Literature lesson in 10th grade

The image of the road expressed in words

(based on Gogol’s poem “Dead Souls”).

Lesson type: lesson - research

Lesson objectives:

1. Help children find common ground between two arts: literature and painting.
2. Be able to determine your own position and defend your personal opinion.
3. Develop the ability to work independently, look for a solution to a problem, fully revealing your personal qualities.
4. To create favorable conditions for the realization of the capabilities of each student, for independent knowledge and creativity.

   Lesson objectives.

Educational:

1. Strengthening the ability to argue your point of view,competently construct a reasoning answer based on the literary text.

2. Consolidating knowledge about the expressive means of language,and their roles in the work;

3. Expanding students' vocabulary.

Educational:

- develop general educational skills (analysis, comparison, generalization);

Develop creative skills;

Develop the ability to work in a group.

Educational:

- development of cognitive interest in various types of art;

- cultivating the ability to listen to each other and respect other people’s opinions

Lesson methods:

1. reproductive;
2. search;
3. research.

Forms of work:

1. individual;
2. group;
3. frontal.

• Preparatory work: the class is divided into groups. The tasks are varied (individual, group).
• to the groupliterary scholars :

Find a description of the road in chapters 2 and 3 of the poem, write down the verbs of movement;

Review the concepts: rhetorical question, rhetorical appeal, inversion; determine their role in the poem(Chapter 11).

• to the grouplinguists find in dictionaries:

Verb "to wheel";

The meanings of the words “vital” and “everyday”;

Synonyms for the word "road".

• Individual tasks – prepare an expressive reading (preferably by heart) of excerpts (with abbreviations) from the poem:

1. “How strange, and alluring, and carrying, and wonderful in the word: road!”
2. "Rus! Rus! I see you"
3. “And what Russian doesn’t like driving fast?”

During the classes

How strange, and alluring, and carrying, and wonderful is the word: road!

N.V.Gogol

Teacher's opening speech

Slide number 1.Videoon the topic"Roads"

- Roads. Country roads.Blurred in autumn.Dusty in summer. Winter roads in a blinding snowy haze. Spring - like rivers,the sound of rain, wind, the creaking of a cart, the ringing of bells, the clatter of hooves. Do you hear -this is the music of the road. Roads of eternal wanderers, roads of eternal traveler v. On the road! IN way!.. At once andsuddenly we plunge into life with all its silent chatter and bells.There are moments in every person’s life when you want to go out into the open and go “to the beautiful far away,” when suddenly the road to unknown distances beckons you.

The road has no end

A road without beginning or end.

She once chose you

Your steps, your sadness and song.

Just walk along it

With every step it hurts more and more,

It's getting more and more difficult with every word!

A road without beginning or end.

Slide number 2.Lesson topic

I think you guessed it object our research will be road symbol. So , subjectthe final lesson on N.V. Gogol’s poem “Dead Souls” will be called"The image of the road expressed in words."

Questions:

• What's the keyword Topics? (road)
• In what sense will we use this word?

What is a synonym for the word roadyou can offer?

"The Path" is the movement of a literary character in this space"

Teamwork

– What, in your opinion, are the reasons for choosing the topic?

(1. Necessitystudying according to the program.
2. The need to understand your own life path.
3. Determining the trajectory of your own path through understanding the ups and downsliterary heroes.)

– What do you see as the relevance? proposed topic?

(1. The topic is important becausethat a person is alive only when he moves forward.
2. It is interesting to see which path of a person and country was preferredfor writers of the 19th century, etc.)

– As you suggestformulate the research problem?

Slide number 3.Research problems – different sides of the road

(Howdepicted in works of Russian literature of the 19th century and painting the path of an individual?

WhereAnd How is the hero moving?

Whatgives a person this movement?

WhatN.V. Gogol talks about the path of Russia?)

Slide№ 4. Epigraph

The epigraph will be the words of the great writer: (the student reads expressively )

Slide No.5. Video material

“How strange, and alluring, and carrying, and wonderful in the word: road! And how wonderful this road itself is: a clear day, autumn leaves, cold air...And the night! heavenly powers! What a night is taking place in the heights! And the air, and the sky, distant, high, there, in its inaccessible depths, so vastly, sonorously and clearly spread out!.. God! How beautiful is sometimes the long, distant road! How many times, like someone dying and drowning, have I grabbed onto you, and every time you generously carried me out and saved me! And how many wonderful ideas, poetic dreams were born in you, how many wondrous impressions were felt!..”

- Very heartfelt lines! It was Gogol himself who so deeply loved the road, so selflessly “grabbed” at it in the difficult days of his life. Image of the roadpermeates the entire poem, revealing various facets. Today we must see and understand different facets of Gogol’s road.

- In order to expand our understanding of the 19th century, let us pay attentionon the vehicles of our heroes.

Slide number 6 – 11.Means of transport in the 19th century.

Creative vocabulary work

1. Coach– a large covered four-wheeled carriage on springs

How long will I walk in the world?

Now in a carriage, now on horseback,

Now in a wagon, now in a carriage,

Either in a cart or on foot?

Pushkin

2 . Flyover- light four-wheeled carriage.

3 . Kibitka –covered road wagon.

Neighbors gathered in carts

In wagons, chaises and sleighs.

Pushkin. "Eugene Onegin"

4. Stroller– a spring carriage on four wheels with a lifting top.

“Go to the carriage maker to put the carriage on the runners,” said Chichikov.

