Analysis of lyrical digressions in the poem by N.V. Gogol's "Dead Souls" educational and methodological material on literature (grade 9) on the topic. Dead souls
Starting from the third chapter, Gogol's laughter, his irony is combined with lyrical inspiration. The comic turns into the tragicomic, the genre of the poem arises, which manifests itself primarily in lyrical digressions. The author's laughter is accompanied by sadness, longing for the ideal, with hope for the revival of each hero and Rus' as a whole. The author's ideal battles with low reality throughout the entire poem.
Gogol perceived the creation of “Dead Souls” as his life’s work, as his destiny: “Rus! what do you want from me? what incomprehensible connection lies between us? Why are you looking like that, and why has everything that is in you turned its eyes full of expectation on me?.. And yet, full of bewilderment, I stand motionless, and a menacing cloud has already overshadowed my head, heavy with the coming rains, and my thoughts are numb before yours. space. What does this vast expanse prophesy? Isn’t it here, in you, that a boundless thought will be born, when you yourself are endless? Shouldn't a hero be here when there is room for him to turn around and walk? And a mighty space envelops me menacingly, reflecting with terrible force in my depths; My eyes lit up with unnatural power: oh! what a sparkling, wonderful, unknown distance to the earth! Rus'!..” He considered it his duty to help Russia, to promote its moral regeneration through literature.
Gogol appears to us as a man who sincerely loves his homeland, a true patriot who sees its vices and shortcomings, but hopes to correct them. His love for Russia is boundless, like the world, he predicts a great future for the country, believes that it should go its own, previously unknown to anyone, that Russia is a country in which, thanks to the strong faith of the people and their tireless, boundless strength, one day there will come a happy time when all vices will finally be eradicated.
Lyrical digressions(by chapter)
Chapter I:
Chapter III:
Chapter V:
Chapter VI:
Chapter VII:
Chapter X
Chapter XI:
Rus' is not attractive with its diversity of nature and works of art. But Gogol feels an inextricable connection with his country. Gogol understands that Rus' is waiting for help from him and feels responsibility. “Why are you looking like that, and why has everything that is in you turned its eyes full of expectation on me?.. And yet, full of bewilderment, I stand motionless, and a menacing cloud has already overshadowed my head, heavy with the coming rains, and my thoughts are numb before your space” Rus' is capable of inspiring inspiration. It is Russia that Gogol predicts a great future.
A reverent attitude towards Russia, towards the road, towards the movement itself. The road for Gogol is a source of inspiration.
This digression characterizes Chichikov as a truly Russian, and generalizes the character of any Russian person. Gogol also loves Russian riding.
This retreat has literary character(as well as about the two types of writers). Gogol writes that the task of a true writer, a true patriot, is to tell the holy truth, “to look deeper into the soul of the hero. Bring out all the vices." Hushing up vices under the guise of patriotic feeling is false patriotism. Not oblivion, not resting on laurels is required of a true citizen, but action. It is important to be able to find vices in yourself, in your state, and not see them only in others.
A poetic lyrical digression, imbued with Gogol’s love for Russia and faith in its bright future. The author draws a fabulous image of horses, their flight, endows them with a wonderful, fantastic power beyond the control of reason. In it you can see a hint of the Christian path of development of Russia: “They heard a familiar song from above, together and at once tensed their copper breasts and, almost without touching the ground with their hooves, turned into just elongated lines flying through the air, and rushing all inspired by God!.. " “Rus, where are you rushing to? Give me the answer. Doesn’t give an answer” - however, Gogol does not see the end point of Russia’s path, but believes that other states will give it the way.
Sapchenko L. A. (Ulyanovsk), Doctor of Philology, Professor of Ulyanovsk State University / 2010
It has long been noted by researchers that some of the characters in “Dead Souls” have a backstory, while Chichikov’s biography is given from childhood. The theme of age is connected not only with the image of the main character, but also with general content poems featuring characters of different ages. The path of a person’s life - from childhood to old age, from birth to death - is the subject of the author’s deep lyrical thoughts. This allows us to use such an intratextual tool as a generalization artistic analysis, as “the poetics of age.”
