What is special about Gogol's works. Artistic features of Gogol's work

Gogol began his creative activity like a romantic. However, he soon turned to critical realism, opened a new chapter in it. As a realist artist, Gogol developed under the beneficial influence of Pushkin. But he was not a simple imitator of the founder of the new Russian literature.

The peculiarity of Gogol was that he was the first to give the broadest image of the county landlord-bureaucratic Russia and “ little man", A resident of St. Petersburg corners.

Gogol was a genius satirist who castigated "vulgarity vulgar person”, Which exposed to the utmost the social contradictions of contemporary Russian reality.

This social orientation of Gogol is also reflected in the composition of his works. The plot and plot conflict in them are not love and family circumstances and events public value... At the same time, Gogol's plot serves only as a pretext for a / wide depiction of everyday life and the disclosure of characters-types.

A deep insight into the essence of the main socio-economic phenomena of contemporary life allowed Gogol, brilliant artist words, draw images of tremendous generalizing power.

The names of Khlestakov, Manilov, Korobochka, Nozdrev, Sobakevich and others have become household names. Even minor persons, brought out by Gogol on the pages of his works (for example, in "Dead Souls"): Pelageya, the serf girl Korobochki, or Ivan Antonovich, "jug snout" - have great power of generalization, typicality. Gogol emphasizes one or two of his most essential features in the character of the hero. Often he exaggerates them, which makes the image even brighter and more prominent.

To the purposes of the bright, satirical image heroes are served by Gogol's careful selection of many details and their sharp exaggeration. For example, portraits of the heroes of Dead Souls were created. These details in Gogol are mainly everyday: things, clothes, the hero's home.

If in romantic stories Gogol presents emphatically picturesque landscapes that give the work a certain elevation of tone, then in his realistic works, especially in Dead Souls, the landscape is one of the means of depicting the types, characteristics of the heroes.

The theme, social orientation and ideological coverage of the phenomena of life and the characters of people determined the originality of Gogol's literary speech.

Two worlds depicted by Gogol - folk collective and the "creators" - identified the main features of the writer's speech: his speech is sometimes enthusiastic, imbued with lyricism, when he speaks about the people, about the homeland (in "Evenings", in "Taras Bulba", in lyrical digressions"Dead Souls"), then it becomes close to live conversational (in everyday pictures and scenes of "Evenings" or when it tells about the bureaucratic-landlord Russia).

The peculiarity of Gogol's language lies in the wider use of common speech, dialectisms, and Ukrainianisms than that of his predecessors and contemporaries. Gogol loved and subtly felt the folk-spoken language and skillfully applied all its shades to characterize his heroes and phenomena of public life.

1) the periodic structure of the phrase, when many sentences are combined into one whole (“Taras saw how the Cossack ranks became confused and how despondency, indecent to a brave, began to quietly hug the Cossack heads, but he was silent: he wanted to give time to everything so that they could get used to despondency, induced by parting with his comrades, and meanwhile in silence he was preparing at once and suddenly to wake them all up, shouting like a Cossack, so that once again and with greater force than before, cheerfulness would return to everyone's soul, which only the Slavic breed, wide a mighty rock in front of others, that the sea in front of shallow rivers ");

2) the introduction of lyrical dialogues and monologues (for example, the conversation between Levko and Ganna in the first chapter of "May Night", monologues - appeals to the Cossacks of Koshevoy, Taras Bulba, Bovdyug in "Taras Bulba");

3) an abundance of exclamation and interrogative sentences (for example, in the description of the Ukrainian night in "May Night");

4) emotional epithets that convey the power of the author's inspiration, born of love for native nature(description of the day at the Sorochinskaya Fair) or to the folk group (Taras Bulba).

Gogol uses folk speech in different ways. V early works(in "Evenings") its bearer is the narrator. The author puts into his mouth both vernacular (everyday words and phrases), and such appeals to the listeners, which are familiar and good-natured, characteristic of this environment: “By God, I'm already tired of telling! What do you do

The character of a person, his social status, profession - all this is unusually clearly and precisely revealed in the speech of Gogol's characters.

