The image of the landowners in the poem. The image of the landowners in the poem by N. V. Gogol “Dead Souls How Korobochka reacted to Chichikov’s proposal

There is a clearly visible storyline in Gogol's poem. This is a visit by the main character to the owners of the estates around the provincial city. The image of landowners in the poem "Dead Souls" allows us to imagine different, but similar types of nobility.

Sweet romantic

The first image of the landowners is Manilov. He tries to attract to himself with sweetness, dreams of a better world. The prosperity of mankind in the head of a merchant is stupid and lifeless. Immersed in sweet dreams, the owner becomes lazy and soulless. Everything around is falling apart. The house stands alone on a hill, the pond, once beautiful and stylish, is covered with green mud. An economy without Manilov is like a house without a roof. People are dying, the landowner doesn't care. He is not interested in how many of them died, from what, whether it is possible to fix something, to make people's lives easier. Manilov is worried about cringing, he is ready to curry favor with any high-ranking person. A toady and a flatterer is looking for only profitable connections.

wealth in a box

Chichikov falls into the possession of a woman. Nastasya Korobochka is limited in thinking. She hid her mind deep, under locks. The box was hardened and stupefied. External efficiency buries the greed and the true desire of the hostess - to get rich at any cost. The landowner knows all the peasants, remembers their names, but can sell any of them if she notices a profit in the deal.

The merchant's wife hides the kopecks in a chest of drawers, does not give anyone an extra coin, comes down and complains about poverty and poverty. The landowner is similar to a koshchei: she sits on bags of money, dry, soulless and scary.

Egoist and reveler

The next landowner who met Chichikov on the way was Nozdrev. Merchant player and drunkard. He does not appreciate what he got, he lowers everything for his entertainment. Nozdryov likes to live in debt. He becomes aggressive, angry and cruel in dealing with people. The speech of the character is a constant rude abuse. Nozdryov does not like people, but he appreciates himself very much. The egoist does not change his behavior, he was like that in his youth, remains a regular at taverns and feasts at 35 years old. The development of the landowner stopped, the soul has outlived itself, deadened. A fun pastime will not end well for the landowner, fights and drinking will do their job.

"Damn Fist"

Chichikov calls Sobakevich the devil's fist when he visits him. The combination of words is difficult to understand. Devils are small creatures, harmful and dangerous. The fist is a strong part of the hero's hand. Sobakevich is like that. He is healthy like Russian fellows, but greedy, like all representatives of the black forces. The landowner eats like a fairy-tale character, a lot and indiscriminately. Food is the meaning of existence for him. The merchant denies other interests, there is nothing more important than his own satiety. Self-interest, cynicism and greed are visible in the words and behavior of the landowner. The prudence of the seller of dead souls is frightening. His soul died long ago and flew out of the body, leaving the owner only carnal desires.

"Flattening" of the Spiritual World

Plyushkin is the very bottom of the degradation of the landlord class. The dirty landlord does not look like a merchant in appearance and behavior. There is no soul, just as there is no life around a person. The house is empty and scary. It is difficult to imagine how a person could reach such a state. How greedy the landowner becomes, which denies natural desires even to himself. Living with a pile of rubbish, wearing torn clothes, eating moldy crackers - is this the lot of the masters of life? The classic gives Plyushkin a vivid description - "a hole in humanity." You can simply condemn the hero, but it is important to understand where such people are pulling Russia.

Gogol created his works in those historical conditions that developed in Russia after the failure of the first revolutionary speech - the Decembrist uprising of 1825. The new socio-political situation posed new tasks for the figures of Russian social thought and literature, which were deeply reflected in the work of Gogol. Turning to the most important social problems of his time, the writer went further along the path of realism, which was discovered by Pushkin and Gribo-Edov. Developing the principles of critical realism, Gogol became one of the greatest representatives of this trend in Russian literature. As Belinsky notes, "Gogol was the first to look boldly and directly at Russian reality."

One of the main themes in Gogol's work is the life of the Russian landowner class, the Russian nobility as the ruling class, its fate and role in public life. It is characteristic that Gogol's main way of depicting landowners is satire. The images of the landlords reflect the process of gradual degradation of this class, revealing all its vices and shortcomings. Gogol's satire is tinged with irony and "hit right in the forehead." Irony helped the writer to talk about what it was impossible to talk about under censorship conditions. Gogol's laughter seems good-natured, but he spares no one, each phrase has a deep, hidden meaning, subtext. Irony is a characteristic element of Gogol's satire. It is present not only in the author's speech, but also in the speech of the characters. Irony - one of the essential features of Gogol's poetics - gives the story more realism, becoming an artistic means of critical analysis of reality.

