The images of landowners in the poem are dead souls. Analysis of the image of landowners in the poem "Dead Souls"

MANILOV. “...The landowner... is not yet an old man at all...” “...He smiled enticingly, was blond, with blue eyes...” Eyes “sweet as sugar.” The expression on his face was “not only sweet, but even cloying...” “...his facial features were not devoid of pleasantness, but this pleasantness seemed to have too much sugar in it...” “His wife... however, they were completely happy with each other. Despite the fact that more than eight years had passed of their marriage, each of them still brought the other a piece of an apple, or a piece of candy, or a nut and spoke in a touchingly tender voice, expressing perfect love..." Sons - Alcides and Themistoclus: "Themistoclus!" said Manilov, turning to the elder..." "The younger one, Alcides, he is not so fast..." "...Manilov will be more delicate than Sobakevich..." "...In the first minute of conversation with him you can’t help but say : “What a nice and kind person!” The next minute you won’t say anything, and the third you’ll say: “The devil knows what it is!” - and move away; If you don’t leave, you will feel mortal boredom.” “...God alone could have said what Manilov’s character was like. 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. Maybe Manilov should join them...” “You won’t get any lively or even arrogant words from him, which you can hear from almost anyone if you touch an object that is bullying him. Everyone has their own enthusiasm [...] in a word, everyone has their own, but Manilov had nothing." "At home he spoke very little and for the most part he reflected and thought, but what he was thinking about, did God even know." Manilov is "hard of hearing," he writes beautifully ("It's nicely written... there's no need to rewrite..." (Chichikov about Manilov). "It's impossible to manage a farm." tell him to do something, he never even went to the fields, the farming somehow went on by itself..." "Of course, one could notice that there are many other things to do in the house, besides long kisses and surprises, and a lot could be done various requests. Why, for example, is the kitchen cooking stupidly and uselessly? Why is the thief the housekeeper? Why are all the servants sleeping unmercifully and hanging out the rest of the time? she was well-bred.” “There was always something missing in his house: in the living room there was beautiful furniture, covered in smart silk fabric, which, probably, was very expensive; for several years, he always warned his guest with the words: “Don’t sit on these chairs, they are not ready yet.” “In another room there was no furniture at all, although it was said in the first days after marriage: “Darling, you will need “Tomorrow I’ll work hard to put furniture in this room, at least temporarily,” he tells his wife.." “In his office there was always some kind of book, bookmarked on page 14, which he had been constantly reading for two years.” Attitude towards the peasants: “ When a man came to him and, scratching the back of his head with his hand, said, “Master, let me go away to work and earn some money.” “Go,” he said, smoking a pipe, and it didn’t even occur to him that the man was going to drink.” Mr. Manilov - hospitable, cordial owner: "... As the chaise approached the porch, his eyes became more cheerful and his smile spread more and more..." Attitude towards people: "... there was something ingratiating in his techniques and turns of phrase dispositions and acquaintances..." BOX "... Collegiate secretary [...] Nastasya Petrovna..." "an elderly woman, in some kind of sleeping cap, put on hastily, with a flannel around her neck..." ". ..One of those mothers, small landowners who cry about crop failures, losses and keep their heads somewhat to one side, and meanwhile they collect a little money in colorful bags placed in the drawers of the chest of drawers..." Mistress: "...You, mother “The pancakes are very tasty,” said Chichikov...” “...the landowner did not keep any notes or lists, but knew almost everyone by heart...” (peasants). “About “dead” souls - to Chichikov: “... Maybe you, my father, are deceiving me, but they... they are somehow worth more...” “... it’s better if I wait a little, maybe they’ll come merchants, let me apply it to the prices..." "...What a clubhead! - Chichikov said to himself, “...She saw that the deal definitely seemed to be profitable, but it was just too new and unprecedented; and therefore she began to be very afraid that this buyer would somehow cheat her...” She believes and in God and in evil spirits: "... The power of the cross is with us! What passions are you talking about! - said the old woman, crossing herself..." "... yes, apparently, God sent him as a punishment. I saw such an ugly one; and the horns are longer bull..." (Thought about the devil).

In the following chapters the reader gets acquainted with Nozdrev, Sobakevich and Plyushkin.

The image of Manilov in the poem by N.V. Gogol's "Dead Souls"

The gallery of landowners in the poem “Dead Souls” opens with the image of Manilov. This is the first character to whom Chichikov turns with a request for dead souls. What determines Manilov’s “superiority”? Gogol’s famous statement is that his heroes are one more vulgar than the other. It turns out that Manilov in the poem represents the first, least, degree of moral degradation. However, modern researchers interpret the order of appearance of landowners in “Dead Souls” in a different sense, equating the first volume of Gogol’s poem with the first part of Dante’s “Divine Comedy” (“Hell”).

Manilov’s dreaminess and romanticism already at the very beginning of the poem creates a sharp contrast to Chichikov’s immoral adventure.

There is another reason here. According to I. Zolotussky, “every time Chichikov meets one of the landowners, he inspects his ideals. Manilov is family life, a woman, children...” This “part” of Chichikov’s ideal is exactly the best thing that is in the hero’s “roughly material” dream of contentment and comfort. Therefore, the story of Chichikov’s adventures begins with Manilov.

This image in the poem is static - no internal changes occur to the hero throughout the entire narrative. Manilov's main qualities are sentimentality, dreaminess, excessive complacency, courtesy and courtesy. This is what is visible, what lies on the surface. It is these features that are emphasized in the description of the hero’s appearance. Manilov “was a distinguished man, his facial features were not devoid of pleasantness, but this pleasantness seemed to have too much sugar in it; in his techniques and turns there was something ingratiating favor and acquaintance. He smiled enticingly, was blond, with blue eyes.”

However, Gogol then proceeds to describe Manilov’s inner world, and the reader’s first impression of the landowner’s “niceness” is removed. “In the first minute of a conversation with him, you can’t help but say: “What a pleasant and kind person!” The next minute you don’t say anything, and in the third you say: “The devil knows what it is!” - and you move away: if you don’t move away , you will feel mortal boredom. You won’t get any lively or even arrogant words from him, which you can hear from almost anyone if you touch an object that offends him.” With a bit of irony, the author lists the traditional “interests” of landowners: passion for greyhounds, music, gourmetism, career advancement. Manilov is not interested in anything in life, he has no “enthusiasm”. He says very little, he often thinks and reflects, but about what - “does God... know.” So several more characteristic properties of this landowner are clearly identified - uncertainty, indifference to everything, inertia and infantilism of life perception. “There is a kind of people,” writes Gogol, “known by the name: so-so people, neither this nor that, neither in the city of Bogdan, nor in the village of Selifan...” Manilov belongs to this type of people.

The writer emphasizes the “lack of formality and vagueness” of the hero’s inner world with a characteristic landscape. So. the weather on the day when Chichikov came to Manilov, in highest degree vague: “The day was either clear or gloomy, but of some light gray color, which only happens on the old uniforms of garrison soldiers...”

