The role of lyrical digressions in the work of dead souls. The role of lyrical digressions in the poem "Dead Souls
Happy is the writer who, past boring, disgusting characters, striking with his sad reality, approaches characters that show the high dignity of a person who, from the great pool of daily rotating images, has chosen only a few exceptions, who has never changed the sublime structure of his lyre, has not descended from the top his own poor, insignificant fellows, and, without touching the ground, he was all plunged into his own exalted and far-removed images. His beautiful lot is doubly enviable: he is among them, as in his own family; and meanwhile his glory spreads far away and loudly. He fumigated human eyes with a delightful smoke; he wonderfully flattered them, hiding the sadness in life, showing them wonderful person... All, clapping hands, rushes after him and rushes after his solemn chariot. They call him a great world poet, soaring high above all other geniuses in the world, like an eagle soaring above others flying high. With his name alone, young ardent hearts are already embraced with trembling, response tears shine in all eyes ... There is no equal to him in power - he is a god! But this is not the lot, and another fate of the writer, who dared to call out everything that is in front of our eyes every minute and which indifferent eyes do not see - all the terrible, stunning mud of little things that entangled our life, the whole depth of the cold, fragmented, everyday characters with which ours teems. earthly, sometimes bitter and boring road, and by the strong force of an inexorable incisor who dared to expose them prominently and brightly to the eyes of the people! He cannot gather the applause of the people, he cannot see the grateful tears and the unanimous delight of the souls agitated by him; a sixteen-year-old girl with a dizzy head and a heroic passion will not fly towards him; he will not be forgotten in the sweet charm of the sounds he himself expelled; finally, he cannot escape from the modern court, the hypocritical, insensitive modern court, which will call his cherished creatures insignificant and low, will take him a despicable corner in the line of writers who offend humanity, give him the qualities of heroes depicted by him, take away his heart, and soul, and the divine flame of talent. For the modern court does not recognize that the glasses that look around the suns and transmit the movements of unnoticed insects are equally wonderful; for the modern court does not recognize that much depth of the soul is needed in order to illuminate a picture taken from a contemptible life, and raise it into a pearl of creation; for the modern court does not recognize that a high, enthusiastic laughter is worthy of standing next to a high lyrical movement and that there is a whole abyss between it and the antics of a buffoonery buffoon! The modern court does not recognize this and will turn everything into reproach and reproach to the unrecognized writer; without division, without answer, without participation, like a familyless traveler, he will be left alone in the middle of the road. His field is harsh, and he will bitterly feel his loneliness.
And for a long time it has been determined for me by the wonderful power to go hand in hand with my strange heroes, to look at the whole immensely rushing life, to look at it through the laughter visible to the world and invisible, unknown to him tears! And the time is still far away when, with a different key, a formidable blizzard of inspiration will rise from the head clothed in holy horror and glittering head and smell the stately thunder of other speeches in embarrassed trembling ...
Lyrical digressions in the poem " Dead Souls"play a huge role. They so organically entered the structure of this work that we cannot imagine a poem without the author's magnificent monologues. What is the role of lyrical digressions in the poem? in this article we will talk about the lyrical digressions in the poem "Dead Souls", we will talk about their role in the work.
The role of lyrical digressions
Nikolai Vasilievich becomes not just a guide for the reader through the pages of the work. Rather, he is a close friend. 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 inherent inimitable humor, will help him overcome the sadness or indignation caused by the events in the poem. And sometimes we want to know the opinion of Nikolai Vasilyevich about what is happening. Lyrical digressions in the poem "Dead Souls", in addition, have great artistic power. We enjoy every image, every word, admiring their beauty and precision.
Opinions on lyrical digressions expressed by famous contemporaries of Gogol
Many contemporaries of the author appreciated the work "Dead Souls". Lyrical digressions in the poem also did not go unnoticed. Some famous people have spoken about them. For example, I. Herzen noted that the lyrical place illuminates, revives the narrative in order to be replaced again by a picture that reminds us even more clearly of what hell we are in. The lyrical beginning of this work was also highly appreciated by V.G.Belinsky. He pointed to the humane, all-embracing and deep subjectivity, which reveals in the artist a person with "a pretty soul and a warm heart."
Thoughts shared by Gogol
The writer, with the help of lyrical digressions, expresses his own attitude not only to the events and people described by him. They include, in addition, the affirmation of the high destiny of man, the significance of great public interests and ideas. The source of the author's lyricism is thoughts about serving his country, about its sorrows, destinies and hidden gigantic forces. This manifests itself regardless of whether Gogol expresses his anger or bitterness at the insignificance of the characters depicted by him, whether he speaks of his role in modern society a writer or a brisk lively Russian mind.
First retreats
With great artistic tact, Gogol included extra-plot elements in the work "Dead Souls". Lyrical digressions in the poem are at first only the statements of Nikolai Vasilyevich about the heroes of the work. However, as the story unfolds, the themes become more versatile.
