Description of the village of Manilov in the poem "Dead Souls". The image of Chichikov - the “knight of profit” in the poem of the present day. Gogol "dead souls". “dead souls” of the city and village in Gogol’s depiction Description of the village description of the manor’s house

To work on my main work - a poem " Dead Souls" - N.V. Gogol began in 1835 and did not stop until his death. He set himself the task of showing backward, manor-serf Russia with all its vices and shortcomings. A large role in this was played by the images of representatives of the nobility masterfully created by the author, constituting the main social class in the country. The description of the villages of Manilov, Korobochka, Sobakevich, Nozdryov, Plyushkin allows us to understand how different, but at the same time typical, spiritually poor were the people who were the main support of power. This despite the fact that each of the presented landowners. considered himself the best among the rest.

The role of the interior

Gogol builds the five chapters of the first volume, dedicated to landowners, according to one principle. He characterizes each owner through a description of his appearance, his manner of behavior with the guest - Chichikov - and relatives. The author talks about how life was organized on the estate, which is manifested through the attitude towards the peasants, the entire estate and their own home. As a result, a generalized picture emerges of how the “best” representatives of serf Russia lived in the first half of the 19th century.

The first is a description of the village of Manilov - a very sweet and friendly landowner, at first glance.

Long road

The path to the estate leaves a not very pleasant impression. When meeting in the city, the landowner who invited Chichikov to visit noted that he lived about fifteen miles from here. However, all sixteen and even more had already passed, and the road seemed to have no end. Two men who met indicated that after a mile there would be a turn, and there would be Manilovka. But this didn’t resemble the truth either, and Chichikov concluded for himself that the owner, as was often the case, had reduced the distance by half in the conversation. Perhaps in order to lure - let's remember the landowner's name.

Finally, an estate appeared ahead.

Unusual location

The first thing that caught my eye was the two-story manor house, which was built on a hill - “on the Jura,” as the author points out. It is with him that we should begin the description of the village of Manilov in the poem “Dead Souls”.

It seemed that the lonely house was being blown from all sides by the winds that only happened in these places. The hillside on which the building stood was covered with trimmed turf.

The incongruous location of the house was complemented by flower beds with bushes and lilacs, laid out in the English style. Stunted birch trees grew nearby - no more than five or six - and there was a gazebo with the funny name for these places, “Temple of Solitary Reflection.” The unattractive picture was completed by a small pond, which, however, was not uncommon on the estates of landowners who were fond of the English style.

Absurdity and impracticality - this is the first impression of the landowner's farm.

Description of the village of Manilova

“Dead Souls” continues the story about a series of miserable, gray peasant huts - Chichikov counted at least two hundred of them. They were located lengthwise and crosswise at the foot of the hill and consisted of only logs. Between the huts the guest did not see any trees or other greenery, which made the village not at all attractive. In the distance it was somehow dullly dark. This is the description of the village of Manilov.

“Dead Souls” contains a subjective assessment of what Chichikov saw. At Manilov, everything seemed to him somehow gray and incomprehensible, even “the day was either clear or gloomy.” Only two swearing women dragging crayfish and roach across the pond, and a rooster with tattered wings crowing at the top of his lungs, somewhat enlivened the picture.

Meeting with the owner

A description of the village of Manilov from “Dead Souls” will be incomplete without meeting the owner himself. He stood on the porch and, recognizing the guest, immediately broke into the most cheerful smile. Even at their first meeting in the city, Manilov struck Chichikov with the fact that there seemed to be a lot of sugar in his appearance. Now the first impression has only intensified.

In fact, the landowner at first appeared to be a very kind and pleasant person, but after a minute this impression completely changed, and now the thought arose: “The devil knows what this is!” Manilov's further behavior, excessively ingratiating and built on the desire to please, fully confirms this. The owner kissed his guest as if they had been friends for a century. Then he invited him into the house, trying in every possible way to show respect for him by not wanting to enter the door before Chichikov.