In the description of the master's estate, new features of Manilov are revealed to us. Here we already see a person claiming to be “educated,” “cultured,” “aristocratic,” but all the hero’s attempts to seem like an educated and sophisticated aristocrat are vulgar and absurd. Thus, Manilov’s house stands “alone on the Jurassic, that is, on a hill open to all the winds,” but the mountain on which the estate stands is “clad with trimmed turf,” on it “are scattered, in English, two or three flower beds with lilac and yellow bushes.” acacias." Nearby you can see a gazebo “with wooden blue columns” and the inscription “Temple of Solitary Reflection.” And next to the “temple” is an overgrown pond covered with greenery, along which, “picturesquely picking up their dresses and tucking in on all sides,” two women wander, dragging their tattered nonsense behind them. In these scenes one can discern Gogol's parody of sentimental stories and novels.

The same claims to “education” are discernible in the ancient Greek names that Manilov awarded his children - Alcides and Themistoclus. The landowner's superficial education turned into outright stupidity: even Chichikov, upon hearing these names, experienced some surprise, and it is easy to imagine the reaction of the local residents.

However, the ancient Greek names here are not only a striking characteristic of Manilov. “Alcides” and “Themistocles” set the theme of history in the poem, the motif of heroism, which is present throughout the entire narrative. Thus, the name “Themistocles” reminds us of Themistocles, a statesman and commander from Athens, who won brilliant victories in battles with the Persians. The life of the commander was very stormy, eventful, full of significant events (against the background of this heroic theme, Manilov’s inaction and passivity becomes even more noticeable).

Manilov’s “incompleteness of nature” (nature seemed to stop at the hero’s “pleasant” appearance, without “reporting” his character, temperament, and love of life) is also reflected in the description of his home environment.

In everything Manilov does, there is incompleteness that creates disharmony. A number of interior details testify to the hero’s inclination towards luxury and sophistication, but in this very inclination there is still the same incompleteness, the impossibility of finishing the job. In Manilov’s living room there is “wonderful furniture, covered with smart silk fabric,” which is “very expensive,” but there is not enough for two armchairs, and the armchairs are “simply upholstered in matting.” In the evening, a “dandy candlestick made of dark bronze with three antique graces” is served on the table, and next to it is placed “a simple copper invalid, lame, curled to one side and covered in fat...”. For two years now, the hero has been reading the same book, reaching only the fourteenth page.

All the landowner's activities are meaningless and absurd, just like his dreams. So, having seen Chichikov off, he dreams of a huge house “with such a high belvedere that you can even see Moscow from there.” But the culmination of Manilov’s image is “slides of ash knocked out of a pipe, arranged, not without effort, in very beautiful rows.” Like all “noble gentlemen,” Manilov smokes a pipe. Therefore, in his office there is a kind of “cult of tobacco”, which is poured into caps, and in the tabashka, and “just in a heap on the table.” So Gogol emphasizes that Manilov’s “passing of time” is completely meaningless.

The hero’s speech, “delicate”, florid, fully corresponds to his inner appearance. Discussing the sale of dead souls with Chichikov, he wonders “whether this negotiation will not be in accordance with civil regulations and future views of Russia.” However, Pavel Ivanovich, who added two or three book turns to the conversation, manages to convince him of the complete legality of this transaction - Manilov gives Chichikov the dead peasants and even takes over the registration of the deed of sale. Only complete insensitivity can explain the fact that he, wanting to please his friend, decided to give Chichikov is dead souls. And the blasphemous phrase that he utters at the same time: “dead souls are in some way complete rubbish” - for Gogol, a deeply religious man, is evidence that the soul of Manilov himself is dead.

Thus, upon closer examination, the illusory nature of his “positive” qualities - sensitivity and sentimentality - becomes noticeable. His feelings do no good to anyone, they are not real, but only fiction, it’s just a manner. Manilov does not evaluate people from the point of view of the criteria of good and evil. Those around you simply fall into a general atmosphere of complacency and dreaminess. In essence. Manilov is indifferent to life itself.

Korobochka Nastasya Petrovna - widow-landowner, college secretary; the second (after Manilov and before Nozdrev) “saleswoman” of dead souls. Chichikov gets to her (chapter 3) by accident: the drunken coachman Selifan misses many turns on the way back from Manilov. The “darkness” of the night, the thunderous atmosphere that accompanied the arrival at Nastasya Petrovna’s, the frighteningly snake-like hissing of the wall clock, Korobochka’s constant memories of her deceased husband, Chichikov’s confession (the very next morning) that the day before yesterday she had been dreaming about the “cursed” devil all night - all this makes the reader wary. But Chichikov’s morning meeting with Korobochka completely deceives the reader’s expectations, separates her image from the fairy-tale-fantastic background, and completely dissolves her in everyday life.

The surname Korobochka metaphorically expresses the essence of her nature: thrifty, distrustful, fearful, feeble-minded, stubborn and superstitious.

Korobochka is “one of those mothers, small landowners who cry about crop failures, losses and keep their heads somewhat to one side, and meanwhile they little by little collect money into colorful bags... In one... rubles, in another fifty rubles, in the third quarters...”. A chest of drawers where, in addition to linen, night blouses, skeins of thread, a torn cloak, and bags of money are kept. - analogue of Korobochka. (Identical to the image of Korobochka is also Chichikov’s box with drawers, partitions, nooks and crannies, a hidden box for money. Symbolically, the Box opened, making Chichikov’s secret public. Thus, the magic casket, a box with a “double bottom”, gives away its secret thanks to Korobochka.)

If in the image of Manilov Gogol exposed the myth of the enlightened master, then in the image of Korobochka the writer dispelled the idea of ​​a thrifty and businesslike landowner who wisely manages the farm, takes care of the peasants, and preserves the family hearth. The patriarchal nature of this landowner is not at all the careful preservation of traditions about which Pushkin wrote: “They kept in their peaceful life / The habits of dear old times.” The box seems simply stuck in the past; time seemed to have stopped for her and began to move in a vicious circle of petty household worries that consumed and killed her soul. Indeed, unlike Manilov, she is always busy with housework. This is evidenced by the seeded vegetable gardens, the bird house filled with “every domestic creature,” and the “properly maintained” peasant huts. Her village is well-kept, and the peasants living in it do not suffer from poverty. Everything speaks of the housewife’s neatness and her ability to manage the estate. But this is not a manifestation of a living economic mind. The box simply follows a kind of “program of action”, that is, it grows, sells and buys. And only in this plane can she think. There can be no talk of any spiritual needs here.

A metonymic transfer characteristic of Gogol is a scarecrow on a long pole in the mistress’s cap, reinforcing the impression of the comic nonsense of the frugality of a lonely widow, saving for someone unknown and not seeing beyond her nose. The things in Korobochka's house, on the one hand, reflect Korobochka's naive ideas about lush beauty; on the other hand, her hoarding and range of home entertainments (fortune telling by cards, mending, embroidery and cooking): “the household room is hung with old striped wallpaper; paintings with some birds: between the windows there are old small mirrors with dark frames in the form of curled leaves: behind each mirror there was either a letter, or an old deck of cards, or a stocking: a wall clock with flowers painted on the dial...”

