Gogol's “laughter through tears” in the poem “Dead Souls”.

There is a famous saying related to the work of Gogol: "laughter through tears." Gogol's laugh ... Why is he never carefree? Why is the finale ambiguous even in Sorochinskaya Yarmarka, one of the brightest and most cheerful works of Gogol? The celebration on the occasion of the wedding of young heroes ends with a dance of old women. We're picking up some dissonance. This amazing, purely Gogolian feature of a sad smile was first noticed by V.G. Belinsky, paving the way for the future author of "Dead Souls" into great literature. But not only sadness is mixed with Gogol's laughter. There is anger and rage and protest in him. All this, merging into a single whole under the master's brilliant pen, creates an extraordinary flavor of Gogol's satire.

Tchichikov, along with Selifan and Petrushka, got into the chaise, and now she drove along the bumps of the Russian off-road, and went “to write nonsense and game along the sides of the road”. On this road, the reader will see representatives of various social groups, the peculiarities of their lives, will see all sides of the many-sided Russia. On this road, he will all the time hear Gogol's laughter, full of amazing love for Russia and its people.

Gogol's laughter can be kind and sly - then extraordinary comparisons and stylistic turns are born, which constitute one of the characteristic features of Gogol's poem.

Describing the ball and the governor, Gogol speaks of the division of officials into fat and thin, and the thin officials, standing around the ladies in black tailcoats, looked like flies that sat down on sugar. It is impossible not to say about very small comparisons, which, like sparkling diamonds, are scattered throughout the poem and create its unique flavor. So, for example, the face of the governor's daughter looked like a “just laid testicle”; The head of Feodulia Ivanovna Sobakevich resembled a cucumber, and Sobakevich himself was more like a pumpkin, from which balalaikas are made in Russia. When he met Chichikov, Manilov's expression was like that of a cat, whose ears were slightly scratched. Gogol also uses hyperbole, for example, talking about the Plyushkin's toothpick, which was picked in the teeth even before the invasion of the French.

The appearance of the landowners described by Gogol also causes laughter. Plyushkin's appearance, which struck the prolaz and the hypocrite Chichikov himself (he could not figure out for a long time whether the housekeeper was in front of him or the housekeeper), the habits of a “beggar fisherman” that blossomed in Plyushkin's soul - all this is surprisingly witty and funny, but ... Plyushkin, it turns out that it is capable of causing not only laughter, but also disgust, indignation and protest. This degraded personality, which cannot be called a personality, ceases to be funny. How exactly Gogol said about him: “a hole in humanity”! Is it funny a man who has lost everything human: appearance, soul, heart. Before us is a spider, for which the main thing is to swallow prey as soon as possible. This is what he does to his peasants, pumping out bread and household utensils from them, and then rotting it away in his bottomless barns. He does the same with his own daughter. The greedy and scary Plyushkin is disgusting to us not only because of his moral qualities. Gogol throws a resolute "no" to Plyushkin the landowner, Plyushkin the nobleman. After all, it was believed that the Russian state rests on the nobles, on these very Plyushkins. But what is this stronghold, what support ?! The antisociality of the nobility is a cruel fact, the existence of which horrifies Gogol. Plyushkin, scary as it may seem, is a typical phenomenon for Russian society in the mid-19th century.

Gogol is a harsh and angry denouncer. This is how he appears on the pages of Dead Souls. What does he condemn, what does he qualify as unacceptable in a normal human society? It would seem that speaking of Manilov, the word “condemnation” is somehow inappropriate. After all, we have before us such a sweet, pleasant in all respects, courteous and kind person. He is also a very educated landowner who looks like a scholarly man against the background of Korobochka and Sobakevich. And how funny are his children, named Alcides and Themistoclus (do not forget that this is happening in Russia). But Gogol is ashamed and pained for Manilov, who builds projects in the “temple of solitary meditation” and “reading the book, always laid down on page fourteen,” does not notice the theft and drunkenness of his men. Manilov, in idleness and laziness, lives everything that was created by his peasants, without thinking about anything.

Other Gogol's heroes are antisocial and generally harmful to those around them: Korobochka, the "club-headed" and feeble-minded accumulator, and Nozdryov, a scoundrel, a libertine and a "historical person" in general, and Sobakevich, a swallower and a "fist" who "cannot bend into the palm of his hand." All these are malicious pests. What do they care, these bloodsuckers, to state interests?