Interior furnishings

The description of the village of Manilov from the poem “Dead Souls” evokes a feeling of absurdity in everything, including the decoration of the manor’s house. Let's start with the fact that next to the expensive and even elegant furniture that stood in the living room, there was a pair of armchairs, which at one time there was not enough fabric to cover. And for several years now, the owner has warned the guest every time that they are not ready yet. In another room there was no furniture at all for the eighth year - since Manilov’s marriage. In the same way, at dinner, they could put on the table next to a luxurious bronze candlestick, made in the antique style, and some kind of “disabled person” made of copper, all covered in fat. But no one at home is interested in this

The owner's office looked just as funny. It was, again, an incomprehensible gray-blue color - something similar to what the author had already mentioned when giving general description villages of Manilov at the beginning of the chapter. A book with a bookmark on the same page lay on the table for two years - no one had ever read it. But tobacco was spread throughout the room, and on the window sills there were rows of piles made from the ash that remained in the pipe. In general, dreaming and smoking were the main and, moreover, favorite pastimes of the landowner, who was not at all interested in his possessions.

Meet the family

Manilov's wife is similar to himself. Eight years of marriage changed little in the relationship between the spouses: they still treated each other with a piece of apple or interrupted their classes to capture a kiss. Manilova received a good upbringing, which taught her everything that was necessary to be happy: to speak French, play the piano and embroider some unusual case with beads to surprise her husband. And it didn’t matter that the cooking in the kitchen was poor, there was no stock in the pantries, the housekeeper stole a lot, and the servants slept more and more. The pride of the couple was their sons, who were called strange and promised to show great abilities in the future.

Description of the village of Manilova: the situation of the peasants

From all that has been said above, one conclusion already suggests itself: everything on the estate went somehow like this, in its own way and without any intervention from the owner. This idea is confirmed when Chichikov starts talking about peasants. It turns out that Manilov doesn’t even know how many souls he has died in lately. His clerk cannot give an answer either. He only notes that there is a lot, with which the landowner immediately agrees. However, the word “many” does not surprise the reader: the description of the village of Manilov and the conditions in which his serfs lived make it clear that for an estate in which the landowner does not care about the peasants at all, this is a common thing.

As a result, an unattractive image of the chapter's protagonist emerges. It never occurred to the uneconomical dreamer to go out into the fields, find out what the people who depended on him needed, or even simply count how many of them he had. Moreover, the author adds that the man could easily deceive Manilov. He allegedly asked for time off to work part-time, but he calmly went to drink, and no one cared. In addition, all the servants, including the clerk and the housekeeper, were dishonest, which did not bother either Manilov or his wife at all.

Conclusions

The description of the village of Manilova is completed with quotes: “there is a race of people... neither this nor that, neither in the city of Bogdan nor in the village of Selifan... Manilova should join them.” Thus, this is a landowner from whom, at first glance, there is no harm to anyone. He loves everyone - even the most inveterate swindler he is a most excellent person. Sometimes he dreams of setting up shops for peasants, but these “projects” are very far from reality and will never be translated into reality. Hence the general understanding of “Manilovism” as social phenomenon- a tendency towards pseudo-philosophy, the absence of any benefit from existence. And this is where the degradation begins, and then the collapse of the human personality, which Gogol draws attention to when describing the village of Manilov.

“Dead souls” thus become a verdict on society, in which best representatives landed nobility similar to Manilov. After all, the rest will turn out to be even worse.

Attention, TODAY only!

• "Dead Souls": reviews of the work. "Dead Souls", Nikolai Vasilievich Gogol
• Sobakevich - characteristics of the hero of the novel "Dead Souls"

Article menu:

The image of the landowner Manilov, in comparison with most of the landowners described by Gogol, creates the most favorable and positive impression, although finding his negative features is not so difficult, however, in comparison with negative sides other landowners, this looks like the lesser of evils.

Manilov's appearance and age

Manilov's exact age is not indicated in the story, but it is known that he was not an old man. The reader’s acquaintance with Manilov most likely falls during the prime of his powers. His hair was blond and his eyes were blue. Manilov often smiled, sometimes to such an extent that his eyes were hidden and were not visible at all. He also had a habit of squinting.

His clothes were traditional and did not stand out in any way, just like Manilov himself in the context of society.

Personality characteristics

Manilov is a pleasant person. He does not have such a hot-tempered and unbalanced character as most of the landowners described by Gogol.