In the largest work of Gogol - the poem "Dead Souls" the images of the landowners are given in the most complete and multifaceted way. The poem is built as a story of the adventures of Chichikov, an official who buys up "dead souls". The composition of the poem allowed the author

tell about different landowners and their villages. Almost half of the first volume of the poem (five chapters out of eleven) is devoted to characterizing the various types of Russian landowners. Gogol creates five characters, five portraits that are so different from each other, and at the same time, typical features of a Russian landowner appear in each of them.

Our acquaintance begins with Mani-lov and ends with Plyushkin. This sequence has its own logic: from one landowner to another, the process of impoverishment of the human personality deepens, an ever more terrible picture of the disintegration of serf society unfolds.

Opens a portrait gallery of landowners Manilov. Already in the surname itself, his character is manifested. The description begins with a picture of the village of Manilovka, which "could not lure many with its location." With irony, the author describes the master's courtyard, with a claim to "an English garden with an overgrown pond", thin bushes and with a pale inscription: "Temple of solitary reflection." Speaking of Manilov, the author exclaims: "God alone could have said what the character of Manilov was." He is kind by nature, polite, courteous, but all this has taken ugly forms with him. Mani-lov is beautiful-hearted and sentimental to the point of cloying. Relationships between people seem to him idyllic and festive. Manilov does not know life at all, reality is replaced by an empty fantasy in him. He likes to think and dream, sometimes even about things that are useful for the peasants. But his projecting is far from the demands of life. He does not know about the real needs of the peasants and never thinks about it. Manilov fancies himself a bearer of spiritual culture. Once in the army, he was considered the most educated person. Ironically, the author speaks about the situation at Manilov's house, in which "something was always missing", about his sugary relationship with his wife. At the moment of talking about dead souls, Manilov is compared with a too smart minister. Here the irony of Gogol, as it were, inadvertently invades a forbidden area. Comparing Manilov with a minister means that the latter is not so different from this landowner, and "Manilovism" is a typical phenomenon of this vulgar world.

The third chapter of the poem is devoted to the image of the Box, which Gogol refers to the number of those "small landowners who complain about crop failures, losses and hold their heads somewhat to one side, and meanwhile they are gradually collecting money in motley bags placed in boxes chest of drawers. These coins are obtained from the sale of a wide variety of subsistence products. Korobochka realized the benefits of trade and after much persuasion agreed to sell such an unusual product as dead souls. The author is ironic in describing the dialogue between Chichikov and Korobochka. The "cudgel-headed" landowner cannot understand for a long time what they want from her, infuriates Chichikov, and then bargains for a long time, afraid "just not to miscalculate." Korobochka's horizons and interests do not go beyond the boundaries of her estate. The economy and all its life are patriarchal in nature.

Gogol draws a completely different form of decomposition of the nobility in the image of Nozdryov (Chapter IV). This is a typical man of all trades. There was something open, direct, daring in his face. It is characterized by a kind of "breadth of nature." As the author ironically notes, "Nozdryov was in some respects a historical person." Not a single meeting he attended was without stories! Nozdryov, with a light heart, loses a lot of money at cards, beats a simpleton at the fair, and immediately “sips” all the money. Nozdrev is a master of "pouring bullets", he is a reckless braggart and an utter liar. Nozdryov behaves defiantly everywhere, even aggressively. The speech of the hero is saturated with swear words, while he has a passion for "shaking one's neighbor." In the image of Nozdrev, Gogol created a new socio-psychological type of “nozdrevshchina” in Russian literature.

