The role of lyrical digressions in the poem “Dead Souls” by Gogol - Essay. Lyrical digressions and their role

. “Dead Souls” is a mysterious and amazing work. For the first time, perhaps, you realize this when you pick up a solid prose work edition of 1842, and on the cover you read: “The Adventures of Chichikov. Dead Souls. Poem by N.V. Gogol." And Gogol himself perceived “Dead Souls” as a “true novel,” however, he designated the genre of his work that way. And this, of course, is not accidental. In Gogol's time, a poem was a kind of sign of quality. There were certain requirements for works of this kind: sublime motives had to be present. The poems had to contain the author's voice and had to have a clearly defined author's position. Gogol’s entire prose is colored with lyricism, because the writer considered it more effective for himself to directly address the word of truth and love. IN " Dead souls ah” his voice sounded clear and piercing, in them confessional motives acquired special significance. Therefore, in the poem some of best pages- these are pages of lyrical digressions. Moreover, they differ in emotional coloring and in their themes, helping the reader to better understand the content of the work and study in more detail the context of the events taking place.

One of the most significant lyrical digressions is Gogol’s reflections on the fate of writers who bring out positive or negative hero. The author of “Dead Souls” bitterly says that the modern public remains indifferent to tears “through... laughter.” Gogol defends literature critical realism, that is, that literature that is not afraid to show society all the bad sides of its life. He also defends satire, since he believes that it is based on humanistic principles, that the basis of a satirical image is love for people, the desire to correct their soul. As if continuing the theme, Gogol tells the story of Kifa Mokievich and Mokiy Kifovich and touches on the question of true and false patriotism. According to the writer, true patriots are not those who think not about “not doing bad, but about not saying that they are doing bad,” but those who speak the “holy truth” and are not afraid to focus on something deep look.

But if Gogol’s thoughts about the fate of writers or about patriotism are filled with both regret and bitterness, then in his discussions about officials his satirical talent is fully manifested. The stinging criticism of officials and landowners is contained in the famous story about the fat and the thin. "Alas! - Gogol notes, “fat people know how to manage their affairs in this world better than thin ones.” Brilliant characteristics of officials are given by the writer when describing the behavior of landowners in a conversation with Chichikov. Manilov, having heard Chichikov’s proposal to sell dead souls, did not understand anything, but put on a smart face. In lyrical miniature digressions, Gogol compares his heroes with St. Petersburg dignitaries. So, for example, Gogol talks about the expression on Manilov’s face, which can be seen “only on some too smart minister, and even then at the moment of the most dizzying matter.” Such digressions help present the reader with the most complete portraits of the heroes of the work.

There are also deviations of a moral nature in Dead Souls. So, in the story about the meeting of Chichikov and Plyushkin, there are Gogol’s appeals to youth. The writer calls on young people to preserve “all human movements” that allow a person to preserve himself and avoid degradation, which will not allow him to turn into Plyushkin and others like him.

But Gogol dedicated the most heartfelt digressions of Dead Souls to the Russian people. Endless Love the writer’s attitude towards the Russian people is manifested, for example, in the characteristics of serf craftsmen (Mikheev, Telyatnikov). But Gogol understands that a conflict between two worlds is brewing: the world of serfs and the world of landowners, and he warns about the upcoming clash throughout the book. And the author of “Dead Souls” hopes that the Russian people will have a flourishing culture ahead, the basis of which should be language. Gogol talks about this, reflecting on the accuracy of the Russian word. The author believes that there is no word that would be “so sweeping, brisk, so bursting out from under the very heart, so seething and vibrant as a well-spoken Russian word.”

The poem ends with lyrical reflections on the fate of Russia. The image of Rus'-troika affirms the idea of ​​​​the unstoppable movement of the Motherland, expresses the dream of its future and the hope for the emergence of real “virtuous people” capable of saving the country: “Eh, horses, horses, what kind of horses!.. We heard a familiar song from above, together and at once they tensed their copper breasts and, almost without touching the ground with their hooves, turned into just elongated lines flying through the air; and rushes, all inspired by God!..” The author’s faith in the future of the country is imbued with great emotional force.