His goodwill and good nature endear him and create trusting relationships. At first glance, this state of affairs seems very profitable, but in essence, it is playing with Manilov cruel joke, turning him into a boring person.

The lack of enthusiasm and a clear position on this or that issue makes it impossible to communicate with him for a long time. Manilov was polite and kind. As a rule, he smoked a pipe, paying tribute to his habit during his army years. He was not involved in housekeeping at all - he was too lazy to do it. Manilov often made plans in his dreams to restore and develop his farm and improve his home, but these plans always remained dreams and never came to fruition real life. The reason for this was the same laziness of the landowner.

Dear readers! We invite you to read Nikolai Vasilyevich Gogol’s poem “Dead Souls”

Manilov is very upset by the fact that he did not receive a proper education. He cannot speak fluently, but he writes very competently and accurately - Chichikov was surprised to see his notes - there was no need to rewrite them, since everything was written clearly, calligraphically and without errors.

Manilov family

If in other respects Manilov can fail, then in relation to the family and his relationship with his family he is an example to follow. His family consists of a wife and two sons; to some extent, a teacher can be added to these people. In the story, Gogol gives him a significant role, but, apparently, Manilov perceived him as a member of the family.

Manilov's wife's name was Lisa, she was already eight years old married woman. The husband was very kind to her. Tenderness and love prevailed in their relationship. It was not a game for the public - they really had tender feelings for each other.

Lisa was beautiful and good educated woman, but she absolutely did not do any business at home. There was no objective reason for this, other than laziness and her personal reluctance to delve into the essence of matters. The members of the household, in particular the husband, did not consider this something terrible and were calm about this state of affairs.

Manilov's eldest son was named Themistoclus. He was good boy 8 years old. According to Manilov himself, the boy was distinguished by unprecedented ingenuity and intelligence for his age. Name youngest son was no less unusual - Alcides. The youngest son was six. As for the youngest son, the head of the family believes that he is inferior in development to his brother, but, in general, the review of him was also favorable.

Manilov estate and village

Manilov has great potential to become rich and successful. He has a pond, a forest, and a village of 200 houses at his disposal, but the landowner’s laziness prevents him from fully developing his farm. It would be more correct to say that Manilov is not involved in housekeeping at all. The manager manages the main affairs, but Manilov has very successfully retreated and lives a measured life. Even occasional interventions in the course of the process do not arouse his interest.

On our website you can read Nikolai Vasilyevich Gogol’s poem “Dead Souls”

He undoubtedly agrees with his manager about the need for certain works or actions, but he does it so lazily and vaguely that it is sometimes difficult to determine his true attitude to the subject of discussion.

On the territory of the estate, several flower beds arranged in the English style and a gazebo stand out. The flower beds, like practically everything else on the Manilov estate, are in disrepair - neither the owner nor the mistress pays due attention to them.

Since Manilov loves to indulge in dreams and reflections, the gazebo becomes an important element in his life. He can stay there often and for a long time, indulging in fantasies and making mental plans.

Attitude towards peasants

The peasants of Manilov never suffer from the attacks of their landowner; the point here is not only Manilov’s calm disposition, but also his laziness. He never delves into the affairs of his peasants, because he has no interest in this matter. At first glance, such an attitude should have a favorable effect on the relationship in the landlord-serf projection, but this medal also has its own unsightly side. Manilov's indifference is manifested in complete indifference to the life of serfs. He does not in any way try to improve their working or living conditions.

By the way, he doesn’t even know the number of his serfs, since he doesn’t keep count of them. Some attempts to keep records were made by Manilov - he counted male peasants, but soon there was confusion with this and in the end everything was abandoned. Also, Manilov does not keep count of his “dead souls.” Manilov gives Chichikov his dead souls and even takes on the costs of their registration.

Manilov's house and office

Everything in the Manilov estate has a dual position. The house and, in particular, the office were no exception to the rule. Here, more than anywhere else, the inconstancy of the landowner and his family members can be seen better.