When describing Sobakevich, the author's satire acquires a more accusatory character (Chapter V of the poem). He bears little resemblance to the previous landowners; he is a “landowner-fist”, a cunning, tight-fisted merchant. He is alien to the dreamy complacency of Manilov, the violent madness of Nozdryov, the hoarding of Korobochka. He is taciturn, has an iron grip, is smart, and there are few people who would be able to deceive him. Everything about him is solid and strong. Gogol finds a reflection of a person's character in all the surrounding things of his life. Everything in Sobakevich's house surprisingly resembled himself. Each thing seemed to say: "And I, too, Sobakevich." Gogol draws a figure striking in its rudeness. To Chichikov, he seemed very similar to "a medium-sized bear." Sobakevich is a cynic who is not ashamed of moral deformity either in himself or in others. This is a man far from enlightenment, a die-hard feudal lord who cares about the peasants only as a labor force. It is characteristic that, except for Sobakevich, no one understood the essence of the “scoundrel” Chichikov, and he perfectly understood the essence of the proposal, which reflects the spirit of the times: everything is subject to sale and purchase, everything should be benefited from.

Chapter VI of the poem is dedicated to Plyushkin, whose name has become a household name to denote stinginess and moral degradation. This image becomes the last step in the degeneration of the landlord class. The reader's acquaintance with the character Gogol begins, as usual, with a description of the village and the estate of the landowner. On all the buildings, “some special dilapidation” was noticeable. The writer paints a picture of the complete ruin of the once rich landowner's economy. The reason for this is not the wastefulness and idleness of the landlord, but painful stinginess. This is an evil satire on the landowner, who has become "a hole in humanity." The owner himself is a sexless creature resembling a housekeeper. This hero does not cause laughter, but only bitter regret.

So, the five characters created by Gogol in "Dead Souls" depict the state of the noble-serf class in many ways. Manilov, Korobochka, Nozdrev, Sobakevich, Plyushkin - all these are different forms of one phenomenon - the economic, social, spiritual decline of the class of feudal landlords.

Works on literature: The image of landowners in the poem by N. V. Gogol Dead Souls

Gogol is a great realist writer, whose work has become firmly established in Russian classical literature.

His originality lies in the fact that he was one of the first to give the broadest image of the county landowner-bureaucratic Russia. In his poem Dead Souls, Gogol reveals to the utmost the contradictions of contemporary Russian reality, shows the failure of the bureaucratic apparatus, the withering away of serf-feudal relations, and the plight of the common people. Therefore, the poem "Dead Souls" is rightly called the encyclopedia of Russian provincial life in the first third of the 19th century. In the poem, along with negative images of landowners, officials, a new hero - a nascent entrepreneur, images of the people, the Motherland and the author himself are given.

A complete misunderstanding of the practical side of life, mismanagement, we note at the landowner Manilov. He does not manage his estate, completely entrusting this to the clerk. He cannot even tell Chichikov how many peasants he has and whether they have died since the last revision. His house "stood loneliness at a brisk pace, open to all the winds, which only take it into their head to blow." Instead of a shady garden around the manor's house, there were five or six birches "with thin tops." And in the village itself there was nowhere "a growing tree or any kind of greenery." His impracticality is also evidenced by the interior of his house, where, next to the magnificent furniture, "two chairs covered with simple matting" or "heaps of ash knocked out of a pipe" lying on an expensive polished table side by side. But we find the most vivid reflection of Manilov's character in his language, speech manner: "... Of course ... if the neighborhood were good, if, for example, such a person with whom one could in some way talk about courtesy, about good treatment, to follow some sort of science, so that it stirs the soul in such a way, it would give, so to speak, a kind of guy. Here he wanted to express something else, but, noticing that he had somewhat reported, he only fiddled with his hand in the air.

Korobochka has a completely different attitude to the household. She has a "pretty village", a yard full of all kinds of birds, there are "spacious gardens with cabbage, onions, potatoes, beets and other household vegetables", there are "apple trees and other fruit trees." She knows the names of her peasants by heart. But her mental horizons are extremely limited. She is stupid, ignorant, superstitious. The box does not see anything further than "its nose". Everything "new and unprecedented" scares her. She is a typical representative of small provincial landowners, leading subsistence farming. Her behavior (which can also be noted in Sobakevich) is guided by a passion for profit, self-interest.

But Sobakevich is significantly different from Korobochka. He is, in Gogol's words, "the devil's fist." The passion for enrichment pushes him to cunning, makes him seek various means of profit. Therefore, unlike other landowners, he uses an innovation - cash dues. He is not at all surprised by the sale and purchase of dead souls, but only cares about how much he will receive for them.

