"Art features of Gogol's creativity. Essay "Art features of Gogol's creativity

From pushkin era To the Gogolian period of the history of Russian literature. Formation of a writer (1809-1830). Gogol entered the Russian Literature of the Golden Age, when she had already reached his heyday. To conquer readers and become a flush with Pushkin, Zhukovsky, Griboedov, could not have a lot of talent. It was necessary to draw her own theme, Create your own unique picture of life.

The through the theme of Gogol creativity was the struggle of the impersonal reality for the human soul, the attempt on her evil. Evil has a truly devilish ability to change masks. In one era, it seems demonic-powerful to another, it is pretending to be gray and imperceptible. HO If the struggle stops, humanity is waiting for spiritual death. Literature - the field of this battle, the writer is able to influence its outcome.

The literary weapons of Gogol in the romantic struggle for the fate of the world began to clean the soul of laughter "Through the invisible, unknown to the world of tears." His laugh is not just satirically social vices And it doesn't just make the reader condescendingly, with humor, treat naturally human disadvantages and little weaknesses. It can be joyful, and sad, and tragic, and carefree, and ulcer, and kind. He is washing away with all the apparent, all the vulgar, returns it to a radiant basis laid in every thing, in every living creature by God. And pay for it accounted for the highest price - the price of the infinite pain, which the writer misses through his heart. (It was in this that Gogol was largely close to late German romance, first of all to the Hoffman.) And in the last years of life and creativity, Gogol will increasingly resort to lyrical preaching, directly referring to the reader, trying to inspire him "good" and indicate Path to correction.

Ultimately, Gogol as a writer came close to the verge of a new time disclosing the literature from religious ministry. Art for late Gogol is no longer so much "we are a towering deception", how many direct rugers truth, the echoes of the Divine Truth. Why then he could not complete his great novel " Dead Souls", Which was superficure of which was" correction "of all Russia? Why did the last years of Gogol passed under the sign of the most severe creative and mental crisis? The exhaustive response to these questions is simply impossible. There is a mystery of human life, the mystery of the soul, the secret of the writer, which every person, every artist takes with them. Ho you want to think about them. Just do not hurry. First, let us remember how personal fate and the creative biography of Gogol were folded.

The estate of Ukrainian landowners from Gogol-Yanovsky was located in the grateful and sheedy historical legends of the region - in Poltava region. From the very first years of his life, Gogol absorbed two national cultures - Ukrainian and Russian. He loved the Malorosiysk folklore, well knew the work of the writers of Maloros. For example, Ivan Kotlyarevsky, the author of the comic translating of the epic poem Virgil "Eneida":

Eney was a disbel
And a drain even where the Cossack
On shirts are hijacking, unborn,
He eclipsed by the notebook.
When Troy in the Battle of Grozny
Compare with a meat of dung,
Kotomka Greb and Treight gave;
With his grabbing of the Trojans,
Britheads holoners,
And the Greeks of the heel showed ...

Gogol's father, Vasily Afanasyevich, wrote in his free time. Mother, Maria Ivanovna, nee Kosyarovskaya, her six children brought up in a strictly religious spirit. Young Gogol knew the Bible well and especially acutely experienced the prophecy of the Apocalypse (the final book of the New Testament) recent times humanity, coming antichrist and Terrible court. Subsequently, these children's experiences echo will respond in his alarming and exciting prose.

From 1821 to 1828, Gogol studied in the newly open gymnasium of higher sciences in Uzhin. It was a good gymnasium: Teachers, together with students put school performances; Gogol painted scenery, performed serious and comic roles. Nevertheless, an active character, carefully hidden ambitions did not give Gogol of Peace. He dreamed of a state field, he wanted to become a lawyer ("not the victim, the greatest misfortune in the world, burst into my heart," he wrote P. P. Kolsharovsky in 1827) and, of course, thought about moving to St. Petersburg.

Ho The Northern Capital of the Great Empire quickly cooled the southern fervor of the young provincial. Lucked for a profitable service failed; money lacked; The literary debut is the half-eyed poem idyll "Ganz Kühelgarten", published under the pseudonym V. Alov, caused friendly ridicule of metropolitan critics. In the gloomy arrangement of the spirit of twenty summer, the writer burns copies of the unreasonable circulation, as burned beyond the bridges. Suddenly leaves St. Petersburg abroad, to Germany. As suddenly comes back. Tries to become an actor. So far, finally, does not go to the stationery service.

This convulsion of actions, nervous overvoltage from now on will be preceded by splashes of creative activity (and later it seems to replace it). Already in 1830, the first Gogol Tale "Bisavryuk, or Evening on the eve of Ivan Kupala", which started the beginning of the brilliant cycle of "Evenings on the farm near Dikanka" (1831-1832).