It's not about correlation Gogol's poem with the genre of the novel of education, nor about the problem of the gradual formation of a hero. “A certain typically repeating path of human development from youthful idealism and daydreaming to mature sobriety and practicality,” “a depiction of the world and life as an experience, as a school through which every person must go and derive from it the same result - sobering up with one or another a different degree of resignation” - are precisely unusual in the poetics of “Dead Souls” with their ideal of public service and the high destiny of man. At the same time, the genre model adventure novel, both the satirical perspective of the image and the grotesque are inseparable in the poem from soulful lyricism, from a strongly expressed author’s principle. The author is quite visibly present in the poem and is its hero, opposing the very idea of reconciliation with vulgar reality and calling for taking with you on the journey “the best movements of the soul” characteristic of youth. Gogol presents, on the one hand, the lack of spirituality of his characters, on the other, “true to the romantic spirit, the maximalist, sublime idealistic position of the author-writer,” captured by the search for the “fruitful grain” of Russian life, the search for the “living soul.” IN " Dead souls The very “ontological nature of man” is being tested. At the same time, the author is not indifferent to the age of the hero (and each age is recreated by special poetic means, which is supposed to be considered in the article). Through the system artistic means(comic or lyrical) associated with the depiction of a particular age, the author’s fundamental ideas about the meaning of earthly existence are revealed, which for Gogol is inseparable from the idea of duty.
The image of each age has its own figurative and symbolic dominant. The cross-cutting image of a window is: cloudy, not opening - in childhood, open - in youth and maturity, forever closed - in old age.
The “space of childhood” by Pavlusha Chichikov is presented as closed, cloudy and unpleasant. Small windows that did not open either in winter or in summer, the father is “a sick man..., sighing incessantly, walking around the room, and spitting in the sandbox standing in the corner...”, “eternal seat on the bench”, eternal copy before your eyes: “don’t lie, listen to your elders and carry virtue in your heart” (a copybook, that is, a faceless teaching, in the absence of the Teacher, his Word), the cry “He fooled me again!”, when “the child, bored with the monotony of work, attached to the letter has some kind of snag or tail,” and following these words an unpleasant feeling when “the edge of his ear was twisted very painfully by the nails of the long fingers stretching behind him” (VI, 224). “At parting, no tears were shed from the parents’ eyes” (VI, 225), but a memorable instruction was heard to everyone about the need to save a penny, which was deeply internalized by the son.
Gogol shows the poverty and wretchedness of the “children’s world”, deprived of fertile spiritual food. Early years appear as “anti-education” and “anti-childhood”. The absence of fatherly love (there is no mention of the mother at all) and the only “lesson” taught to the son, sadly noted by the author, determine the further path of the hero.
Images of childhood, naturally associated with the theme of the future, appear repeatedly in the poem (both in the first and second volumes), but the special angle of the image casts doubt on the military or diplomatic career of Alcides and Themistoclus. The names given by the writer “embody Manilov’s empty dreams about the heroic future of his children.” However, names are not the only way to create a comic effect. The theme of childhood turns out to be associated with a semantic complex of liquid or semi-liquid substance: tears, fat on the cheeks, “a pretty foreign drop” (VI, 31), which would certainly have sunk into the soup if the footman had not wiped the messenger’s nose in time, etc.
In one of the last surviving chapters of the second volume, the maximum permissible in depicting a child appears - the physiology of functions. The baby, not without irony called by the author “the fruit of the tender love of recently married spouses,” burst into tears at first, but was lured by Chichikov to himself with the help of cooing and a carnelian watch signet - “suddenly behaved badly,” which ruined Chichikov’s brand new tailcoat. “You would have been shot, you damned little devil!” (VII, 95) - Chichikov muttered to himself angrily, while trying to give his face, as much as possible, a cheerful expression. The instant transformation of an angel into an imp, an “innocent child” into a “damned little one” is accompanied by a sarcastic definition of this age as the “golden time”.