Gogol. "Dead Souls"

5. Stagecoach- a multi-seat covered carriage drawn by horses for express communication, transportation of passengers and mail.

Kopeikin will pass by the Milyutinsky shops: there, in some way, looking out of the window is a salmon, a cherry for five rubles, a huge watermelon, a stagecoach...

Gogol. "Dead Souls"

6. Droshky– light open carriage.

The well-known regimental droshky followed the carriage.

Gogol. "Stroller"

7 . Britzka– light roada carriage with a convertible top.

Leaning out the window, he saw (Chichikov)a light chaise drawn by three good horses stopped in front of the tavern.

Gogol. "Dead Souls"

- What was the significance of the britzka for Chichikov? (direct and figurative)

The main character's chaise is very important. Chichikov is the hero of the journey, and the britzka is hishouse.This subject detail.Not only does Chichikov travel in it, that is,thanks to herthe plot of the journey turns out to be possible; the britzka also motivates the appearance of the characters of Selifan and the three horses; thanks to hermanages to escape from Nozdryov (that is, chaise helps outChichikov); chaisefaceswith the carriage of the governor's daughter and thuslyrical is introduced motive, and at the end of the poem Chichikov even appears as the kidnapper of the governor’s daughter. Britzka –living character:she is endowed with her own will and sometimes does not obey Chichikov and Selifan, goes her own way and in the enddumps outrider into impassable mud - so the hero, against his will, ends up with Korobochka, who greets him with affectionate words: “Oh, my father, you, like a hog, have your whole back and side covered in mud! Where did you deign to get so dirty? "In addition, the chaise, as it were, determines the ring composition of the first volume: the poem opens with a conversation between two men about howthe wheel of the chaise is strong, but ends with the breakdown of that very wheel, which is why Chichikov has to stay in the city.

Work with text.

Teacher's word:- Let's turn to the poem. Let's open the first page again... (read the first sentence). The poem begins with the image of a road. Chichikov’s entry was not accompanied by anything special, only...

Slide number 12.Roam around.

Chichikov’s entry was not accompanied by anything special, only...

What clarification does Gogol make? (talk about the wheel)

What is the role of talking about the wheel?

Why does Chichikov’s chaise “Won’t Get to Kazan”? What hint is hidden behind this phrase? (“the wheel” on which the smug Chichikov sat is “crooked”; he cannot master Russian space)

What is the cognate verb for the word “wheel”? What does it mean?

Let's check ourselves: let's turn to V.I.'s dictionary. Dahl

A word to linguists:

To travel around - to make a detour or detour; drive around, around; to wander, to wander; speak in hints, not directly.

How do these meanings relate to the image of Chichikov?

The road is one of the main spatial forms connecting the text of Dead Souls. All heroes, ideas, images are divided into those belonging to the road, aspiring, having a goal, moving - and static, aimless

Slide number 13.Picturefirsttitle page

The first title page depicted Chichikov’s carriage, symbolizing the path of Russia, and around there was a dead field... How sad our Rus' is!

What does it seem to usthe road on which Chichikov is driving?(first question of the problem)

Working with text - writing down keywords

Students-literary scholarsread out the found episodes:

« With thunderthe chaise drove out from under the hotel gates onto the street... Not without joy, he saw in the distance a striped barrier, letting him knowthat the pavement, like any other torment, will soon end; and hitting quite a few more timeshead stronginto the back, Chichikov finally rushed along the soft ground.”(Chapter 2)

“Meanwhile, Chichikov began to notice thatthe chaise was rocking in all directions and gave him very strong shocks; it made him feel that theyswervedout of the way and probablytrudged across a harrowed field " (Chapter 3)

“Although the day was very good, the earthso polluted that the wheels of the chaise, catching it, soon became covered with it like felt, which significantly made the crew heavier; Moreover, the soil was clayey and unusually tenacious. Both were the reasons that they could not get out of the country roads until noon. Without the girl it would be difficult to do this too, becausethe roads spread out in all directions like caught crayfish , when they are poured out of the bag, and Selifan would have to suffer through no fault of his own.”(Chapter 3)

- Which road did you see?

What comparison helps us imagine Chichikov’s road? (like caught crayfish). What is the symbolic meaning of this comparison?

- What kind of heroes does Chichikov belong to?Why does his road have no direction (it rolls around like a crayfish))?

Slide number 14. Road and path. Vocabulary work.

- Chichikov's path... What can you say about the hero's path? About the purpose of his journey?

The word "path" often combined with adjectivesvital and worldly. How do you understand them? What differences do you see?

Life –

1. Related to life.
2. Close to life, to reality, to reality.
3. Important for life, socially necessary.

Everyday- ordinary, typical of everyday life.

Which of them is more suitable for Chichikov’s “path”?

How are Chichikov’s road and life path interconnected?(Chichikov has a petty, selfish goal and, accordingly, the trajectory of his movement is short, the road leads him in a circle).

We see that the road not only has a direct, “material” meaning, but also acquiressymbolic and metaphorical meanings . Which? (A road is a journey in space with a specific purpose -Chichikov's life path)

Teacher's word.Life motiveways, roads have always worried Russian artists and found a bright, memorable sound in their workIt has been rising for many centuries question: which path to choose, who can go through it, how to go through it?