Gogol's laughter is not only angry, satirical, denunciatory, but also cheerful and affectionate. It is with a sense of joyful pride, if it is possible to put it that way, that the writer speaks about the Russian people. This is how the image of a peasant appears, who, like a tireless ant, carries a thick log. Chichikov asks him how to get to Plyushkin's, and finally getting an answer, he laughs at the apt nickname given to Plyushkin by the peasants. Gogol speaks of the burning Russian word coming from the very heart. He writes about a Russian peasant who was sent even to Kamchatka, give him an ax, and he will go to cut himself a new hut. These words contain hope and faith in the Russian people, by whose hands the bird three is also made. And "like a brisk, unattainable troika," rushes Rus, "inspired by God," and "squinting, sideways and give her way to other peoples and states."

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Gogol's "laughter through tears" in the poem "Dead Souls"

There is a famous saying related to the work of Gogol: "laughter through tears." Gogol's laugh, why is it never carefree? Why is the finale ambiguous even in Sorochinskaya Yarmarka, one of Gogol's brightest and funniest works? The celebration on the occasion of the wedding of young heroes ends with a dance of old women. We're picking up some dissonance. This amazing, purely Gogolian feature of a sad smile was first noticed by V.G. Belinsky, paving the way for the future author of "Dead Souls" into big literature. But not only sadness is mixed with Gogol's laughter. There is anger and rage and protest in him. All this, merging into a single whole under the master's brilliant pen, creates an extraordinary flavor of Gogol's satire. Tchichikov, along with Selifan and Petrushka, got into the chaise, and now she drove along the bumps of the Russian off-road, and went "to write nonsense and game on the sides of the road." On this road, the reader will see representatives of various social groups, the peculiarities of their lives, will see all sides of the many-sided Russia. On this road, he will all the time hear Gogol's laughter, full of amazing love for Russia and its people. Gogol's laughter can be kind and sly - then extraordinary comparisons and stylistic turns are born, which constitute one of the characteristic features of Gogol's poem. Describing the ball and the governor, Gogol speaks of the division of officials into fat and thin, and the thin officials, standing around the ladies in black tailcoats, looked like flies that sat down on sugar. It is impossible not to say about very small comparisons, which, like sparkling diamonds, are scattered throughout the poem and create its unique flavor. So, for example, the face of the governor's daughter looked like a "just laid testicle"; The head of Feodulia Ivanovna Sobakevich resembled a cucumber, and Sobakevich himself was more like a pumpkin, from which balalaikas are made in Russia. When he met Chichikov, Manilov's expression was like that of a cat, whose ears were slightly scratched. Gogol also uses hyperbole, for example, talking about the Plyushkin's toothpick, which was picked in the teeth even before the invasion of the French. The appearance of the landowners described by Gogol also causes laughter. Plyushkin's appearance, which struck the prolaz and the hypocrite Chichikov himself (he could not figure out for a long time whether the housekeeper was in front of him or the housekeeper), the habits of a "beggar fisherman" that blossomed in Plyushkin's soul - all this is surprisingly witty and funny, but Plyushkin turns out to be , is able to cause not only laughter, but also disgust, outrage and protest. This degraded personality, which cannot be called a personality, ceases to be funny. How exactly Gogol said about him: “a hole in humanity”! Is it funny a man who has lost everything human: appearance, soul, heart. Before us is a spider, for which the main thing is to swallow prey as soon as possible. This is what he does to his peasants, pumping out bread and household utensils from them, and then rotting it away in his bottomless barns. He does the same with his own daughter. The greedy and scary Plyushkin is disgusting to us not only because of his moral qualities. Gogol throws a resolute "no" to Plyushkin the landowner, Plyushkin the nobleman. After all, it was believed that the Russian state rests on the nobles, on these very Plyushkins. But what is this stronghold, what support ?! The antisociality of the nobility is a cruel fact, the existence of which horrifies Gogol. Plyushkin, scary as it may seem, is a typical phenomenon for Russian society in the mid-19th century. Gogol is a harsh and angry denouncer. This is how he appears on the pages of Dead Souls. What does he condemn, what does he qualify as unacceptable in a normal human society? It would seem that speaking of Manilov, the word "condemnation" is somehow inappropriate. After all, we have before us such a sweet, pleasant in all respects, courteous and kind person. He is also a very educated landowner who looks like a scholarly man against the background of Korobochka and Sobakevich. And how funny are his children, named Alcides and Themistoclus (do not forget that this is happening in Russia). But Gogol is ashamed and pained for Manilov, who is building projects in the "temple of solitary reflection" and "reading the book, always laid on the fourteenth page," does not notice the theft and drunkenness of his men. Manilov, in idleness and laziness, lives everything that was created by his peasants, without thinking about anything. Other Gogol's heroes are antisocial and generally harmful to those around them: Korobochka, the "club-headed" and feeble-minded accumulator, and Nozdryov, a scoundrel, a lecher and a "historical person" in general, and Sobakevich, a swallower and a "fist" who "cannot bend into the palm." All these are malicious pests. What do they care, these bloodsuckers, to state interests? Gogol's laughter is not only angry, satirical, denunciatory, but also cheerful and affectionate. It is with a sense of joyful pride, if it is possible to put it that way, that the writer speaks about the Russian people. This is how the image of a peasant appears, who, like a tireless ant, carries a thick log. Chichikov asks him how to get to Plyushkin's, and, having finally gotten an answer, chuckles at the apt nickname given to Plyushkin by the peasants. Gogol speaks of the burning Russian word coming from the very heart. He writes about a Russian peasant who was sent even to Kamchatka, give him an ax, and he will go to cut himself a new hut. These words contain hope and faith in the Russian people, by whose hands the bird three is also made. And "like a brisk, unattainable troika," rushes Rus, "inspired by God," and "squinting, sideways and give her way to other peoples and states."

