if you find such a man anywhere. After all, what a force it was! If he had served in the guards, God knows what they would have given him, three arshins and a verst in height!
2
Chichikov again wanted to point out that there was no Cork in the world either; but Sobakevich, apparently, was carried away: such streams of speeches poured out that one had only to listen:
- Milushkin, bricklayer! could put the stove in any house. Maxim Telyatnikov, shoemaker: whatever pricks with an awl, then boots, that boots, then thanks, and at least in a drunken mouth. And Yeremey Sorokoplekhin! yes, this peasant alone will stand for everyone, he traded in Moscow, he brought one quitrent for five hundred rubles. After all, what a people! This is not something that some Plushkin will sell you.
“But excuse me,” Chichikov said at last, amazed at such a copious flood of speeches, which seemed to have no end, “why are you counting all their qualities, because there is no sense in them now, after all, they are all dead people. Support a fence with a dead body, says the proverb.
“Yes, of course, the dead,” said Sobakevich, as if coming to his senses and remembering who they really were already dead, and then he added: “However, what to say of these people who are now considered living? What are these people? flies, not people.
- Yes, they still exist, and this is a dream.
- Well, no, not a dream! I’ll tell you what Mikheev was like, you won’t find such people: the car is such that you won’t enter this room; no, this is not a dream! And in his shoulders he had such strength as a horse does not have; I would like to know where you would find such a dream elsewhere!
? (Firstly, the character of Manilov was difficult to portray, and secondly, this chapter set the tone for the entire narrative, determined the style of the poem.
The writer was faced with the question: how to reveal the character of Manilov in his obvious spinelessness?
If we compare the various versions of this chapter, we can see how its ideological and artistic conception matured.
Indefinite pronouns, adverbs (any, some ...) give a shade of indefiniteness to the hero's speech, a feeling of semantic futility of speech is created.
Another example: a place where it is said that Manilov had not only no passion, but nothing at all.
1st edition: "Every person has some kind of skate ..."
2nd edition: "Everyone has some kind of attraction ..."
3rd edition: "Everyone has his own enthusiasm ..." - of all the words, Gogol chooses the last one as the most expressive word. (Snippet should be read.)
Passion, attraction, hobby- these words are too high for Manilov, and in the word " enthusiasm"There is a satirical mockery, because one of the "enthusiasm" "turns" to greyhounds, the other is a master of having a famous dinner, and for someone this enthusiasm extends to playing cards, and so on.
We see that Gogol's irony is directed not only at the hero; the writer ridicules the insignificance of the passions and aspirations inherent in society. Gogol described 7 varieties of "enthusiasm", each of which creates a feeling of a parody of a real human feeling, a feeling of the vulgarity of the society that Manilov represents.
With such double vision, Gogol surveys his heroes. Hence the source of the writer's comic.)
2. Why does Gogol open the gallery of the landlords Manilov? one
(Firstly, Chichikov decided to start a detour of the landlords from Manilov, because while still in town he charmed him with his courtesy and courtesy. Chichikov decided that dead souls would be acquired from him without difficulty.
Secondly, Chichikov's unusual enterprise is given in contrast to Manilov's dreamy ideality. If Chichikov had first encountered Sobakevich, Korobochka or Plyushkin, for whom the purchase of Chichikov is a real concern to some extent, then the contrast would have disappeared. Sobakevich, having listened to Chichikov's strange request, did not flinch in a single vein. Manilov's reaction was different: he "immediately dropped the chubuk with his pipe on the floor, and as he opened his mouth, he remained with his mouth open..." This is a direct consolidation of the motive that arose at the end of the previous chapter ("perfect bewilderment...") who was then to play such a large role.)
3. What impression can you make of Manilov before meeting him? (Mismanagement of Manilov is revealed before meeting the hero: Gogol gives a landscape of Manilovka, ironically plays with the name of the village (“Manilovka could not lure many with its location.”) The dullness, poverty, untidiness of everything that surrounds Manilov, like a shadow falls on him, characterizes the hero This technique Gogol will continue to use constantly.