"Evenings on a Farm Near Dikanka". Tale published by Pacific Rudym Pankom (1829-1831). Gogol Tale of little russian life, sometimes terrible, sometimes frozen, very colorful and singers, appeared just in time. "Everyone was delighted with this living description of the tribe of the singing and dancing," Pushkin wrote, who supported Gogol to his very death in 1837. (Even the plots of two main Gogol works, the comedy "Auditor" and the novel "Dead Souls", were generously donated to their author Pushkin.)

Gogol attributed the authorship of the RUD Pan cycle, the avenue and Balagura. At the same time, in the texts of the stories as if invisible characters-story stories are hidden. This and the Dyac of Thomas Grigorievich, who believes in his terrible stories that took him from his grandfather (and in his hour, from his, grandfather, aunts). And some "pea pan". He loves the dikanka, but brought up at the "books" (Thomas Grigorievich considers him a "Moskalember"). And Stepan Ivanovich Vicoch of Gadyach ...

All of them, with the exception of the well-read "pea panic", naive. And ore Panko with each new story It detects less simplicity and more and more literary lucavia. In addition, the image of a provincial-cheerful, folk and semi-sucking dikanka is shaded in the cycle of "evenings ..." the way the grand, royal (but also semi-suck) of St. Petersburg. To tell about the life of the Dikanka truly, from the inside can only a scam, who grew up here, everyone knows, with everyone connected. Metropolitan writer, such a "peaper", is not under power. And on the contrary, tell about the "big" world, about St. Petersburg, only a serious writer - read, involved in the "high" culture. So it turns out that Panko is not so much a "full-fledged" character, like Pushkinsky Belkin, how much the literary mask of Gogol himself, who felt in an equal measure and St. Petersburg, and the out of the dikanka (estate under such a name belonging to the column, was located nearby from Vasilievka).

Russian literature waited for the appearance of such a romantic writer who was able to recreate the bright local flavor, to preserve the free breath of his small homeland in prose, a fresh feeling of the province, but at the same time seemingly firing the image of the outskirts into an extensive cultural context. Most readers immediately understood that Gogol is not limited to the "literary painting", the colorful details of the Ukrainian life, "delicious" Little Russian words and turnover. His goal is to portray the dikanka at the same time and really, and fantastically, like a small universe, from where you can see in all sides of the world.

Gogol cycle "Evenings on the farm near Dikanka" you have already studied. Ho Now, with an in-depth repetition, let's try to re-open it for yourself. We re-read the two stories from the "evenings ...", which in their style seems polar, in all opposite, - "Night before Christmas" and "Ivan Fedorovich Shponka and his aunt".

As it believes in the story, directly related to the folk tradition and a shrouded fabulous atmosphere, the main hero of the "Night before Christmas" a blacksmith vacule must defeat unclean power, turn the enemy-trait in the magic helper.

All cycle heroes live and operate in different epochs. Some (as Ivan Kupala from the story "evening in the afternoon") - in terrible and majestic antiquity, when evil fertilized over the world. Others (as a vacuum) in the conditional golden age of Catherine Great, on the eve of the abolition of Zaporizhia Wolitsie, when the magic was no longer so formidable as in mythological times. Witches and demons are sometimes funny. Damn, the riding on which the vacuum travels, "perfectly German in front," with a narrow helicate muzzle, a round patch, thin legs. It is rather similar to "Promornic France with a tail" than on the line. And the fact that it is funny, can no longer be scary.

In addition, the vacuum comes into contact with the extradii not ever, namely on the night before Merry Christmas. In the semi-folk world of "evenings ...", the closer to Christmas and Easter, the evil more active - and that it is weaker. The pre-Christmas night gives the faint of the last chance to "stupid", and it also puts the limit to these "shakes", for everywhere quarre and glorify Christ.

It does not accidentally appear in the story of the story of the episode with the Cossacks-Zaporozhets, who arrived in St. Petersburg to Catherine II. The fact is that shortly after this meeting, the empress will abolish Zaporizhia Sch. That is, end romantic epochNot only the mythical antiquity will cease to exist, which belongs to the heroes of the "terrible" back of the cycle ("terrible revenge", "Evening on the eve of Ivan Kupala"), but also the legendary past, which owns the vitality and successful heroes like a vacuum. The path to the lamb, but the boring modernity is open. Small cattle of the blacksmith and Oksana destined the life in the world, where the adventures, similar to those who fell to the share of the vacuum, will not be impossible, because the old man will finally move from reality to the area of \u200b\u200bRue-Steer Pane ...