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There is a famous saying related to the work of Gogol: "laughter through tears." Gogol's laugh ... Why is he never carefree? Why is the finale ambiguous even in Sorochinskaya Yarmarka, one of the brightest and most cheerful works of Gogol? The celebration on the occasion of the wedding of young heroes ends with a dance of old women. We're picking up some dissonance. This amazing, purely Gogolian feature of a sad smile was first noticed by V.G. Belinsky, paving the way for the future author of "Dead Souls" into great literature. But not only sadness is mixed with Gogol's laughter. There is anger and rage and protest in him. All this, merging into a single whole under the master's brilliant pen, creates an extraordinary flavor of Gogol's satire.

Tchichikov, along with Selifan and Petrushka, got into the chaise, and now she drove along the bumps of the Russian off-road, and went “to write nonsense and game along the sides of the road”. On this road, the reader will see representatives of various social groups, the peculiarities of their lives, will see all sides of the many-sided Russia. On this road, he will all the time hear Gogol's laughter, full of amazing love for Russia and its people.

Gogol's laughter can be kind and sly - then extraordinary comparisons and stylistic turns are born, which constitute one of the characteristic features of Gogol's poem.

Describing the ball and the governor, Gogol speaks of the division of officials into fat and thin, and the thin officials, standing around the ladies in black tailcoats, looked like flies that sat down on sugar. It is impossible not to say about very small comparisons, which, like sparkling diamonds, are scattered throughout the poem and create its unique flavor. So, for example, the face of the governor's daughter looked like a “just laid testicle”; The head of Feodulia Ivanovna Sobakevich resembled a cucumber, and Sobakevich himself was more like a pumpkin, from which balalaikas are made in Russia. When he met Chichikov, Manilov's expression was like that of a cat, whose ears were slightly scratched. Gogol also uses hyperbole, for example, talking about the Plyushkin's toothpick, which was picked in the teeth even before the invasion of the French.

The appearance of the landowners described by Gogol also causes laughter. Plyushkin's appearance, which struck the prolaz and the hypocrite Chichikov himself (he could not figure out for a long time whether the housekeeper was in front of him or the housekeeper), the habits of a “beggar fisherman” that blossomed in Plyushkin's soul - all this is surprisingly witty and funny, but ... Plyushkin, it turns out that it is capable of causing not only laughter, but also disgust, indignation and protest. This degraded personality, which cannot be called a personality, ceases to be funny. How exactly Gogol said about him: “a hole in humanity”! Is it funny a man who has lost everything human: appearance, soul, heart. Before us is a spider, for which the main thing is to swallow prey as soon as possible. This is what he does to his peasants, pumping out bread and household utensils from them, and then rotting it away in his bottomless barns. He does the same with his own daughter. The greedy and scary Plyushkin is disgusting to us not only because of his moral qualities. Gogol throws a resolute "no" to Plyushkin the landowner, Plyushkin the nobleman. After all, it was believed that the Russian state rests on the nobles, on these very Plyushkins. But what is this stronghold, what support ?! The antisociality of the nobility is a cruel fact, the existence of which horrifies Gogol. Plyushkin, scary as it may seem, is a typical phenomenon for Russian society in the mid-19th century.