Gogol's strength as a stylist lies in his humor. Gogol's humor - "laughter through tears" - was due to the contradictions of the Russian reality of his time, mainly - the contradictions between the people and the anti-people essence of the noble state. In his articles on Dead Souls, Belinsky showed that Gogol's humor “is the opposite of the ideal

life with the reality of life. " He wrote: "Humor is the most powerful instrument of the spirit of negation, destroying the old and preparing the new."

Since the end of the 20s. a number of journal articles and individual books appear on the issues of Russian, Ukrainian and common Slavic ethnography, and one edition after another of monuments appears folk art: "Little Russian songs" by M. A. Maksimovich (1827-1834), "Zaporozhye antiquity" Ed. Yves. Sreznevsky (1834, 1835, and 1838), the three-volume "Tales of the Russian People" by I. P. Sakharov (1836-1837) and many others. others. At the same time, the "Collection of Russian Songs" by Pyotr Kireevsky was prepared, published later.

In line with this still nascent folklore movement, Gogol finds himself as an artist, creates and publishes his first narrative cycle "Evenings on a Farm near Dikanka."

Gogol was born and raised in Ukraine and until the end of his life he considered it his micro-native, and himself a Russian writer with a "hohlack" leaven.

A native of the middle Ukrainian nobility, he knew well his rural and urban life, with young years was burdened by the provincial-feudal "poverty" and "earthiness" of this life, admired the folk-poetic legends of "Cossack antiquity", which then lived not only among the people, but also revered in some "old-world" noble families, including in the house of a noble and highly educated distant a relative of the future writer - DP Troshchinsky, an ardent admirer and collector of Ukrainian "antiquity".

"Evenings" amazed contemporaries with their incomparable originality, poetic freshness and brightness. There is a well-known review by Pushkin: “... everyone was delighted with this lively description of the tribe singing and dancing, this fresh paintings Little Russian nature, this gaiety, ingenuous and at the same time crafty.

How amazed we were at the Russian book, which made us laugh, we who have not laughed since the time of Fonvizin! " The mention of Fonvizin is not accidental. This is a hint that the ingenuous gaiety of "Evenings" is not so simple-minded as it might seem at first glance.

Belinsky, who greeted the "Belkin's Tale" very coldly, greeted "Evenings", also - and before Pushkin - noting in them a combination of "gaiety, poetry and nationality."

"Merry Narodnost" sharply distinguished "Evenings" from the usual naturalistic depiction of the serf life of the Russian and Ukrainian villages in the so-called "common" stories of the time, in which Belinsky rightly saw the profanation of the idea of ​​nationality.

Gogol happily escaped this danger and did not go to the other extreme - the idealization of "popular customs", finding a completely new angle for their depiction. It can be called a mirror image of the poetic, life-affirming consciousness of the people themselves. "Living", in the words of Pushkin, "description of the tribe of singing and dancing" is literally woven from the motives of Ukrainian folklore, drawn from its various genres - heroic-historical "dooms", lyric and ritual songs, fairy tales, anecdotes, comedies.

This is the artistic credibility of the gay and poetic nationality of Gogol's first narrative cycle. But his poetic world permeated with a latent longing for the former Zaporozhye freedom of the enslaved, like all "tribes" Russian Empire, "Dikan Cossacks", which forms the epic principle and ideological unity of all the stories included in it.

Romantically bright in its national flavor, the poetic world of Evenings is deprived of another obligatory attribute of romantic epics - historical, temporal locality. The historical time in each story is different, special, sometimes definite, and in some cases, for example, in "May Night", conditional. But thanks to this, the national character (in the philosophical and historical terminology of the 1930s and 1940s - "spirit") of the Cossack tribe appears in the "Evening" from the side of its ideal, invariably beautiful essence.

Its immediate reality appears in all the stories of the cycle, the linguistic consciousness of the people. The predominantly speech characterization of the characters gives the fairytale style of "Evenings" the "picturesqueness of the syllable" previously unknown to Russian prose, noted by Belinsky, and is one of Gogol's most promising innovations.

The tale is a means of delimiting the speech of the author from the speech of his heroes, in "Evenings" - from the vernacular of the people, which thereby becomes at the same time both a means and an object artistic image... Before Gogol's Evenings, Russian prose knew nothing of the kind.