It is in this era that Ivan Fedorovich Shponyka is falling into the chief hero of the story, who was tested by the story of Stepan Ivanovich Khuchachka from Gadyach. Due to bad memory, the simplest storyteller records the plot, but (once again remember the "Tale of Belkin") His old woman exists the half-way on the pies, so the narrative is broken in the middle. This breakdown scene line Sharply enhances the impression of accidents, inappropriate, emanating from the story, about a worthless hero, so we dislike with the rest - bright, colorful characters "evenings ...".

The story about Ivan Fedorovich is built at the reception of a deceived expectation. The reader of "evenings ..." has already managed to get used to certain regularities of the plot ( household scene often marked fantastic outcome; Fiction is reduced to level household details). He is waiting for the story "Ivan Fedorovich Shponka and his aunt", intuitively brought it closer with "night before Christmas."

In vain. The only event throughout the story, which goes beyond the partition, is the dream of Ivan Fedorovich. Felling in the younger one of the two sisters of the neighbor of Storchenki, skin breathing with horror: what is a wife? And Surely, marrying, he will now not alone, but there will always be two? The dream, who gave him to him at night, terrible. Then he is a wife with a goose face; then wives are getting somewhat, and they are everywhere - in a hat, in his pocket; That aunt is no longer aunt, but the bell tower, the skin itself - the bell, and the rope, which is cast on his bell tower, is a wife; That merchant suggests him to buy fashionable matter - "Wife". Ho sleep is allowed in anything - the manuscript of the story is broken.

Creating the image of Ivan Fedorovich, Gogol is planning a new type of hero, which will soon be in the center of his artistic world. This is a hero, escaped from semi-fabulous time and placed in modern space, in the grinding era. He is not connected with anything, except for life, is not good or evil. And, oddly enough, this is a complete "loss" of a modern man from a holistic world, this is the final "release" from under the authorities of the seams of gray-tree old, this separation with Dikanka (Ivan Fedorovich is not connected with her at all!) Do it in a new way defenseless from evil. It can unhindered invading the "empty" consciousness of the hero (remember the terrible sleep sleep) and shake it to the ground.

The tiny dikanka in the image of Gogol and really worldwide. If it preserved a healthy and natural beginning of nationwide life, it means that it did not disappear from the world as a whole. Conversely, if it is unnoticed, the ancient ties began to decay, if it becomes a day of day, a little less fabulous, a little more prose, fresh - especially this applies to the whole surrounding.

The second cycle of the Mirgorod's Agenda of the story, which serve the continuation of the "nights on the farm near Dikanka" (1832-1834). "Taras Bulba". Success could well be headed a young writer's head. Ho Gogol did not stop at reached and continued to search for new topics, scenes, heroes. He tried to study the Ukrainian folklore as a scholar-ethnographer, tried even to take the department of universal history in Kiev University, however mobile and very nervous character eliminated the possibility of a unhurried office. Moreover, in secret from the closest friends, he has already started working on the next prosaic cycle. Later, this cycle will be called "Mirgorod", but initially "Mirgorodsky" a story appeared in the composition of the collection "Arabesque" along with several works, which in 1842 Gogol will unite in the Petersburg Agent cycle.

The collision of terrible antiquity with boring (but no less terrible) modernity becomes the main artistic principle here. In the "Mirgorod" cycle, two parts, each - two stories, one of them from the Gogol Epoch, the other from the legendary past. Tale from Gogol Epoch for its stylist is close to the "natural" manner "Ivan Fedorovich Shpongly and his aunt", a story from the legendary past was written in the same romantic-raised spirit as "terrible revenge" or "Evening on the eve of Ivan Kupala" . The composition of the cycle is recovered to the millimeter. The first part opens with the "modern" story ("Starlavetsky landowners"), and ends "legendary" ("Taras Bulba"). The second opens "legendary" ("Viy"), and ends "modern" ("The story about how Ivan Ivanovich quarreered with Ivan Nikiforovich"). Like time, describing the circle, returns to the same point - to the point of complete disappearance of the meaning.

Let us dwell on only one, "legendary", Iprit is familiar to you to Taras Bulba. Realizing how it was arranged, we will understand how other stories "Mirgorod" are arranged.

There is such literary concept - art time. That is, the time that is depicted by the writer. It seems to be independent of real historical time; It can flow faster or slower real time, it can change the past, present, and future or connect them into a bizarre. For example, the hero acts in the present, but suddenly recalls the past, and we seem to move last. Or the author uses the present time form for a story about long-standing events - and an unexpected effect of the displacement of chronological boundaries arises. Or, as in the case of Taras Bulby, the writer places the heroes acting at the same time as if in different historical epochs.