Gogol, having told about Korobochka and Manilov, briefly interrupts his narration, 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, which interrupts the story about Korobochka Nastasya Petrovna in the work, contains a comparison with her "sister" belonging to an aristocratic society. Despite a slightly different appearance, she does not differ in anything from the local hostess.
Lovely blonde
Chichikov on the road after visiting Nozdryov meets a beautiful blonde on his way. The description of this meeting ends with a remarkable lyrical digression. Gogol writes that everywhere a person will meet on the way at least once a phenomenon that is not like everything that 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 prudence of this hero is compared with the manifestation of feelings inherent in a person.
Intro to Chapters 5 and 6
The lyrical digression at the end of the fifth chapter has a completely different character. The author here is not talking about his hero, not about his attitude to this or that character, but about the talent of the Russian people, about a mighty person living in Russia. 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, nozdrevs and sobachevichi, but a national element.
Closely connected with lyrical statements dedicated to the folk character and the Russian word, and the inspired confession about youth, about the perception of life by Gogol, which opens the sixth chapter.
The angry words of Nikolai Vasilyevich, which are generalizing, interrupt the story of Plyushkin, who embodied with the greatest strength base feelings and aspirations. Gogol is indignant about how "nasty, pettiness and insignificance" a person could have reached.
The author's reasoning in chapter 7
Nikolai Vasilievich begins the seventh chapter with reflections on the life and creative destiny a writer in a society contemporary to him. He talks about two different destinies that await him. A writer can become a creator of "exalted images" or a satirist, a realist. This lyrical digression reflects Gogol's views on art, as well as the author's attitude to the people and the upper classes ruling in society.
"Happy is the traveler ..."
Another digression, beginning with the words "Happy is the traveler ...", is an important stage in the development of the plot. It separates one link in 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 estates and ranks
In the chapters devoted to the depiction of the city, we find Gogol's statements about estates and ranks. He says that they are so "annoyed" that everything in the printed book seems to them to be "person". Apparently, this is the "location in the air."
Reflections on human delusions
We see lyrical digressions of the poem "Dead Souls" throughout the story. Gogol ends his description of the general confusion with reflections on the false ways of man, his delusions. Humanity has made many mistakes in its history. The current generation laughs arrogantly at this, although it itself is starting a whole series of new delusions. His descendants in the future will laugh at the current generation as well.
Recent digressions
Gogol's civic pathos reaches particular strength in the retreat "Rus! Rus! ...". It reveals, like the lyrical monologue placed at the beginning of Chapter 7, a distinct line between the narrative links - the story of the origin of the protagonist (Chichikov) and urban scenes. Here the topic of Russia has already been developed widely. It is "uncomfortable, scattered, poor." However, it is here that heroes are born. The author then shares with us the thoughts that were inspired by the rushing troika and the distant road. Nikolai Vasilievich, one after another, draws pictures of his native Russian nature. They appear before the gaze of a traveler racing along the autumn road on fast horses. Despite the fact that the image of the bird-three is left behind, in this lyrical digression we feel it again.
The story about Chichikov ends with a statement by the author, which is a sharp objection to who the main character and the whole work, depicting "despicable and evil", can be shocking.
What do the lyrical digressions reflect and what remains unanswered?
The author's sense of patriotism is reflected in lyrical digressions in Nikolai Gogol's poem "Dead Souls". The image of Russia, which completes the work, is covered with deep love. He embodied the ideal that illuminated the path of the artist when depicting a vulgar petty life.
Speaking about the role and place of lyrical digressions in the poem "Dead Souls", I would like to note one curious moment. Despite the author's numerous arguments, the most important question for Gogol remains unanswered. And this question is where Russia is 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 journey.
N.V. Gogol - great writer the first half of the 19th century. In his works, he touched upon the problems of oppression of the people, serfdom, and the originality of his work lies in the fact that he was one of the first to show the broadest picture of bureaucratic Russia. Gogol was very worried and worried about the future of his homeland, this is clearly reflected in the poem "Dead Souls", in the writer's lyrical digressions. In the work we can see two types of lyrical digressions: epic, which serve to reveal characters and images, and lyrical, reflecting the author's feelings about the fate of Russia.
At the beginning of the poem, Gogol tells the reader about fat and thin officials; it is these physical qualities, according to the writer, that are the main ones in a person, determining his fate and behavior. In the city of NN there were two kinds of men: fat and thin. The thin ones more curled around the ladies and took not very important places, on special assignments, and the fat ones - "there were honorary officials in the city!" They occupied the most important positions.
N.V. Gogol pondered a lot about the fate of Russia, each line is saturated with love for the country, deep feelings. "Aren't you, Rus, that a brisk, unattainable troika, rush? .. Rus, where are you rushing, give an answer. Does not give an answer!" The whole of Russia was embodied in the image of a troika, and to the question "Where are you rushing?" - does not give an answer, unfortunately, and the writer himself does not know where she will come, if people like Chichikov, Manilov, Plyushkin rule her.
The beautiful work "" was called a prose poem. N.V. Gogol is trying to reveal in him the epic images of Russia, the common people, the Russian land. And the lyrical digressions are created so that the author can express his personal opinion and attitude to the characters of the poem, to the events that are discussed in the chapters.