Slide№ 15 - 21. Illustrationsby painting with the image of the road

(On the board, the guys, having determined the symbolic meaning of the road in the artists’ paintings, pin it on the board)

A.K. Savrasov - loneliness, Alexey Butyrsky - hope (light), Adamov - harmony, renewal, Levitan - faith, traveler, road to the temple, Azovsky “Road to the temple”,alley (self-knowledge),Thomas Kinkade - search, self-knowledge,the path to the top is overcoming,the road home is joy, Shishkin is dirty and sad, Vasnetsov “The Knight at the Crossroads” is the problem of choice, Moonlit skies is creativity, faith in the best, Yu. Klever “Winter Landscape”, F. Roubaud "Troika"

Conclusion:

- Isn’t it so that you and I stop with bated breath in front of an artistic depiction and,Looking closely, we catch ourselves thinking that we are the same travelers wandering along roads where everyone chooses their own.

- Which of these roads is Chichikov? Give your reasons.20

Slide number 22.Road theme(12, 13) Pictures

The theme of the road and movement is one of the most important in N.V.’s poem. Gogol "Dead Souls". The plot of the work itself is based on the adventures of the main character, the swindler Chichikov: he travels from landowner to landowner, moves around the provincial city in order to buy “dead souls.”

"Dead Souls" begin and end with the theme of the road . At the beginning of the poem, Chichikov enters the provincial town,he is full of hopes and plans and in the end the hero flees from it, fearing final exposure.

Let us remember that, leaving Korobochka, Chichikov asks her to tell her “how to get to the main road”: “How can I do this? - said the hostess. “It’s hard to tell, there are a lot of turns...”

- How to get to the main road? - this is the author’s question addressed to readers. Together with the writer, he must think about how to take the “high road” of life.

- A contrast arises between the end and the beginning, “before” and “now”. On the road of life, something very important and significant is lost: freshness of sensations, spontaneity of perception. This episode brings to the fore the change of a person on the path of life, which is directly related to the internal theme of the chapter

Which landowners had to endure amazing changes? Which?Why?

Slide number 23.Plyushkin(Scene from Chapter 6)

Teacher's word.

The road is the main “outline” of the poem. While the road goes on, life goes on, while life goes on, the story about this life goes on.

The poem ends with the image of the road.In the eleventh chapter, which concludes the first volume of Dead Souls, a kind of hymn to the road sounds. This is a hymn to the movement - the source of “wonderful ideas, poetic dreams”, “wonderful impressions”.

Slide number 24.“Meanwhile the britzka turned...”

What do we see when traveling with Chichikov? What kind of Russia appears in front of us?

Comparative analysis of chapter 11 episodes:

1) “Meanwhile, the britzka turned into more deserted streets; Soon there were only long wooden fences, foreshadowing the end of the city. Now the pavement is over, and the barrier, and the city is behind, and there is nothing, and again on the road. And again, on both sides of the main path, they began to write miles again, station keepers, wells, carts, gray villages with samovars, women and a lively bearded owner running from an inn with oats in his hand, a pedestrian in worn bast shoes... towns built with stubble..., bridges being repaired, endless fields..., a song drawn out in the distance, pine tops in the fog, bell ringing disappearing in the distance, crows like flies and an endless horizon..."

- Compare this episode with the next one.

2) Reading a passage by heart(slide 11):

"Rus! Rus! I see you from my wonderful, beautiful distance, I see you: poor,scattered and uncomfortable in you... Everything in you is open - deserted and even; like dots, like icons, your low cities stick out inconspicuously among the plains; nothing will seduce or enchant the eye. But what incomprehensible secret force attracts you? ... Why is your melancholy song heard and heard incessantly in your ears, rushing along the entire length and width of yours? What's in it, in this song? Rus! What do you want from me? What an incomprehensible connection lies between us... Wow! what a sparkling, wonderful distance unknown to the earth! Rus!"

- Compare two pictures: what similarities can you note? What does the road symbolize for the main character of the poem, the author who accompanied us throughout the entire narrative and for countries?

Slide number 25.Draw conclusions on the topic of our research.

But these are completely different roads.The road of one person, a specific character - Pavel Ivanovich Chichikov. In the end, this is the road of the whole state, Russia, and even more, the road of all humanity.

• Chichikov rushes across Russian expanses, across Russianroads with the thought of buying dead souls and getting rich, forthe author is a creative path.

• And for Rus'?

• The road is both the ability to create, and the ability to understand the true path of man and all humanity, and the hope that contemporaries will be able to find such a path.

Slide number 26.Final stills from the film.

Hold it, hold it, you fool!” Chichikov shouted to Selifan.

Here I am with a broadsword! - shouted a courier with a mustache as long as he was galloping towards the meeting. - Don’t you see, damn your soul: it’s a government carriage! - and, like a ghost, the troika disappeared with thunder and dust.

Slide number 27. Final stills from the film.

Student by heart:

« And what kind of Russian doesn’t like driving fast?... It seems like an unknown force has taken you on its wing, and you are flying, and everything is flying... the whole road is flying to God knows where into the disappearing distance... Eh, three! Bird three, who invented you? To know you could only have been born among a lively people, in that land that does not like to joke, but has scattered smoothly across half the world, and go count the miles until it shines in your eyes... Aren’t you, too, Rus', that lively, unstoppable Are you rushing three? The road beneath you smokes, the bridges rattle, everything falls behind and is left behind. The contemplator, amazed by God's miracle, stopped: wasn't this lightning thrown from the sky?... Eh, horses, horses, what kind of horses!... They heard a familiar song from above, ... they turned into just elongated lines flying through the air...”