First of all, this is due to the comparison of the incomparable. In Manilov’s house you can see some good things, for example, the landowner’s sofa was covered with good fabric, but the rest of the furniture was in disrepair and was upholstered in cheap and already well-worn fabric. In some rooms there was no furniture at all and they stood empty. Chichikov was unpleasantly surprised when, during dinner, on the table next to him stood a very decent lamp and a completely unsightly-looking colleague who looked like a disabled person. However, only the guest noticed this fact - the rest took it for granted.

Manilov's office is not much different from everything else. At first glance, it was quite a nice room, the walls of which were painted in gray-blue tones, but when Chichikov began to carefully examine the furnishings of the office, he could notice that most of all in Manilov’s office there was tobacco. Tobacco was definitely everywhere - in a pile on the table, and he generously sprinkled all the documents that were in the office. There was also a book in Manilov’s office - the bookmark in it was at the very beginning - page fourteen, but this did not mean at all that Manilov had recently started reading it. This book has been quietly lying in this position for two years now.

Thus, Gogol in the story “Dead Souls” portrayed a completely pleasant person, the landowner Manilov, who, despite all his shortcomings, stands out noticeably positively against the background of the whole society. He has all the potential to become an exemplary person in all respects, but laziness, which the landowner is unable to overcome, becomes a serious obstacle to this.

Manilov as a type of “living dead”

General opinion literary critics O " Dead souls"(moreover, both modern critics and those who lived during Gogol’s time): there is huge problem understanding of this work. On the one hand, this text can certainly be read literally: as such detective story about Russia. But on the other hand, this is a reverse narrative, and, having read the text more carefully, the reader naturally asks the question - whose souls are more dead here - corpses or living ones?

Belinsky once noted: “Dead Souls” will not be loved by every reader, and also fewer people will understand the true meaning of this work:
Gogol's poem can be fully enjoyed only by those who have access to thought and artistic execution creations who care about content, not plot.<…>“Dead Souls” is not fully revealed from the first reading, even for thinking people...

And the critic was absolutely right. We are of the opinion that " dead souls“In this essay, the writer named specifically living people who, nevertheless, managed to die while still alive. A dubious achievement, however!

Therefore, if this novel-poem still cannot be perceived classic fairy tale, where the heroes live, love, marry, die, the question arises: what did Gogol hide under the symbolic types of the characters written out? Here's another one real fact: the writer personally illustrated the manuscript of “Dead Souls”. And in these drawings, much attention was paid to the appearance of the heroes. This indicates that Gogol intended to present a complete image of society Russian Empire, fitting this entire unimaginable scale into the dimensions of a novel “box”. By the way, about the Box. Both the landowner and Manilov, who interests us, are all types that we may still meet on the street. Let's look at Manilov under the microscope of a literary researcher.

And what is this Manilov like... really?

When the novel-poem had just come out of print, it came to the attention of not only individual readers, but also critics. So, S. Shevyrev really liked the work, so the critic gave a positive assessment of Gogol’s creation. The same critic also made a remark about Manilov:
We guess that, in addition to the properties now visible in them, there must be other, good traits<…>so, for example, Manilov, with all his empty dreaminess, must be very kind person, a merciful and kind master with his people and honest in everyday life...

But E. Smirnova shows a completely curious view of this novel. According to the critic, the motive of heroism characteristic of Russian culture is hidden here. However, this heroism is also dead. Why? Let's figure it out. Starting from the first lines, this motive makes itself felt. The author writes about the present time as if this is the period “when heroes are already beginning to emerge in Rus'.” And in last chapter There is also the same motive (or even leitmotif?): “Shouldn’t a hero be here...”. This theme is considered the positive pole of the novel, which, in a sense, balances the negative pole of the work. Bogatyrs are that living principle that is warm, creative, and real. And this beginning is opposed by “dead souls”: the Chichikovs, Manilovs, Sobakeviches, Korobochki, Plyushkins... Each character is an example of a certain deadness. For example, our Manilov seems to be hospitable and, perhaps, less unpleasant than other heroes, but he is a dreamer, cut off from life, devoid of activity and creativity. Manilov is emptiness. Gogol hints that in the Russian Empire the world seemed to split into two parts: the true, living, active world, and the world of vegetation, a dead, cold, empty world. And, unfortunately, the second world overshadows and survives the first.

