Lyrical digressions by chapter. Analysis of lyrical digressions in the poem by N.V. Gogol's "Dead Souls" educational and methodological material on literature (grade 9) on the topic. Love for the Motherland in Digressions
Analyzing Gogol’s “Dead Souls,” Belinsky noted the “deep, comprehensive and humane subjectivity” of the poem, subjectivity that does not allow the author “with apathetic indifference to be alien to the world he depicts, but forces him to conduct living phenomena of the external world through his soul, and through then I can breathe my soul into them...”
It was no coincidence that Gogol considered his work a poem. Thus, the writer emphasized the breadth and epic nature of the narrative, the importance of the lyrical principle in it. The same thing was noted by the critic K. Aksakov, who saw in the poem “an ancient, Homeric epic.” “It may seem strange to some that Gogol’s faces change without any particular reason... It is epic contemplation that allows this calm appearance of one face after another without external connection, while one world embraces them, connecting them deeply and inextricably with internal unity,” wrote critic.
The epic nature of the narrative, internal lyricism - all this was a consequence of Gogol’s creative ideas. It is known that the writer planned to create a large poem similar to Dante's Divine Comedy. The first part (volume 1) was supposed to correspond to “Hell”, the second (volume 2) to “Purgatory”, the third (volume 3) to “Paradise”. The writer thought about the possibility of Chichikov’s spiritual rebirth, about the appearance in the poem of characters who embodied the “countless wealth of the Russian spirit” - “a husband gifted with divine virtues,” “a wonderful Russian maiden.” All this gave the story a special, deep lyricism.
The lyrical digressions in the poem are very diverse in their themes, pathos and moods. Thus, describing Chichikov’s journey, the writer draws our attention to many details that perfectly characterize the life of the Russian province. For example, the hotel where the hero stayed was “of a well-known type, that is, exactly the same as there are hotels in provincial cities, where for two rubles a day travelers get a quiet room with cockroaches peeking out like prunes from all corners.”
The “common room” where Chichikov goes is well known to every passer-by: “the same walls, painted with oil paint, darkened at the top from pipe smoke,” “the same smoked chandelier with many hanging pieces of glass that jumped and rang every time the floor servant ran on worn oilcloths,” “the same paintings covering the entire wall, painted with oil paints.”
Describing the governor's party, Gogol talks about two types of officials: “fat” and “thin.” “Thin” in the author’s view are dandies and dandies hanging around the ladies. They are often prone to extravagance: “for three years, the thin one does not have a single soul left that is not pawned in a pawnshop.” Fat people are sometimes not very attractive, but they are “thorough and practical”: they never “take indirect places, but are all straight, and if they sit somewhere, they will sit securely and firmly...”. Fat officials are “the true pillars of society”: “having served God and the sovereign,” they leave the service and become famous Russian bars and landowners. The author's satire is obvious in this description: Gogol perfectly understands what this “official service” was like, which brought a person “universal respect.”
The author often accompanies the narrative with general ironic remarks. For example, when talking about Petrushka and Selifan, Gogol notes that it is inconvenient for him to occupy the reader with low-class people. And further: “This is how a Russian person is: a strong passion to become arrogant with someone who would be at least one rank higher than him, and a casual acquaintance with a count or prince is better for him than any close friendly relations.”
In lyrical digressions, Gogol talks about literature, writing, and various artistic styles. These arguments also contain the author's irony; one can discern the hidden polemic of the realist writer with romanticism.
Thus, depicting the character of Manilov, Gogol ironically notes that it is much easier to depict large characters, generously throwing paints onto the canvas: “black scorching eyes, drooping eyebrows, a wrinkled forehead, a cloak black or scarlet like fire thrown over a shoulder - and a portrait ready...". But it is much more difficult to describe not romantic heroes, but ordinary people, “who look very similar to each other, but when you look closely, you will see many of the most elusive features.”
Elsewhere, Gogol talks about two types of writers, meaning a romantic writer and a realistic satirist writer. “A wonderful destiny is enviable” for the first, who prefers to describe sublime characters that demonstrate the “high dignity of man.” But this is not the fate of the second, “who dared to bring out all the terrible, stunning mud of little things that entangle our lives, all the depth of the cold, fragmented, everyday characters with which our earthly, sometimes bitter and boring road is teeming.” “His field is harsh,” and he cannot escape the modern court, which considers his works “an insult to humanity.” There is no doubt that Gogol is talking here about his own fate.
Gogol satirically describes the way of life of Russian landowners. So, talking about the pastime of Manilov and his wife, Gogol remarks, as if in passing: “Of course, one could notice that there are many other activities in the house, besides long kisses and surprises... Why, for example, is it stupid and useless to cook in the kitchen ? Why is the pantry pretty empty? Why is a thief a housekeeper? ...But all these are low subjects, and Manilova was brought up well.”
In the chapter dedicated to Korobochka, the writer talks about the “extraordinary ability” of the Russian person to communicate with others. And here comes the author's outright irony. Noting Chichikov’s rather unceremonious treatment of Korobochka, Gogol notes that the Russian man has surpassed the foreigner in the ability to communicate: “it is impossible to count all the shades and subtleties of our treatment.” Moreover, the nature of this communication depends on the size of the interlocutor’s fortune: “we have such wise men who will speak completely differently to a landowner who has two hundred souls than to one who has three hundred...”.
In the chapter on Nozdrev, Gogol touches on the same topic of “Russian communication,” but in a different, more positive, aspect of it. Here the writer notes the unique character of the Russian person, his good nature, easygoingness, and gentleness.
Nozdryov’s character is quite recognizable - he is a “broken fellow”, a reckless driver, a reveler, a gambler and a rowdy. He has a habit of cheating while playing cards, for which he is repeatedly beaten. “And what’s strangest of all,” Gogol notes, “which can only happen in Rus' alone, after a while he already met again with those friends who were pestering him, and they met as if nothing had happened, and he, as they say, nothing, and they are nothing.”