Reading the fragment: "The manor's house stood alone in the south...")
4. Does Gogol talk about Manilov's past? Why? (Prepare your own answer to this question.)
5. How does the description of the situation at home help to understand the character of Manilov? (Reading fragments: “Something was always missing in his house ...” and “The room was, for sure, not without pleasantness ...” These descriptions emphasize, on the one hand, the uncertainty of the image - light gray tones accompany Manilov, on the other - his mismanagement, and finally - dreaminess (heaps of ash everywhere. However, Manilov's dreams are empty, not leading to any activity.)
6. What do the names of Manilov's children emphasize? (Manilov's sons are called Themistoclus and Alkid. Gogol chuckles at the desire of his father, a sentimental dreamer, to elevate himself and his children, giving them the names of the heroes of ancient Greece: Themistoclus is a statesman of Athens who lived in the 6th-5th centuries BC, Alkid is one of the names the hero of Greek mythology, Heracles.Gogol achieves a special comic effect by describing Manilov's children (one snotty, the other crying).
7. What features make up the "core" of Manilov's character? Pay attention to the material of I, II and VII chapters. (The character of Manilov is indefinite, elusive. There are no living human desires in him, the force of life that moves a person, makes him do things.
Manilov is not only gentle and amiable, as we see him in communication with Chichikov. He combines these features with outright cruelty and indifference to people - he is not interested in how many peasants he has died and asks the clerk, and then carelessly says: “... I also assumed a high mortality; It is not known how many died. There are so many dead that it is impossible to remember them all. He is the same serf-owner as all the other soul-owners.)
8. How does Manilov react to Chichikov's offer to sell dead souls? Commented reading of the scene from the words: “And for what reasons do you need this? - Manilov asked the clerk after leaving. (During a conversation about the sale of dead souls, the naive and good-natured Manilov was puzzled, he “became embarrassed and confused,” thinking that Chichikov was joking, then he suspected that Chichikov was crazy.
Manilov is not used to thinking, he does not understand that, thanks to Chichikov, he got involved in a dark and criminal business. Thus, he can become a victim in the hands of any scammer.
When Chichikov convinced Manilov of the legitimacy of the deal and spoke about the price, he was again surprised: “... take money for souls that in some way have ended their existence? ..” - and Manilov offers to give them to Chichikov, and take over the deed which he does, handing over the list of his peasants, folded into a tube and tied with a pink ribbon (Chapter VII.)
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Box image. Chapter III
1. Tell us how and why Chichikov got to Korobochka, because he was going to Sobakevich, whom he met in the city? (Answer yourself.)
2. What is the meaning of the romantic beginning of the chapter about the Box (night, thunder, rain)? (Here comes Gogol's style of writing, which gravitates towards contrasts - a romantic beginning and a prosaic denouement: Chichikov finds himself in the prosaic existence of Nastasya Petrovna Korobochka. In addition, the chapter on Korobochka is given in contrast with the chapter on Manilov. Such is the peculiarity of the composition of the poem. We add that the following the chapters about Nozdryov and Sobakevich are also constructed in contrast.)
3. What detail in the description of the village indicates the economy of the landowner Korobochka? (The abundance of dogs in the village indicates that Korobochka cares about the safety of his fortune. “Already by one dog barking, composed of such musicians, it could be assumed that the village was decent ...”)
4. How does Gogol emphasize the typicality of Korobochka? (Reading an excerpt from the words: “A minute later the hostess came in ... one of those mothers, small landowners ...”)
5. Read and compare two portraits of Korobochka. (In the portrait of Korobochka, almost the same details of clothing are repeated, but Gogol does not pay attention to the face, eyes, as if they do not exist. This also emphasizes the lack of spirituality of a person. Gogol repeats this principle of describing appearance in the poem repeatedly.)