The representative of another type of landowners is Nozdrev. He is the complete opposite of Manilov and Korobochka. Nozdrev is a fidget, a hero of fairs, drinking parties, a card table. He was a drunkard, a rowdy and a liar. His business is running. Only the kennel is in excellent condition. Among dogs, he is like a "father" among a large family (one would like to compare him with Fonvizin's Skotinin). He immediately squanders the income received from the forced labor of the peasants, which speaks of his moral decline, indifference to the peasants.

Complete moral impoverishment, the loss of human qualities are characteristic of Plyushkin. The author rightly dubbed him "a hole in humanity." Speaking of Plyushkin, Gogol exposes the horrors of serfdom. Putting on the form of a light joke, Gogol reports terrible things that Plyushkin is "a swindler, he starved all people to death, that convicts live better in prison than his serfs." Over the past three years, 80 people have died at Plyushkin. With a terrible mien of a half-madman, he declares that "the people are painfully gluttonous with him, from idleness they got into the habit of cracking." About 70 peasants at Plyushkin escaped, became outlaws, unable to endure the life. His courtyards run barefoot until late winter, since the stingy Plyushkin has one boots for everyone, and even then they are put on only when the courtyards enter the canopy of the manor's house. Plyushkin and his ilk hampered the economic development of Russia: "On the vast territory of the estate Plyushkin (and he has about 1,000 souls), economic life froze: mills, felters, cloth factories, carpentry machines, spinning mills stopped moving; hay and bread rotted, stacks and stacks turned into clean manure, flour turned into stone, into cloth. canvases and household materials were scary to touch. Meanwhile, income was collected on the farm as before, the peasant still carried the dues, the woman carried the canvas. All this fell into the pantries, and all this became rotten and dust. "Truly" laughter through tears.

Plyushkin and other landowners, represented by Gogol, are "decommissioned from life;". are a product of a particular social environment. Plyushkin was once a smart, thrifty owner; served in the army and was a modest, delicate, educated officer, but turned into a vulgar, idle, sugary dreamer. With great force, Gogol indicted the feudal serf system, the Nikolaev regime, the whole way of life in which Manilovism, Nozdrevschina, Plyushkin squalor are typical, normal life phenomena.

In this display of the vicious feudal order and the political system of Russia, the great significance of the poem "Dead Souls" consisted. "The poem shook the whole of Russia" (Herzen), it awakened the self-consciousness of the Russian people.

In this article we will describe the image of landowners created by Gogol in the poem "Dead Souls". The table compiled by us will help you remember the information. We will sequentially talk about the five heroes presented by the author in this work.

The image of the landlords in the poem "Dead Souls" by N.V. Gogol is briefly described in the following table.

Depiction of landowners by Gogol

In the work of Nikolai Vasilyevich, one of the main topics is the theme of the landlord class in Russia, as well as the ruling class (nobility), its role in society and its fate.

The main method used by Gogol when depicting various characters is satire. The process of gradual degeneration of the landlord class was reflected in the heroes created by his pen. Nikolai Vasilievich reveals shortcomings and vices. Gogol's satire is colored with irony, which helped this writer to speak directly about what was impossible to speak openly under censorship conditions. At the same time, the laughter of Nikolai Vasilyevich seems to us good-natured, but he does not spare anyone. Each phrase has a subtext, a hidden, deep meaning. Irony in general is a characteristic element of Gogol's satire. It is present not only in the speech of the author himself, but also in the speech of the characters.

Irony is one of the essential features of Gogol's poetics, it gives more realism to the narrative, it becomes a means of analyzing the surrounding reality.

Compositional construction of the poem

The images of the landowners in the poem, the largest work of this author, are given in the most multifaceted and complete way. It is built as the story of the adventures of the official Chichikov, who buys up "dead souls". The composition of the poem allowed the author to tell about different villages and the owners living in them. Almost half of the first volume (five of the eleven chapters) is devoted to characterizing different types of landowners in Russia. Nikolai Vasilievich created five portraits that are not similar to each other, but at the same time, each of them contains features that are typical of a Russian serf-owner. Acquaintance with them begins with Manilov and ends with Plyushkin. Such a construction is not accidental. This sequence has its own logic: the process of impoverishment of a person's personality deepens from one image to another, it unfolds more and more like a terrible picture of the disintegration of a feudal society.