- What is the direction of movement? (Road up) What is the symbolic meaning of such a road?

Slide 28.Bird troika Plastinina

Road-salvation, road-hope, road-faith in the best

Love for the Russian people, for the homeland was expressed in the image of a bird - a troika, rushing forward, personifying the mighty and inexhaustible forces of Russia.

Here the author thinks about the future of the country, he looks into the future and does not see it, but as a true patriot he believes that in the future there will be no Manilovs, Sobakeviches, Nozdryovs, Plyushkins, that Russia will rise to greatness and glory.

So, it is necessary to clearly distinguish between the concepts of road and path in this poem. The road is something sublime, permeated with Gogolian patriotism, admiration for the salt of Rus' - the people. Roads are also a question about the future.

The path is reality, this is what Chichikov went through, and what he has to go through. It seems to me that any path resembles a curve with many turns, and it is from the paths that one main wide road emerges.

What will happen to Russia, where will we go? T the road along which she rushesҭ so that it can no longer be stopped: Rus', where are you rushingҭ s?... This is the question that bothered the writer, because in his soul there lived a boundless love for Russia. And, most importantly, Gogol, unlike many of his contemporaries, believed in Russia, believed in its future. Therefore, we can say with confidence that the road toҭ in Gogol's work, this is Russia's road to the better, the new To a broken future.
Gogol's path is the path of the revival of Russia, the path of improving society, entangled in the contradictions of life.

Slide29. Advice from N.V. Gogol

AND Gogol, concluding the poem, wished us: “Take with you on the journey, emerging from youth into stern, embittering courage, take away all human movements, do not leave them on the road: do not pick them up later!

Slide30. Picture"The girl is walking along the road"

All the best things in life are connected precisely with youth and one should not forget about it, as the heroes described in the poem did. They have lost their humanityand couldn’t find it later.

Slide number 31.Homework.

Write a short discussion on the topic:

“Are there Chichikovs today? What position do such people occupy in modern society?

The image of the road in "Dead Souls". Help) and got the best answer

Answer from Elena Ladynina[guru]
The poem “Dead Souls” begins with a description of a road carriage; The main action of the main character is travel. After all, only through the traveling hero, through his wanderings, could the global task be accomplished: “to embrace all of Rus'.” The theme of the road, the journey of the protagonist, has several functions in the poem.
First of all, this is a compositional technique that links together the chapters of the work. Secondly, the image of the road performs the function of characterizing the images of the landowners whom Chichikov visits one after another. Each of his meetings with the landowner is preceded by a description of the road and estate. For example, this is how Gogol describes the way to Manilovka: “Having traveled two miles, we came across a turn onto a country road, but already two, three, and four miles, it seems, were done, and the two-story stone house was still not visible. Then Chichikov remembered that if a friend invites you to his village fifteen miles away, it means that it is thirty miles away.” The road in the village of Plyushkina directly characterizes the landowner: “He (Chichikov) did not notice how he drove into the middle of a large village with many huts and streets. Soon, however, he was made aware of this by a considerable jolt produced by the log pavement, in front of which the city stone pavement was nothing. These logs, like piano keys, rose up and down, and the careless rider acquired either a bump on the back of his head or a blue spot on his forehead... He noticed some special disrepair in all the village buildings...”
In the seventh chapter of the poem, the author again turns to the image of the road, and here this image opens the lyrical digression of the poem: “Happy is the traveler who, after a long, boring road with its cold, slush, dirt, sleep-deprived station guards, jangling bells, repairs, squabbles, coachmen , blacksmiths and all kinds of scoundrels on the road, he finally sees a familiar roof with lights rushing towards him...” Next, Gogol compares the two paths chosen by the writers. One chooses the beaten path, on which glory, honors, and applause await him. “They call him the great world poet, soaring high above all the geniuses of the world...” But “fate has no mercy” for those writers who chose a completely different path: they dared to call out everything “that is every minute before the eyes and that the indifferent do not see.” eyes, - all the terrible, stunning mud of little things that entangle our lives, all the depth of the cold, fragmented, everyday characters with which our earthly, sometimes bitter and boring path teems... "The field of such a writer is harsh, since the indifferent crowd does not understand him, he is doomed to loneliness. Gogol believes that the work of just such a writer is noble, honest, and lofty. And he himself is ready to go hand in hand with such writers, “to look around at the whole enormous rushing life, to look at it through the laughter visible to the world and the invisible tears unknown to him.” In this lyrical digression, the theme of the road grows to a deep philosophical generalization: the choice of a field, path, vocation. The work ends with a poetic generalization - the image of a flying bird-three, which is a symbol of the entire country. The problems raised by Gogol in the poem are not a specifically posed question, and only in the concluding lines of the first volume of Dead Souls does it sound clearly and distinctly: “...Rus, where are you rushing to? “And we understand that for the author, Rus' is a troika rushing along the road of life. And life is the same road, endless, unknown, with peaks and valleys, dead ends, sometimes good, sometimes bad, sometimes just pure dirt, without beginning or end. In “Dead Souls,” the theme of the road is the main philosophical theme, and the rest of the story is just an illustration of the thesis “the road is life.” Gogol ends the poem with a generalization: he moves from the life path of an individual to the historical path of the state, revealing their amazing similarities.