6. After examining the text of the chapter, tell us about what traits make up the "core" of the character of the Box. Pay attention to the description of the room, the view from the window, the description of the village. (The box is neat and economic. She saves and saves money in motley bags and is well versed in the economy, thrifty, but nevertheless she is also a dead soul.
In terms of his mental development, Korobochka seems to be lower than all the other landowners. Limitation, "club-headedness", according to Chichikov's definition, knows no limits.
If Manilov "floats" above the earth in dreams, then she is absorbed in the prose of everyday earthly existence. Manilov does not know the economy - she went into him with her head. Unlike Manilov, she takes care of her household herself, enters into direct communication with the peasants, which is reflected in her speech, which is close to the peasant dialect.
Korobochka is a hospitable, hospitable hostess: she regrets that it is already late and it is impossible to cook food, but offers to “drink tea”. They prepared a bed for Chichikov “almost to the ceiling”, offered to scratch his heels for the night, in the morning they offered him a “snack” - reading an excerpt from the words: “Chichikov looked around and saw that mushrooms, pies were already on the table ...”
Let's pay attention to the fact that Korobochka treats Chichikov exclusively with flour dishes. This is understandable: meat is expensive, she will not beat cattle.
Find out what Korobochka Chichikova treated. What are “fast-thinkers”, “springs”, “snapshots”, “shanishki”, “flat cakes with all sorts of flavors” (see “Explanatory Dictionary of the Living Great Russian Language” by V.I. Dahl)?
How did Korobochka react to Chichikov's proposal to sell dead souls?
Is it only the fear of miscalculation that explains her unwillingness to sell them to Chichikov? (The whole character of Korobochka, her whole nature is reflected in her behavior when selling dead souls. A complete misunderstanding of the meaning of this transaction, the fear of selling cheap and being deceived when selling a “strange, completely unprecedented product”, a desire to “try on” market prices, stupidity, slowness - all the character traits of the “club-headed” landowner, brought up by a long lonely life (“an inexperienced widow”) and the need to independently resolve all issues, came to light in a deal with Chichikov.
The unwillingness to sell Chichikov’s souls is also explained by the fact that she has strived for hoarding all her life, therefore she believes that they “will somehow be needed in the household somehow.”
She is stubborn and suspicious. She is puzzled, however, by the penny profit. Yes, and she doesn’t know how to dispose of a penny, they lie in her pouches like a dead weight.
So she did not go far from Manilov, who also could not understand Chichikov's "negotiations".)
8. What is the meaning of the name Korobochki? (The landowner is indeed enclosed in a “box” of her space and concepts. For example, she says about Sobakevich that there is no such thing in the world, on the grounds that she has not heard of him.)
9. Compare Chichikov's behavior in chapters I and II. What new is revealed to us in the hero? (Chichikov does not stand on ceremony with Korobochka, perhaps because she is a widow, a "collegiate secretary", which equals the 10th grade of the "Table of Ranks".)
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The image of Nozdrev. IVchapter
1. How does Chichikov meet with Nozdrev and his son-in-law? What is the role of this character? (Answer yourself.)
2. Read the description of Nozdryov's appearance (“He was of medium height, a very well-built fellow ...”) and the details of his characteristics. (“Nozdryov’s face, it’s true, is already somewhat familiar to the reader ...”)
What in the hero, despite his healthy appearance, betrays the deadness of his soul? (At 35, he is the same as at 18 and 20. Lack of development is a sign of the inanimate.)
3. Why does Gogol call Nozdrev a "historical man"? (Gogol ironically calls Nozdryov a "historical man", in the sense that "wherever he was, everywhere he could not do without history."
The most important feature of the poem is that the "background" for such "historical" characters is a real story. That is why heroes and commanders look at them and readers from portraits. They look and seem to reproach.)
4. What are the distinguishing features of Nozdrev's character that manifest themselves in relation to Chichikov. (First of all, Nozdryov is rude. As soon as he gets to know Chichikov, he calls him “you”, although “there was no reason for that.” Nozdryov calls Chichikov a “svintus” and a “cattle breeder”, his speech is full of curses, words of a gambling lexicon, unceremonious expressions.)