Korobochka's house with old small mirrors, hissing clocks and pictures, behind which there is always something hidden, lush feather beds and hearty food tells us about the patriarchal way of life of the housewife. But this simplicity borders on ignorance, an unwillingness to know anything beyond the scope of her concerns. In everything, she thoughtlessly follows the usual patterns: a visitor means “merchant”, a thing “from Moscow” means “ good job"etc. Korobochka's thinking is limited, as is the vicious circle of her life - even to the city located not far from the estate, she only went out a couple of times.

The way Korobochka communicates with Chichikov betrays her stupidity, which is not in the least hindered by her practical acumen and desire not to miss out on benefits. This is most clearly manifested in the scene of the purchase and sale of dead souls. The box appears extremely stupid, unable to grasp the essence of Chichikov’s “profitable” offer. She takes him literally: “Do you want to dig them out of the ground?” - asks the landowner. Korobochka’s fear of selling dead souls is absurd and ridiculous, since she is not so much frightened by the item of trade itself, but is more worried about how not to sell it cheap, and suddenly the dead souls will come in handy for some reason in the household. Even Chichikov cannot stand Korobochka’s impenetrable stupidity. His opinion of her amazingly agrees with the author’s: this is a “club-headed” landowner. Korobochka decides to sell the “souls” out of fear and superstition, because Chichikov dried the devil to her and almost cursed her (“get lost and begone with your whole village!”), especially since she saw the devil in a dream: “disgusting, and the horns- then longer than bull ones.”

The fear of selling too cheap forces Korobochka to go to the city to find out the price of “dead souls”, equipping a tarantass, “more like a thick-cheeked, convex watermelon placed on wheels... The watermelon was filled with chintz pillows in the form of pouches, bolsters and simple pillows, stuffed with bags of bread, rolls , skins, quickies and pretzels made from choux pastry.” Watermelon tarantas Boxes are another analogue of her image, along with a chest of drawers, a box and colorful bags full of money.

Gogol shows readers that people like her are not capable of any movement - neither external nor internal, because the soul in them is dead and can no longer be reborn.

The very location of the village of Korobochki (away from the main road, on a side branch of life) indicates its “hopelessness”, “futility” of any hopes for its possible correction and revival. In this she is similar to Manilov - and occupies one of the lowest places in the “hierarchy” of the heroes of the poem.

The main character traits of Nozdryov are arrogance, boasting, a tendency to rowdy, energy and unpredictability. Gogol notes that people of this type are always “talkers, revelers, reckless drivers”, in their faces you can always see “something open, direct, daring”, they are desperate players, lovers of taking a walk. They are sociable and unceremonious, “they will make friends, it seems, forever: but it almost always happens that the one who makes friends will fight with them that same evening at a friendly party.”

Revealing the image of Nozdryov. Gogol masterfully uses various artistic means. First of all, the portrait of the hero itself is expressive. In his portrait there is something that is reminiscent of a folklore good fellow: “He was of average height, a very well-built fellow, with full rosy cheeks, teeth white as snow and jet-black sideburns. It was fresh, like blood and milk; his health seemed to jump from his face.” Of course, there is obvious irony in this description. It is not for nothing that the author, further talking about the fights in which Nozdryov constantly gets involved, notes that “his full cheeks were so well created and contained so much plant power that his sideburns soon grew back,” when in the next mess they were pulled out for him. There is something of an animal in this hero (remember, he was among dogs “just like a father among a family”), but the definition of “historical person” was not given to him in vain. The author’s description of this landowner sounds not only irony and mockery, but also another motive - the motive of unrealized possibilities contained in this nature

It is characteristic that Nozdryov has an attractive appearance, physical strength, he laughs “with that ringing laugh that only a fresh, healthy person bursts into…” The motif of Russian heroism that appears in Nozdryov’s depiction is comically reduced. The contrast between his appearance and its internal appearance is enormous: the hero’s life is meaningless, the “exploits” of this “hero” do not go further than card cheating or a fight calmed down at a fair. Nozdryov is only “the appearance of a broad nature. He is impudent, a drunkard, a liar, he is at the same time a coward and a completely insignificant person.

The landscape that frames the episode of Chichikov’s visit to the landowner is also characteristic. “Nozdryov led his guests through a field, which in many places consisted of hummocks. The guests had to make their way between fallow fields and armored fields... In many places their feet squeezed out the water under them, the place was so low. At first they were careful and stepped carefully, but then, seeing that it was of no use, they walked straight, not distinguishing where there was more and where there was less dirt.” This landscape speaks of the disturbed economy of the landowner and at the same time symbolizes Nozdryov’s carelessness.

Thus, the hero’s lifestyle is already devoid of any order. The landowner's economy fell into complete decline. His stable stood empty, his watermill was empty, his house was in disarray and neglect. And only his kennel is in good condition. “Among dogs, Nozdryov...is just like a father among a family,” notes Gogol. This comparison sets the theme of the hero’s “slander” in the story. As S. Shevyrev notes, Nozdryov “is very similar to a dog: for no reason at the same time he barks, nibbles, and caresses.”

The hero is prone to lies, deceit, and empty chatter. He can easily slander, slander a person, spread gossip about him, “a fable that is more stupid than it is difficult to invent.” It is characteristic that Nozdryov lies for no apparent reason, “out of love for art.” So, having come up with a story about the governor’s daughter, he continues to lie further, involving himself in this story. The reason for this is simple: Nozdryov understood that “he could have caused trouble in this way, but he could no longer hold his tongue. However, it was difficult, because such interesting details presented themselves that could not be refused..."

His penchant for deception and trickery also manifests itself during a card game. That’s why the game often ends in a fight: “they beat him with their boots, or they gave him a hard time on his thick and very good sideburns...”

The character of the hero, his interests and lifestyle are reflected in the interior of his house. There are no books or papers in Nozdryov’s office, but there are hanging sabers, guns, Turkish daggers and pipes of various kinds - “wooden, clay, meerschaum, smoked and unsmoked, covered with suede and uncovered.” In this interior, one object is symbolic - a barrel organ, in which there is “one pipe, very lively, which did not want to calm down.” This expressive detail symbolizes the character of the hero, his restlessness, and irrepressible energy.

Nozdryov is unusually “active”, energetic, his nimbleness and liveliness of character push him to new and new “undertakings”. So, he loves to change: a gun, a dog, horses - everything instantly becomes an object of exchange. If he has money, then at the fair he immediately buys “all sorts of things”: clamps, smoking candles, raisins, tobacco, pistols, herrings, paintings, pots, etc. However, the purchased things are rarely delivered home - to this the same day he can lose everything.

Nozdryov is very consistent in his behavior during the purchase and sale of dead souls. He immediately tries to sell Chichikov a stallion, dogs, a barrel organ, then starts an exchange of chaises and a game of checkers. Noticing Nozdryov's trickery. Chichikov refuses to play. And then the “historical” man causes a scandal, a fight, and only the appearance of the police captain in the house saves Chichikov.

Nozdryov’s speech and manners are also characteristic. He talks loudly, emotionally, often screaming. His speech is very colorful and varied in composition.

In addition, it is worth noting the static this image. Gogol gives the character of Nozdryov as already formed, ready-made; the background of this character is closed to the reader; throughout the narrative, no internal changes occur to the hero.