Gogol is a harsh and angry denouncer. This is how he appears on the pages of Dead Souls. What does he condemn, what does he qualify as unacceptable in a normal human society? It would seem that speaking of Manilov, the word “condemnation” is somehow inappropriate. After all, we have before us such a sweet, pleasant in all respects, courteous and kind person. He is also a very educated landowner who looks like a scholarly man against the background of Korobochka and Sobakevich. And how funny are his children, named Alcides and Themistoclus (do not forget that this is happening in Russia). But Gogol is ashamed and pained for Manilov, who builds projects in the “temple of solitary meditation” and “reading the book, always laid down on page fourteen,” does not notice the theft and drunkenness of his men. Manilov, in idleness and laziness, lives everything that was created by his peasants, without thinking about anything.

Other Gogol's heroes are antisocial and generally harmful to those around them: Korobochka, the "club-headed" and feeble-minded accumulator, and Nozdryov, a scoundrel, a libertine and a "historical person" in general, and Sobakevich, a swallower and a "fist" who "cannot bend into the palm of his hand." All these are malicious pests. What do they care, these bloodsuckers, to state interests?

Gogol's laughter is not only angry, satirical, denunciatory, but also cheerful and affectionate. It is with a sense of joyful pride, if it is possible to put it that way, that the writer speaks about the Russian people. This is how the image of a peasant appears, who, like a tireless ant, carries a thick log. Chichikov asks him how to get to Plyushkin's, and finally getting an answer, he laughs at the apt nickname given to Plyushkin by the peasants. Gogol speaks of the burning Russian word coming from the very heart. He writes about a Russian peasant who was sent even to Kamchatka, give him an ax, and he will go to cut himself a new hut. These words contain hope and faith in the Russian people, by whose hands the bird three is also made. And "like a brisk, unattainable troika," rushes Rus, "inspired by God," and "squinting, sideways and give her way to other peoples and states."

Dead and Living Souls in N.V. Gogol "Dead Souls"

N.V. Gogol is a writer whose work is rightfully included in the classics of Russian literature. Gogol is a realist writer, but the connection between art and reality is complicated for him. He in no way copies the phenomena of life, but always interprets them in his own way. Gogol knows how to see and show the ordinary from a completely new angle of view, from an unexpected perspective. And an ordinary event takes on an ominous, strange coloring. This is also the case in Gogol's main work - the poem "Dead Souls".

The artistic space of the poem is made up of two worlds, which we can conventionally designate as the “real” world and the “ideal” world. The author constructs the “real” world, recreating the contemporary picture of Russian life. According to the laws of the epic, Gogol recreates the picture of life in the poem, striving for the maximum breadth of coverage. This world is ugly. This world is terrible. This is a world of inverted values, spiritual guidelines in it are perverted, the laws by which it exists are immoral. But living inside this world, being born in it and accepting its laws, it is almost impossible to assess the degree of its immorality, to see the abyss separating it from the world of true values. Moreover, it is impossible to understand the reason causing spiritual degradation, moral decay of society.

In this world live Plyushkin, Nozdrev Manilov, the prosecutor, the police chief and other heroes who are kind of caricatures of Gogol's contemporaries. A whole gallery of characters and types deprived of a soul was created by Gogol in a poem, they are all diverse, but they all have one thing in common - none of them have a soul. Manilov is the first in the gallery of these characters. To create his image, Gogol uses various artistic means, including the landscape, the landscape of the Manilov estate, the interior of his home. The things that surround him characterize Manilov no less than the portrait and behavior: "everyone has their own enthusiasm, but Manilov had nothing." Its main feature is uncertainty. Manilov's outward well-being, his benevolence and readiness for services seem to Gogol to be terrible features. All this is hypertrophied in Manilov. His eyes, “sweet as sugar,” do not express anything. And this sweetness of appearance brings a feeling of unnaturalness to every movement of the hero: here on his face appears "an expression not only sweet, but even sugary, similar to the mixture that the clever doctor sweetened mercilessly, imagining to please the patient with it." What kind of “potion” did Manilov's cloyingness sweeten? Emptiness, his worthlessness, heartlessness with endless arguments about the happiness of friendship. While this landowner is prospering and dreaming, his estate is destroyed, the peasants have forgotten how to work.