After the remark of the father of the delinquent baby: “...what could be more enviable than childhood: no worries, no thoughts about the future” and Chichikov’s appropriate answer: “A state that can be changed to this very hour,” the author’s comment follows: “But, it seems , both lied: if they had offered them such an exchange, they would have immediately backed out. And what a joy it is to sit in your mother’s arms and ruin your tailcoats” (VII, 228). A time in which there are “no thoughts about the future” is attractive neither to the author nor to the hero.
Although the poem repeatedly mentions Chichikov’s desire to have a family in the future, the author’s text sounds sarcastic, and all the children who come into the hero’s field of vision look comical, awkward, and sometimes almost repulsive. Chichikov's feigned speeches only parody the possible tenderness of the children and betray the insincerity of Pavel Ivanovich's intentions.
Relationships between parents and children: father's instruction that killed Chichikov, Plyushkin's daughter and son cursed by the father, the useless future of Alcides and Themistoclus, Nozdrev's children who are useless to anyone, Rooster's irresponsibility to his growing sons (their exorbitant growth and at the same time spiritual squalor is noted), the need for renunciation from Khlobuev’s paternal ties - evoke tears in the author that are invisible to the world.
“How to raise children who have not raised themselves? After all, children can only be raised by the example of their own life” (VII, 101), says Murazov to Khlobuev.
The theme of female education runs through both Gogol volumes. Criticism of institutional education and a parallel denunciation of the harmful influence of parents, the “woman’s” environment (when Chichikov meets a young blonde) is replaced by the theme of the mother’s responsibility for the future of her daughter. Kostanzhoglo’s wife announces to her brother that she has no time to study music: “I have an eight-year-old daughter whom I have to teach. To hand her over to a foreign governess just so that she can have free time for music herself - no, sorry, brother, I won’t do that” (VII, 59). Eight-year-old, that is, at that age when childhood ends and adolescence begins, and when a moral lesson is especially needed. “We know the first and most holy law of nature, that mother and father must form the morality of their children, which is the main part of education,” wrote Karamzin, revered by Gogol.
The second volume presents the “history of upbringing and childhood” of Andrei Ivanovich Tentetnikov. Actually, nothing is said about childhood (neither about childhood impressions, nor about any moral lessons). Instead, already on the first pages of the volume the reader becomes acquainted with the beautiful and immeasurable space that, apparently, surrounded the hero from infancy.
The artistic perfection of the descriptions becomes an expression of the feeling of absolute freedom that the author himself, and with him the reader, experiences in this vastness, paradoxically called “back alley” and “wilderness”. Boundlessness extends vertically (golden crosses hanging in the air and their reflection in the water) and horizontally (“Without end, without limits, spaces opened up”; VII, 8). “Lord, how spacious it is here!” (VII, 9) - that’s all a guest or visitor could exclaim after “some two-hour contemplation.”
The image of infinite space - the initial motive of the chapter about Tentetnikov, a young lucky man, “moreover, an unmarried man at that” (VII, 9) - suggests the limitless possibilities opening up to this hero. The age of youth (when a certain degree of spirituality is achieved) attracts the author’s constant attention, is poeticized, and sounds in the lyrical digressions of the poem.
The theme of youth correlates with the motifs of the frontier, an open window, a threshold and boundless space, in other words, an extremely important moment, overshadowed by the premonition of vain expectations, a brief moment, after which a useless life begins, and then a hopeless old age (Tentetnikov, Platonov, Plyushkin). The failure to realize past opportunities is to some extent connected with the lack of influence of the Teacher - a mature husband...