Thus, the character created by Gogol - a braggart, a talker, a reckless driver, a reveler, a gambler, a rowdy and argumentative person, a lover of drinking and making up something - is colorful and easily recognizable. The hero is typical, and at the same time, thanks to a number of details, special little things, the writer was able to emphasize his individuality.

The image of Sobakevich in the poem by N.V. Gogol's "Dead Souls"

Sobakevich comes fourth in the gallery of Gogol's landowners. Sobakevich's main traits are intelligence. efficiency, practical acumen, but at the same time he is characterized by tight-fistedness, a kind of ponderous stability in his views. character, lifestyle. These features are already noticeable in the portrait of the hero, who looks like a “medium-sized” bear. And his name is Mikhail Semenovich. “To complete the similarity, the tailcoat he was wearing was completely bear-colored, the sleeves were long, the trousers were long, he walked with his feet this way and that, constantly stepping on other people’s feet. The complexion had a red-hot, hot complexion, like what happens on a copper coin.”

In Sobakevich’s portrait we can feel the grotesque motive of the hero’s rapprochement with an animal, with a thing. Thus, Gogol emphasizes the limited interests of the landowner in the world material life.

Gogol also reveals the qualities of the hero through landscape, interior and dialogues. Sobakevich's village is "quite large." To the left and right of it are “two forests, birch and pine, like two roofs, one dark, the other lighter.” Already these forests speak of the landowner’s thriftiness and his practical savvy.

The owner's estate is fully consistent with the external and internal appearance. Sobakevich does not care at all about aesthetics, the external beauty of the objects around him, thinking only about their functionality. Chichikov, approaching Sobakevich’s house, notes that during construction, obviously, “the architect constantly struggled with the taste of the owner.” “The architect was a pedant and wanted symmetry, the owner wanted convenience...” notes Gogol. This “convenience”, concern for the functionality of objects, is manifested in Sobakevich in everything. The landowner's yard is surrounded by a "strong and excessively thick wooden lattice", the stables and barns are made of full-weight, thick logs, even the village huts of the peasants were "cut down marvelously" - "everything...fits tightly and properly."

The situation in Sobakevich’s house reproduces the same “strong, clumsy order.” The table, armchairs, chairs - everything is “of the heaviest and most restless quality”; in the corner of the living room there is a “pot-bellied walnut bureau on the most absurd four legs, a perfect bear.” On the walls hang pictures of “Greek generals” - “unusually strong and tall fellows, with such thick thighs and an incredible mustache that trembling runs through the body.”

It is characteristic that the motif of heroism reappears here, “playing the role of a positive ideological pole in the poem.” And this motif is set not only by images of Greek commanders, but also by the portrait of Sobakevich himself. having “the strongest and most wonderfully polished image.” This motif reflects Gogol’s dream of Russian heroism, which, according to the writer, lies not only in physical strength, but also in “ untold wealth Russian spirit" The writer captures here the very essence of the Russian soul: "Russian movements will rise... and they will see how deeply ingrained into Slavic nature is that which slipped only through the nature of other peoples."

However, in the image of Sobakevich, the “wealth of the Russian spirit” is suppressed by the world of material life. The landowner is concerned only with preserving his wealth and the abundance of the table. Most of all, he loves to eat well and tasty, not recognizing foreign diets. So, Sobakevich’s lunch is very “varied”: stuffed lamb stomach is served with cabbage soup, followed by “lamb side with porridge”, cheesecakes, stuffed turkey and jam. “When I have pork, give me the whole pig on the table, lamb - bring the whole ram, bring the whole goose?” - he says to Chichikov. Here Gogol debunks gluttony, one of the human vices that Orthodoxy fights.

It is characteristic that Sobakevnch is far from stupid: he immediately realized the essence of Pavel Ivanovich’s lengthy speech and quickly appointed his exchange for the dead peasants. The landowner is logical and consistent when bargaining with Chichikov. And he himself looks in such a way that it becomes clear; he is “one of those faces, over the finishing of which nature did not spend a long time... I grabbed with an ax once - my nose came out, I grabbed it another time - my lips came out, I picked my eyes with a large drill...” It seems that he is only interested in how to fill his stomach more tightly . But behind this appearance lies a smart, evil and dangerous predator. No wonder Sobakevich recalls how his father could kill a bear. He himself turned out to be able to “overwhelm” another powerful and terrible predator - Chichikov. The scene of purchase and sale in this chapter is fundamentally different from all similar scenes with other landowners: here it is not Chichikov, but Sobakevich who leads the party. He, unlike the others, immediately understands the essence of the fraudulent transaction, which does not bother him at all, and begins to conduct real bargaining. Chichikov understands that in front of him is a serious, dangerous enemy who should be feared, and therefore accepts the rules of the game. Sobakevich, like Chichikov, is not embarrassed by the unusualness and immorality of the transaction: there is a seller, there is a buyer, there is a product. Chichikov, trying to bring down the price, reminds that “the whole thing is just wow... who needs it?” To which Soba-kevich reasonably remarks: “Well, you’re buying, so you need a wife.”

Sobakevich is insightful in his own way, endowed with a sober view of things. He has no illusions about city officials: “they are all swindlers: the whole city is like this: the swindler sits on the swindler and drives the swindler.” The words of the hero here contain the truth of the author, his position.

Sobakevich's intelligence, his insight and, at the same time, the “wildness”, unsociability, and unsociability of the landowner are manifested in his speech. Sobakevich expresses himself very clearly, concisely, without excessive “prettyness” or floridity. Thus, to Chichikov’s lengthy rantings about the burdensome landowner’s obligation to pay taxes for revision souls who have “finished their careers in life,” Mikhail Ivanova “reacts” with one phrase: “Do you need dead souls?” When discussing acquaintances, the landowner may swear and use “strong words.”

The image of Sobakevich in the poem is static: readers are not presented with the hero’s life story, or any of his spiritual changes. However, the character that appears before us is lively and multifaceted. As in the chapters devoted to other landowners, Gogol uses here all the elements of the composition (landscape, interior, portrait, speech), subordinating them to the leitmotif of this image.

The image of Plyushkin in the poem by N.V. Gogol's "Dead Souls"

The gallery of “dead souls” ends in the poem with Plyushkin.

Plyushkin's main traits are stinginess, greed, thirst for accumulation and enrichment. wariness and suspicion. These features are masterfully conveyed in the portrait of the hero, in the landscape, in the description; settings and dialogues.

Plyushkin's appearance is very expressive. “His face did not represent anything special: it was almost the same as that of many thin old men, one chin only protruded very far forward, so he had to cover it with a handkerchief every time so as not to spit: his small eyes had not yet gone out and ran around from under high eyebrows, like mice, when, sticking their sharp muzzles out of dark holes, pricking their ears and blinking their noses, they look to see if a cat is hiding somewhere...” Plyushkin’s outfit is noteworthy - a greasy and torn robe, rags wrapped around his neck...

Small running eyes, similar to mice, indicate Plyushkin’s wariness and suspicion, generated by fear for his property. His rags resemble the clothes of a beggar, but not of a landowner with more than a thousand souls.