The box has a completely different attitude to the economy. She has a "pretty village", the yard is full of all kinds of birds. But the box does not see anything further than its nose, everything “new and unprecedented” frightens it. Her behavior (which can be noted in Sobakevich's case) is driven by a passion for profit, self-interest.

But Sobakevich is very different from Korobochka. He is, in the words of Gogol, "a 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 - monetary quitrent. He is not at all surprised by the sale and purchase of dead souls, but only cares how much he gets for them.

Representative of another type of landowners - Nozdrev. He is a fidget, a hero of fairs, card tables. He was a reveler, a brawler and a liar. His farm is running. Only the kennel is in good condition. Among dogs, he is like a "native father". He immediately squanders the income received from the peasants, which speaks of complete indifference to peasant labor. The portrait gallery of the provincial landowners is crowned by Plyushkin. But he is fundamentally different from all previous landowners. We find all the other landowners as they are. Gogol stresses in every possible way that these heroes do not have a past that would be different from the present and would explain something in it. Plyushkin's deadliness is not so absolute. This is a hero with development, that is, we can judge him as a developing, changing (albeit for the worse) person. Plyushkin's image corresponds to the picture of his estate. The same decay and destruction, the loss of a human appearance: he, a man, a nobleman, can easily be mistaken for a housekeeper grandmother. The movement of decay, decay is felt in him and in his house. It's not for nothing that the author dubbed it a hole in humanity. Chichikov belongs to the same type of landowners - a cheat, a man for whom everything is calculated in advance, a man completely seized by a thirst for enrichment, a mercantile interest, a man who has ruined his soul. But still he looks more lively, compared to the rest of the landowners.

But, besides the landowners, there is also the city of N, and in it there is a governor embroidering with silk on tulle, and ladies showing off fashionable fabric, and Ivan Antonovich a jug snout, and a number of officials who eat up and lose their lives at cards.

There is another hero in the poem - the people. This is the very living soul that keeps and brings out all the best, fiery, Russian. Pain and hope, love and reproach live in the image of the people. Yes, Uncle Mityai and Uncle Minyai are ridiculous, they are ridiculous with their narrow-mindedness, but this laughter contains both sadness and pain. Their talent and their life is in work. Gogol loves peasants and therefore hates all those manifestations of social and moral weakness that prevent them from becoming real citizens of Russia. And the people make up a part of the “ideal” world, a world that is built in strict accordance with true spiritual values, with that high ideal to which the human soul strives.

These worlds are mutually exclusive. In fact, the “ideal” world is opposed by the “antiworld”, in which virtue is ridiculous and absurd, and vice is normal. Technically, in order to achieve a sharp contrast between the dead and the living, Gogol resorts to a variety of different techniques. First, the deadness of the “real” world is determined by the dominance of the material in it. That is why long enumerations of material objects are widely used in descriptions, as if displacing the spiritual. Also, the poem is replete with fragments written in a grotesque style: characters are often compared to animals or things. The title of the poem contains the deepest philosophical meaning. Dead souls are nonsense, because the soul is immortal. For an “ideal” world, the soul is immortal, since it embodies the divine principle in man. And in the “real” world there may well be a “dead soul”, because for him the soul is only that which distinguishes the living from the dead. In the episode of the death of the prosecutor, those around him guessed that he "had exactly a soul" only when he became "only one soulless body." This world is insane - it has forgotten about the soul, and lack of spirituality is the cause of decay. Only with an understanding of this reason can the revival of Russia begin, the return of lost ideals, spirituality, soul in its true, highest meaning.

The Chichikovskaya chaise, ideally transformed in the last lyrical digression into a symbol of the eternally living soul of the Russian people - the wonderful “bird-three”, concludes the first volume of the poem. Let us remember that the poem begins with a meaningless conversation between two men: will the wheel reach Moscow; with a description of the dusty, gray, dreary streets of the provincial town; with all kinds of manifestations of human stupidity and vulgarity. The immortality of the soul is the only thing that instills in the author the belief in the obligatory revival of his heroes and of all life, therefore, of all Russia.