The stylistic norm of the vernacular element of "Evenings" is rustic innocence, under the mask of which there is an abyss of "Khokhlatskiy" cheerful slyness and mischief. In combination of one with the other, the whole comic of "Evenings" is concluded, mainly speech, motivated by the artistic fiction of their "publisher", "pasichnik" Rudy Pank, and a number of related storytellers.

Written on behalf of Rudy Pank, the preface to “Evenings” characterizes their “publisher” as the bearer of the speech norm, not the author, but his storytellers and heroes. And this norm remains unchanged in all the stories of the cycle, which also emphasizes the constancy of the fundamental properties national character"Dikan Cossacks" in all historical circumstances.

So, for example, the vernacular, and thus the spiritual appearance of the characters of the Sorochinskaya Fair and the Night before Christmas, do not differ in any way from each other, despite the fact that the action of the first story is attributed to the present, takes place in front of the author, and the action of the second timed to late XVIII century, by the time when the government decree, promulgated in 1775, was being prepared, according to which the Zaporozhye army was deprived of all its liberties and privileges.

In the breadth of the historical time covered by "Evenings", their lyrical and ethnographic principles merge together, acquire an epic scale.

"The Night Before Christmas" opens the second part of "Evenings", published in early 1832. And if the epic of the first part ("Sorochinskaya Fair", "Evening on the Eve of Ivan Kupala", "May Night") only declares itself historical implications folk fantasy, oral-poetic "past" and "fables", then the novels of the second part in conjunction with the concluding part of the "Lost Letter" have a fairly clearly defined historical space - from the era of the struggle of the "Cossack people" against Polish domination ("Terrible revenge") to his feudal modernity ("Ivan Fedorovich Shponka and his aunt").

This is how history merges with modernity according to the contrast of the beauty of the heroic past of the freedom-loving "tribe" with the ugliness and dullness of its serf life.

Exactly the same ideological and artistic connection exists between the stories of the second cycle of Gogol - "Mirgorod" (1835). If two of them - "Old World Landowners" and especially "The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich" - stylistically and thematically adjoin the story about Shponka, then the other two - "Viy" and "Taras Bulba" - are in one along with the overwhelming majority of the novellas "Evenings", they have in common with them a bright poetic flavor.

It is no coincidence that Gogol gave Mirgorod the subtitle “Continuation of the Evenings on a Farm Near Dikanka,” thereby emphasizing the ideological and artistic unity of both cycles and the very principle of cyclization. This is the principle of contrast between natural and unnatural, beautiful and ugly, high poetry and the base prose of national life, and at the same time its two social poles - the popular and the small local.

But both in "Evenings" and in "Mirgorod" these social polarities are attached to different eras national life and correlate with one another as its beautiful past and ugly present, and the present is outlined in its immediate feudal "reality", and the past, as it was imprinted in the national consciousness, was deposited in the national "spirit" of the people and continues to live in its legends, beliefs, legends, customs.

Here is manifested the most important feature artistic method Gogol - his philosophical historicism, Walter-Scott's beginning of the writer's work.

The depiction of popular movements and mores is one of the most promising innovations historical novels W. Scott. But this is only the historical background of their actions, the main "interest" of which is the love affair and the related destinies of the personal heroes of the narrative, voluntary or involuntary participants in the depicted historical events.

The nationality of Gogol's Ukrainian tales is already significantly different.

National specificity and historical projection of their Cossack world are a form of critical understanding of "scarcity" and "earthiness" contemporary writer Russian life, perceived by the writer himself as a temporary "lulling" of the national spirit.

History of Russian Literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983

Originality creative manner Gogol is clearly revealed both in the nature of the artistic details he recreated and in the method of their selection. For example, Pushkin's prose is distinguished by the dynamic disclosure of the hero's actions, the events in which he participates, and on this basis his psychological appearance; artistic detail in Pushkin's prose is an integral element actors in their intentions and actions, in "event" relationships. Gogol was interested in the totality of details that expressively characterize the mental structure of the hero, his social environment, the type of people to which he belongs.