Acquaintance with Manilov

Manilov - representing the image of the landowners in the poem "Dead Souls". The table only briefly describes it. Let's get to know this character better. The character of Manilov, which is described in the first chapter, is already manifested in the surname itself. The story about this hero begins with the image of the village of Manilovka, a few able to "lure" with its location. The author describes with irony the manor's courtyard, created as an imitation with a pond, bushes and the inscription "Temple of solitary reflection". External details help the writer to create the image of the landlords in the poem "Dead Souls".

Manilov: the character of the hero

The author, speaking of Manilov, exclaims that only God knows what kind of character this man had. By nature, he is kind, courteous, polite, but all this takes ugly, exaggerated forms in his image. sentimental and splendid to the point of cloying. Festive and idyllic seem to him the relationship between people. Various relationships, in general, are one of the details that create the image of landlords in the poem "Dead Souls". Manilov did not know life at all, reality was replaced by an empty fantasy with him. This hero loved to dream and reflect, sometimes even about things useful for the peasants. However, his ideas were far from the needs of life. He did not know about the real needs of the serfs and never even thought about them. Manilov considers himself a bearer of culture. He was considered the most educated person in the army. Nikolai Vasilyevich speaks ironically about the house of this landowner, in which "something was always missing", as well as about his sugary relationship with his wife.

Chichikov's conversation with Manilov about buying dead souls

Manilov in the episode of the conversation about buying dead souls is compared with an overly smart minister. Gogol's irony here intrudes, as if by accident, into a forbidden area. Such a comparison means that the minister differs not so much from Manilov, and "Manilovism" is a typical phenomenon of the vulgar bureaucratic world.

box

Let's describe one more image of landowners in the poem "Dead Souls". The table has already briefly introduced you to the Box. We learn about it in the third chapter of the poem. Gogol refers this heroine to the number of small landowners who complain about losses and crop failures and always keep their heads somewhat to one side, while gaining money little by little in the bags placed in the chest of drawers. This money is obtained through the sale of a variety of subsistence products. Korobochka's interests and horizons are completely focused on her estate. Her entire life and economy are patriarchal in nature.

How did Korobochka react to Chichikov's proposal?

The landowner realized that the trade in dead souls was profitable, and after much persuasion agreed to sell them. The author, describing the image of the landlords in the poem "Dead Souls" (Korobochka and other heroes), is ironic. For a long time, the "clubhead" cannot figure out what exactly is required of her, which infuriates Chichikov. After that, she bargains with him for a long time, fearing to miscalculate.

Nozdrev

In the image of Nozdryov in the fifth chapter, Gogol draws a completely different form of decomposition of the nobility. This hero is a man, as they say, "of all trades." There was something remote, direct, open in his very face. Characteristic for him is also the "breadth of nature." According to the ironic remark of Nikolai Vasilyevich, Nozdrev is a "historical person", since not a single meeting that he managed to attend was ever complete without stories. He loses a lot of money at cards with a light heart, beats a simpleton at a fair and immediately "squanders" everything. This hero is an utter liar and a reckless braggart, a real master of "pouring bullets". He behaves defiantly everywhere, if not aggressively. The speech of this character is replete with swear words, and at the same time he has a passion to "shame on his neighbor." Gogol created in Russian literature a new socio-psychological type of the so-called Nozdrevshchina. In many ways, the image of the landlords in the poem "Dead Souls" is innovative. A brief image of the following heroes is described below.

Sobakevich

The satire of the author in the image of Sobakevich, with whom we get acquainted in the fifth chapter, acquires a more accusatory character. This character bears little resemblance to previous landowners. This is a fisted, cunning merchant, a "landowner-fist". He is alien to the violent extravagance of Nozdryov, the dreamy complacency of Manilov, and also the hoarding of Korobochka. Sobakevich has an iron grip, he is laconic, he is on his mind. There are few people who could deceive him. Everything about this landowner is strong and durable. In all household items surrounding him, Gogol reflects the features of the character of this person. Everything surprisingly resembles the hero himself in his house. Each thing, as the author notes, seemed to say that she was "also Sobakevich."

Nikolai Vasilyevich depicts a figure that strikes with rudeness. This man seemed to Chichikov like a bear. Sobakevich is a cynic who is not ashamed of moral ugliness either in others or in himself. He is far from enlightened. This is a stubborn feudal lord who only cares about his own peasants. It is interesting that, except for this hero, no one understood the true essence of the "scoundrel" Chichikov, and Sobakevich perfectly understood the essence of the proposal, which reflects the spirit of the times: everything can be sold and bought, you should benefit as much as possible. Such is the generalized image of the landowners in the poem of the work, however, it is not limited to the image of only these characters. We present you the next landowner.