Tentetnikov’s extraordinary mentor died too early, and “now there is no one in the whole world who would be able to raise up the forces shaken by eternal fluctuations and the weak will devoid of elasticity, who would shout to the soul with an awakening cry this invigorating word: forward, which is yearned for everywhere, standing at all levels, of all classes, and titles, and trades, a Russian man” (VII, 23).
The image of the window appears again in the chapter about Tentetnikov, who decided to fulfill the sacred duty of the Russian landowner, but froze, fell asleep in his promised nook. After a late awakening, a two-hour motionless sitting on the bed, a long breakfast, Tentetnikov with a cold cup “moved to the window facing the courtyard,” where “every day there took place” a noisy scene of an altercation between the barman Grigory and the housekeeper Perfilyevna, who, looking for support for herself, pointed to that “the gentleman sits by the window” and “sees everything.” When the noise in the yard became unbearable, the master went to his office, where he spent the rest of his time. “He didn’t walk, didn’t walk, didn’t even want to go up, didn’t even want to open the windows to pick up fresh air into the room, and the beautiful view of the village, which no visitor could admire indifferently, certainly did not exist for the owner himself” (VII, 11).
In the opposition of “tangible” reality and unattainable distances, the conflict inherent in the romantic worldview finds expression. “It is in this aspect that the image of an “ordinary”, sometimes everyday interior with a window open to the “big world” becomes widespread in the art of the early 19th century,” while “the distance is not realized, it remains a trend, a possibility, an aspiration, a dream.”
Associated with the theme of youth is the motif of a possible but unrealized miracle. It sounds in the episode of Chichikov’s meeting with a young blonde standing on the threshold of life:
“The pretty oval of her face was round, like a fresh egg, and, like it, turned white with some kind of transparent whiteness, when fresh, just laid, it is held against the light in the dark hands of the housekeeper testing it and lets in the rays of the shining sun; her thin ears also showed through, glowing with the warm light that penetrated them.”
“Anything can be made of her, she can be a miracle, or she can turn out to be rubbish, and she will turn out to be rubbish!” Only here and just for a moment does the poetry of childhood appear (“She is now like a child, everything about her is simple, she will say whatever she wants, she will laugh wherever she wants to laugh”; VI, 93), and the motif of purity, freshness, transparent whiteness sounds , absent when depicting the children themselves. The presence of a child is usually associated with different types dirtiness or an awkward situation: feet knee-deep in mud (VI, 59), cheeks shiny with lamb fat (VI, 31), the need to wipe something with a napkin or rub it with cologne, etc. The child, as a rule, ruined something, got dirty, bit someone.
A kind of metaphor for the child-adolescent state becomes a “just laid egg” in the hands of the “housekeeper testing it”, like which the author tests the hero - what will come out of his contents - “miracle” or “rubbish”.
As a result, childhood turns out to be associated with images of “substance” devoid of hardness and form, youth is defined as “soft” summers, and in characters of mature age, what comes first is not firmness of spirit, not the willingness to be “a citizen of one’s land” (VII, 13 ), and body strength (Sobakevich), elasticity (Chichikov is repeatedly compared to a “rubber ball”), healthy flesh (Nozdryov), etc.
Gogol's theme of old age is accompanied by the symbolism of rags - old, disgusting, worn-out rags. Another, already familiar image appears here. The windows, previously all open in Plyushkin's house, were closed one after another, and only one remained, and even then it was sealed with paper (a complete exclusion of space, distance, perspective). However, the motif of old age still acquires not so much disgust as a hopeless, inexorably tragic intonation. “The old age coming ahead is terrible, terrible, and nothing gives back and back! The grave is more merciful than her, on the grave it will be written: a man is buried here! but you can’t read anything in the cold, unfeeling features of inhuman old age” (VI, 127).
In the doom of childhood to lack of spirituality and emptiness, in the inhumanity of old age lies the tragedy of the general concept of “Dead Souls”: for who will the fiery youth grow out of and what will come beyond the threshold of maturity? The depiction of a person’s life path comes into logical and plot contradiction with the theme of Russia in the poem. The rapid flight of the bird-troika, the motive of moving “forward” for the better, is opposed by the internal vector life path: from youth to old age, from better to worse.