Answer from 2 answers[guru]

Hello! Here is a selection of topics with answers to your question: The image of the road in “Dead Souls”. Help)

Answer from Alexey Berdnikov[newbie]
“On the road! on the road!.. At once and suddenly we will plunge into life with all its silent chatter and bells...” - this is how Gogol ends one of the most heartfelt and deeply philosophical lyrical digressions in the poem “Dead Souls.” The motif of the road, path, movement appears more than once on the pages of the poem. This image is multi-layered and very symbolic.
The movement of the protagonist of the poem in space, his journey along the roads of Russia, meetings with landowners, officials, peasants and urban inhabitants form before us a broad picture of the life of Rus'.
The image of a tangled road, lying in the wilderness, leading nowhere, only circling the traveler, is a symbol of the deceptive path, the unrighteous goals of the protagonist. Next to Chichikov, sometimes invisibly, sometimes coming to the fore, there is another traveler - this is the writer himself. We read his remarks: “The hotel was... of a famous kind...”, “everyone passing by knows very well what these common rooms are like,” “the city was in no way inferior to other provincial cities,” etc. With these words, Gogol did not only emphasizes the typicality of the phenomena depicted, but also makes us understand that the invisible hero, the author, is also well acquainted with them.
However, he considers it necessary to emphasize the discrepancy between these heroes’ assessment of the surrounding reality. The poor furnishings of the hotel, receptions from city officials, and profitable deals with landowners suit Chichikov quite well, and cause undisguised irony for the author. When events and phenomena reach the peak of ugliness, the author's laughter reaches the peak of mercilessness.
The flip side of Gogol's satire is the lyrical principle, the desire to see a person as perfect, and his homeland as powerful and prosperous. Different heroes perceive the road differently. Chichikov feels pleasure from driving fast (“And what Russian doesn’t like driving fast?”), can admire a beautiful stranger (“having opened the snuff box and sniffed the tobacco,” he will say: “Nice grandmother!”). But more often he notes the “throwing force” of the pavement, enjoys the soft ride on a dirt road, or dozes off. The magnificent landscapes passing before his eyes do not give him much thought. The author, too, is not deluded by what he sees: “Rus! Rus'! I see you, from my wonderful, beautiful distance I see you: poor, scattered and uncomfortable in you... nothing will seduce or enchant the gaze.” But at the same time, for him there is “how strange, and alluring, and carrying, and wonderful in the word: road!” The road awakens thoughts about the homeland, about the writer’s purpose: “How many wonderful ideas, poetic dreams were born in you, how many wonderful impressions were felt!...”
The real road along which Chichikov travels turns into the author’s image of the road as a path in life. “As for the author, he should under no circumstances quarrel with his hero: the two of them will have to go through quite a lot of road and road hand in hand...” With this Gogol points out the symbolic unity of the two approaches to the road, their mutual complementarity and interconversion.
Chichikov’s road, which passed through different corners and crannies of the N province, seems to emphasize his vain and false path in life. At the same time, the author’s journey, which he makes together with Chichikov, symbolizes the harsh thorny but glorious path of the writer preaching “love with a hostile word of denial.”
The real road in “Dead Souls,” with its potholes, bumps, mud, barriers, and unrepaired bridges, grows into a symbol of “hugely rushing life,” a symbol of Russia’s historical path.
On the pages that conclude the 1st volume, instead of Chichikov’s troika, a generalized image of a troika bird appears, which is then replaced by the image of rushing, “God-inspired” Rus'. This time she is on the true path, which is why Chichikov’s filthy crew of a bird or three has been transformed - a symbol of a free Russia that has found a living soul.

The motif of the road, path, movement appears more than once on the pages of the poem. This image is multi-layered and very symbolic. The movement of the protagonist in space, his journey along the roads of Russia, meetings with landowners, officials, peasants and city dwellers form before us a broad picture of the life of Rus'.

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Slide captions:

1 THE ROAD IN N.V. GOGOL’S POEM “DEAD SOULS” The presentation was made by the teacher of Russian language and literature of MAOU “Secondary School No. 8” in Nazarovo, Krasnoyarsk Territory O. V. Ovchinnikova.

2 The road motif is central in creating the image of Rus'. This image is multi-layered and very symbolic. The poem was conceived by N.V. Gogol by analogy with Dante’s “Divine Comedy” A. “On the road! on the road!..” How does Gogol end one of the most heartfelt and philosophical lyrical digressions in the poem?

3 The movement of the protagonist of the poem along the roads of Russia adds up to a broad picture of the life of Rus'. Almost all phenomena of Russian society pass before the eyes of Chichikov and the reader. The image of a tangled road, lying in the wilderness, leading nowhere, only circling the traveler, is a symbol of the deceptive path, the unrighteous goals of the protagonist.

4 There is another traveler next to Chichikov - this is the writer himself. Here are his remarks: “The hotel was... of a famous kind...”, “the city was in no way inferior to other provincial cities”... With these words, Gogol not only emphasizes the typicality of the phenomena depicted, but also makes us understand that the invisible hero, the author, too I know them well.