The motif of poverty continues to develop in the description of the landowner's village. In all the village buildings, “some kind of special dilapidation” is noticeable; the huts are made of old and dark logs, the roofs look like a sieve, and there is no glass in the windows. Plyushkin’s own house looks like “some kind of decrepit invalid.” In some places it is one floor, in others it is two, there is green mold on the fence and gates, a “naked plaster lattice” can be seen through the decrepit walls, only two of the windows are open, the rest are closed or boarded up. The “beggarly appearance” here metaphorically conveys the spiritual poverty of the hero, the severe limitation of his worldly acceptance by a pathological passion for hoarding.

Behind the house stretches a garden, equally overgrown and decayed, which, however, is “quite picturesque in its picturesque desolation.” “The connected tops of trees growing in freedom lay on the heavenly horizon like green clouds and irregular domes. A white colossal birch trunk... rose from this green thicket and rounded in the air like... a sparkling marble column... In places green thickets, illuminated by the sun, diverged..." A dazzling white marble birch trunk, green thickets, a bright, sparkling sun - in the brightness of its colors and Due to the presence of lighting effects, this landscape contrasts with the description interior decoration a landowner's house, recreating the atmosphere of lifelessness, death, grave.

Entering Plyushkin's house, Chichikov immediately finds himself in darkness. “He stepped into the dark, wide hallway, from which a cold breath blew, as if from a cellar. From the hallway he found himself in a room “also dark, slightly illuminated by the light coming out from under a wide crack located at the bottom of the door.” Further, Gogol develops the motif of death and lifelessness outlined here. In another room of the landowner (where Chichikov ends up) there is a broken chair, “a clock with a stopped pendulum, to which a spider has already attached its web”: a chandelier in a canvas bag, thanks to a layer of dust, similar “to a silk cocoon in which a worm sits.” On the walls, Pavel Ivanovich notices several paintings, but their subjects are quite definite - a battle with screaming soldiers and drowning horses, a still life with a “duck hanging head down.”

In the corner of the room, a huge pile of old rubbish is piled on the floor; through a huge layer of dust, Chichikov notices a piece of a wooden shovel and an old boot sole. This picture is symbolic. According to I. Zolotussky, the Plyushkin pile is “a tombstone above the ideal of a materialist.” The researcher notes that every time Chichikov meets with one of the landowners, he makes an “examination of his ideals.” Plyushkin in in this case“represents” state, wealth. In fact, this is the most important thing that Chichikov strives for. It is financial independence that opens the way for him to comfort, happiness, well-being, etc. All this is inextricably fused in Pavel Ivanovich’s mind with home, family, family ties, “heirs,” and respect in society.

Plyushkin takes the opposite route in the poem. The hero seems to reveal to us the other side of Chichikov’s ideal - we see that the landowner’s house is completely neglected, he has no family, everyone is friendly and family ties he tore it apart, there is not a hint of respect in the reviews of other landowners about him.

But Plyushkin was once a thrifty owner, married, and “a neighbor stopped by to have lunch with him” and learn housekeeping from him. And everything was no worse with him than with others: a “friendly and talkative hostess”, famous for her hospitality, two pretty daughters, “blond and fresh as roses”, a son, a “broken boy”, and even a French teacher. But the “good mistress” of him and youngest daughter died, the eldest ran away with the captain, “the time has come for my son to serve,” and Plyushkin was left alone. Gogol carefully traces this process of decay human personality, the development in the hero of his pathological passion.

The lonely life of a landowner, widowhood, “gray hair in coarse hair”, dryness and rationalism of character (“human feelings ... were not deep in him”) - all this provided “well-fed food for stinginess.” Indulging in his vice, Plyushkin gradually ruined his entire household. Thus, his hay and bread rotted, flour in the cellars turned into stone, canvases and materials “turned to dust.”

Plyushkin's passion for hoarding became truly pathological: every day he walked the streets of his village and collected everything that came to hand: an old sole, a woman's rag, an iron nail, a clay shard. There was so much in the landowner’s yard: “barrels, crosses, tubs, lagoons, jugs with and without stigmas, twins, baskets...”. “If someone had looked into the work yard, where there was a stock of all sorts of wood and utensils that had never been used, he would have wondered if he had ended up in Moscow at the wood chip yard, where efficient mothers-in-law and mother-in-law go every day... detail your household supplies..." writes Gogol.

Submitting to the thirst for profit and enrichment, the hero gradually lost all human feelings: he ceased to be interested in the lives of his children and grandchildren, quarreled with his neighbors, and drove away all the guests.

The character of the hero in the poem is entirely consistent with his speech. As V. Litvinov notes, Plyushkin’s speech is “one continuous grumbling”: complaints about relatives, peasants and abuse with his servants.

In the scene of buying and selling dead souls, Plyushkin, like Sobakevich, begins to bargain with Chichikov. However, if Sobakevich. not caring about the moral side of the issue, probably guesses the essence of Chichikov’s scam, then Plyushkin doesn’t even think about it. Having heard that he could make a “profit,” the landowner seemed to forget about everything: he “waited,” “his hands trembled,” he “took the money from Chichikov in both hands and carried it to the office with the same caution as if would be carrying some liquid, every minute afraid of spilling it.” Thus, the moral side of the issue leaves him by itself - it simply fades under the pressure of the hero’s “surging feelings.”

It is these “feelings” that take the landowner out of the category of “indifferent”. Belinsky considered Plyushkin a “comical person,” disgusting and disgusting, denying him the significance of his feelings. However, in the context of the author’s creative plan and the hero’s life story presented in the poem, this character seems to be the most complex among Gogol’s landowners. It was Plyushkin (together with Chichikov), according to Gogol’s plan, who was supposed to appear morally reborn in the third volume of the poem.