“Dead Souls,” especially in the lyrical digressions, reflected the entire suffering soul of the great Russian writer, all his thoughts and feelings. Today it is worth turning to this work more often, listening more often to the voice of N.V. Gogol. V. G. Belinsky noted: “Like anything deep creation, “Dead Souls” are not fully revealed from the first reading, even for thinking people: reading them for the second time, it’s as if you are reading a new, never-before-seen work. "Dead Souls" requires study."

“Dead Souls” is a lyric-epic work, a prose poem that combines two principles: epic and lyrical. The first principle is embodied in the author’s plan to paint “all of Rus',” and the second in the author’s lyrical digressions related to his plan, which form an integral part of the work.

The epic narrative in “Dead Souls” is continually interrupted by lyrical monologues of the author, assessing the character’s behavior or reflecting on life, art, Russia and its people, as well as touching on topics such as youth and old age, the purpose of the writer, which help to learn more O spiritual world writer, about his ideals.

The most important are the lyrical digressions about Russia and the Russian people. Throughout the poem, the author's idea of positive image of the Russian people, which merges with the glorification and celebration of the homeland, which expresses the author’s civil-patriotic position.

Thus, in the fifth chapter, the writer praises “the lively and lively Russian mind”, his extraordinary ability for verbal expressiveness, that “if he rewards a slant with a word, then it will go to his family and posterity, he will take it with him both to the service and to retirement , and to St. Petersburg, and to the ends of the world." Chichikov was prompted to such reasoning by his conversation with the peasants, who called Plyushkin “patched” and knew him only because he did not feed his peasants well.

Gogol felt living soul of the Russian people, their daring, courage, hard work and love for a free life. In this regard, the author’s reasoning, put into Chichikov’s mouth, about serfs in the seventh chapter is of deep significance. 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, according to Chichikov, walked all over Rus' with an ax in his belt and boots on his shoulders. This is the shoemaker Maxim Telyatnikov, who studied with a German and decided to get rich instantly by making boots from rotten leather, which fell apart in two weeks. At this point, he abandoned his work, started drinking, blaming everything on the Germans, who did not allow Russian people to live.

Next, Chichikov reflects on the fate of many peasants bought from Plyushkin, Sobakevich, Manilov and Korobochka. But here's the idea of ​​"revelry" folk life"was so different from the image of Chichikov that the author himself takes the floor and, on his own behalf, continues the story, the story of how Abakum Fyrov walks on the grain pier with barge haulers and merchants, having worked out "to one song, like Rus'." The image of Abakum Fyrov indicates the love of the Russian people for the free, wild life, festivities and fun, despite the hard life of serfdom, the oppression of landowners and officials.

In lyrical digressions appears tragic fate enslaved people, downtrodden and socially humiliated, which was reflected in the images of Uncle Mitya and Uncle Minya, the girl Pelageya, who could not distinguish between right and left, Plyushkin’s Proshka and Mavra. Behind these images and pictures of folk life lies the deep and broad soul of the Russian people.

The love for the Russian people, for the homeland, the patriotic and sublime feelings of the writer were expressed in the image of the troika created by Gogol, rushing forward, personifying the mighty and inexhaustible forces of Russia. Here the author thinks about the future of the country: “Rus, where are you rushing?” He looks into the future and does not see it, but how true patriot believes that in the future there will be no Manilovs, Sobakeviches, Nozdrev Plyushkins, that Russia will rise to greatness and glory.

The image of the road in the lyrical digressions is symbolic. This is the road from the past to the future, the road along which the development of each person and Russia as a whole takes place.

The work ends with a hymn to the Russian people: “Eh! troika! Bird-three, who invented you? You could have been born among a lively people...” Here lyrical digressions perform a generalizing function: they serve to expand artistic space and to create a holistic image of Rus'. They reveal positive ideal the author - people's Russia, which is contrasted with landowner-bureaucratic Rus'. But, in addition to lyrical digressions praising Russia and its people, the poem also contains reflections lyrical hero on philosophical themes, for example, about youth and old age, the vocation and purpose of a true writer, about his fate, which are somehow connected with the image of the road in the work. So, in the sixth chapter Gogol exclaims: “Take it with you on the journey, coming out of the soft teenage 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!..” Thus, the author wanted to say that all the best things in life are connected precisely with youth and one should not forget about it, made by the landowners described in the novel, stasis " dead souls" They do not live, but exist. Gogol calls for preserving a living soul, freshness and fullness of feelings and remaining like that for as long as possible.