The image of Manilov in criticism

But let's return to Belinsky for a few minutes. The critic has a deep analysis of Gogol’s novel-poem – “Explanation on explanation about Gogol’s poem “Dead Souls”.” Let us also give quotes that make it clear why Manilov is not just another character from literature, but a type of world-historical significance:

Let's assume that Byron is nothing in comparison with Gogol, and Chichikov, Manilov and Selifan have more world-historical significance than the titanic, colossal personalities of the British poet...

... Walter Scott's epic precisely contains the “content of a common life,” while in Gogol this “common life” appears only as a hint, as an afterthought caused by the complete absence of the universal in the life he depicts<…>What is the general life like in the Chichikovs, Selifans, Manilovs, Plyushkins, Sobakeviches and in all the honest company that occupies the reader’s attention with their vulgarity in “Dead Souls”?

G. Konstantin Aksakov again proves that Manilov has its own side of life: who doubted it, as well as the pig that, rummaging in the manure in Korobochka’s yard, ate a chicken in passing (p. 88) , have your own side of life? She eats and drinks - therefore, she lives: is it possible to think that Manilov, who not only eats and drinks, but also smokes tobacco, and not only smokes tobacco, but also fantasizes, does not live...

All these Manilovs and others like them are funny only in the book; in reality, God forbid we should meet with them - and it is impossible not to meet with them, because in reality there are enough of them, therefore, they are representatives of some part of it...

Thus, Manilov appears as a kind of man of emptiness in literature, reflecting people of emptiness in life. The hero has nothing: no thoughts, no feelings, and, in the end, no life itself. Life is a balance of contemplation and action, but for Manilov the advantage is only in one direction - towards empty contemplation: these are books that will never be written and will never be read, plans that will never come true. Manilov is a fan of daydreaming. On the one hand, this is not a sin, but the hero’s dreams are full of stupidity. We can say that this character is devoid of form: amorphous, indistinct, indefinite. And most importantly: you won’t see them in Manilov vitality, the one that gives meaning to any existence.

This is what Gogol says:

Of course, you can see that there are many other activities in the house besides prolonged kissing. Why, for example, stupidly and uselessly prepare in the kitchen? Why is the pantry pretty empty? Why is a thief a housekeeper? Why are servants unclean and drunkards? Why does all the servants sleep mercilessly and hang out the rest of the time?..

Manilov and his family are a major satire on the then accepted norms of education, which made a person an empty pillow - but a beautiful, elegant one, decorating the sofa of the estate. We mean that such people are not much different from furniture. The Manilovs are pleasant and beautiful-hearted, but these traits leave no trace.

Outwardly Manilov is rich, but spiritually he is poor, since the hero has no aspirations, plans, no progress in self-development and self-improvement. The brightness of the decor and furnishings of Manilov’s house only further emphasizes the faceless and gray nature of the owner. Manilov’s dreams completely tore the hero away from life, so now “Manilov” can be called a man - a talker, a dreamer, a weak-minded sweet speaker, escaping the responsibility and difficulties of life into a more convenient reality.

5. The estate as a means of characterizing Plyushkin

The last person Chichikov visited was Plyushkin. The guest immediately noticed some kind of disrepair in all the buildings: the logs on the huts were old and darkened, there were holes in the roofs, the windows were without glass or covered with rags, the balconies under the roofs were askew and blackened. Behind the huts were huge stacks of grain, clearly stagnant for a long time, the color of which resembled poorly burnt brick; All sorts of rubbish grew on their tops, and bushes clung to the side. From behind the grain deposits, two rural churches could be seen: “an empty wooden and a stone one, with yellow walls, stained, cracked” (p. 448). The disabled man's manor's house looked like an excessively long castle, in some places one floor high, in others two stories high, on the dark roof of which two belvederes protruded. The walls were cracked, “and, apparently, they suffered a lot from all sorts of bad weather, rain, whirlwinds and autumn changes” (p. 448). Of all the windows, only two were open, the rest were covered with shutters or even boarded up; on one of the open windows there was a dark “pasted triangle of blue sugar paper” (p. 448). The wood on the fence and gate was covered with green mold, a crowd of buildings filled the courtyard, and gates to other courtyards were visible near them to the right and left; “everything indicated that farming had once taken place here on a large scale” (p. 449). But today everything looked very cloudy and dull. Nothing enlivened the picture, only the main gates were open and only because a man with a cart drove in; at other times they were locked tightly - a lock hung in an iron loop.