5. Is it possible to compare Nozdrev with Khlestakov? If so, what do they have in common? What is the difference?
(Probably, in some ways he resembles Khlestakov. But the types are different: Khlestakov is a small person, a “wick”, due to circumstances forced to play the role of a “significant person” that is not characteristic of him. After all, at first it never occurs to him to impersonate And only after he realized that he was mistaken for another, Khlestakov begins to enter "into the role."
Nozdrev is completely different. This is a liar by vocation and conviction. He deliberately piles one nonsense upon another. He behaves defiantly, impudently, aggressively.)
6. Read the description of Nozdryov's office from the words "Nozdryov took them to his office, in which, however, there were no traces of what happens in the offices ..." What details of the description especially brightly set off the "core" of the image? (Nozdrev is a crook and a liar, and this is emphasized by the inscriptions on the "Turkish daggers" - "Master Savely Sibiryakov" - "was cut by mistake.")
7. What are the features of the "core" of Nozdrev's character, which the reader learns about not only from Chapter IV. (Nozdryov is a gambler, a reveler, a frequenter of haunts, a dissolute person, but he is charming. There is some subtle catch in this charm, but even the shrewd Chichikov did not immediately notice him and made a mistake.
It was Nozdryov who informed everyone that Chichikov was trading "dead souls" with him, immediately swore that Chichikov was dearer to him than his own father, did not hesitate to confirm that Chichikov was going to steal the governor's daughter, then assured that Chichikov was a spy, and with he visited him and confessed his love and friendship.
8. From what motives does he act? (There is no calculation in his actions. And he acts out of purely “aesthetic” pleasure. The thirst to get everything instantly, without any mental costs, has become the main engine of life, suppressed all the properties of his human nature. The main refrain of his stories is “Oh, brother! How have a bite!")
9. How does Nozdryov behave when talking about dead souls? (Read this episode by role.)
10. What is the meaning of the appearance of the police captain at Nozdryov? (This appearance, perhaps, saves Chichikov's life. This visit can be correlated with the arrival of a real auditor in the comedy "The Government Inspector", that is, this is the beginning of Nozdryov's retribution.)
11. What is the attitude towards Nozdrev in society? (Nozdryov’s behavior does not shock anyone. Although his card frauds end in a scandal, and sometimes he returns home with only one sideburn. At the same time, he does not lose friendship with his friends, everyone takes his behavior for granted.
There is no one among the provincial authorities who would not have heard about Nozdryov's "weaknesses", but nevertheless, when ominous rumors spread that Chichikov was either Captain Kopeikin or Napoleon, rumors from which the officials almost went crazy , they again turned to Nozdryov. We decided to ask again carefully: what kind of person is Chichikov?
And again the author’s voice intrudes into the narrative: “These gentlemen are strange officials, and after them all other titles: after all, they knew very well that Nozdryov was a liar, that he could not be trusted in a single word, not in the trifle itself, but meanwhile they resorted to to him".
They cannot live without people like Nozdryov, just as he cannot live without them.)
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Image of Sobakevich.Vchapter
1. How does Gogol prepare the reader's meeting with Sobakevich? (The character of the hero begins to unfold before meeting him. Approaching the estate, Chichikov drew attention to a large wooden house with a mezzanine, a red roof and dark gray walls, “like those we build for military settlements and German colonists.” The courtyard is surrounded strong and thick wooden lattice. The master's buildings went "full-weight and thick logs, determined to stand for centuries." Even the well was built from such strong oak, "which goes only to mills and ships." The owner "took a lot of trouble about strength.")
2. How is he different from other landowners? (This is a prudent owner, a cunning tradesman, a tightfisted fist. He does not dream, like Manilov, does not go crazy like Nozdryov. Everything around him is solid, everything is in abundance (everything is ruined with Nozdryov). Korobochka’s stupidity is also not characteristic of him.
Everything in his village is sound, reliable, he knows the peasants perfectly, appreciates their labor qualities, skillfully advertises in order to sell the dead more profitably.