In the author’s digressions, the writer also talks about the Russian noble class, shows how far these people are from everything Russian, national: from them “you won’t hear a single decent Russian word,” but they will be endowed with French, German, English in such quantities that you won’t even if you want." High society worships everything foreign, forgetting its original traditions and customs. The interest of these people in national culture is limited to the construction of a “hut in Russian taste” at their dacha. The author's satire is obvious in this lyrical digression. Gogol here calls on his compatriots to be patriots of their country, to love and respect their native language, customs and traditions.
But the main theme of the lyrical digressions in the poem is the theme of Russia and the Russian people. Here the author’s voice becomes excited, the tone becomes pathetic, irony and satire recede into the background.
In the fifth chapter, Gogol glorifies the “living and lively Russian mind,” the extraordinary talent of the people, and the “aptly spoken Russian word.” Chichikov, asking a man he met about Plyushkin, receives a comprehensive answer: “... patched, patched! - the man exclaimed. He also added a noun to the word “patched”, which is very successful, but not commonly used in social conversation...” “The Russian people are expressing themselves strongly! - exclaims Gogol, “and if he rewards someone with a word, then it will go to his family and posterity, he will drag him with him into service, and into retirement, and to St. Petersburg, and to the ends of the world.”
The image of the road that runs through the entire work is very important in lyrical digressions. The theme of the road appears already in the second chapter, in the description of Chichikov’s trip to Manilov’s estate: “As soon as the city went back, they began to write, according to our custom, nonsense and game on both sides of the road: hummocks, a spruce forest, low thin bushes of young pines, charred trunks old, wild heather and similar nonsense.” In this case, this picture is the background against which the action takes place. This is a typical Russian landscape.
In the fifth chapter, the road reminds the writer of the joys and sorrows of human life: “Everywhere, across whatever sorrows from which our life is woven, brilliant joy will rush merrily, like sometimes a brilliant carriage with golden harness, picture horses and the sparkling shine of glass suddenly and unexpectedly will rush past some dead poor village..."
In the chapter about Plyushkin, Gogol discusses the susceptibility of people of different ages to life impressions. The writer here describes his childhood and youthful feelings associated with the road, with travel, when everything around him aroused keen interest and curiosity in him. And then Gogol compares these impressions with his current indifference, cooling towards the phenomena of life. The author’s reflection ends here with a sad exclamation: “Oh my youth! oh my freshness!
This reflection of the author imperceptibly turns into the idea of how a person’s character and inner appearance can change with age. Gogol talks about how a person can change in old age, to what “insignificance, pettiness, disgusting” he can reach.
Both author’s digressions here echo the image of Plyushkin, with the story of his life. And therefore, Gogol’s thought ends with a sincere, excited appeal to readers to preserve in themselves the best that is characteristic of youth: “Take with you on the journey, emerging from the soft youthful years into stern, embittering courage, take with you all human movements, do not leave them behind.” road, you won’t get up later! The old age coming ahead is terrible, terrible, and nothing gives back and back!
The first volume of Dead Souls ends with a description of the troika rapidly flying forward, which is a real apotheosis of Russia and the Russian character: “And what Russian doesn’t like driving fast? Is it possible for his soul, striving to get dizzy, to go on a spree, to sometimes say: “Damn it all!” - Is it his soul not to love her? ...Oh, three! bird-three, who invented you? to know, you could have been born to a lively people, in that land that does not like to joke, but has spread out smoothly across half the world... Rus', where are you rushing to? give me the answer. Doesn't give an answer. The bell rings with a wonderful ringing; The air, torn into pieces, thunders and becomes the wind; “everything that is on earth flies past, and, looking askance, other peoples and states move aside and give way to it.”
Thus, the lyrical digressions in the poem are varied. These are satirical sketches of Gogol, and pictures of Russian life, and the writer’s thoughts about literature, and ironic observations on the psychology of the Russian person, the peculiarities of Russian life, and pathetic thoughts about the future of the country, about the talent of the Russian people, about the breadth of the Russian soul.
Lyrical digressions in the poem "Dead Souls" play a huge role. They entered the structure of this work so organically that we can no longer imagine the poem without the author’s magnificent monologues. What is the role of lyrical digressions in the poem? Agree, thanks to their presence, we constantly feel the presence of Gogol, who shares with us his experiences and thoughts about this or that event. In this article we will talk about lyrical digressions in the poem “Dead Souls” and talk about their role in the work.
The role of lyrical digressions
Nikolai Vasilyevich becomes not just a guide leading the reader through the pages of the work. He is more of a close friend. The lyrical digressions in the poem “Dead Souls” encourage us to share with the author the emotions that overwhelm him. Often the reader expects that Gogol, with his inimitable humor, will help him overcome the sadness or indignation caused by the events in the poem. And sometimes we want to know Nikolai Vasilyevich’s opinion on what is happening. The lyrical digressions in the poem "Dead Souls", in addition, have great artistic power. We enjoy every image, every word, admiring their beauty and accuracy.
Opinions on lyrical digressions expressed by Gogol's famous contemporaries
Many of the author's contemporaries appreciated the work "Dead Souls". The lyrical digressions in the poem also did not go unnoticed. Some famous people have spoken out about them. For example, I. Herzen noted that the lyrical passage illuminates and enlivens the narrative in order to be replaced again by a picture that reminds us even more clearly of the hell we are in. The lyrical beginning of this work was also highly appreciated by V. G. Belinsky. He pointed to the humane, comprehensive and deep subjectivity that reveals in the artist a person with a “nice soul and a warm heart.”
Thoughts shared by Gogol
With the help of lyrical digressions, the writer expresses his own attitude not only to the events and people he describes. They contain, in addition, an affirmation of the high purpose of man, the significance of great social interests and ideas. The source of the author's lyricism is thoughts about serving his country, about its sorrows, destinies and hidden gigantic forces. This manifests itself regardless of whether Gogol expresses his anger or bitterness at the insignificance of the characters he depicts, whether he speaks about the role of the writer in modern society, or about the lively, lively Russian mind.