There is a famous saying related to the work of Gogol: "laughter through tears." Gogol's laugh ... Why is he never carefree? Why is the finale ambiguous even in Sorochinskaya Yarmarka, one of the brightest and most cheerful works of Gogol? The celebration on the occasion of the wedding of young heroes ends with a dance of old women. We're picking up some dissonance. This amazing, purely Gogolian feature of a sad smile was first noticed by V.G. Belinsky, giving way to the great literature of the future author of "Dead Souls". But not only sadness is mixed with Gogol's laughter. There is anger and rage and protest in him. All this, merging into a single whole under the master's brilliant pen, creates an extraordinary flavor of Gogol satire. Chichikov, along with Selifan and Petrushka, sits in the chaise, and now she drove along the bumps of the Russian off-road, and went "to write nonsense and game along the sides of the road." On this road, the reader will see representatives of various social groups, the peculiarities of their lives, will see all sides of the many-sided Russia. On this road, he will all the time hear Gogol's laughter, full of amazing love for Russia and its people. Gogol's laughter can be kind and sly - then extraordinary comparisons and stylistic turns are born, which constitute one of the characteristic features of Gogol's poem. Describing the ball and the governor, Gogol speaks of the division of officials into fat and thin, and the thin officials, standing around the ladies in black tailcoats, looked like flies that sat down on sugar. It is impossible not to say about very small comparisons, which, like sparkling diamonds, are scattered throughout the poem and create its unique flavor. So, for example, the face of the governor's daughter looked like a "just laid testicle"; The head of Feodulia Ivanovna Sobakevich resembled a cucumber, and Sobakevich himself was more like a pumpkin, from which balalaikas are made in Russia. When he met Chichikov, Manilov's expression was like that of a cat, whose ears were slightly scratched. Gogol also uses hyperbole, for example, talking about the Plyushkin's toothpick, which was picked in the teeth even before the invasion of the French. The appearance of the landowners described by Gogol also causes laughter. Plyushkin's appearance, which struck the prolazu himself and the hypocrite Chichikov (he could not figure out for a long time whether the housekeeper was in front of him or the housekeeper), the habits of a "beggar fisherman" that blossomed in Plyushkin's soul - all this is surprisingly witty and funny, but ... Plyushkin, it turns out that it is capable of causing not only laughter, but also disgust, indignation and protest. This degraded personality, which cannot be called a personality, ceases to be funny. How exactly Gogol said about him: "a hole in humanity"! Is it funny a man who has lost everything human: appearance, soul, heart. Before us is a spider, for which the main thing is to swallow prey as soon as possible. This is what he does to his peasants, pumping out bread and household utensils from them, and then rotting it away in his bottomless barns. He does the same with his own daughter. The greedy and scary Plyushkin is disgusting to us not only because of his moral qualities. Gogol throws a decisive "no" to Plyushkin the landowner, Plyushkin the nobleman. After all, it was believed that the Russian state rests on the nobles, on these very Plyushkins. But what is this stronghold, what support ?! The antisociality of the nobility is a cruel fact, the existence of which horrifies Gogol. Plyushkin, scary as it may seem, is a typical phenomenon for Russian society in the mid-19th century. Gogol is a harsh and angry denouncer. This is how he appears on the pages of Dead Souls. What does he condemn, what does he qualify as unacceptable in a normal human society? It would seem that speaking of Manilov, the word "condemnation" is somehow inappropriate. After all, we have before us such a sweet, pleasant in all respects, courteous and kind person. He is also a very educated landowner who looks like a scholarly man against the background of Korobochka and Sobakevich. And how funny are his children, named Alcides and Themistoclus (do not forget that this is happening in Russia). But Gogol is ashamed and pained for Manilov, who builds projects in the "temple of solitary meditation" and "reading the book, always laid on the fourteenth page," does not notice the theft and drunkenness of his men. Manilov, in idleness and laziness, lives everything that was created by his peasants, without thinking about anything. Antisocial and generally harmful to those around him are other Gogol heroes: Korobochka, the "cudgel-headed" and feeble-minded accumulator, and Nozdryov, a scoundrel, a lecher and, in general, a "historical person ", and Sobakevich, a live-throat and a" fist "that" cannot be straightened into the palm. " All these are malicious pests. What do they care, these bloodsuckers, to state interests? Gogol's laughter is not only angry, satirical, denunciatory, but also cheerful and affectionate. It is with a sense of joyful pride, if it is possible to put it that way, that the writer speaks about the Russian people. This is how the image of a peasant appears, who, like a tireless ant, carries a thick log. Chichikov asks him how to get to Plyushkin's, and finally getting an answer, he laughs at the apt nickname given to Plyushkin by the peasants. Gogol speaks of the burning Russian word coming from the very heart. He writes about a Russian peasant who was sent even to Kamchatka, give him an ax, and he will go to cut himself a new hut. These words contain hope and faith in the Russian people, by whose hands the bird three is also made. And "like a brisk, unattainable troika," rushes Rus, "inspired by God," and "squinting, sideways and give her way to other peoples and states."