Behind the house stretched an old, vast garden, which turned into a field and was “overgrown and dead” (p. 448), but it was the only thing that enlivened this village. In it, the trees grew freely, “the white colossal trunk of a birch, devoid of a top, rose from this green thicket and rounded in the air, like a regular sparkling marble column” (p. 449); the hops, which were suppressing the bushes of elderberry, rowan and hazel below, ran up and entwined the broken birch, and from there began to cling to the tops of other trees, “tying them in rings.”

their thin, tenacious hooks, easily shaken by the air” (p. 449). In places the green thickets diverged and revealed an unlit recess, “yawning like a dark mouth” (p. 449); it was cast in shadow, and in its dark depths a running narrow path, collapsed railings, a swaying gazebo, a hollow, decrepit willow trunk, a gray-haired chapberry and a young maple branch, “stretching out its green paw-leaves from the side” (p. 449) were barely glimpsed. . To the side, at the very edge of the garden, several tall aspens “raised huge crow’s nests to their tremulous tops” (p. 449). Other aspens had some branches hanging down with withered leaves. In a word, everything was good, but as happens only when nature “passes with its final cut, lightens the heavy masses, gives wonderful warmth to everything that was created in the cold of measured cleanliness and neatness (p. 449).

The description of the village and the estate of this owner is imbued with melancholy. The windows are without glass, covered with rags, dark and old logs, drafty roofs... The manor's house looks like a huge grave crypt where a person is buried alive. Only a lushly growing garden reminds of life, of beauty, sharply contrasted with the ugly life of the landowner. It seems that life has left this village.

When Chichikov entered the house, he saw “dark, wide entryways, from which a cold air blew in, as if from a cellar” (p. 449). From there he entered a room, also dark, slightly illuminated by light that came from under a wide crack that was located at the bottom of the door. When they entered this door, light finally appeared, and Chichikov was amazed by what he saw: it seemed that “the floors were being washed in the house and all the furniture had been piled here for a while” (p. 449). There was a broken chair on the table, next to it there was a clock with a stopped pendulum, entwined with cobwebs; there was a cabinet with antique silver right there. Decanters and Chinese porcelain. On the bureau, “lined with mosaics, which in some places had already fallen out and left behind only yellow grooves filled with glue” (p. 450), lay a whole lot of things: a bunch of scribbled pieces of paper covered with a green marble press, some kind of old book bound in leather , a dried lemon, the size of a nut, a broken armchair handle, a glass “with some kind of liquid and three flies” (p. 450), covered with a letter, a piece of rag, two feathers in ink, a toothpick from a hundred years ago, “which the owner may have , was picking his teeth even before the French invasion of Moscow” (p. 450). Several paintings were hung incongruously on the walls: “a long, yellowed engraving of some battle, with huge drums, shouting soldiers in three-cornered hats and drowning horses” (p. 450), without glass, set in a mahogany frame with “thin bronze strips and bronze circles in the corners” (p. 450). Next to them was a painting, occupying half the wall, all blackened, written oil paints, on which there were flowers, fruits, a cut watermelon, a boar's muzzle and a duck hanging upside down. From the middle of the ceiling hung a chandelier in a canvas bag, which from the dust became like “a silk cocoon in which a worm sits” (p. 450). In the corner of the room, everything that was “unworthy to lie on tables” was piled on a heap (p. 450); it was difficult to say what exactly was in it, because there was so much dust there that “the hands of everyone who touched it became like gloves” (p. 450). All that could be seen was a broken piece of a wooden shovel and an old boot sole, which protruded most noticeably from there. There was no way to tell what lived in this room. living creature, if not for “the old worn cap lying on the table” (p. 450).