First retreats
With great artistic tact, Gogol included extra-plot elements in the work “Dead Souls”. The lyrical digressions in the poem are at first only Nikolai Vasilyevich’s statements about the heroes of the work. However, as the story progresses, the themes become more varied.
Gogol, having talked about Korobochka and Manilov, interrupts his narrative for a while, as if he wants to step aside for a while so that the reader can better understand the picture of life he has drawn. For example, the digression that interrupts the story about Korobochka Nastasya Petrovna in the work contains a comparison of her with a “sister” belonging to an aristocratic society. Despite her slightly different appearance, she is no different from the local mistress.
Beautiful blonde
Chichikov, on the road after visiting Nozdryov, meets a beautiful blonde on his way. The description of this meeting ends with a wonderful lyrical digression. Gogol writes that everywhere on the way a person will encounter at least once a phenomenon that is unlike anything he has seen before, and will awaken in him a new feeling, not similar to the usual ones. However, this is completely alien to Chichikov: the cold caution of this hero is compared with the manifestation of feelings inherent in man.
Digressions in chapters 5 and 6
The lyrical digression at the end of the fifth chapter is of a completely different nature. The author here is not talking about his hero, not about his attitude towards this or that character, but about the talent of the Russian people, about a powerful man living in Rus'. as if not connected with the previous development of the action. However, it is very important for revealing the main idea of the poem: true Russia is not boxes, nozdryovs and dogevichs, but the element of the people.
Closely connected with lyrical statements dedicated to the people's character and the Russian word is the inspired confession about youth, about Gogol's perception of life, which opens the sixth chapter.
The angry words of Nikolai Vasilyevich, which have a generalizing effect, interrupt the narrative about Plyushkin, who embodied base feelings and aspirations with the greatest force. Gogol is indignant about the “nastiness, pettiness and insignificance” a person could reach.
The author's reasoning in Chapter 7
Nikolai Vasilyevich begins the seventh chapter with discussions about the life and creative destiny of the writer in the society contemporary to him. He talks about two different destinies that await him. A writer can become a creator of “exalted images” or a satirist or realist. This lyrical digression reflects Gogol’s views on art, as well as the author’s attitude towards the people and the ruling elite in society.
"Happy traveler..."
Another digression, beginning with the words “Happy is the traveler...”, is an important stage in the plot development. It separates one part of the story from another. Nikolai Vasilyevich’s statements illuminate the meaning and essence of both the preceding and subsequent paintings of the poem. This lyrical digression is directly related to the folk scenes depicted in the seventh chapter. It plays a very important role in the composition of the poem.
Statements about classes and ranks
In the chapters devoted to the depiction of the city, we come across Gogol’s statements about classes and ranks. He says they are so "annoyed" that everything in a printed book seems "personal" to them. Apparently, this is the “disposition in the air”.
Reflections on human fallacies
We see lyrical digressions of the poem “Dead Souls” throughout the narrative. Gogol ends his description of the general confusion with reflections on the false paths of man, his delusions. Humanity has made many mistakes in its history. The current generation laughs at this arrogantly, although it itself is beginning a whole series of new misconceptions. His descendants in the future will laugh at the present generation.
Last retreats
Gogol's civic pathos reaches particular strength in the retreat "Rus! Rus!...". It shows, like the lyrical monologue placed at the beginning of the 7th chapter, a clear line between the links of the narrative - the story about the origin of the main character (Chichikov) and the city scenes. Here the theme of Russia has already been widely developed. It is “unwelcoming, scattered, poor.” However, this is where heroes are born. The author then shares with us the thoughts that were inspired by the rushing troika and the distant road. Nikolai Vasilyevich paints pictures of his native Russian nature one after another. They appear before the eyes of a traveler racing along an autumn road on fast horses. Despite the fact that the image of the three-bird has been left behind, in this lyrical digression we feel it again.
The story about Chichikov ends with a statement from the author, which is a sharp objection to whom the main character and the entire work as a whole, depicting the “despicable and bad,” can shock.
What do lyrical digressions reflect and what remains unanswered?
The author’s sense of patriotism is reflected in the lyrical digressions in N.V. Gogol’s poem “Dead Souls.” The image of Russia that completes the work is covered with deep love. He embodied the ideal that illuminated the artist’s path when depicting vulgar petty life.
Speaking about the role and place of lyrical digressions in the poem “Dead Souls,” I would like to note one interesting point. Despite the author's numerous arguments, the most important question for Gogol remains unanswered. And the question is, where is Rus' heading? You will not find the answer to it by reading the lyrical digressions in Gogol's poem "Dead Souls." Only the Almighty could know what awaited this country, “inspired by God,” at the end of the road.