• Landowner Portrait Characteristics Estate Attitude to housekeeping Lifestyle Result Manilov Handsome blond with blue eyes. At the same time, his appearance “seemed to have too much sugar in it.” Too ingratiating look and behavior Too enthusiastic and refined dreamer who does not feel any curiosity about his farm or anything earthly (he doesn’t even know whether his peasants died after the last revision). At the same time, his dreaminess is absolutely [...]
• Compositionally, the poem “Dead Souls” consists of three externally closed, but internally interconnected circles. landowners, a city, a biography of Chichikov, united by the image of a road, plot-related by the main character’s scam. But the middle link - the life of the city - itself consists, as it were, of narrowing circles gravitating towards the center; this is a graphic representation of the provincial hierarchy. It is interesting that in this hierarchical pyramid the governor, embroidering on tulle, looks like a puppet figure. True life boils in the civil […]
• Nikolai Vasilyevich Gogol is one of the most brilliant authors of our vast Motherland. In his works, he always spoke about painful issues, about how His Rus' lived in His time. And he does it so well! This man really loved Russia, seeing what our country really is - unhappy, deceptive, lost, but at the same time - dear. Nikolai Vasilyevich in the poem “Dead Souls” gives a social profile of the Rus' of that time. Describes landownership in all colors, reveals all the nuances and characters. Among […]
• The work of Nikolai Vasilyevich Gogol fell on the dark era of Nicholas I. It was the 30s. XIX century, when reaction reigned in Russia after the suppression of the Decembrist uprising, all dissidents were persecuted, the best people were persecuted. Describing the reality of his time, N.V. Gogol creates the poem “Dead Souls,” which is brilliant in its depth of reflection of life. The basis of “Dead Souls” is that the book is a reflection not of individual features of reality and characters, but of the reality of Russia as a whole. Myself […]
• In Gogol's poem "Dead Souls" the way of life and morals of the feudal landowners is very accurately noted and described. Drawing images of landowners: Manilov, Korobochka, Nozdrev, Sobakevich and Plyushkin, the author recreated a generalized picture of the life of serf Russia, where arbitrariness reigned, the economy was in decline, and the individual suffered moral degradation. After writing and publishing the poem, Gogol said: ““Dead Souls” made a lot of noise, a lot of murmur, touched many people with mockery, truth, and caricature, touched […]
• Nikolai Vasilyevich Gogol noted that the main theme of “Dead Souls” was contemporary Russia. The author believed that “there is no other way to direct society or even an entire generation towards the beautiful until you show the full depth of its real abomination.” That is why the poem presents a satire on landed nobility, officials and other social groups. The composition of the work is subordinated to this task of the author. The image of Chichikov traveling around the country in search of the necessary connections and wealth allows N.V. Gogol […]
• Chichikov, having met landowners in the city, received an invitation from each of them to visit the estate. The gallery of owners of “dead souls” is opened by Manilov. The author at the very beginning of the chapter gives a description of this character. His appearance initially made a very pleasant impression, then - bewilderment, and in the third minute “... you say: “The devil knows what this is!” and move away..." The sweetness and sentimentality highlighted in the portrait of Manilov constitute the essence of his idle lifestyle. He is constantly talking about something [...]
• French traveler, author famous book"Russia in 1839" The Marquis de Kestin wrote: “Russia is ruled by a class of officials, directly from school days holding administrative positions...each of these gentlemen becomes a nobleman, having received a cross in his buttonhole...Upstarts in the circle of those in power, they use their power as befits upstarts.” The Tsar himself admitted with bewilderment that it was not he, the All-Russian autocrat, who ruled his empire, but the head appointed by him. Provincial town [...]
• In his famous address to the “bird-troika”, Gogol did not forget the master to whom the troika owes its existence: “It seems that not a cunning, it seems, road projectile, not grabbed by an iron screw, but hastily, alive, with one ax and a chisel, the Yaroslavl equipped and assembled you a quick guy." There is another hero in the poem about swindlers, parasites, owners of living and dead souls. Gogol's unnamed hero is a serf slave. In “Dead Souls” Gogol composed such a dithyramb for the Russian serf people, with such direct clarity […]
• N.V. Gogol conceived the first part of the poem “Dead Souls” as a work that reveals the social vices of society. In this regard, he was looking for a plot not a simple fact of life, but one that would make it possible to expose the hidden phenomena of reality. In this sense, the plot proposed by A. S. Pushkin suited Gogol perfectly. The idea of ​​“travelling all over Rus' with the hero” gave the author the opportunity to show the life of the entire country. And since Gogol described it in such a way “so that all the little things that elude […]
• In the fall of 1835, Gogol began working on “Dead Souls,” the plot of which, like the plot of “The Inspector General,” was suggested to him by Pushkin. “In this novel I want to show, although from one side, all of Rus',” he writes to Pushkin. Explaining the concept of “Dead Souls,” Gogol wrote that the images of the poem are “not at all portraits with worthless people, on the contrary, they contain the traits of those who consider themselves better than others.” Explaining the choice of the hero, the author says: “Because it’s time to finally give rest to the poor virtuous man, because [...]
• It should be noted that the episode of the crews’ collision is divided into two micro-themes. One of them is the appearance of a crowd of onlookers and “helpers” from a neighboring village, the other is Chichikov’s thoughts caused by his meeting with a young stranger. Both of these themes have both an external, superficial layer that directly concerns the characters of the poem, and a deep layer that brings to the scale of the author’s thoughts about Russia and its people. So, the collision occurs suddenly when Chichikov silently curses Nozdryov, thinking that […]
• Chichikov met Nozdrev earlier, at one of the receptions in the city of NN, but the meeting in the tavern is the first serious acquaintance of both Chichikov and the reader with him. We understand what type of people Nozdryov belongs to, first by seeing his behavior in the tavern, his story about the fair, and then by reading the author’s direct description of this “broken fellow,” “ historical person”, who has a “passion to spoil his neighbor, sometimes for no reason at all.” We know Chichikov as a completely different person – [...]
• Gogol's poem "Dead Souls" is one of the greatest and at the same time mysterious works of the XIX V. The genre definition of “poem,” which then unambiguously meant a lyric-epic work written in poetic form and predominantly romantic, was perceived differently by Gogol’s contemporaries. Some found it mocking, while others saw hidden irony in this definition. Shevyrev wrote that “the meaning of the word “poem” seems to us twofold... because of the word “poem” a deep, significant […]
• At the literature lesson we got acquainted with the work of N.V. Gogol "Dead Souls". This poem gained great popularity. The work has been filmed several times both in the Soviet Union and in modern Russia. Also, the names of the main characters have become symbolic: Plyushkin is a symbol of stinginess and storage of unnecessary things, Sobakevich is an uncouth person, Manilovism is immersion in dreams that have no connection with reality. Some phrases have become catchphrases. The main character of the poem is Chichikov. […]
• What is the image of a literary hero? Chichikov is a great hero, classic work, created by a genius, a hero who embodied the result of the author’s observations and reflections on life, people, and their actions. An image that has absorbed typical features, and therefore has long gone beyond the scope of the work itself. His name became a household name for people - nosy careerists, sycophants, money-grubbers, outwardly “pleasant,” “decent and worthy.” Moreover, some readers' assessment of Chichikov is not so clear. Comprehension […]
• Gogol was always attracted by everything eternal and unshakable. By analogy with " Divine Comedy"For Dante, he decides to create a work in three volumes, where the past, present and future of Russia could be shown. The author even designates the genre of the work in an unusual way - a poem, since different fragments of life are collected in one artistic whole. The composition of the poem, which is built on the principle concentric circles, allows Gogol to trace Chichikov’s movement through the provincial town of N, the estates of landowners and all of Russia. Already from [...]
• “A rather beautiful spring chaise drove through the gates of the hotel in the provincial town of NN... In the chaise sat a gentleman, not handsome, but not bad-looking, neither too fat nor too thin; One cannot say that he is old, but not that he is too young. His entry made absolutely no noise in the city and was not accompanied by anything special.” This is how our hero, Pavel Ivanovich Chichikov, appears in the city. Let us, following the author, get to know the city. Everything tells us that this is a typical provincial [...]
• Plyushkin is the image of a moldy cracker left over from Easter cake. Only he has a life story; Gogol portrays all other landowners statically. These heroes seem to have no past that would be in any way different from their present and explain something about it. Plyushkin's character is much more complex than the characters of other landowners presented in Dead Souls. Traits of manic stinginess are combined in Plyushkin with morbid suspicion and distrust of people. Preserving an old sole, a clay shard, [...]
• The poem "Dead Souls" reflects social phenomena and the conflicts that characterized Russian life in the 30s and early 40s. XIX century It very accurately notes and describes the way of life and customs of that time. Drawing images of landowners: Manilov, Korobochka, Nozdryov, Sobakevich and Plyushkin, the author recreated a generalized picture of the life of serf Russia, where arbitrariness reigned, the economy was in decline, and the individual suffered moral degradation, regardless of whether she was a slave owner or [... ]

Lesson 3 N.V. Gogol “Dead Souls2 System of images of the poem. Images of landowners (Manilov, Korobochka)

Goals: give students an idea of ​​the system of images of the poem “Dead Souls”; familiarize students with the images of landowners using the example of Manilov and Korobochka; develop skills and abilities to construct an answer to a question about a work of art based on theoretical and literary knowledge; improve analytical skills with prose text; promote aesthetic and moral education students; cultivate a culture of reading perception.