The accumulation of things, material values ​​becomes the only goal of Plyushkin's life. He is a slave of things, not their master. The insatiable passion of acquisition led to the fact that he lost a real understanding of objects, ceasing to distinguish useful things from unnecessary rubbish. With such an internal depreciation of the objective world, the insignificant, insignificant, insignificant inevitably acquires special attractiveness, on which he focuses his attention. The goods accumulated by Plyushkin brought him neither happiness nor even peace. Constant fear for his property turns his life into a living hell and brings him to the brink of mental collapse. Plyushkin rots grain and bread, and he himself shakes over a small piece of Easter cake and a bottle of tincture, on which he made a mark so that no one would drink it by stealing. The thirst for accumulation pushes him onto the path of all kinds of self-restraint. The fear of missing out on something forces Plyushkin with tireless energy to collect all sorts of rubbish, all sorts of nonsense, everything that has long ceased to serve the vital needs of a person. Plyushkin turns into a devoted slave of things, a slave of his passion. Surrounded by things, he does not experience loneliness and the need to communicate with outside world. This is a living dead man, a misanthrope who has turned into a “tear on humanity.”

We are once again convinced that Gogol is one of the most amazing and original masters artistic word, and “Dead Souls” is a unique work in which, by describing the external and internal appearance of the estate, the character of the person living in it is fully revealed.

The poem “Dead Souls” interested many scientific researchers, such as Yu.V. Mann, E.S. Smirnova-Chikina, M.B. Khrapchenko and others. But there were also critics who paid attention specifically to the topic of describing the estate in the poem - this is A.I. Beletsky and O. Skobelskaya. But until now this topic has not been fully covered in the literature, which determines the relevance of its research.

Each landowner has similar and different character traits with other landowners. Gogol highlights in each hero the most distinctive feature, which is expressed in the everyday environment. For Manilov it is impracticality, vulgarity and dreaminess, for Korobochka it is “club-headedness”, fussiness and in the world of low things, for Nozdryov it is abundant energy that is directed in the wrong direction, sudden mood swings, for Sobakevich it is cunning, clumsiness, for Plyushkin it is stinginess and greed.

From hero to hero, Gogol exposes the criminal life of the landowners. The images are given on the principle of ever deeper spiritual impoverishment and moral decline. In Dead Souls, Gogol flaunts all human shortcomings. Despite the fact that there is a considerable amount of humor in the work, “Dead Souls” can be called “laughter through tears.” The author reproaches people for forgetting about eternal values. Only the outer shell is alive in them, and the souls are dead. Not only the people themselves are to blame for this, but also the society in which they live, which, in turn, also leaves its mark.

So, the poem “Dead Souls” is very relevant to this day, because, unfortunately, modern world not very different from the one described in the poem, and such human traits how stupidity and stinginess have not yet been eradicated among the people.

List of used literature

1. Gogol N.V. Dead Souls // Collection. op. – M.: State. art publishing house lit., 1952. – P. 403 – 565.

2. Beletsky A.I. In the workshop of a word artist // Beletsky A.I. In the artist's studio words: Sat. Art. – M.: Higher. school, 1989. – P. 3 – 111.

3. Gus M. Living Russia and “Dead Souls”. – M.: Sov. writer, 1981. – 334 p.

4. Mann Yu.V. Gogol's poetics. – 2nd ed., add. – M.: Artist. lit., 1978. – P. 274 – 353.

5. Mashinsky S.I. “Dead Souls” N.V. Gogol. – M.: Artist. lit., 1966. – 141 p.

6. Skobelskaya O. Russian estate world // World literature. and culture in educational institutions Ukraine. – 2002. – No. 4. – P. 37 – 39.

7. Smirnova E.A. Gogol's poem "Dead Souls". – L: Nauka, 1987. – 198 p.

8. Smirnova – Chikina E.S. Poem by N.V. Gogol "Dead Souls". Comment. – L: Education, 1974. – 316 p.

9. Khrapchenko M.B. Nikolai Gogol: Literary path. The greatness of the writer. – M.: Sovremennik, 1984. – P. 348 – 509.

Motives. The "selflessness", patience and strength of character of the protagonist allow him to constantly be reborn and show enormous energy to achieve his goal. 1.2. Satire on landowner Rus' in N.V. Gogol’s poem “Dead Souls” “... the brilliant accuracy of his satire was purely instinctive... his satirical attitude towards Russian life, no doubt, is explained... by his character...