I. Gogol called “Dead Souls” a poem, thereby emphasizing the equality of the lyrical and epic principles: narration and lyrical digressions (see Belinsky on the pathos of “subjectivity” in terms of “Genre originality of “Dead Souls”). I. Two main types of lyrical digressions in the poem: 1. Digressions associated with the epic part, with the task of showing Rus' “from one side.” 2. Digressions contrasted with the epic part, revealing the positive ideal of the author. 1. Digressions associated with the epic part serve as a means of revealing characters and generalizing them. 1) Digressions revealing the images of officials. - A satirical digression about fat and thin typifies the images of officials. The antithesis on which this digression is based correlates with the general problem of the poem (the death of the soul): it is physical qualities that are the main ones in a person, determining his fate and behavior. Men here, as elsewhere, were of two kinds: some thin, who all hovered around the ladies; some of them were of such a kind that it was difficult to distinguish them from those from St. Petersburg... The other type of men were fat or the same as Chichikov, that is, not too fat, but not thin either. These, on the contrary, looked askance and backed away from the ladies and only looked around to see if the governor’s servant was setting up a green table for whist... These were honorary officials in the city. Alas! fat people know how to manage their affairs in this world better than thin people. The thin ones serve more on special assignments or are just registered and wander here and there; their existence is somehow too easy, airy and completely unreliable. Fat people never occupy indirect places, but all are straight, and if they sit somewhere, they will sit securely and firmly, so that the place will sooner crack and bend under them, and they will not fly off. (Chapter I) - The images of officials and Chichikov are also revealed in digressions: - about the ability to address: It must be said that in Rus', if we have not yet kept up with foreigners in some other respects, then we have far surpassed them in the ability to address... in our country There are such wise men who will speak to a landowner who has two hundred souls completely differently than to one who has three hundred, and to one who has three hundred they will again speak differently than to one who has five hundred. and with the one who has five hundred of them, again it is not the same as with the one who has eight hundred of them - in a word, even if you go up to a million, there will be shades of everything. The author paints an image of a certain conventional ruler of the office, in which he takes rank and understanding of subordination to the grotesque, to the point of reincarnation: I ask you to look at him when he sits among his subordinates, but you simply cannot utter a word out of fear! pride and nobility, and what does his face not express? just take a brush and paint: Prometheus, determined Prometheus! Looks out like an eagle, acts smoothly, measuredly. The same eagle, as soon as he left the room and approaches the office of his boss, is in such a hurry like a partridge with papers under his arm that there is no urine. (Chapter III) - about a millionaire: A millionaire has the advantage that he can see completely disinterested meanness, pure meanness, not based on any calculations... (Chapter VIII) - about hypocrisy: This happens on the faces of officials during an inspection by a visiting boss entrusted to the management of their places: after the first fear had already passed, they saw that he liked a lot, and he himself finally deigned to joke, that is, to utter a few words with a pleasant grin... (Chapter VIII) - about the ability to conduct conversations with ladies : To our greatest regret, it must be noted that sedate people and occupying important positions are somehow a little difficult in conversations with ladies; for this, masters, gentlemen, lieutenants, and no further than the ranks of captains... (Chapter VIII) 2) A group of lyrical digressions generalizes the characters of landowners, elevates particular phenomena to more general phenomena. - MANILOV: There is a kind of people known by the name: so-so people, neither this nor that, neither in the city of Bogdan, nor in the village of Selifan, according to the proverb. (Chapter II) - MANILOVA's wife LIZA (about boarding schools): And a good education, as you know, comes from boarding schools. And in boarding houses, as you know, three main subjects form the basis of human virtues: the French language, necessary for the happiness of family life, the piano, for bringing pleasant moments to the spouse, and, finally, the actual economic part: knitting wallets and other surprises. However, there are various improvements and changes in methods, especially in modern times; all this depends more on the prudence and abilities of the boarding house owners themselves. In other boarding houses it happens that first the piano, then the French language, and then the economic part. (Chapter II) - Speaking about Korobochka, Gogol uses the technique of several stages of generalization: 1) see the digression about landowners like Korobochka in the topic “Means of revealing characters in Dead Souls.” 2) comparison of the landowner with “her aristocratic sister”: Maybe you will even begin to think: come on, is Korobochka really standing so low on the endless ladder of human improvement? Is the gulf separating her from her sister, inaccessibly fenced in by the walls of an aristocratic house, really so great? .. (Chapter III) 3) A very broad generalization is given through an apparent illogicality: However, Chichikov was angry in vain: he is a respectable and even a statesman, but in reality he turns out to be a perfect Korobochka. Once you’ve got something in your head, you can’t overpower it with anything; No matter how much you present him with arguments, clear as day, everything bounces off him, like a rubber ball bounces off a wall. (Chapter III) - NOZDREV: Maybe they will call him a beaten character, they will say that now Nozdrev is no longer there. Alas! those who speak like this will be unjust. Nozdryov will not leave the world for a long time. He is everywhere between us and, perhaps, only wears a different caftan; but people are frivolously undiscerning, and a person in a different caftan seems to them a different person. (Chapter IV) - Nozdrev's son-in-law MIZHUEV: Blonde was one of those people in whose character, at first glance, there is some kind of stubbornness... But it will always end with the fact that their character will turn out to be soft, that they will agree precisely to what rejected, they will call the stupid thing smart and go off to dance in the best possible way to someone else’s tune - in a word, they will start as a smooth thing and end up as a viper. (Chapter IV) - SOBAKEVICH: Were you really born a bear or have you been bearded by provincial life, grain crops, fussing with peasants, and through them you have become what is called a man - a fist?.. No, whoever is a fist cannot straighten up. in the palm of your hand! And if you straighten your fist with one or two fingers, it will turn out even worse. If he tasted the top of some science, he would let all those who had actually learned some science know later, having taken a more prominent place. (Chapter V) - Only PLYUSHKIN is an atypical phenomenon. The lyrical digression in Chapter VI is built on negation, the generalization is given as if by contradiction: It must be said that such a phenomenon rarely comes across in Rus', where everything likes to unfold rather than shrink. 