Equipment : textbook, text of the poem “Dead Souls”, handouts, table, illustrative material on the topic of the lesson.

Lesson type : lesson - analysiswork of art

Predicted results : students knowabout the system of images of the poem by N.V. Gogol

“Dead Souls” are able to characterize the characters of the poem, analyze the text, retell individual episodes in the form of a description,participate in the conversation, develop their point of view on work of art in accordance with author's position and historical era.

Lesson progress

I . Organizational stage

II. Updating of reference knowledge

Conversation (analysis of the first chapter)

Tell us what you learned from what you read about the main character of the work.

What was the purpose of his visit to provincial town?

Find in the text and read portrait description Chichikova. Why do you think the writer singles him out for his faceless appearance? Justify your answer. What words does the author use to express his attitude towards the character?

III. Motivation educational activities

The poem was conceived by Gogol as a broad epic canvas, in which the author wanted to truthfully reflect, as in a pure mirror, living modernity.
The poem reflected Russia in the first third of the 19th century - Russia at that time when the tsarist government, having dealt with the Decembrists, withdrew its dreams the best people country about the introduction of republican rule, the bureaucratic apparatus was intensively created when the assertive Chichikovs, businessmen-acquirers, capable of making money from anything, took off.
The poem is built in the form of a journey and allows the reader to look into all the details that interest him. Subject of attention - “Mr.

System of images. Image system The poem is constructed in accordance with three main plot-compositional links: landowner, bureaucratic Russia and the image of Chichikov. The uniqueness of the system of images lies in the fact that the contrast to the heroes shown in the real plan of the poem constitutes an ideal plan, where the author’s voice is present and an image is created.

The first chapter of the poem can be defined as a kind of introduction. The action has not yet begun, and the author only outlines the characters. The reader begins to guess that Chichikov came to the provincial town with some intentions, which become clear later.

IV . Working on the lesson topic

1. Opening remarks teachers.

By creating images of landowners, Gogol not only shows us different types of owners of serf souls: dreamy slackers (Manilov), absolutely indifferent to the serfs entrusted to him; stingy people (Sobakevich), who will not miss anything in life; “club-headed” boxes, stuck in small-scale subsistence farming, where every piece of land, every piece, every box and box is registered; senseless bullies (Nozdryov), who more rampages at fairs and on neighboring estates than at home; and finally, the phenomenal plushkins from all sides. The author creates a whole system of images, very realistic and at the same time clearly satirical. He shows us the “heroes” from all sides, using three types of description: portrait, landscape of the estate, interior of the landowner’s house.

2. Teamwork on drawing up a reference diagram - a synopsis “The system of images of the poem” (writing on the board and in a notebook)

The system of images of the poem

3. Analytical conversation “Thinking, discussing”

a) Analysis of the first chapter

Which landowner does Chichikov visit first?

When does Chichikov's first meeting with Manilov take place?

What is the leading detail in the description of the hero?

Tell us who Manilov is. What impression did he make on you?

What was the landowner doing? How does he feel about his estate?

Find in the text and read the description of the interior of Manilov’s house. - Read expressively how Manilov reacted to Chichikov’s proposal to sell “dead souls.” How does this scene characterize Manilov?

Give reasons for your answer

Explain the term "manilovism"

Comment on the assessment of this chapter given by V.A. Zhukovsky: “Funny and painful.”

b) Analysis of the third chapter

With the help of which artistic means does the author reveal the image of Korobochka? Examples from the text.

Find in the text and read the characteristics of the Box. What is the leading feature of the Box? Examples from the text.

- Read expressively how Korobochka reacted to Chichikov’s proposal to sell “dead souls.” How does this scene characterize Korobochka?

Think about whether this image can be called typical? Why?

What artistic technique enhances the author's generalization? Examples from the text.

4. Collective work on compiling the table “Heroes of the poem by N.V. Gogol's "Dead Souls"

“The heroes of the poem by N.V. Gogol's "Dead Souls"

5. Comparative work

Analysis of the images of Manilov and Korobochka (in pairs)

V . Reflection. Summing up the lesson

Teacher's summary word

Gogol's heroes were not fictional book characters for Boklevsky. He for many years lived in the Ryazan province and easily recognized the well-known customs of the Russian province in the officials and landowners of the city of N.

Boklevsky completely refuses to reproduce everyday details and furnishings. His main task is to convey the intellectual poverty and moral squalor of Gogol's types. Therefore, the artist limits himself only to portraits of heroes and concentrates his attention on the depiction of their faces.

Manilov is represented by the artist relaxing in the afternoon. Having loosened his tie, unbuttoned his vest, and holding his ever-present long-stemmed pipe, he lounges in an easy chair. Manilov is a delicate, educated gentleman. Therefore, down jackets make him dreamy. He rolled his eyes, threw back his head, and was carried away by his imagination under the clouds. However, he does not rise from the pillows, he remains in complete idleness, and it is clear to the viewer that Manilov’s fantasies are as ephemeral as the smoke coming out of his pipe.

Korobochka is “one of those mothers, small landowners who cry about crop failures, losses and keep their heads somewhat to one side, and meanwhile they gradually collect money in colorful bags placed in dresser drawers.” Watercolor portrait Korobochki is represented by a good-natured old woman of small stature, wearing a cap and hood, and funny knitted shoes. The round, soft figure of Nastasya Petrovna, with some kind of rag tied around her neck, surprisingly resembles a tightly stuffed sack or sack - an important attribute of a homely landowner. Boklevsky often gives Gogol's characters an appearance similar to one or another animal. This creates additional associations for the viewer, which contribute to a better understanding of the essence of the image. So, it is no coincidence that Sobakevich looks like a bear, and Chichikov looks like a cunning fox. Boklevsky’s box makes you think about one of the small rodents, caring, homely animals that drag everything they see into their hole. In fact, she has round, surprised eyes, a raised upper lip in a triangle, exposing her incisors, and, finally, short arms, innocently folded over her protruding abdomen, just like the paws of a mouse.

VI . Homework

1. Prepare quotation material for the images of Nozdryov, Sobakevich, Plyushkin.

2. Individual task. Prepare for role play

3. Anticipatory task. Prepare an answer orally to a problematic question: “For what purpose does Chichikov visit landowners over the course of five chapters?”

N.V. Gogol’s poem “Dead Souls” is the greatest work of world literature. In the death of the souls of the characters - landowners, officials, Chichikov - the writer sees the tragic death of humanity, the sad movement of history in a vicious circle.