Plushkin

The sixth chapter is devoted to Plyushkin. On it, the characteristics of the landowners in the poem "Dead Souls" are completed. The name of this hero has become a household name, denoting moral degradation and stinginess. This image is the last degree of degeneration of the landlord class. Gogol begins his acquaintance with the character, as usual, with a description of the estate and village of the landowner. At the same time, "special dilapidation" was noticeable on all buildings. Nikolai Vasilievich describes a picture of the ruin of a once rich serf-owner. Its cause is not idleness and extravagance, but the painful stinginess of the owner. Gogol calls this landowner "a hole in humanity." Its appearance itself is characteristic - it is a sexless creature resembling a housekeeper. This character no longer causes laughter, only bitter disappointment.

Conclusion

The image of the landowners in the poem "Dead Souls" (the table is presented above) is revealed by the author in many ways. The five characters that Gogol created in the work depict the versatile state of this class. Plyushkin, Sobakevich, Nozdrev, Korobochka, Manilov - different forms of one phenomenon - spiritual, social and economic decline. The characteristics of the landlords in Gogol's Dead Souls prove this.

Gogol is a great realist writer, whose work entered the Russian classical literature. His originality lies in the fact that he was one of the first to give the broadest image of landowner-bureaucratic Rus'. In his poem Dead Souls, Gogol reveals to the utmost the contradictions of contemporary Russian reality, shows the inconsistency of the bureaucratic apparatus, serf relations, and the position of the Russian people. Therefore, the poem "Dead Souls" can rightfully be called an encyclopedia of Russian provincial life in the first third of the 19th century. In the poem, along with negative images of landowners, officials, the image of a nascent entrepreneur is given, the images of peasants, the image of the Motherland and the author himself are given.

Complete misunderstanding of the practical side of life, mismanagement notes Gogol in Manilov. He does not manage his estate, completely entrusting it to the clerk. He cannot even tell Chichikov how many peasants he has and whether they have died since the last revision. His house "stood loneliness in the south, open to all the winds that you want to blow." Instead of a shady garden around the manor's house, there were five or six birches with "thin tops". And in the village itself, there was no “growing tree or any greenery” to be seen. Its impracticality is also evidenced by the interior of the house, where next to the magnificent furniture “two chairs covered with simple matting were adjacent”, as well as “heaps of ash knocked out of pipes” lying on an expensive polished table. But the most striking impression is made by his speech manner: “... Of course ... if the neighborhood was good, if, for example, such a person with whom one could talk in some way about courtesy, about good treatment, follow some kind of science, in order to stir up the soul in such a way, it would give, so to speak, a sort of guy. But Manilov himself could not express his thought.

Korobochka has a completely different attitude to the household. She has a “pretty little village”, a yard full of all kinds of birds, there are “spacious vegetable gardens with cabbage, onions, beet potatoes and other household vegetables”. She knows the names of her peasants by heart. But her mental horizon is completely limited. She is stupid, ignorant, superstitious. Everything new and unprecedented frightens her.

The representative of another type of landowners is Nozdryov, the exact opposite of Manilov and Korobochka. He is a fidget, a hero of fairs, drinking parties, a card table, a reveler, a brawler and a liar. His farm is running. In excellent condition, he only has a kennel. Among dogs, he is like a “father”. The income received from the estate, he immediately squanders.

Sobakevich, "the devil's fist", in Gogol's words, is obsessed with a passion for enrichment, he seeks the most diverse ways to make money.

But Plyushkin makes the most terrible impression. The author rightly called it "a hole in humanity." Plyushkin - "a swindler, starved all people to death." "Convicts live better in prison than his serfs." Over the past three years, 80 peasants have died from him. With a terrible mien of a half-madman, he declares that "the people are painfully gluttonous with him, from idleness they have got into the habit of cracking." About 70 peasants fled, unable to endure a hungry life. His yards run barefoot until late winter, since the stingy Plyushkin has only one pair of boots at all. And this is the owner, who has about 1000 souls of serfs!....

Griboyedov A.S.