5 The wretched furnishings of the hotel, receptions with city officials, and profitable deals with landowners suit Chichikov quite well, and cause undisguised irony for the author. The flip side of Gogol's satire is the lyrical principle, the desire to see a person as perfect, and his homeland as powerful and prosperous. Different heroes perceive the road differently.

6 Chichikov feels pleasure from driving fast. “And what Russian doesn’t like driving fast?”...may admire a beautiful stranger... But more often he notes the “thrusting force” of the pavement, enjoys the soft ride on a dirt road, or dozes off. The magnificent landscapes passing before his eyes do not give him much thought.

7 The author is also not deluded by what he sees: “Rus! Rus! I see you, from my wonderful, beautiful distance I see you: poor, scattered and uncomfortable in you... nothing will seduce or enchant the eye.” But at the same time, for him there is “something strange, and alluring, and carrying, and wonderful in the word: road!” For N.V. Gogol, the road is something more. The poem contains lyrical digressions that express the author's poetry. Read them out. What is the road for N.V. Gogol?

8 For N.V. Gogol, on the “ecstatic - wonderful” road, the whole Russian soul, all its scope and fullness of life. No matter how the Russian soul is shackled by slave networks, it still remains spiritually free. Thus, the road for Gogol is Rus'. Where does the road lead along which she rushes so that she can no longer be stopped: “Rus', where are you rushing”?

9 The real road along which Chichikov travels turns into the author’s path of life. “As for the author, he should under no circumstances quarrel with his hero: they will still have to go a long way and road together hand in hand...” With this Gogol points out the symbolic unity of the two approaches to the road, their mutual complement and mutual transformation .

10 Chichikov’s road, which passed through different corners and crannies of the N-province, seems to emphasize his vain and false path in life. While the path of the author, which he makes together with Chichikov, symbolizes the harsh and thorny, but glorious path of the writer who preaches “love with a hostile word of denial.” The real road in “Dead Souls,” with its potholes, bumps, mud, barriers, and unrepaired bridges, grows into a symbol of “hugely rushing life,” a symbol of Russia’s historical path.

11 And now, instead of Chichikov’s troika, a generalized image of a troika bird appears, which is replaced by the image of rushing, “God-inspired” Rus'. This time she is on the true path, which is why Chichikov’s filthy crew was transformed into a bird-three - a symbol of a free Russia that has found a living soul.

“Dead Souls” is a brilliant work by Nikolai Vasilyevich Gogol. It was on him that Gogol placed his main hopes.

The plot of the poem was suggested to Gogol by Pushkin. Alexander Sergeevich witnessed fraudulent transactions with “dead souls” during his exile in Chisinau. It was about how a clever rogue found a dizzyingly bold way of enriching himself in Russian conditions.

Gogol began work on the poem in the fall of 1835, at that time he had not yet started writing “The Inspector General.” Gogol, in a letter to Pushkin, wrote: “The plot has stretched out into a very long novel and, it seems, will be funny... In this novel I want to show at least from one side all of Rus'.” When writing “Dead Souls,” Gogol pursued the goal of showing only the dark sides of life, collecting them “in one pile.” Later, Nikolai Vasilyevich brings the characters of the landowners to the fore. These characters were created with epic completeness and absorbed phenomena of all-Russian significance. For example, “Manilovschina”, “Chichikovschina” and “Nozdrevschina”. Gogol also tried in his work to show not only bad, but also good qualities, making it clear that there is a path to spiritual rebirth.

As he writes “Dead Souls,” Nikolai Vasilyevich calls his creation not a novel, but a poem. He had an idea. Gogol wanted to create a poem similar to the Divine Comedy written by Dante. The first volume of Dead Souls is thought of as “hell”, the second volume is “purgatory”, and the third is “paradise”.

Censorship changed the title of the poem to “The Adventures of Chichikov, or Dead Souls” and on May 21, 1842, the first volume of the poem was published.

The most natural way of storytelling is to show Russia through the eyes of one character, which is where the theme of the road emerges, which became the core and connecting theme in “Dead Souls.” The poem “Dead Souls” begins with a description of a road carriage; The main action of the main character is travel.

The image of the road serves as a characterization of the images of the landowners whom Chichikov visits one after another. Each of his meetings with the landowner is preceded by a description of the road and estate. For example, this is how Gogol describes the way to Manilovka: “Having traveled two miles, we came across a turn onto a country road, but already two, three, and four miles, it seems, were done, and the two-story stone house was still not visible. Then Chichikov remembered that if a friend invites you to his village fifteen miles away, it means that it is thirty miles away.” The road in the village of Plyushkina directly characterizes the landowner: “He (Chichikov) did not notice how he drove into the middle of a vast village with many huts and streets. Soon, however, he was made aware of this by a considerable jolt produced by the log pavement, in front of which the city stone pavement was nothing. These logs, like piano keys, rose up and down, and the careless traveler acquired either a bump on the back of his head, or a blue spot on his forehead... He noticed some special disrepair on all the village buildings...”

“The city was in no way inferior to other provincial cities: the yellow paint on the stone houses was very striking and the gray paint on the wooden ones was modestly dark... There were signs almost washed away by the rain with pretzels and boots, where there was a store with caps and the inscription: “Foreigner Vasily Fedorov”, where there was billiards... with the inscription: “And here is the establishment.” Most often the inscription came across: “Drinking house”

The main attraction of the city of NN is the officials, and the main attraction of its surroundings is the landowners. Both of them live off the labor of other people. These are drones. The faces of their estates are their faces, and their villages are an exact reflection of the economic aspirations of the owners.