Thinking about the future of Russian people, Gogol, however, depicted the path of loss of the best movements of the soul, largely linking this with the absence of a spiritual Teacher.
In the aspect of the poetics of age, a typology of images of a teacher necessary in the world of a teenager or young man can be traced: the nameless teacher of Manilov’s children, the Frenchman in Plyushkin’s house (VI, 118), Chichikov’s teacher, Tentetnikov’s mentors...
A special place is occupied by the image of Tentetnikov’s first teacher, Alexander Petrovich, the only one who knew the science of life. “Of the sciences, only that which is capable of forming a person into a citizen of his land was chosen. Most of the lectures consisted of stories about what awaited the young man ahead, and he was able to outline the entire horizon of his field<так>“that the young man, while still on the bench, already lived there in his thoughts and soul, in the service.” Associated with it is the theme of hope for youth, faith in man, poetry of rapid movement forward, overcoming obstacles, courageous perseverance in the midst of the terrifying mud of little things.
Chichikov's teacher and Tentetnikov's second mentor, “some Fyodor Ivanovich” (VII, 14), are similar to each other: both are lovers of silence and commendable behavior, not tolerating smart and sharp boys. Suppression of the mind and neglect of success in favor of good behavior led to secret pranks, revelry and debauchery.
Pupils deprived of a “wonderful Teacher” were forever doomed either to “shameful laziness” or to “the insane activity of an immature youth.” And therefore Gogol appeals to those who have already cultivated a person within themselves, who are able to hear the almighty word “Forward!” and follow it, entering from “soft youthful years into stern, embittering courage” (VI, 127).
Gogol's faith in the holiness of the teaching word was pure and sincere. It’s not just tradition that’s at play here. church literature, but also the ideas of the Age of Enlightenment, which considered literature as a means of educating youth.
It was the accusation that “not a single grateful young man” “owes him any new light or a wonderful desire for good that his word would inspire” that touched a nerve with M. P. Pogodin, who responded to Gogol that he was upset “to the depths” hearts" and "was ready to cry." Meanwhile, in the 2nd issue of “Moskvityanin” for 1846, Pogodin’s appeal “To the Young Man” was published, where the time of youth appeared as the gate of life, as the very beginning of a citizen’s path, the threshold of trials. The further path of life was depicted as cooling, fatigue, exhaustion, fading and - unexpected help from above, if a person retained true Christian love within himself. "You will rise<...>renewed, sanctified, you will rise and rise to that height” where “your gaze will be enlightened.” “What significance will this poor earthly life receive in your eyes, as service, as preparation for another, higher state!” . Pogodin agrees with Gogol that the soul must hear “its heavenly origin” (VII, 14). Both associate this with youth, the age when the word of a teacher will help one gain spiritual maturity.
Meanwhile, returning to the theme of social purpose in “Selected Places...”, Gogol emphasizes a person’s responsibility to educate himself. “... The physical maturation of a person is not subject to his intervention, but in the spiritual he is not only an object, but also a free participant.” For Gogol, an example of a person and citizen who himself was “raised in youth” and fulfilled his duty was N. M. Karamzin. Thus, Gogol gives the dominant role not to the “almighty word” of an extraordinary mentor (he is “rarely born in Rus'”; VII, 145), but to internal spiritual work, part of which is the individual moral influence of “one soul, more enlightened, on another separate a soul less enlightened." Everyone can be involved in this mutual process, and only in it, according to Gogol, can hope for spiritual renewal society.