3) In addition, there are digressions on everyday topics that are close to the epic part in pathos and language and also serve as a means of generalization: - about food and stomachs of middle-class gentlemen: The author must admit that he is very envious of the appetite and stomach of this kind of people. For him, all the gentlemen of great hands who live in St. Petersburg and Moscow, who spend time thinking about what to eat tomorrow and what kind of dinner to create for the day after tomorrow, mean absolutely nothing... (Chapter IV) - about scientific reasoning and discoveries: Our brothers , smart people, as we call ourselves, do almost the same, and our scientific reasoning serves as proof. (Chapter IX) - about human strangeness: Come and make peace with man! does not believe in God, but believes that if the bridge of his nose itches, he will certainly die... (Chapter X) From the analysis carried out it is clear that in Gogol’s works we are not dealing with traditional typification, but rather with a generalization, universalization of phenomena. 2. Digressions contrasted with the epic part, revealing the positive ideal of the author. 1) Lyrical digressions about Russia (Rus), linking together the themes of the road, the Russian people and the Russian word. - a digression about the aptly spoken Russian word in Chapter V (see “Folk images, the image of the people, the nationality of “Dead Souls”). - about barge haulers (the image of the people): And really, where is Fyrov now? He walks noisily and cheerfully on the grain pier, having arranged himself with the merchants. Flowers and ribbons on the hat, the whole gang of barge haulers is having fun, saying goodbye to their mistresses and wives, tall, stately, in monasteries and ribbons; round dances, songs, the whole square is in full swing... and the entire grain arsenal looms large until it is all loaded into deep marmot ships and the goose and people rush off into the endless valley. That's where you'll work hard, barge haulers! and together, as before they walked and raged, you will set to work and sweat, dragging the strap under one endless song, like Rus'. (Chapter VII) - about the troika bird (author’s spelling): Eh, troika! bird troika, who invented you?.. Aren’t you, Rus', like a lively, unstoppable troika, rushing?.. Rus', where are you rushing, give me the answer? Doesn't give an answer. The bell rings with a wonderful ringing; The air, torn into pieces, thunders and becomes the wind; everything that is on earth flies past, and other peoples and states sidestep and give way to it. (Chapter XI) How strange, and alluring, and carrying, and wonderful in the word: road! how wonderful it is, this road: a clear day, autumn leaves, cold air... tighter in your travel overcoat, a hat over your ears, you will press closer and more comfortably to the corner!.. And the night? heavenly powers! what a night is taking place on high! And the air, and the sky, distant, high, there, in its inaccessible depths, so vastly, sonorously and clearly spread out!.. God! how beautiful you are sometimes, long, long way! How many times, like someone dying and drowning, have I grabbed onto you, and each time you generously carried me out and saved me! And how many wonderful ideas, poetic dreams were born in you, how many wondrous impressions were felt!.. (Chapter XI) - about Rus' and its heroes: Rus'! Rus! I see you, from my wonderful, beautiful distance I see you: poor, scattered and uncomfortable in you; The daring divas of nature, crowned by the daring divas of art, will not amuse or frighten the eyes. .. Everything in you is open, deserted and even; like dots, like icons, your low cities stick out inconspicuously among the plains; nothing will seduce or enchant the eye. But what incomprehensible, secret force attracts you? Why is your melancholy song heard and heard incessantly in your ears, rushing along your entire length and width, from sea to sea? What is in it, in this song?.. What does this vast expanse prophesy? Isn’t it here, in you, that a boundless thought will be born, when you yourself are endless? Shouldn't a hero be here when there is room for him to turn around and walk? And a mighty space envelops me menacingly, reflecting with terrible force in my depths; My eyes lit up with unnatural power: oh! what a sparkling, wonderful, unknown distance to the earth! Rus'!.. (Chapter XI) 2) Lyrical digressions on philosophical topics, approaching in language the lyrical digressions associated with a positive ideal. - about the inconsistency of life: whether Korobochka, or Manilov, whether life is dual or uneconomical - ignore them! This is not how the world works wonderfully: what is cheerful will instantly turn into sadness if you just stand in front of it for a long time; and then God knows what comes to mind. If at that time you had come across instead of Chichikov some twenty-year-old youth, whether he was a hussar, a student, or simply someone who had just begun the career of life, - and God! no matter what woke up, moved, or spoke in him!.. (Chapter V) Today’s ardent young man would jump aside in horror if they showed him a portrait of himself in old age. Take with you on the journey, emerging from the soft youthful years into stern, embittering courage, take with you all human movements, do not leave them on the road, you will not pick them up later!.. (Chapter VI) - about old age: Terrible, terrible is the old age that lies ahead , and doesn’t give anything back and forth! (Chapter VI) III. In addition, we can highlight a number of digressions that reveal the author’s views on artistic creativity: - About two types of writers. Based on this digression, Nekrasov’s poem “Blessed is the gentle poet” (on the death of Gogol) was written. Happy is the writer who, past characters that are boring, disgusting, and striking with their sad reality, approaches characters that demonstrate the high dignity of a person who, from the great pool of daily rotating images, has chosen only a few exceptions, who has never changed the sublime structure of his lyre... There is no equal in his power - he is God! But this is not the fate, and the fate of the writer, who dared to call out everything that is every minute before the eyes and which indifferent eyes do not see, is different - all the terrible, stunning mud of little things that entangle our lives, all the depth of the cold, fragmented, everyday characters with which ours teems. earthly, sometimes bitter and boring road, and with the strong power of an inexorable chisel, who dared to expose them prominently and brightly to the eyes of the people! He cannot gather popular applause, he cannot ripen the grateful tears and unanimous delight of the souls excited by him... (Chapter VII) - The digression about the portrait of heroes in Chapter II is connected with the problem of method. It is built on an antithesis: the romantic hero (portrait) is an ordinary, unremarkable hero. It is much easier to depict large characters: there, simply throw paint from your entire hand onto the canvas, black scorching eyes, drooping eyebrows, a wrinkled forehead, a cloak black or scarlet as fire thrown over your shoulder, and the portrait is ready; but all these gentlemen, of whom there are many in the world, who look very similar to each other, and yet, when you look closely, you will see many of the most elusive features - these gentlemen are terribly difficult for portraits. Here you will have to greatly strain your attention until you force all the subtle, almost invisible features to appear before you, and in general you will have to deepen your gaze, already sophisticated in the science of prying. (Chapter II) - In a lyrical digression about the language of a work of art, the principle of democratization of language is declared, the author opposes its artificial “ennoblement”. Guilty! It seems that a word that