Sometimes, reflecting on the transience of life, on changing ideals, the author himself appears as a traveler: “Before, long ago, in the summer of my youth... it was fun for me to drive up to an unfamiliar place for the first time... Now I indifferently approach any unfamiliar village and indifferently look at it vulgar appearance; It’s unpleasant to my chilled gaze, it’s not funny to me... and my motionless lips keep an indifferent silence. O my youth! Oh my freshness!

To recreate the completeness of the author’s image, it is necessary to talk about lyrical digressions in which Gogol talks about two types of writers. One of them “never once changed the sublime structure of his lyre, did not descend from its top to his poor, insignificant brothers, and the other dared to call out everything that is every minute before the eyes and which indifferent eyes do not see.” The lot of a real writer, who dared to truthfully recreate a reality hidden from the eyes of the people, is such that, unlike a romantic writer, absorbed in his unearthly and sublime images, he is not destined to achieve fame and experience the joyful feelings of being recognized and sung. Gogol comes to the conclusion that the unrecognized realist writer, satirist writer will remain without participation, that “his field is harsh, and he bitterly feels his loneliness.”

The author also talks about “connoisseurs of literature” who have their own idea of ​​the purpose of a writer (“It’s better to present to us the beautiful and fascinating”), which confirms his conclusion about the fate of two types of writers.

So, lyrical digressions occupy a significant place in Gogol’s poem “Dead Souls”. They are remarkable from a poetic point of view. They reveal new beginnings literary style, which will later acquire bright life in the prose of Turgenev and especially in the works of Chekhov.

The heroes of the poem “Dead Souls,” created under the direct influence of Pushkin, truly seem to us “familiar strangers.” Manilov opens the portrait gallery of this work. He is courteous, kind, and polite by nature, but all this took on funny, ugly forms with him. He brought no benefit to anyone or anything. Neither great nor small deeds can be expected from Manilov and others like him.

Gogol exposed the phenomenon of Manilovism that characterizes Russian bureaucracy. The word “Manilovism” has become a household word. Manilov is terrible for Gogol. While this landowner prospers and dreams; his estate is being destroyed, the peasants have forgotten how to work - they drink and become sloppy. The landowner's duty is to organize the life of his serfs, to give them the opportunity to live and work profitably. “Manilovism” is bigger than Manilov himself. “Manilovism”, if it is considered not only as a universal human phenomenon, but as a phenomenon of a certain era and specific environment, Was in highest degree characteristic of the highest bureaucratic and bureaucratic system in Russia.

The provincial landowner Manilov imitated the “first landowner of Russia” - Nicholas I and his entourage.

The role of lyrical digressions in the poem "Dead Souls"

N.V. Gogol is one of the greatest figures of Russian literature. The pinnacle of his work is the poem "Dead Souls". All the main features of the author’s talent are reflected in it.

The most important role in compositional structure"Dead Souls" play lyrical digressions and insert episodes, characteristic of the poem as literary genre. In them, Gogol touches on the most pressing Russian social issues. The author’s thoughts about the high purpose of man, about the fate of the Motherland and the people are contrasted here gloomy pictures Russian life.

At the beginning of the poem, the lyrical digressions are in the nature of the author’s statements about his heroes, but as the action unfolds, their internal theme becomes increasingly broader and multifaceted.

Having talked about Manilov and Korobochka, the author interrupts the story so that the picture of life drawn becomes clearer to the reader. The author's digression, which interrupts the story about Korobochka, contains a comparison with her “sister” from aristocratic society, who, despite other appearance, is no different from the local mistress.

After visiting Nozdryov, Chichikov meets a beautiful blonde on the road. The description of this meeting ends with the author’s remarkable digression: “Wherever in life, whether among the callous, rough-poor and unkempt and moldy low-lying ranks, or among the monotonously cold and boringly neat upper classes, everywhere at least once you will meet on the way to a person, a phenomenon unlike everything he has ever seen before, which will at least once awaken in him a feeling not similar to those that he is destined to feel all his life.” But what is characteristic of many people, what appears “across” any kind of sorrows - all this is completely alien to Chichikov, whose cold prudence is compared here with the direct manifestation of feelings.