The plot of “Dead Souls” (the sequence of Chichikov’s meetings with landowners) reflects Gogol’s ideas about the possible degrees of human degradation. “My heroes follow one after another, one more vulgar than the other,” the writer noted. In fact, if Manilov still retains some attractiveness, then Plyushkin, who closes the gallery of feudal landowners, has already been openly called “a hole in humanity.”

Creating the images of Manilov, Korobochka, Nozdryov, Sobakevich, Plyushkin, the writer resorts to general techniques realistic typification(image of a village, manor house, a portrait of the owner, an office, a conversation about city officials and dead souls). If necessary, a biography of the character is also given.

The image of Manilov captures the type of idle, dreamer, “romantic” slacker. The landowner's economy is in complete decline. “The master’s house stood on the south, that is, on a hill, open to all the winds that might blow...” The housekeeper steals, “it cooks stupidly and uselessly in the kitchen,” “the pantry is empty,” “the servants are unclean and drunkards.” . Meanwhile, a “gazebo with a flat green dome, wooden blue columns and the inscription: “Temple of Solitary Reflection” was erected. Manilov's dreams are absurd and absurd. “Sometimes... he talked about how nice it would be if suddenly an underground passage was built from the house or a stone bridge was built across the pond...” Gogol shows that Manilov is vulgar and empty, he has no real spiritual interests. “In his office there was always some kind of book, bookmarked on page fourteen, which he had been constantly reading for two years.” vulgarity family life(relationships with his wife, education of Alcides and Themistoclus), the sugary sweetness of speech (“May Day”, “Name Day of the Heart”) confirm the insightfulness of the character’s portrait characteristics. “In the first minute of a conversation with him, you can’t help but say: “What a pleasant and kind person!” In the next minute of the conversation you won’t say anything, and in the third you’ll say: “The devil knows what it is!” - and move away; If you don’t leave, you will feel mortal boredom.” Gogol with amazing artistic power shows the deadness of Manilov, the worthlessness of his life. Behind the external attractiveness lies a spiritual emptiness.

The image of the hoarder Korobochka is already devoid of those “attractive” features that distinguish Manilov. And again we have a type in front of us - “one of those mothers, small landowners who... little by little collect money into colorful bags placed in dresser drawers.” Korobochka's interests are entirely concentrated on farming. “Strong-browed” and “club-headed” Nastasya Petrovna is afraid to sell herself cheap by selling “dead souls” to Chichikov. The “silent scene” that appears in this chapter is curious. We find similar scenes in almost all chapters showing the conclusion of Chichikov’s deal with another landowner. This is a special artistic device, a kind of temporary cessation of action, which allows us to show with particular prominence the spiritual emptiness of Pavel Ivanovich and his interlocutors. At the end of the third chapter, Gogol talks about the typicality of the image of Korobochka, about the insignificant difference between her and another aristocratic lady.

Nozdryov continues the gallery of dead souls in the poem. Like other landowners, he is internally empty, age does not concern him: “Nozdryov at thirty-five years old was exactly the same as he was at eighteen and twenty: a lover of a walk.” The portrait of a dashing reveler is satirical and sarcastic at the same time. “He was of average height, a very well-built fellow with full rosy cheeks... Health seemed to be dripping from his face.” However, Chichikov notices that one of Nozdryov’s sideburns was smaller and not as thick as the other (the result of another fight). The passion for lying and playing cards largely explains the fact that not a single meeting where Nozdryov was present was complete without a “story.” The life of a landowner is absolutely soulless. In the office “there were no visible traces of what happens in offices, that is, books or paper; only a saber and two guns were hanging...” Of course, Nozdryov’s farm was ruined. Even lunch consists of dishes that are burnt or, on the contrary, not cooked.

Chichikov's attempt to buy dead souls from Nozdryov - fatal mistake. It is Nozdryov who spills the secret at the governor’s ball. The arrival of Korobochka in the city, who wanted to find out “how much dead souls walk for,” confirms the words of the dashing “talker.”

The image of Nozdryov is no less typical than the image of Manilov or Korobochka. Gogol writes: “Nozdryov will not be removed from 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.”

The typification techniques listed above are also used by Gogol for the artistic perception of the image of Sobakevich. Descriptions of the village and the landowner's economy indicate a certain wealth. “The yard was surrounded by a strong and excessively thick wooden lattice. The landowner seemed to be concerned a lot about strength... The village huts of the peasants were also cut down amazingly... everything was fitted tightly and properly.”

Describing Sobakevich’s appearance, Gogol resorts to zoological comparison: he compares the landowner with a bear. Sobakevich is a glutton. In his judgments about food, he rises to a kind of “gastronomic” pathos: “When I have pork, put the whole pig on the table, lamb, bring the whole lamb, goose, the whole goose!” However, Sobakevich (in this he differs from Plyushkin and most other landowners) has a certain economic streak: he does not ruin his own serfs, achieves a certain order in the economy, profitably sells dead souls to Chichikov, and knows perfectly well the business and human qualities of his peasants.

The extreme degree of human degradation was captured by Gogol in the image of the richest landowner in the province (more than a thousand serfs) Plyushkin. The character's biography allows us to trace the path from a “thrifty” owner to a half-crazy miser. “But there was a time when he... was married and a family man, and a neighbor stopped by for dinner... two pretty daughters came out to meet him... his son ran out... The owner himself came to the table in a frock coat... But kind the owner died, some of the keys, and with them minor worries, passed to him. Plyushkin became more restless and, like all widowers, more suspicious and stingy.” Soon the family completely falls apart, and unprecedented pettiness and suspicion develop in Plyushkin. “... He himself finally turned into some kind of hole in humanity.” So, it was not social conditions that led the landowner to the last frontier moral failure. Before us is a tragedy (precisely a tragedy!) of loneliness, developing into a nightmare picture of lonely old age.

In the village of Plyushkina, Chichikov notices “some kind of special disrepair.” Entering the house, Chichikov sees a strange pile of furniture and some kind of street trash. Plyushkin lives worse than “the last shepherd of Sobakevich,” although he is not poor. Gogol’s words sound warningly: “And to what insignificance, pettiness, and disgust a person could descend! He could have changed so much!.. Anything can happen to a person.”

Thus, the landowners in “Dead Souls” are united common features: idleness, vulgarity, spiritual emptiness. However, Gogol would not have been a great writer if he had limited himself to only a “social” explanation of the reasons for the spiritual failure of his characters. He really creates “typical characters in typical circumstances,” but “circumstances” can also lie in the conditions of a person’s inner, mental life. I repeat that Plyushkin’s fall is not directly related to his position as a landowner. Can't the loss of a family break even the most strong man, representative of any class or estate?! In a word, Gogol’s realism also includes the deepest psychologism. This is what makes the poem interesting to the modern reader.

The world of dead souls is contrasted in the work with an ineradicable faith in the “mysterious” Russian people, in their inexhaustible moral potential. At the end of the poem, the image of an endless road and a trio of birds rushing forward appears. In its indomitable movement the writer sees the great destiny of Russia, the spiritual resurrection of humanity.