In the city, too, he will not be at a loss, he will not miss his profit anywhere. Gogol emphasizes in the hero strength, health, sedateness.
On this basis, some critics believed that this character was almost positive compared to others. Gogol saw it differently.)
3. What alerts readers to the description of Sobakevich's strong economy? (Comparison with barracks, prison, military settlement.)
4. What details of appearance emphasize the deadness of Sobakevich? (His appearance “nature”, that is, life, “chopped from the whole shoulder” - you can chop like a girl! This emphasizes the “wooden” (non-living) essence of the hero’s face. But the soul of a person is most of all reflected in the face!)
What did the “soul” of Sobakevich demand? (The requirements are only gastronomic, and, moreover, colossal - the whole pig, the whole ram, the whole goose. Gogol writes: there was no soul in this body at all.)
5. What is the role of describing the details of everyday life in revealing the image of Sobakevich? (The thing bears the imprint of the character of the person to whom it belongs, so the person and the inanimate object approach each other. One helps to better understand the other.
Students give examples: portraits of Greek generals and heroes attract attention, and among them is the “thin” Bagration, “extremely attentive” looking at the deal between Chichikov and Sobakevich. This emphasizes the distance between the real exploits, deeds and "deeds" of the heroes of the poem.)
6. Prepare an annotated reading of the bargaining scene. (Pay attention to the combination of the characters' inner speech with their statements, to Chichikov's inner monologue.)
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Plushkin image.VChapter I
1. What is the meaning of the name of this Gogol hero? (She emphasizes the “flattenedness”, the distortion of the hero and his soul. He has one concern - he collects all good and rots him, and even makes sure that no one steals. There is a lot of everything and everything disappears, decays, everything is in desolation.)
2. Let's read the description of Plyushkin's house and garden from the words: "The master's house began to show itself in parts ..." to the words: "... for a giant castle hung in an iron loop."
Let's pay attention to the details accompanying this description. Why is Plushkin's house compared to a castle? (This shows the irony of the author - knightly times have passed. There is nothing that would enliven this picture - everything seems to have died out here. The giant castle is a symbol of the owner's suspicion, which locks everything.)
3. Read and comment on the description of the portrait with the words: “His face did not represent anything special ...” (Plyushkin’s appearance is such that Chichikov, having seen him at the church, would not have resisted and filed a copper penny.
Plyushkin's first name is "figure". Chichikov does not understand who is in front of him - "a woman or a man", in any case, not a landowner. Chichikov thought it was the housekeeper. And one more important detail: Plyushkin's characterization is accompanied by the word "hole", for the author he turns into "a hole in humanity".)
There is another point of view: among all the landowners.
It is important for Gogol to show how a person has turned into a “hole in humanity”, so he reveals the character of the hero in development.)
7. Find details in the story about Plyushkin's past that alarm the reader, forcing him to foresee the terrible present of the hero. (The comparison with the "industrious spider" suggests that Gogol does not seek to turn Plyushkin into a tragic face. The writer ends his story about Plyushkin's past with the words: "... such a phenomenon rarely comes across in Russia ..." Spider, a phenomenon - these comparisons they talk about the deadness of Plyushkin's nature. Gogol directly calls Plyushkin's face "wooden", although one day "a warm beam - a pale reflection of feeling" glides on it.)
8. What reception was given to Chichikov at Plyushkin's? “I haven’t seen guests for a long time ...” and “Put the samovar, you hear, but take the key and give it to Mavra to go to the pantry ...”)
9. What is Plyushkin's reaction to Chichikov's proposal to "pay taxes for all the peasants"? Reading from the words: “The proposal seemed to completely astonish Plyushkin. He widened his eyes and looked at him for a long time ... "
10. Why, after such a reception, was Chichikov "in the most cheerful mood"? (A real gift for him was not only the dead, but also the fugitives "only two hundred and a half people", bought at a price of 30 kopecks.)