G. N.V. Gogol’s poem “Dead Souls” in school study. M., “Enlightenment”; 1982. Abstract The main topic of the study is determining the role of everyday and portrait details in creating images of landowners in N. V. Gogol’s poem “Dead Souls”. The purpose of this work was to study Gogol’s method of characterizing heroes and social structure through details. The details of the characters' everyday life were fascinating...

The Nest", "War and Peace", "The Cherry Orchard". It is also important that main character the novel seems to open up a whole gallery" extra people"in Russian literature: Pechorin, Rudin, Oblomov. Analyzing the novel "Eugene Onegin", Belinsky pointed out that in early XIX century, the educated nobility was the class “in which the progress of Russian society was expressed almost exclusively,” and that in “Onegin” Pushkin “decided...

Behind everything, “no matter what is done in Rus',” for everything down to the last detail “has become unusually dear and close” to him. He devotes most of his time and energy to working on the poem “Dead Souls,” which will become the main result, the pinnacle of his work. Gogol himself admitted that there was a personal motive in his work: duty to the memory of Pushkin. “I must continue the great work I began, which took me to write...

The description of the estate and economy of Nozdryov, the third landowner to whom the main character Chichikov ends up, is one of important details, characterizing the image of the district landowner.

The writer presents Nozdryov's estate as a huge area of ​​fields, a pond, stables, and workshops. There are no images of peasant huts, the manor house and other buildings on the estate in the work.

The landowner does not take care of the affairs of his estate, because he has a clerk, whom he calls a scoundrel and constantly scolds.

The main attraction of the Nozdrevsky estate is the stables, which at the time of description are half empty, since the owner let down several good horses, and retained only two mares in the form of a brown and dappled gray, as well as an unsightly bay stallion. In addition to a small herd used only for riding, a goat is housed in the stables according to ancient traditions.

Nozdryov is proud of another pet on his farm, a wolf cub, kept tied with a rope and fed only food in the form of raw meat, because the owner wants to see his bestial nature in the future.

In addition to the above-mentioned pets, Nozdryov owns a huge kennel, which includes dogs of different breeds and varieties, which the landowner loves immensely, not even thinking about his own children.

On the territory of Nozdryov’s estate there are also blacksmith workshops, a water mill, which is in a broken state, as well as an abandoned pond, in which, according to the boastful owner, there are species of valuable fish of enormous size.

Depicting Nozdryov’s field lands, which the owner walks around with the main character, the writer describes them in an unkempt state, located in a swampy area and in disgusting, wild mud, combined with hummocks.

When considering the home environment, which is a direct reflection of the chaotic character of the owner, the writer describes the confusion of the arrangement of furniture and interior items, pointing to building materials in the middle of the dining room, the absence of books and papers in the office, Nozdreva’s obvious passion for hunting, expressed in a huge number of various types of weapons, including sabers, guns, Turkish daggers. The most remarkable thing in the house, according to the main character, is the presence of a barrel organ, repeating the essence of the owner’s nature.

Several interesting essays

• Characteristics and image of Fedya from the story Bezhin Meadow by Turgenev essay

  Fedya is an ordinary peasant boy, who however belonged to a family of wealthy peasants. His behavior - always important and arrogant - showed genuine pride in him

• Comparative characteristics of Chelkash and Gavrila in the story Chelkash Gorky

  Maxim Gorky wrote his works in the style of realism; in his initial works, notes of romance are felt. The characters in the stories live in harmony with nature. All the heroes of Gorky's works are very interesting personalities

• Comparative characteristics of Pechorin and Werner essay

  The main character of the work, Grigory Pechorin, while on vacation in the Caucasus, meets Dr. Werner on the waters, who is minor character novel.

• Essay Vladimir Dubrovsky and Masha Troekurova love grade 6

  One of the main threads of the narrative in the novel by Alexander Sergeevich Pushkin is the love of Maria Kirilovna Troekurova and Vladimir Andreevich Dubrovsky. On what soil was this born?

• Analysis of Shukshin's story Cut off 6th, 11th grade

  There is a fairly well-known joke about friends in hell who do not need devils at the cauldron for protection, because when one starts to get out of there, someone from below will certainly pull him back, returning him to the general position.