was noticed on the street came out of our hero’s mouth. What to do? Such is the position of the writer in Rus'! However, if a word from the street ends up in a book, it’s not the writer’s fault, it’s the readers, and above all the readers of high society: from them you won’t be the first to hear a single decent Russian word, but they will probably endow you with French, German and English in such quantities, whatever you want. (Chapter VIII) See also “Female images in The Inspector General and Dead Souls.” - About the choice of a hero: But a virtuous person is still not chosen as a hero. And you can even say why it wasn’t taken. Because it’s time to finally give rest to the poor virtuous man, because the word idly spins on his lips: a virtuous man, because they turned a virtuous man into a workhorse, and there is no writer who would not ride him, urging him on with a whip and with everything that came his way. ; because they have starved a virtuous man to such an extent that now there is not even a shadow of virtue on him, and only ribs and skin instead of a body remain... because they do not respect a virtuous man. No, it’s time to finally hide the scoundrel too. So, let's harness the scoundrel! (Chapter XI) Gogol claims the role of the main character of the antihero (see “Genre originality of “Dead Souls”). - About creative plans, about a positive ideal: But... maybe in this very story one will sense other, hitherto unstrung strings, the untold wealth of the Russian spirit will appear, a husband gifted with divine virtues will pass, or a wonderful Russian maiden, such as one cannot find nowhere in the world, with all the wondrous beauty of a woman’s soul, all of generous aspiration and selflessness. And all the virtuous people of other tribes will appear dead before them, just as a book is dead before a living word!.. But why and why talk about what lies ahead? It is indecent for the author, who has long been a husband, brought up by a harsh inner life and the refreshing sobriety of solitude, to forget himself like a young man. Everything has its turn, place and time! (Chapter XI) See also about the plan “The plot and composition of “Dead Souls”. - The author is aware of his lofty mission: And for a long time it is determined for me by the wonderful power to walk hand in hand with my strange heroes, to look around at the whole enormously rushing life, to look at it through laughter visible to the world and invisible, unknown to him tears! And the time is still far off when, in another key, a menacing blizzard of inspiration will rise from the chapter, clothed in holy horror and splendor, and in confused trepidation they will sense the majestic thunder of other speeches... (Chapter VII) IV. Unlike Pushkin, Gogol has no autobiographical digressions, except for the poetic “Oh my youth, oh my freshness!”, but it is also of a general philosophical nature: Before, long ago, in the years of my youth, in the years of my irrevocably flashed childhood, I had fun approaching an unfamiliar place for the first time... Now I indifferently approach any unfamiliar village and indifferently look at its vulgar appearance. (Chapter VI) V. From the point of view of the principle of artistic generalization, the lyrical digressions of “Dead Souls” can be divided into two types: 1. From the private, the author ascends to the national. ...but the author likes to be extremely thorough in everything and from this side, despite the fact that the man himself is Russian, he wants to be careful, like a German. (Chapter II) Such is the Russian man: a strong passion to become arrogant with someone who would be at least one rank higher than him... (Chapter II) Since the Russian man, in decisive moments, will find something to do without going into further considerations, then, turning right onto the first cross road, he [Selifan] shouted: “Hey, you, respectable friends!” - and set off at a gallop, thinking little about where the road taken would lead. (Chapter III) Here Nozdryov was promised many difficult and strong desires; There were even some bad words. What to do? A Russian man, and in his heart too! (Chapter V) Selifan felt his mistake, but since a Russian person does not like to admit to another that he is to blame, he immediately said, poised: “Why are you jumping around like that? did he put his eyes in a tavern, or what?” (Chapter V) The guest and the host each drank a glass of vodka and ate, as the whole of vast Russia eats in cities and villages. .. (Chapter V) In Rus', lower societies are very fond of talking about gossip that happens in higher societies... (Chapter IX) What did this scratching mean? and what does it even mean?.. Scratching one’s head means many different things to the Russian people. (Chapter X) See also digressions about Plyushkin and Sobakevich. - Russia in “Dead Souls” is a special world, living according to its own laws. Its wide open spaces give rise to broad natures. ...she [the governor] was holding by the arm a young sixteen-year-old girl, a fresh blonde with thin, slender features, a sharp chin, and a charmingly round oval face, the kind an artist would take as a model for the Madonna and which is only rarely seen in Rus', where loves everything to appear in a wide size, everything that is: mountains, and forests, and steppes, and faces, and lips, and legs. (Chapter VIII) And what Russian doesn’t like driving fast? Is it possible for his soul, trying to get dizzy, to go on a spree, to sometimes say: “damn it all!” - Is it his soul not to love her? (Chapter XI) 2. Through the all-Russian, national, the path to the universal lies. Many phenomena of life are recognized by the author as universal (see philosophical digressions). We find a global generalization of the historical and philosophical plan in a lyrical digression about the fate of mankind: And in the world chronicle of mankind there are many entire centuries that, it would seem, were crossed out and destroyed as unnecessary. Many mistakes have been made in the world that, it would seem, even a child would not do now. What crooked, deaf, narrow, impassable roads that lead far to the side have been chosen by mankind, striving to achieve eternal truth, while the straight path was open to them, like the path leading to the magnificent temple assigned to the king’s palace! (Chapter X) All universal generalizations are in one way or another connected with the plot-forming motif of the road (see “The Plot and Composition of Dead Souls”). VI. Gogol's poem is built on the thematic and stylistic opposition of the epic and lyrical principles. Often this antithesis is specially emphasized by Gogol, and he collides two worlds: And a mighty space threateningly embraces me, reflecting with terrible force in my depths; My eyes lit up with unnatural power: oh! what a sparkling, wonderful, unknown distance to the earth! Rus'!.. “Hold it, hold it, you fool!” - Chichikov shouted to Selifan. “Here I am with a broadsword!” - shouted a courier galloping towards him with a mustache as long as an arshin. “Don’t you see, damn your soul: it’s a government carriage!” And, like a ghost, the troika disappeared with thunder and dust. How strange, and alluring, and carrying, and wonderful is the word: road! (Chapter XI) In general, speaking about the stylistic originality of lyrical digressions, we can note the features of romantic poetics. - conceptually: in contrast to youth and old age. See lyrical digressions on philosophical topics. - in artistic means (hyperbole, cosmic images, metaphors). See “Genre originality of “Dead Souls”. - the voice of the author, a romantic poet, with its intense, emotional intonation is also heard in the digression about the road: God! how beautiful you are sometimes, long, long way! How many times, like someone dying and drowning, have I grabbed onto you, and each time you generously carried me out and saved me! And how many wonderful ideas, poetic dreams were born in you, how many wondrous impressions were felt!.. (Chapter XI) VII. The compositional role of lyrical digressions. 