In “Selected Places...”, which have a special genre nature, both the images of physiology, associated in Gogol with the theme of childhood, and the images of spreading rags (“holes”), accompanying his theme of old age, recede, and only the poetics of distance and space remain, characteristic of the theme of youth and an apology for high, Christian service. The writer rejects the “ordinary natural course” human life and speaks of the complete insignificance of age for a Christian: “According to the usual, natural course, a person reaches the full development of his mind at thirty years of age. From thirty to forty his forces still somehow advance; Nothing progresses in him beyond this period, and everything he produces is not only no better than before, but even weaker and colder than before. But for a Christian this does not exist, and where for others the limit of perfection is, there for him it is just beginning” (VIII, 264). Overcoming boundaries, the shining distance, the “rushing force”, the thirst for battle, which are characteristic of youth, are always alive in the holy elders. Higher wisdom is impossible without self-education and without the sweetness of being a student. Both the whole world and the most insignificant of people can be a teacher for a Christian, but all wisdom will be taken away if he imagines that “his teaching is over, that he is no longer a student” (VIII, 266). Always ready for spiritual discipleship, to move “forward” (chapter title: “The Christian Moves Forward”) becomes for Gogol the best “age” of a person.
The higher ones try to subordinate absolutely everything with which a person is connected to the basics of improving his soul. They use it for this and age categories. A person’s age is divided into stages such as infancy, childhood, adolescence, youth, maturity, old age, in each of which he develops in a special way.
Any age is given to a person to go through stages of development, and in each period of life there is a completely different understanding of life and everything around him. Infancy and the first 3 years of life are used for the soul to master a new material body. The soul learns to control it. Childhood allows you to get acquainted with the situations of life in modern society, master new relationships, and comprehend the basics of knowledge characteristic of this period of human existence. Youth, maturity is an age that promotes knowledge and accumulation of experience. And old age is given to educate others and comprehend one’s own life from the standpoint of accumulated experience and one’s helplessness.
Old age makes one suffer, depriving an individual of many previous opportunities. A person begins to realize for himself that it is possible to live in society and be of no use to anyone. Such old people improve in their solitude. They suffer from it. There is a revaluation of some moral values.
Old age is also about educating yourself, first of all. It was created artificially by the Supreme Ones. In the Higher worlds, old age does not exist. For people, the older an individual is, the less strength he has and the more helpless he is, but for higher people, on the contrary, the older the soul is, the more powerful it is and has a greater number of possibilities. The highest do not age. They become more powerful.
In youth, a person is given strength and health, but he often uses them for wasting time, for unworthy behavior, while not feeling sympathy or pity for anyone. When illness, helplessness overtake him, and his strength leaves his body, the world turns to him with a completely different side, forcing him to suffer. And suffering allows us to rethink everything that exists in a new way, to reassess material and spiritual values. For example, many artists who had thousands of fans in their youth, bathed in flowers and fame, die completely alone, forgotten by everyone, sometimes without even a piece of bread. Such a striking contrast in life is necessary for the soul to make a comparison and realize what is important in life and what is a fleeting temptation.
Health gives way to illness, and the one who did not give up his place in public transport elderly and disabled people get the opportunity to experience for themselves what it’s like to be one. By building life on contrasts, the Highest Ones shake up the human psyche, allowing one to feel the state of another with the help of one’s own sensations.
There are old people who are financially secure, but remain lonely. Loneliness is given according to the program of life to teach the soul a certain lesson. When a person has everything and is alone, he cannot feel happy. Inside he definitely suffers because he understands that no one needs him. The soul feels this subtly and suffers. Therefore, lonely old age educates a person morally. Anyone who has understood and realized what loneliness means will not leave another in the same situation, children will not leave their parents when they become old, and parents will not send their children to orphanages.
But even if old age passes in a normal family, where they are cared for and loved, the soul still experiences suffering, since it loses the opportunity to express itself as in youth, and is forced to constantly limit its desires (limit itself in sights, food, movements) due to poor health, unsightly appearance and lack of material resources.
Old age is education moral qualities in man. It is designed for this, and if the desired results are not achieved, then the law of cause and effect - karma - comes into play.