The lyrical digression at the end of the fifth chapter is of a completely different nature. Here the author is no longer talking about the hero, not about the attitude towards him, but about the mighty Russian man, about the talent of the Russian people. Outwardly, this lyrical digression seems to have little connection with the entire previous development of the action, but it is very important for revealing the main idea of ​​the poem: real Russia- these are not Sobakevichs, Nozdryovs and boxes, but the people, the element of the people.

In close contact with lyrical statements about the Russian word and national character is the author’s digression that opens the sixth chapter.

The story about Plyushkin is interrupted by the author’s angry words, which have a deep generalizing meaning: “And a person could condescend to such insignificance, pettiness, and disgusting!”

Of considerable importance are lyrical statements about creative and life destiny writer in Gogol’s contemporary society, about two different destinies awaiting the writer who creates “exalted images” and the realist writer, satirist. This lyrical digression, full of deep thoughts and vivid generalizations, reflected not only the writer’s views on art, but also his attitude towards the ruling elite of society, towards the people. It defines and ideological path writer and his assessment of the main social forces.

In the chapters devoted to the depiction of the city, we encounter the author’s statements about the extreme irritability of ranks and classes - “now all ranks and classes are so irritated in our country that everything that is in a printed book already seems to them to be a person: this is apparently how they are disposed in the air." Gogol ends his description of the general confusion with reflections on human delusions, on the false paths that humanity has often followed in its history - “but the current generation laughs and arrogantly, proudly begins a series of new delusions, which the descendants will also laugh at later.”

The writer's civic pathos reaches particular strength in the lyrical digression - "Rus, Rus'! I see you from my wonderful, beautiful distance." Like the lyrical monologue at the beginning of the seventh chapter, this lyrical digression forms a clear line between two major links in the narrative - city scenes and the story of Chichikov’s origins. Here, in a broad sense, the theme of Russia appears, in which it was “poor, scattered and uncomfortable,” but where heroes cannot but be born. The author's lyrical statements seem to be interrupted by the invasion of rude everyday prose. “And a mighty space threateningly embraces me, reflecting with terrible force in my depths; my eyes were illuminated with an unnatural power: oh! what a sparkling, wonderful distance, unfamiliar 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.”

The vulgarity, emptiness, baseness of life emerge even more clearly against the background of sublime lyrical lines. This technique of contrast was used by Gogol with great skill. Thanks to such a sharp contrast, we better understand the vile traits of the heroes of Dead Souls.

Immediately after this, the author shares with the reader the thoughts that the racing troika and the long road evoke in him. “How strange, and alluring, and carrying, and wonderful in the word road! and how wonderful it itself is, this road.” One after another, Gogol sketches here pictures of Russian nature that appear before the gaze of a traveler racing on fast horses along an autumn road. Both in the general mood of the author’s monologue and in the quickly changing pictures, a hint of the image of a three-bird bird is clearly felt, from which this lyrical digression is separated by a large chapter dedicated to the adventures of Chichikov.

A high sense of patriotism permeates the image of Russia that concludes the first volume of the poem, an image that embodies the ideal that illuminated the artist’s path when depicting petty, vulgar life.

This is the role of lyrical digressions in the composition of the poem. But the most important thing is that they express many of the author’s views on art and relationships between people. On the pages of the poem, Gogol wanted not only to expose, but also to assert his moral ideal, and expressed it in his wonderful lyrical digressions, which reflected all his thoughts and feelings, and above all, a great feeling of love for his people and fatherland, the belief that his homeland will break out of the power of the “swamp lights” and return to the true path: the path living soul.

The role of author's digressions in the poem by N.V. Gogol's "Dead Souls"

Poem "Dead Souls" - complex work, in which merciless satire and the author’s philosophical reflections on the fate of Russia and its people are intertwined.

Let's follow the main character of the poem, Chichikov, to meet other characters in the work and read the author's lyrical thoughts that accompany the development of the plot and give the key to understanding the features of Dead Souls.

The modest and inconspicuous Mr. Chichikov arrives in a small town and makes his first public appearance at the governor’s party. Pavel Ivanovich meets the local nobility and immediately divides them into “fat” and “thin”. Here follows Gogol's ironic reasoning about all representatives of the Russian nobility.