1.. Beginning of work - 1820. Completed in 1824. It was impossible to print and put on stage because of political free-thinking and orientation against the existing order. Went down the lists. First edition - 1831, after the death of the author. !862 - the first uncorrupted edition. The reason is the socio-political situation in Russia in the first third of the 19th century. On the verge of centuries is more difficult. The spiritual world of people has become richer. The best representatives were united by the desire for the beautiful, the dream, the heroic. But the soldiers who went through the war and defeated Napoleon were especially keenly aware of the injustice of the class society, where wealth, rank, proximity to power were priorities, where the ability to curry favor and get rich by any means was valued. The common people remained enslaved. The progressive young generation, faced with oppression, injustice, abuses of officials, boldly expressed their protest in accusatory satirical and romantic works, naively dreamed of correcting the shortcomings of Russian society. The old generation did not want to change anything in their well-fed, comfortable, but immoral life, in the traditions and principles of the "past century." The conflict of generations was inevitable, and the tragic clash of the two eras was reflected both in the theater and in literature. Among the works that reflected the conflict between the old and the new is the comedy of A.S. Griboyedov "Woe from Wit". The artistic originality of the comedy can be assessed in the words of A.S. Pushkin about Moliere's comedy: ""High comedy is not based solely on laughter, but on the development of characters, and ... often comes close to tragedy." Noting the innovation of the comedy, Pushkin said: "Its purpose is characters and a sharp picture of morals." F.M. also agrees with this assessment. Dostoevsky: "Woe from Wit" is strong in its bright artistic types and characters. This is the deep inner content of comedy. Distinctive features of high comedy by V.G. Belinsky saw in the stormy indignation of the author and his hero "at the sight of a rotten society of insignificant people, into whose souls the ray of God's light did not penetrate, who live according to the dilapidated traditions of antiquity, according to a system of vulgar and immoral rules, whose petty and base aspirations are directed only to the ghosts of life - ranks, money, gossip, humiliation of human dignity.

The struggle between the conservative and progressive camps, the public characters, customs and life of Moscow - the atmosphere of the whole country. This is a mirror of feudal-feudal Russia with its social contradictions, the struggle of the outgoing world and the new one, called to win. The views of the Decembrists are reflected.

The original title is "Woe to the Mind". There has also been a change in ideas. The first name - "mind" is passive, it cannot change anything, hence the dramatic conflict. The second is that the mind is active, it brings grief upon itself, and therefore the Famusovs and Molchalin are ridiculous.

Compliance with the genre in only one thing - the hero opposes society and is ridiculous, because he does not find support "In my comedy there are 25 fools per sane person," the author himself said. . Sad and bitter.

Poetic form, bright, figurative language. Many have become aphorisms. Preserved and transmitted the living language of the era. The language of the comedy allows us to present both the characteristic features of Russian chronicles and the high style of sermons, odes that make Chatsky's monologues rich and expressive. “It is impossible to imagine that another, more natural, simple, more taken from life speech could ever appear,” wrote I.A. Goncharov. “I’m not talking about poetry: half should become a proverb,” A.S. Pushkin. A sample of free colloquial speech, with all its irregularities, allusions, intonations, sayings. It reflects the sharp, well-aimed Russian mind, great humor, which made many phrases winged: “Happy hours are not observed”, “is it possible to choose a nook for walking further away”, “Who are the judges?”, “Signed, so off your shoulders.” “Bypass us more than all sorrows and lordly anger, and lordly love,” etc.

Classicism. But Griboedov expanded the number of actors, introduced off-stage characters: the dexterous nobleman Maxim Petrovich, Foma Fomich, the important lady Tatyana Yuryevna, the powerful princess Marya Alekseevna, the cousin Skalozub, and others. All of them, masterfully depicted by the author, enrich the action, set off the acting characters and help create a collective image of the social environment. The characters of all the characters are deeply realistic. A striking feature of the comedy is that the characters are not a crowd, not at the same time, but obey the plot and the author's intention. This allowed the author not only to expand the boundaries of comedy, but also to give comedy and its conflict a public character.

The abundance of monologues that reveal the characters of the characters.

Heroes are specific people --- iconic figures.

Famusov is a symbol of stability, the material basis of being.

Chatsky - a symbol of the struggle against immorality, a symbol of romantic protest

Molchalin is a symbol of mediocrity and tacit agreement with the majority.

Plot and composition

Exposure - 1-6 phenomena: acquaintance with the owner, his daughter, with the servants, with Molchalin. The situation, moral principles, the initial characteristics of the characters.