People use this period of life in different ways, without seeing the goals of their future existence, so many people develop negative qualities during this period. For example, some old people often develop qualities such as greed and self-interest. This is the usual depravity, the appearance negative qualities when conditions of existence change for the worse. However, their presence helps them survive and serves as protection from adverse environmental factors.
Some believe that old age is given for an idle existence, it is a long rest for working for society in young and mature years. But this is a stage of development that must use the concepts of modern times acquired over the past years to sum up the results of its life. A soul that has advanced in perfection will understand that it is impossible to stop there and idly enjoy the rest of its days. It is necessary to continue to work and gain new and new experience. This will already be a manifestation of a person’s high consciousness. You need to study before last day your life is the path of eternal improvement of the soul. Old age should serve as the culmination of life.
However, age has not only educational, but also energetic aspects. Old age and youth conceal certain veiled secrets of human existence and energy processes that connect them with their immediate environment and Higher world. We already know that a person’s life and all his activities are built on, he produces energy, processes one type into another. But questions arise: do the young and old human bodies provide the same energy, and which one is of better quality?
Of course, young bodies produce cleaner energy, which is due to their physical structure. The old body becomes slagged and therefore cannot function normally. Diseases disrupt the normal course of processes. From all this the energy comes out weak. An old organism is physically very different from a young one; it gives one energy, and a young one - another. Even if they are placed in the same conditions and given identical suffering, their energy will be different.
But this applies to the energies that they produce for the Higher Plans. If we talk about the energies that they acquire in the soul as qualities of character, then this is all strictly individual. And old age can develop higher qualities for its soul than youth.
But if we compare two people of different ages, old and young, then age categories introduce their own differences into the process of energy production by human bodies.
One can compare the energies received from emotions and those directly produced by the material body. The outer shell gives one energy, and emotions, feelings - completely different. Therefore, if we talk about a person’s character, then kind person Regardless of age, whether he is old or young, he produces higher energies with his feelings than a low individual. And if you take a young, rude, angry individual, then his emotional field will be low and, as it were, dirty. Therefore, if we compare the energies produced by the physical body, then the old man’s are worse. And if we compare the energies produced by feelings, then in an old person they can be much higher in quality than in a young person.
Material bodies certainly produce different energies. It is worse in old people, better in young people. And moreover, their energy is incompatible and incomparable. For this reason, for example, an element such as non-perception of the appearance of another generation was introduced into the age perception of generations, that is, a young person reacts only to his age, and old people all seem to have the same face to him, and vice versa.
It was built into the program for the perception of external signs that each generation would perceive only its own age. This was required so that generations do not get confused with each other, since each has its own tasks, its own physical energy. And at the end of the era of Pisces (2000), everything got mixed up, mixed up in terms of age. For example, old men began to like young girls, and young women began to marry old men, having selfish goals. 95% of marriages of different ages serve selfish purposes, although no one admits this. Such marriages should not exist. The age limit for couples can vary between plus or minus five years. A person should see his age, and no one else should be interested in him in terms of love, because each generation is formed on a level: according to energy, according to prevailing knowledge and aspirations, according to the goals of improvement, according to certain ones characteristic only of them. processes of the physical and subtle planes, and many other features.
Each young generation, as a corresponding Level, must enter into regular relationships based on the Highest Morality with the older generation, borrowing knowledge and some experience from them, and enter into certain relationships with the younger ones, to whom they, in turn, must pass on their knowledge . This is how a person learns the Level relationships that await him in the future in the Hierarchy of God. Therefore, there should not be any mix of generations, otherwise dependencies will build up. (Exceptions include special marriages, which account for 5%).
"Human Development", authors L. A. Seklitova, L. L. Strelnikova, ed. Amrita-Rus.All rights reserved. No part of this information may be reproduced in any form without permission from the authors of the book.