In the seventh chapter we get acquainted with the images of Russian men, which have been described in detail, with all the features of their appearance and character. This is the hero Stepan Probka. He was a carpenter, traveled all over Russia up and down. Maxim Telyatnikov is introduced to us as a shoemaker who learned his skills from the Germans. After a failed plan to sell low-quality boots, he fell into a booze and blamed the Germans for everything. We see love for a riotous and free life in the character of Abakum Fyrov. Many people from the common people loved to take a walk after a fruitful working day.
In many lyrical digressions, the reader learns about the deep tragedy of the common people, who were enslaved and enslaved by landowners and officials.
The author expressed his special love for the homeland, his patriotic sentiments in, which is rapidly flying forward and personifies a strong and mighty Russia.
Thus, it can be noted that lyrical digressions play an unusually important role in the poem "Dead Souls". They pour out all the emotions and thoughts of the author on topics of vital importance to him.
The role of lyrical digressions in the poem "Dead Souls"
NV Gogol is one of the greatest figures in Russian literature. The pinnacle of his work is the poem "Dead Souls". It reflects all the main features of the author's talent.
Critical role in compositional structure " Dead souls"play lyrical digressions and inserted episodes characteristic of the poem as literary genre... In them, Gogol touches on the most pressing Russian public issues. The author's thoughts about the high purpose of man, about the fate of the Motherland and the people are opposed here to the gloomy pictures of 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 inner theme becomes wider and more multifaceted.
Having told about Manilov and Korobochka, the author interrupts the narration so that the picture of life drawn becomes clearer for the reader. The author's digression, which interrupts the story about Korobochka, contains a comparison with her "sister" from an aristocratic society, who, despite a different 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 a remarkable author's digression: "Everywhere, wherever in life, whether among the callous, rough-poor and untidy-moldy low-lying ranks of it, or among the monotonous cold and boringly tidy upper classes, everywhere at least once will meet on on the way to a person, a phenomenon that is not like everything that has happened to him until then, which at least once will awaken in him a feeling that is not similar to those that he is destined to feel all his life. " But that which is characteristic of many people, that appears "across" any kind of sorrow - all this is completely alien to Chichikov, whose cold prudence is juxtaposed here with the direct manifestation of feelings.
The lyrical digression at the end of the fifth chapter is of a completely different character. 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 to do with the entire previous development of the action, but it is very important for revealing the main idea of the poem: real Russia is not the Sobachevichs, nostrils and boxes, but the people, the national element.
In close contact with lyrical statements about the Russian word and popular character there is also that author's digression, which 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, disgusting!"
Lyrical statements about creative and life destiny a writer in Gogol's contemporary society, about two different destinies awaiting a writer who creates "exalted images" and a realist writer, a satirist. This lyrical digression, full of deep thoughts and vivid generalizations, reflected not only the views of the writer on art, but also his attitude to the ruling elite of society, to the people. It determines both the ideological path of the writer and his assessment of the main social forces.
In the chapters devoted to the depiction of the city, we meet the author's statements about the extreme irritation of ranks and estates - "now all ranks and estates are so irritated that everything that is in a printed book already seems to them a person: this is, apparently, located in the air." Gogol ends his description of the general confusion with reflections on human delusions, on the false paths that mankind 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 his lyrical digression - "Rus, Rus! I see you from my wonderful, beautiful far away." Like the lyrical monologue of the beginning of the seventh chapter, this lyrical digression makes a clear line between two major parts of the narrative - urban 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 intrusion of harsh everyday prose. "And the mighty space menacingly embraces me, with a terrible force reflected in my depths; my eyes shone with unnatural power: wow! What a sparkling, wonderful, unfamiliar to earth, distance! Russia!
Hold, hold, fool! - shouted Chichikov to Selifan.
Here I am with a broadsword! - shouted a courier galloping towards him with a mustache in one yard. - And, like a ghost, the troika disappeared with thunder and dust. "
The vulgarity, emptiness, baseness of life are even more clearly outlined against the background of lofty lyrical lines. This technique of contrast was applied by Gogol with great skill. Thanks to such a sharp contrast, we better understand the vile features of the heroes of Dead Souls.
Immediately after this, the author shares with the reader the thoughts that the racing troika evokes in him, the distant road. "What a strange, and alluring, and carrying, and wonderful in the word the road! And how wonderful it is, this road." One after another, Gogol sketches here pictures of Russian nature that appear before the eyes of a traveler racing on fast horses along an autumn road. Both in the general mood of the author's monologue and in the rapidly changing pictures, there is a clear hint of the image of the bird-three, from which this lyrical digression is separated by a large chapter devoted to the adventures of Chichikov.
A high sense of patriotism fanned the image of Russia, which concludes the first volume of the poem, an image that embodied the ideal that illuminated the artist's path when depicting a 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, relations between people. On the pages of the poem, Gogol wanted not only to denounce, 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 the homeland will break free from the power of the "swamp fires" and return to its true path: the path of a living soul.