1. Some chapters open with digressions: - a digression about youth in Chapter VI (“Before, long ago, in the years of my youth...”). - a digression on two types of writers in Chapter VII (“Happy is the writer...”). 2. Digressions can complete the chapter: - about the “aptly spoken Russian word” in Chapter V (“The Russian people express themselves strongly...”). - about “scratching the back of the head” in Chapter X (“What did this scratching mean? And what does it mean anyway?”) - about the “bird troika” at the end of the first volume (“Eh, troika, bird troika, who invented you?.. "). 3. A digression may precede the appearance of a new hero: a digression about youth in Chapter VI precedes the description of the village of Plyushkin. 4. Turning points in the plot can also be marked by lyrical digressions: - Describing Chichikov’s feelings when meeting the governor’s daughter, the author again reminds the reader of the division of people into fat and thin. It is impossible to say for sure whether a feeling of love has truly awakened in our hero - it is even doubtful that gentlemen of this kind, that is, not so fat, but not so thin, are capable of love; but despite all this, there was something so strange here, something of this kind, which he could not explain to himself... (Chapter VIII) - the author includes discussions about the ability of fat and thin gentlemen to entertain ladies in the description of another novel scenes: Chichikov's conversation with the governor's daughter at the ball. .. people who are sedate and occupy important positions are somehow a little difficult in conversations with ladies; for this, masters, gentlemen, lieutenants, and no further than the ranks of captains... This is noted here so that readers can see why the blonde began to yawn during our hero’s stories. (Chapter VIII) 5. Towards the end of the poem, the number of lyrical digressions associated with a positive ideal increases, which is explained by Gogol’s plan to build “Dead Souls” on the model of Dante’s “Divine Comedy” (see “Plot and composition of “Dead Souls”). VIII. The language of lyrical digressions (see “Genre originality of “Dead Souls”). Happy is the traveler who, after a long, boring road with its cold, slush, dirt, sleep-deprived station guards, jangling bells, repairs, squabbles, coachmen, blacksmiths and all kinds of road scoundrels, finally sees a familiar roof with lights rushing towards him, and familiar people appear before him rooms, the joyful cry of people running out to meet them, the noise and running of children and soothing quiet speeches, interrupted by flaming kisses, powerful to destroy everything sad from memory. Happy is the family man who has such a corner, but woe to the bachelor!Happy is the writer who, past boring, disgusting characters, striking with their sad reality, approaches characters that demonstrate the high dignity of a person who, from the great pool of daily rotating images, chose only a few exceptions, who never changed the sublime structure of his lyre, did not descend from the top to his poor, insignificant brothers, and, without touching the ground, he plunged entirely into his own images, far removed from it and exalted. His wonderful destiny is doubly enviable: he is among them, as in his own family; and yet his glory spreads far and loudly. He smoked people's eyes with intoxicating smoke; he wonderfully flattered them, hiding the sad things in life, showing them a wonderful person. Everyone rushes after him, applauding, and rushes after his solemn chariot. They call him a great world poet, soaring high above all other geniuses of the world, like an eagle soaring above other high-flying ones. At his very name, young, ardent hearts are already filled with trembling, reciprocal tears sparkle in everyone’s eyes... There is no one equal to him in strength - he is a god! But this is not the fate, and the fate of the writer is different, who dared to call out everything that is every minute before the eyes and what indifferent eyes do not see - all the terrible, stunning mud of little things that entangle our lives, all the depth of the cold, fragmented, everyday characters with which ours teems. earthly, sometimes bitter and boring road, and with the strong power of an inexorable chisel, who dared to expose them prominently and brightly to the eyes of the people! He cannot gather popular applause, he cannot bear the grateful tears and unanimous delight of the souls excited by him; a sixteen-year-old girl with a dizzy head and heroic enthusiasm will not fly towards him; he will not forget himself in the sweet charm of the sounds he emitted; he cannot, finally, escape from the modern court, the hypocritically insensitive modern court, which will call the creatures he cherished insignificant and base, will assign him a despicable corner among the writers who insult humanity, will give him the qualities of the heroes he depicted, will take away his heart, both the soul and the divine flame of talent. For the modern court does not recognize that glass that looks at the sun and conveys the movements of unnoticed insects is equally wonderful; for the modern court does not recognize that a lot of spiritual depth is needed in order to illuminate a picture taken from a despicable life and elevate it to the pearl of creation; for the modern court does not recognize that high, enthusiastic laughter is worthy to stand next to high lyrical movement and that there is a whole abyss between it and the antics of a buffoon! The modern court does not recognize this and will turn everything into a reproach and reproach for the unrecognized writer; without division, without answer, without participation, like a familyless traveler, he will remain alone in the middle of the road. His field is harsh, and he will bitterly feel his loneliness.
And for a long time it is determined for me by the wonderful power to walk hand in hand with my strange heroes, to look around at the whole enormously rushing life, to look at it through laughter visible to the world and invisible, unknown to it tears! And the time is still far off when, in another key, a formidable blizzard of inspiration will rise from the head, clothed in holy horror and brilliance, and in confused trepidation they will sense the majestic thunder of other speeches...
Lyrical digressions in Gogol's poem Dead Souls
Lyrical digressions in Gogol's poem Dead Souls
can only be found in poetic speech. And most importantly, the constant presence of the author makes this work lyrical-epic.
The entire artistic canvas of “Dead Souls” is permeated with lyrical digressions. It is lyrical digressions that determine the ideological, compositional and genre originality of Gogol’s poem, its poetic beginning associated with the image of the author. As the plot develops, new lyrical digressions appear, each of which clarifies the idea of the previous one, develops new ideas, and increasingly clarifies the author's intention.
A lyrical digression about “the myriad of churches” and how “the Russian people express themselves strongly.” This author’s reasoning suggests the following thought: here not only the apt Russian word is glorified, but also God’s word, which spiritualizes it. It seems that both the motif of the church, which appears for the first time in the poem precisely in this chapter, and the noted parallel between the folk language and God’s word, indicate that it is in the lyrical digressions of the poem that some spiritual instruction of the writer is concentrated.