Based on the principle of highlighting characteristic, memorable details, it is built in “ Dead souls»A description of the various aspects of the life style and psychology of the heroes. In Manilov's house “there was always something missing: the drawing-room also had beautiful furniture, covered with a dandy silk fabric, which was probably very expensive; but it was not enough for two armchairs, and the armchairs were simply covered with mat; however, the host, and for several years, each time warned his guest with the words: "Do not sit on these chairs, they are not ready yet ..." next to him stood some kind of simple brass invalid, lame, curled up to the side and covered in fat, although neither the owner, nor the mistress, nor the servant noticed this. "

In the given examples, we meet with subject, “material” details. There are a lot of them in Dead Souls, and they are always very expressive. Who does not remember the Chichikov box, which he carried with him everywhere, carefully hiding its contents from prying eyes? Who of the readers of "Dead Souls" will not remember his cowberry-colored tailcoat with a spark; and his silver snuff-box, on the bottom of which were placed two violets for the scent, and the fried chicken, which was the constant companion of his travels? Each image combines many such details that remain in the memory of the reader.

But Gogol uses not only object details; he saturates the narrative with details of a different kind, which have “ total value". How wonderful, for example, is the character of Sobakevich in the fact that in the list of Chichikov dead shower was disguised as a man Elizabeth Sparrow. Surprisingly vividly reveals the traits of Nozdryov's character and such a detail as showing them his possessions. “This is the border!” Said Nozdryov. "Everything that you see on this side, everything is mine, that side, this whole forest that is turning blue, and everything beyond the forest, all this is mine."

Artistic details were never an end in itself for Gogol, they are always included in the narrative not because of the writer's excessive interest in details, but because of their importance for the embodiment of ideas and images. Therefore, despite the abundance of details in Dead Souls, the narrative is not fragmented into a description of insignificant, insignificant objects, it unfolds as an amazingly vivid story about human characters, their relation to reality. The portrayal of individual characters in Dead Souls is strictly subordinate general design... From beginning to end, the work is permeated by a single general idea, a harmonious ideological and artistic concept that determines both the very choice of the characters in the poem and the outline of each individual image. One of the main internal lines of the first volume of "Dead Souls" is showing the increasingly insignificant and vulgarity of the "masters of life."

Need to download an essay? Press and save - "The originality of Gogol's creative manner. And the finished composition appeared in the bookmarks. Gogol began his creative career as a romantic. However, he turned to critical realism, opened a new chapter in it. As a realist artist, Gogol developed under the noble influence of Pushkin, but was not a simple imitator of the founder of new Russian literature. The peculiarity of Gogol was that he was the first to give the broadest image of the county landlord-bureaucratic Russia and the "little man", a resident of St. Petersburg corners. Gogol was a genius satirist who castigated the "vulgarity of a vulgar person", utterly exposed the social contradictions of contemporary Russian reality. The social orientation of Gogol is also reflected in the composition of his works. The plot and plot conflict in them are not love and family circumstances, but events of social significance. In this case, the plot serves only as a pretext for a broad depiction of everyday life and the disclosure of characters-types. A deep penetration into the essence of the main socio-economic phenomena of contemporary life allowed Gogol, a genius artist of the word, to draw images of enormous generalizing power. Gogol's careful selection of many details and their sharp exaggeration serve the purpose of a vivid satirical depiction of heroes. For example, portraits of the heroes of Dead Souls were created. These details in Gogol's work are mainly everyday: things, clothes, housing of the heroes. If in Gogol's romantic stories, emphatically picturesque landscapes are given, giving the work a certain elevation of tone, then in his realistic works, especially in Dead Souls, the landscape is one of the means of depicting the types, characteristics of the heroes. The theme, social orientation and ideological coverage of the phenomena of life and the characters of people determined the originality of Gogol's literary speech. The two worlds portrayed by the writer - the collective of the people and the "creatures" - determined the main features of the writer's speech: his speech is sometimes enthusiastic, imbued with lyricism when he speaks about the people, about his homeland (in "Evenings ...", in "Taras Bulba ", In the lyrical digressions of" Dead Souls "), then it becomes close to lively conversational (in everyday pictures and scenes of" Evenings ... "or in stories about bureaucratic landlord Russia). The peculiarity of Gogol's language lies in the wider use of common speech, dialectisms, and Ukrainianisms than that of his predecessors and contemporaries. Gogol loved and subtly felt the folk-spoken language, skillfully applied all shades of it to characterize his heroes and phenomena of public life. The character of a person, his social position, profession - all this is unusually clearly and accurately revealed in the speech of Gogol's characters. Gogol's strength as a stylist lies in his humor. In his articles on Dead Souls, Belinsky showed that Gogol's humor "consists in the opposite of the ideal of life with the reality of life." He wrote: "Humor is the most powerful instrument of the spirit of negation, destroying the old and preparing the new."