Lyrical digression is an extra-plot element of the work; compositional and stylistic device, which consists in the author’s retreat from the direct plot narrative; author's reasoning, reflection, statement expressing an attitude towards the depicted or having an indirect relation to it. Lyrically, the digressions in Gogol’s poem “Dead Souls” introduce a life-giving, refreshing beginning, highlight the content of the pictures of life that appear before the reader, and reveal the idea.
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Analysis lyrical digressions in the poem by N.V. Gogol's "Dead Souls"
Lyrical digression is an extra-plot element of the work; compositional and stylistic device, which consists in the author’s retreat from the direct plot narrative; author's reasoning, reflection, statement expressing an attitude towards the depicted or having an indirect relation to it. Lyrically, the digressions in Gogol’s poem “Dead Souls” introduce a life-giving, refreshing beginning, highlight the content of the pictures of life that appear before the reader, and reveal the idea. The topics of lyrical digressions are varied.
“About fat and thin officials” (1 chapter); the author resorts to generalizing the images of civil servants. Self-interest, bribery, veneration for rank are their characteristic features. The opposition between thick and thin, which seems at first glance, actually reveals the common negative features of both.
“On the shades and subtleties of our treatment” (chap. 3); speaks of ingratiation to the rich, respect for rank, self-humiliation of officials in front of their superiors and an arrogant attitude towards subordinates.
“About the Russian people and their language” (chap. 5); the author notes that the language and speech of a people reflects its national character; A feature of the Russian word and Russian speech is amazing accuracy.
“About two types of writers, about their destiny and destinies” (chap. 7); the author contrasts a realist writer and a romantic writer, points out characteristic features creativity of a romantic writer, speaks of the wonderful destiny of this writer. Gogol writes with bitterness about the lot of a realist writer who dared to portray the truth. Reflecting on the realist writer, Gogol determined the meaning of his work.
“Much has happened in the world of error” (chap. 10); a lyrical digression about the world chronicle of mankind, about its errors is a manifestation of the writer’s Christian views. All of humanity has wandered away from the straight path and is standing on the edge of an abyss. Gogol points out to everyone that the straight and bright path of humanity consists in following the moral values founded in Christian teaching.
“About the expanses of Rus', national character and the bird troika”; the final lines of “Dead Souls” are connected with the theme of Russia, with the author’s thoughts about the Russian national character, about Russia as a state. IN symbolic image birds-three expressed Gogol's faith in Russia as a state destined from above for a great historical mission. At the same time, there is an idea about the uniqueness of Russia’s path, as well as the idea about the difficulty of foreseeing specific forms of Russia’s long-term development.
“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. Highest value have lyrical digressions about Russia and the Russian people. Throughout the entire poem, the author’s idea of a positive image of the Russian people is affirmed, which merges with the glorification and celebration of the homeland, which expresses the author’s civic-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 Russian people, their daring, courage, hard work and love for 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 a 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 to? “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, Nozdrevs, 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 to 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 the positive ideal of the author - people's Russia, which is opposed to landowner-bureaucratic Rus'.
But, in addition to lyrical digressions glorifying Russia and its people, the poem also contains reflections of the lyrical hero on philosophical topics, 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 with you on the journey, emerging from the soft youthful years into stern, embittering courage, take with you all human movements, do not leave them on the road, you will not pick them up later! ..” 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, as the landowners described in the novel did, the stasis of “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 drive up to any unfamiliar village and look indifferently at her 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 (“Better present to us the beautiful and fascinating”), which confirms his conclusion about the fate of two types of writers.
All this recreates the lyrical image of the author, who will continue to walk hand in hand with the “strange hero for a long time, looking around at the whole enormous rushing life, looking at it through laughter visible to the world and invisible tears unknown to him! »
So, lyrical digressions occupy a significant place in Gogol’s poem “Dead Souls”. They are remarkable from a poetic point of view. In them one can discern the beginnings of a new literary style, which would later acquire bright life in the prose of Turgenev and especially in the works of Chekhov.
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