About the passing of youth and maturity, about the “loss of living movement” (beginning of the sixth chapter). At the end of this digression, Gogol directly addresses the reader: “Take with you on the journey, emerging from the soft youthful years into stern, embittering courage, take with you all human movements, do not leave them on the road, you will not pick them up later! The old age coming ahead is terrible, terrible, and nothing gives back and back!
A complex range of feelings is expressed in a lyrical digression at the beginning of the next seventh chapter. Comparing the fates of two writers, the author speaks with bitterness about the moral and aesthetic deafness of the “modern court”, which does not recognize that “glasses that look at the sun and convey the movements of unnoticed insects are equally wonderful”, that “high enthusiastic laughter is worthy to stand next to the high lyrical movement "
Here the author proclaims a new ethical system, later supported by the natural school - the ethics of love-hate: love for the bright side of national life, for living souls, presupposes hatred for the negative sides of existence, for dead souls. The author understands perfectly well what he is dooming himself to by taking the path of “exposing the crowd, its passions and errors” - to persecution and persecution by false patriots, to the rejection of his compatriots - but he courageously chooses precisely this path.
Such an ethical system forces the artist to perceive literature as a tool for correcting human vices, primarily through the cleansing power of laughter, “high, enthusiastic laughter”; the modern court does not understand that this laughter “is worthy to stand next to the lofty lyrical movement and that there is a whole abyss between it and the antics of a buffoon.”
At the end of this retreat, the author’s mood changes sharply: he becomes an exalted prophet, a “formidable blizzard of inspiration” opens before his gaze, which “will rise from a chapter clothed in holy horror and splendor,” and then his readers “will feel in embarrassed trepidation the majestic thunder of other speeches "
Start. In a lyrical digression at the beginning of the seventh chapter, the peasants bought by Chichikov from Sobakevich, Korobochka, and Plyushkin come to life before our eyes. The author, as if intercepting the internal monologue of his hero, speaks of them as if they were alive, showing the truly living soul of the dead or runaway peasants.
What appears here is not a generalized image of Russian men, but specific people with real features, described in detail. This is the carpenter Stepan Probka - “a hero who would be fit for the guard,” who, perhaps, walked all over Rus' “with an ax in his belt and boots on his shoulders.” This is Abakum Fyrov, who walks on the grain pier with barge haulers and merchants, having worked to the tune of “one endless song, like Rus'.” The image of Abakum indicates the love of the Russian people for a free, wild life, festivities and fun, despite the forced serf life and hard work.
In the plot part of the poem we see other examples of people who are enslaved, downtrodden and socially humiliated. Suffice it to recall the vivid images of Uncle Mitya and Uncle Miny with their bustle and confusion, the girl Pelageya, who cannot distinguish between right and left, Plyushkin’s Proshka and Mavra.
But in the lyrical digressions we find the author’s dream about the ideal of a person, what he can and should be. In the final 11th chapter, a lyrical and philosophical reflection on Russia and the vocation of the writer, whose “head was overshadowed by a menacing cloud, heavy with the coming rains,” gives way to a panegyric for the road, a hymn to the movement - the source of “wonderful ideas, poetic dreams,” “wonderful impressions.”
Thus, two of the most important themes of the author’s reflections – the theme of Russia and the theme of the road – merge in a lyrical digression that ends the first volume of the poem. “Rus'-troika,” “all inspired by God,” appears in it as the vision of the author, who seeks to understand the meaning of its movement; “Rus, where are you going? give me the answer. Doesn't give an answer."
The image of Russia created in this final lyrical digression, and the author’s rhetorical question addressed to her, echoes Pushkin’s image of Russia - a “proud horse” - created in the poem “The Bronze Horseman”, and with the rhetorical question sounding there: “And in what a fire! Where are you galloping, proud horse, / And where will you land your hooves?”
Both Pushkin and Gogol passionately desired to understand the meaning and purpose of Russia's historical movement. Both in “The Bronze Horseman” and in “Dead Souls” the artistic result of the thoughts of each of the writers was the image of an uncontrollably rushing country, directed towards the future, not obeying its “riders”: the formidable Peter, who “raised Russia on its hind legs”, stopping its spontaneous movement, and the “sky-smokers,” whose immobility stands in stark contrast to the country’s “terrifying movement.”
The high lyrical pathos of the author, with his thoughts directed to the future, in his thoughts about Russia, its path and destiny, expressed the most important idea of the entire poem. The author reminds us of what is hidden behind the “mud of little things that entangle our lives” depicted in volume 1, behind the “cold, fragmented everyday characters that teem with our earthly, sometimes bitter and boring road.”
It is not for nothing that in the conclusion of volume 1 he speaks of the “wonderful, beautiful distance” from which he looks at Russia. This is an epic distance that attracts him with its “secret power”, the distance of the “mighty space” of Rus' and the distance of historical time: “What does this vast expanse prophesy? Isn’t it here, in you, that a boundless thought will be born, when you yourself are endless? Shouldn’t a hero be here when there is a place where he can turn around and walk?”
The heroes depicted in the story of Chichikov’s “adventures” are devoid of such qualities; they are not heroes, but ordinary people with their weaknesses and vices. In the poetic image of Russia, created by the author in lyrical digressions, there is no place for them: they seem to be diminished, disappear, just as “dots, icons, low cities stick out inconspicuously among the plains.”
Only the author himself, endowed with knowledge of true Rus', “terrible strength” and “unnatural power” received by him from the Russian land, becomes the only true hero of volume 1 of the poem. He appears in lyrical digressions as a prophet, bringing the light of knowledge to people: “Who, if not the author, should tell the holy truth?”
I then tried to convey my ideas in the artistic and journalistic book “Selected Passages from Correspondence with Friends”, and in the “Author’s Confession”, and - most importantly - in subsequent volumes of the poem. But all his attempts to reach the minds and hearts of his contemporaries were in vain. Who knows, maybe only now the time has come to discover Gogol’s real word, and it’s up to us to do this.