Gogol began his creative career as a romantic. However, he turned to critical realism, opened a new chapter in it. As a realist artist, Gogol developed under the noble influence of Pushkin, but was not a simple imitator of the founder of new Russian literature.

The peculiarity of Gogol was that he was the first to give the broadest image of the county landlord-bureaucratic Russia and the "little man", a resident of St. Petersburg corners.

Gogol was a genius satirist who castigated the "vulgarity of a vulgar person", utterly exposed the social contradictions of contemporary Russian reality.

The social orientation of Gogol is also reflected in the composition of his works. The plot and plot conflict in them are not love and family circumstances, but events of social significance. In this case, the plot serves only as a pretext for a broad depiction of everyday life and the disclosure of characters-types.

A deep penetration into the essence of the main socio-economic phenomena of contemporary life allowed Gogol, a genius artist of the word, to draw images of enormous generalizing power.

Gogol's careful selection of many details and their sharp exaggeration serve the purpose of a vivid satirical depiction of heroes. For example, portraits of the heroes of Dead Souls were created. These details in Gogol's work are mainly everyday: things, clothes, housing of the heroes. If in the romantic stories of Gogol emphatically picturesque landscapes are given, giving the work a certain elevation of tone, then in his realistic works, especially in Dead Souls, the landscape is one of the means of outlining the types, characteristics of the heroes. Themes, social orientation and ideological coverage of the phenomena of life and character of people determined the originality of the literary speech of Gogol. The two worlds portrayed by the writer - the collective of the people and the "creatures" - determined the main features of the writer's speech: his speech is sometimes enthusiastic, imbued with lyricism when he speaks about the people, about his homeland (in "Evenings ...", in "Taras Bulba ", In the lyrical digressions of" Dead Souls "), then it becomes close to lively conversational (in everyday pictures and scenes of" Evenings ... "or in stories about bureaucratic landlord Russia).

The peculiarity of Gogol's language lies in the wider use of common speech, dialectisms, and Ukrainianisms than that of his predecessors and contemporaries.

Gogol loved and subtly felt the folk-spoken language, skillfully applied all shades of it to characterize his heroes and phenomena of public life.

The character of a person, his social position, profession - all this is unusually clearly and accurately revealed in the speech of Gogol's characters.

Gogol's strength as a stylist lies in his humor. In his articles on Dead Souls, Belinsky showed that Gogol's humor "consists in the opposite of the ideal of life with the reality of life." He wrote: "Humor is the most powerful instrument of the spirit of negation, destroying the old and preparing the new."

Will the time come (Come welcome!). When the people are not Blucher And not the foolish milord, Belinsky and Gogol Will they carry it from the bazaar? N. Nekrasov The work of Nikolai Vasilyevich Gogol goes far beyond the national and historical framework. His works ...

Gogol is a great realist writer, whose work has become firmly embedded in Russian classical literature. Its originality lies in the fact that he was one of the first to give the broadest image of the county landlord-bureaucratic Russia. In his poem "The Dead ...

Although the concept of a genre is constantly changing and becoming more complex, a genre can be understood as a historically emerging type literary work, which has certain features. By these features, the main idea of ​​the work becomes clear, and we are about ...

Feeding his chest with hatred, Arming his lips with satire, He passes thorny path With your avenging lyre They curse him from all sides, And, only when they see his corpse, How much he has done, they will understand, And how he loved - hating! ON....

My God, how sad is our Russia! A.S. Pushkin. Undoubtedly, Gogol's laughter originated long before Gogol: in the comedy of Fonvizin, in Krylov's fables, in Pushkin's epigrams, in the representatives Famus society at Griboyedov's. What was Gogol laughing at? ...