Gogol also uses interiors to describe comprehensively. Manilov is “empty daydreaming”, inaction. It would seem that his estate was arranged quite well, even “two or three flower beds with lilac and yellow acacia bushes were scattered in English, “a gazebo with a flat green dome, wooden blue columns and the inscription: “Temple of Solitary Reflection” was visible...”. But there was still something “always missing in the house: in the living room there was beautiful furniture, covered in smart silk fabric... but there wasn’t enough for two armchairs, and the armchairs were simply upholstered in matting...”, “in another room there was no there was furniture,” “in the evening a very dandy candlestick made of dark bronze with three antique graces, with a dandy mother-of-pearl shield, was served on the table, and next to it was placed some simple copper invalid, lame, curled to one side and covered in fat...” . Instead of taking up and completing the improvement of the house, Manilov indulges in unrealistic and useless dreams 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, on which there would be shops on both sides, and so that merchants could sit in them and sell various small goods needed by the peasants.”

The box represents “unnecessary” hoarding. In addition to the “talking” surname, this heroine is also clearly characterized by the interior decoration of the room: “...behind every mirror there was either a letter, or an old deck of cards, or a stocking...”.

There is no order in the house of the slob Nozdryov: “In the middle of the dining room there were wooden trestles, and two men, standing on them, whitewashed the walls... the floor was all splashed with whitewash.”

And Sobakevich? Everything in his house complements the “bearish” image of Mikhail Semenovich: “...Everything was solid, clumsy to the highest degree and had some strange resemblance to the owner of the house himself; in the corner of the living room stood a pot-bellied walnut bureau on the most absurd four legs, a perfect bear. The table, armchairs, chairs - everything was of the heaviest and most restless quality - in a word, every object, every chair seemed to say: “And I, too, Sobakevich!” or: “And I also look very much like Sobakevich!” "

The extreme degree of poverty and hoarding of the owner is revealed by the description of the “situation” in the house of Plyushkin, whom the men called “patched.” The author devotes a whole page to this in order to show that Plyushkin has turned into a “hole in humanity”: “On one table there was even a broken chair and next to it a clock with a stopped pendulum, to which the spider had already attached a web... On the bureau. .. there was a lot of all sorts of things: a bunch of finely written pieces of paper, covered with a green marble press... a lemon, all dried up, no bigger than a hazelnut, a broken arm of a chair, a glass with some kind of liquid and three flies... a piece somewhere a raised rag, two feathers, stained with ink, dried up, as if in consumption...”, etc. - this is what was more valuable in the owner’s understanding. “In the corner of the room there was a heap of things piled up on the floor that were rougher and unworthy to lie on the tables... A broken piece of a wooden shovel and an old boot sole were sticking out.” Plyushkin's thriftiness and thriftiness turned into greed and unnecessary hoarding, bordering on theft and beggaring.

The interior can tell a lot about the owner, his habits and character.

Trying to show “all of Rus' from one side,” Gogol covers many areas of activity, the inner world, interiors, and the surrounding world of the inhabitants of the province. He also touches on the topic of nutrition. It is shown quite voluminously and deeply in chapter 4 of the poem.

“It is clear that the cook was guided more by some kind of inspiration and put in the first thing that came to hand: if there was pepper near him, he threw in pepper, or if he came across cabbage, he put in cabbage, stuffed milk, ham, peas, in a word, roll and go, it was It would be hot, but some kind of taste would probably come out.” This one phrase contains both a description of, so to speak, a “talking” menu, but also the author’s personal attitude to this. The decadence of landowners and officials is so ingrained in their minds and habits that it is visible in everything. The tavern was no different from the hut, with only the slight advantage of space. The dishes were in less than satisfactory condition: “she brought a plate, a napkin so starched that it stood on end like dried bark, then a knife with a yellowed bone block, thin as a penknife, a two-pronged fork and a salt shaker, which could not possibly be placed directly on the table "

From all of the above, we understand that Gogol very subtly notices the process of death of the living - a person becomes like a thing, a “dead soul.”

“Dead Souls” is rich in lyrical digressions. In one of them, located in Chapter 6, Chichikov compares his worldview with the objects around him while traveling.

“Before, long ago, in the years of my youth, in the years of my irrevocably flashed childhood, it was fun for me to drive up for the first time to an unfamiliar place: it didn’t matter whether it was a village, a poor provincial town, a village, a settlement - I discovered a lot of curious things in there is a childish curious look. Every building, everything that bore the imprint of some noticeable feature - everything stopped me and amazed me... If a district official walked past, I was already wondering where he was going... Approaching the village of some landowner, I looked curiously at a tall narrow wooden bell tower or a wide dark wooden old church...

Now I indifferently drive up to any unfamiliar village and indifferently look at its vulgar appearance; It’s unpleasant to my chilled gaze, it’s not funny to me, and what would have awakened in previous years a lively movement in the face, laughter and silent speech, now slides past, and my motionless lips keep an indifferent silence. O my youth! oh my freshness!

All this suggests that he has lost interest in life, he is of little interest, his goal is profit. The surrounding nature and objects no longer arouse his special interest or curiosity. And at that time it was not just Chichikov who was like this, but many representatives of that time. This was the dominant example of the bulk of the population, with the exception of serfs.