Gogol's “laughter through tears” in the poem “Dead Souls”.

There is a famous saying related to the work of Gogol: "laughter through tears." Gogol's laugh ... Why is he never carefree? Why is the finale ambiguous even in Sorochinskaya Yarmarka, one of the brightest and most cheerful works of Gogol? The celebration on the occasion of the wedding of young heroes ends with a dance of old women. We're picking up some dissonance. This amazing, purely Gogolian feature of a sad smile was first noticed by V.G. Belinsky, paving the way for the future author of "Dead Souls" into great literature. But not only sadness is mixed with Gogol's laughter. There is anger and rage and protest in him. All this, merging into a single whole under the master's brilliant pen, creates an extraordinary flavor of Gogol's satire.

Tchichikov, along with Selifan and Petrushka, got into the chaise, and now she drove along the bumps of the Russian off-road, and went “to write nonsense and game along the sides of the road”. On this road, the reader will see representatives of various social groups, the peculiarities of their lives, will see all sides of the many-sided Russia. On this road, he will all the time hear Gogol's laughter, full of amazing love for Russia and its people.

Gogol's laughter can be kind and sly - then extraordinary comparisons and stylistic turns are born, which constitute one of the characteristic features of Gogol's poem.

Describing the ball and the governor, Gogol speaks of the division of officials into fat and thin, and the thin officials, standing around the ladies in black tailcoats, looked like flies that sat down on sugar. It is impossible not to say about very small comparisons, which, like sparkling diamonds, are scattered throughout the poem and create its unique flavor. So, for example, the face of the governor's daughter looked like a “just laid testicle”; The head of Feodulia Ivanovna Sobakevich resembled a cucumber, and Sobakevich himself was more like a pumpkin, from which balalaikas are made in Russia. When he met Chichikov, Manilov's expression was like that of a cat, whose ears were slightly scratched. Gogol also uses hyperbole, for example, talking about the Plyushkin's toothpick, which was picked in the teeth even before the invasion of the French.

The appearance of the landowners described by Gogol also causes laughter. Plyushkin's appearance, which struck the prolaz and the hypocrite Chichikov himself (he could not figure out for a long time whether the housekeeper was in front of him or the housekeeper), the habits of a “beggar fisherman” that blossomed in Plyushkin's soul - all this is surprisingly witty and funny, but ... Plyushkin, it turns out that it is capable of causing not only laughter, but also disgust, indignation and protest. This degraded personality, which cannot be called a personality, ceases to be funny. How exactly Gogol said about him: “a hole in humanity”! Is it funny a man who has lost everything human: appearance, soul, heart. Before us is a spider, for which the main thing is to swallow prey as soon as possible. This is what he does to his peasants, pumping out bread and household utensils from them, and then rotting it away in his bottomless barns. He does the same with his own daughter. The greedy and scary Plyushkin is disgusting to us not only because of his moral qualities. Gogol throws a resolute "no" to Plyushkin the landowner, Plyushkin the nobleman. After all, it was believed that the Russian state rests on the nobles, on these very Plyushkins. But what is this stronghold, what support ?! The antisociality of the nobility is a cruel fact, the existence of which horrifies Gogol. Plyushkin, scary as it may seem, is a typical phenomenon for Russian society in the mid-19th century.

Gogol is a harsh and angry denouncer. This is how he appears on the pages of Dead Souls. What does he condemn, what does he qualify as unacceptable in a normal human society? It would seem that speaking of Manilov, the word “condemnation” is somehow inappropriate. After all, we have before us such a sweet, pleasant in all respects, courteous and kind person. He is also a very educated landowner who looks like a scholarly man against the background of Korobochka and Sobakevich. And how funny are his children, named Alcides and Themistoclus (do not forget that this is happening in Russia). But Gogol is ashamed and pained for Manilov, who builds projects in the “temple of solitary meditation” and “reading the book, always laid down on page fourteen,” does not notice the theft and drunkenness of his men. Manilov, in idleness and laziness, lives everything that was created by his peasants, without thinking about anything.