The author does not even raise the question of their education and intelligence. He seems to be hinting that they are all, as if by choice, equally ignorant and stupid, and they can be distinguished only by one sign - whether they are “fat” or “thin”. “Fat people” are honorary officials in the city; they know how to manage their affairs better than thin people.

The thin ones wiggle here and there, their existence is completely unreliable. Fat people never “take 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...” With these words, the author ridicules the nobility of Russia and the bureaucracy, when positions are occupied by far from smart people, but strong fat men who cannot be dislodged.

And how Gogol accurately describes the ability of Russian people to communicate, depending on what position in society the interlocutor occupies: “It is impossible to count all the shades and subtleties of our address!” And then the author continues: “A Frenchman or a German will speak with almost the same voice or the same language both to a millionaire and to a small tobacco dealer. This is not the case with us: 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...”

How the author admires the ability of Russian people to give precise and accurate characteristics, “like a passport for eternal wear,” when a person is “outlined with one line from head to toe!” Gogol calls on readers to preserve the richness of the national word, which is so “sweeping, lively and burst out from under the very heart...”.

At the beginning of the sixth chapter of the poem, the author gives his lyrical reflections on youth. And it seems that there is a turning point in his mood. After ironic discussions about “fat” and “thin” people, after enthusiastic words about the Russian language, despondency and sadness reappear. How many new and pleasant impressions were prepared every day, lived at a young age, “everything stopped and amazed...”. Now, after years, everything “is unpleasant, not funny, and nothing awakens, as in previous years, a living movement in the face, laughter and silent speeches, and motionless lips keep indifferent silence.” “Oh my youth! Oh my freshness! - all this is irretrievably gone, the author sadly notes.

Why does everything living, open and kind in a person die with age? In order not to turn into callous and indifferent people, the author calls on us: “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, do not pick them up later!”

Particularly significant, in my opinion, are Gogol’s reflections on writers' destinies, about the themes that authors raise in their work: “Happy is the writer who never changed the sublime structure of his lyre, did not descend from his peak to his poor, insignificant brothers... He hid the sad things in life, showing wonderful person..." “But the fate of the writer is completely different, who dared to bring out everything that is every minute before his eyes - all the terrible, amazing mud of little things that entangle our lives, with which our earthly, sometimes bitter and boring path is full...” continues the author. “His field is harsh and he will feel his loneliness bitterly,” states the writer.

Thus, the author tries not only to show writers a convenient path to fame, but also to direct them on the thorny path of an artist who is not indifferent to the fate of Russia. The future, according to Gogol, still belongs to patriotic writers who care about the fate of the people. And the author hopes that they will also receive well-deserved recognition.

The words of the lyrical digression dedicated to Rus' are beautiful, which the author compares with a bird or three, representing it as “a land that does not like to joke, but is spread out evenly across half the world, and go ahead and count the miles until it strikes you in the eyes...”. So Rus' rushes like a “brisk, unstoppable troika”, no one knows where, and only “other peoples and states sidestep and make way for it.”

These lines have become favorites for many generations of Russian people. No one else, except Gogol, was able to so accurately describe all the courage, daring and all the recklessness that is unique to our people.

Answering the question “Why does Gogol introduce so many beautiful lyrical digressions into his poem?”, we can say: the author used this technique to show all the emptiness, pettiness, baseness of the life of various representatives Russian society. Their images against the contrasting background of lyrical digressions look especially small, absurd and insignificant. These thoughts of the author help expose the bureaucracy and contrast the landowners with a completely different image - the image of Russia, which is “flying towards its revival.”

Lyrical digressions in the poem "Dead Souls" they play 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 have spoken about them famous people. 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

The writer, with the help of lyrical digressions, expresses own attitude not only to the events and people described by him. They contain, in addition, a statement of the high purpose of man, the significance of great public interest 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 over the insignificance of the characters he depicts, whether he talks about his role in modern society writer or about the 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 related to lyrical statements dedicated to national character and the Russian word, and an 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 deep meaning, the story about Plyushkin, who embodied with the greatest strength base feelings and aspirations, is interrupted. 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 life and creative destiny writer in contemporary society. 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 step 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 to whole line 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 who main character and the whole work, depicting “the despicable and evil,” can be shocking.

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 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.