Chichikov is an exponent of new trends in the development of Russian society; he is an entrepreneur. All the landowners described in the poem “Dead Souls” became worthy business partners of the acquirer, Pavel Ivanovich. These are Manilov, Korobochka, Nozdryov, Sobakevich, and Plyushkin. It was in this sequence that Chichikov visited them. This is not accidental, because by doing so Gogol showed representatives of this class with an increase in vices, with a great fall, degradation of the soul. However, it is necessary to build a number of worthy partners the other way around. After all, the more base, fallen, and “dead” the landowners were, the more calmly they agreed to this scam. For them it was not immoral. Therefore, Chichikov’s worthy partners look like this: Plyushkin, Sobakevich, Nozdrev, Korobochka, Manilov.

Traveling with Chichikov around Russia is a wonderful way to understand the life of Nikolaev Russia. This hero's journey helped the writer make the poem "Dead Souls", a poem - a monitor of the life of Russia for centuries and broadly depict the life of all social strata in accordance with his plan. A journey presupposes a road, and it is this that we observe throughout the entire duration of the work. The road is the theme. With its help, readers understand much more voluminously, more colorfully, and more deeply the entire situation at this stage of history. It is with her help that Gogol manages to grasp everything that is required in order to “describe all of Rus'.” Reading the poem, we imagine ourselves either as an invisible participant in this plot, or as Chichikov himself, we are immersed in this world, the social foundations of that time. Through captivity, we become aware of all the holes in society and people. A huge mistake of that time catches our eye; instead of the gradation of society and politics, we see a different picture: the degradation of the free population, the death of souls, greed, selfishness and many other shortcomings that people can have. Thus, traveling with Chichikov, we get to know not only that time with its merits, but also observe the huge flaws of the social system, which so badly crippled many human souls.

The topic of Russia and its future has always worried writers and poets. Many of them tried to predict the fate of Russia and explain the situation in the country. Likewise, N.V. Gogol reflected in his works the most important features of the era contemporary to the writer - the era of the crisis of serfdom.
N.V. Gogol’s poem “Dead Souls” is a work not only about the present and future of Russia, contemporary to the writer, but about the fate of Russia in general, about its place in the world. The author tries to analyze the life of our country in the thirties of the nineteenth century and concludes that the people who are responsible for the fate of Russia are dead souls. This is one of the meanings that the author put into the title of the poem.
Initially, the author’s idea was to “show all of Rus' at least from one side,” but later the idea changed and Gogol wrote: “All of Rus' will be reflected in it (in the work).” An important role for understanding the concept of the poem is played by the image of the road, with which the composition of “Dead Souls” is primarily associated. The poem begins with the image of the road: the main character Chichikov arrives in the city of NN - and ends with it: Pavel Ivanovich is forced to leave the provincial town. While in the city, Chichikov makes two circles: first he goes around officials to pay them his respects, and then to landowners in order to directly carry out the scam that he has planned - to buy up dead souls. Thus, the road helps Gogol show the entire panorama of Rus', both bureaucratic, landowner, and peasant, and draw the attention of readers to the state of affairs in the country.
Gogol creates the image of a provincial city, displaying a whole string of officials in the text of the work. Chichikov considers it his duty to visit all the “powers of this world.” Thus, he makes a small circle around the city, the author once again emphasizes the importance of the image of the road for understanding the meaning of the work. The writer wants to say that Pavel Ivanovich feels like a fish in water among officials. It is no coincidence that those in power accept him as one of their own and immediately invite him to visit. So Chichikov gets to the governor’s ball.
Describing officials, Gogol draws the attention of readers to the fact that none of them fulfills their direct purpose, that is, does not care about the fate of Russia. For example, the governor, the main person in the city, organizes balls, cares about his social position, because he is proud to have Anna on his neck, and even embroiders on tulle. However, nowhere is it said that he does anything for the well-being of his city. The same can be said about other government officials. The effect is enhanced by the fact that there are a great many officials in the city.
Of all the types of landowners created by Gogol, there is not a single one for whom one could see the future. The characters presented in the poem are not alike, and at the same time, each of them displays certain typical traits of a Russian landowner: stinginess, idleness and spiritual emptiness. The most prominent representatives are Sobakevich and Plyushkin. The landowner Sobakevich symbolizes the gloomy feudal way of life; he is a cynical and rude person. Everything around him looks like himself: the rich village, the interior, and even the thrush sitting in the cage. Sobakevich is hostile to everything new; he hates the very idea of ​​“enlightenment.” The author compares him to a “medium-sized bear,” and Chichikov calls Sobakevich a “fist.”

Another landowner, Plyushkin, is not so much a comic figure as a tragic one. In describing his village, the key word is “neglect.”

The poem "Dead Souls" is a brilliant satire on feudal Rus'. But fate has no mercy for the One whose noble genius Became an exposer of the crowd, Its passions and delusions. The creativity of N.V. Gogol is multifaceted and diverse. The writer has talent...

Chichikov is the main character of the poem, he appears in all chapters. It was he who came up with the idea of ​​the scam with dead souls; it was he who travels around Russia, meeting a variety of characters and finding himself in a variety of situations.

Characteristics of Chichikov...

Every time has its heroes. They determine his face, character, principles, ethical guidelines. With the advent of “Dead Souls,” a new hero entered Russian literature, unlike his predecessors. The elusive, slippery is felt in the description of his appearance....