Tie - from 7 occurrences. The arrival of Chatsky, the alignment of forces, the emergence of a conflict: personal and public. The plot takes place in the seventh phenomenon of the first act, when Chatsky himself appears. Immediately tied two storylines - love and social. The love story is built on a banal triangle, where there are two rivals, Chatsky and Molchalin, and one heroine, Sophia. The second storyline - social - is due to the ideological confrontation between Chatsky and the inert social environment. The protagonist in his monologues denounces the views and beliefs of the "gone century". First, a love storyline comes to the fore: Chatsky had been in love with Sophia before, and the “distance of separation” did not cool his feelings. However, during the absence of Chatsky in Famusov’s house, much has changed: the “lady of the heart” meets him coldly, Famusov speaks of Skalozub as a prospective groom, Molchalin falls from his horse, and Sophia, seeing this, cannot hide her anxiety. Her behavior alarms Chatsky:

Action development: personal conflict

- 2-3 actions (2nd action - Chatsky is trying to find out if there is a groom; 3rd action - he wants to achieve Sophia's recognition). Public conflict -2-3 actions (2nd action - denunciation of the Famusov society; 3rd action - a ball in the Famusov's house, gossip)

Climax. The comedy is built on two conflicts: Chatsky's clash with Moscow society and his blind faith in Sophia's love . personal conflict- 4 action - Chatsky's insight; public conflict- they declare mad, Chatsky is alone Both stage conflicts are united by Sofya, who spread gossip about Chatsky's madness, into a single plot knot, which was clarified in the comedy's finale. The climax of the love storyline is Sofya and Chatsky's final explanation before the ball, when the heroine declares that there are people she loves more than Chatsky and praises Molchalin. Social conflict develops in parallel with love. In the very first conversation with Famusov, Chatsky begins to speak out on social and ideological issues, and his opinion turns out to be sharply opposed to the views of Famusov. Famusov advises to serve and cites as an example his uncle Maxim Petrovich, who knew how to fall in time and profitably make Empress Catherine laugh. Chatsky declares that “I would be glad to serve, it’s sickening to serve.” Famusov praises Moscow and the Moscow nobility, which, as has been customary for centuries, continues to appreciate a person solely on the basis of a noble family and wealth. Chatsky sees in the Moscow life "the meanest life the meanest traits." But still, at first, social disputes recede into the background, allowing the love storyline to fully unfold. After the explanation of Chatsky and Sofya before the ball, the love story is exhausted, but the playwright is in no hurry with its denouement: it is important for him to unfold the social conflict, which is now coming to the fore and is beginning to develop actively. Therefore, Griboedov comes up with a witty twist in the love storyline, which Pushkin really liked. Chatsky did not believe Sofya: such a girl cannot love the insignificant Molchalin. The conversation between Chatsky and Molchalin, which follows immediately after the climax of the love storyline, reinforces the main character in the idea that Sophia joked: "Naughty, she doesn't love him." All the guests happily pick up the gossip about Chatsky's madness and defiantly turn away from him at the end of the third act.

Interchange– comes in the fourth act, and the same scene unleashes both love and social storylines. In the final monologue, Chatsky proudly breaks with Sophia and mercilessly denounces the Famus society for the last time. In a letter to P.A. Katenin, Griboyedov wrote: “If I guess the tenth scene from the first scene, then I gape and run out of the theater. The more unexpectedly the action develops or ends abruptly, the more exciting the play is. Making the final departure of the disappointed and seemingly lost Chatsky, Griboedov quite achieved the effect he wanted: Chatsky is expelled from the Famus society and turns out to be the winner, as he violated the serene and idle life of the “past century” and showed his moral failure. leave Moscow. There is no complete decoupling, tk. there is no end to the struggle between the “current century” and the “past century”. Three people begin early in the morning the action of the comedy and complete in the final scene of general discoveries, insights, lamentations.

Image tricks: mismatch (features of comedy) in the image of the heroes: Famusov: manager, but the attitude to duties is negligent; talks about his monastic behavior - dragging himself behind a maid. Skalozub - respect is given to an unworthy person: Molchalin - discrepancy between thoughts and behavior; Chatsky - the discrepancy between the mind and the situation in which he fell; comic situations, reception of the grotesque (dispute of guests). (features of drama) dramatic conflict between the protagonist and society; the tragic love of Chatsky and Sophia.