11. Why, in your opinion, does the image of a landowner appear on the pages dedicated to Plyushkin, reveling, as they say, “through life”? What does this landowner and Plyushkin have in common, despite the difference in their characters and way of life? (Gogol interrupted the story of the miser with a description of the opposite type - a nobleman who plundered the labor of the people in a different way. The writer knew many such cases, and his words about “wild and threatening violent lighting in this world” and “terrible sky” express a premonition of an impending catastrophe for the noble class .)
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Why is Sobakevich praising dead peasants? 1
In Chapter V, Chichikov ends up with the landowner Sobakevich, a cunning, economic and tight-fisted man. Chichikov asks him to set a price for dead souls, that is, for peasants who have died, but are still on the revision lists, And he hears in response a fantastic figure: "one hundred rubles apiece!"
Chichikov cautiously reminds that these are not people, they died long ago and “one sound that is not tangible by the senses” remains. But Sobakevich ignores these considerations.
“Milishkin, a bricklayer, could put a stove in any house. Maxim Telyatnikov, shoemaker: whatever pricks with an awl, then boots, that boots, then thank you, and even if it’s drunk in your mouth! And Eremey Sorokoplekhin! yes, this peasant alone will stand for everyone, he traded in Moscow, he brought one quitrent for five hundred rubles. After all, what a people! This is not something that some Plyushkin will sell you, ”he praises his product.
Sobakevich's rantings at one time baffled the critic of Shevyrev: “... It seems unnatural to us that Sobakevich, a positive and respectable person, should begin to praise his dead souls and embark on such a fantasy. Rather, Nozdryov could have been carried away by her, if such a thing had worked out with him. Indeed, why should Sobakevich praise the dead peasants?
The practical mind of Sobakevich, his fraudulent cunning and savvy are beyond doubt. One can also assume his conscious intention to mock Chichikov - but still this is nothing more than an assumption. Gogol deliberately does not reveal the inner world of his hero, his true feelings and thoughts.
There was no need for Sobakevich to deceive the chairman. It wasn't even safe to say that. And yet Sobakevich cannot resist again indulging in his "fantasies" about the peasants sold to Chichikov.
It is natural to assume that Sobakevich to some extent really believes in what he says. Approximately as Khlestakov believed that he once managed the department and that he himself was afraid of the State Council, And it is easy to believe in the dignity of the peasants: they were really talented and hardworking, they ensured the life and life of the masters. Shevyrev called Sobakevich's behavior unnatural. But in fact, the whole inimitable comedy of Sobakevich's speeches lies in their complete naturalness, in the fact that he, with complete naivety and innocence, tells things that are obviously absurd. And that is why Sobakevich is "not afraid" of the chairman; that is why he was not embarrassed by the reminder of the interlocutor that Mikheev had died. A notorious deceiver, perhaps, this exposure would have baffled. But Sobakevich got out of a difficult situation with the same ease with which Khlestakov “rejected” the objection that Zagoskin wrote “Yuri Miloslavsky”: “... This is true, this is exactly Zagoskin; but there is another Yuri Miloslavsky, so that one is mine. Compare the logic of Sobakevich's answer: it is certain that Mikheev died, but his brother is alive and has become healthier than before...
And is Sobakevich the only one in Gogol's poem who believes in the obviously improbable and absurd?
For example, Korobochka, a prudent and practical landowner. Soon after the departure of Chichikov, who bought dead souls from her, she “felt such anxiety about what might happen on the part of his deceit that, without sleeping for three nights in a row, she decided to go to the city ...”.
Why did she worry, what kind of “deception” did she suspect? another, sane person would think with alarm about Chichikov: was it not some kind of madman who came, obsessed with a crazy idea?
But Box's anxiety is of a different kind. She is tormented by the thought of whether she sold cheap, whether the visitor deceived her, and Korobochka goes to the city "to find out for sure how much dead souls go." And this means that the very unusualness of the goods does not bother her, that she is ready to believe even in "dead souls", if they are in demand on the market.