The action of Gogol's stake seems to be related to the times of the Brest Ulya of 1596, when a religious union was forcibly concluded on the territory of the Polish-Lithuanian Kingdom of the Commonwealth, a religious union was concluded between Orthodox and Catholics, in which the Orthodox retained the language and "external" rites of their worship, but transferred to the submission of dad Rome and were obliged to confess all the main provisions (dogmas) of the Catholic Church. However, if you carefully read, you can see that the plot covers the events of the Ukrainian history of XV, XVI and even the mid-XVII centuries. The narrator seems to seek once again to remind the reader that everything is energetic, everything is strong and impressive in the past, and now the Mirgorod boredom settled on the expanses of the UK-Rayna, as in the expanses of the entire world. Therefore, when the events occurred, it is not so important. The main thing is that for a long time.

No wonder in the story that is stylized under the heroic epic on the legendary times of the Malorosiysk "knighthood", the different stages of human history are opposed. Cossacks living under the laws of the epic still does not know statehood, it is very disordered, wild volunteers. And the Polish gentlement, which already united into the state, "where there are kings, princes and everything that neither is the best in the cans of the knighthood," forgotten what the true fraternity is.

Taras Bulba - real epic hero. He, from the point of view of the story, is always right and in everything. Even when it acts as an ordinary robber: in the scene of the Jewish pogue or beating babies, making violence against women and old men. The narrator wants to become like a people's peculiar, majestic and objective. Therefore, he is depicting even the unlapping acts of Taras Bulba as epic acts, consecrated by the hero and not subject to ethical evaluation. Moreover, in episodes in which Taras participates, the narrator deliberately dissolves its point of view at the point of view of the title character. This fully complies with the plan - to portray the perfect, self-sufficient hero of the Slavic Starny, when other morals reigned, other ideas about good and evil and when the world had not yet seized the voyage commonness, which, like a marsh row, twisted the present life.

HO Time, which fell out to live a dismissed-correct Zaporozhetz Taras Boulebe, not until the end of epic. Many Cossacks, in contrast to Taras, his worthy heir to Ostare and loyal companions, like Dmitro Tovkach, succumbed to the tolerant Polish influence, calmed down, reconciled with evil, "got out", were accustomed to luxury and nonsense. Cossacks not only conclude a peace treaty with the Turks, but also swear to their faith that they will be true to the contract with the wrong! Later, once again, returned to the Schu after severe injury, Taras and not recognize his "spiritual fatherland" at all. Old comrades will die, some hints will remain from the glorious days. The next "sacred war" against Catholics, which he will raise after the Warsaw execution of Osta, will be the same for revenge for his son as a desperate attempt to save the partnership from the decomposition, return the "marriage of" Zaporizhia existence.

Ho Bulba, a carrier of truly Cossack traditions, do not want to put up with this: life without war, without a feat, without glory and robbery is meaningless: "So what do we live on what the hell do we live, you are crying for me!" And at the first opportunity, it raises the Cossacks in a campaign to the Polish southwest to fight against Ulya.

For Taras, this is not just war. This is a kind of bloody confession of faith in Holy Fatherland, in a partnership to which he belongs as the believer refers to the symbol of faith. No wonder the Cossacks in the most direct sense of the word joined the mystical "partnership" of wine and bread during their endless peters. In the scene, in front of the Dubn Battle of Taras, the barrel of old wine and "intersects" the Cossacks who will have a glorious death, which leads the eternal one who is straightforward: "Sit, Kukubenko, ones with me! - Christ says him. - You have not changed the partnership ... "

At the same time, Orthodoxy itself for Taras Bulba (as, however, for all Cossacks in the image of Gogol), not so much church doctrine, how much is a kind of religious password: "Hello! What, in Christ you believe? " - "I believe!" ... "And well, shut off!" ... "Well, well ... go to which you know Kunny himself."

In a merciless campaign against "understeptions", the sons of Taras are sown. Ho here Taras is destined to find out that his younger son, not moderately sensitive Andriy, crushed with wonderful polka, goes to the side of the enemy. If before that moment the target of Taras was revenge for the deferred faith, then he is the avenger for treason, he is a formidable judge to his son. No one, nothing will make him get away from the walls of the besieged fortress until the retribution is happened. And it is happening. Andry falls into the ambush, and a harsh-fair father, who led his son to get off the horse, execute him: "I gave birth to you, I will kill you!"

Ho Let's reread completely different scenes associated with Andria image. It would seem that he is not inferior to Ostapa: mighty, height in the soot, dare, is good, the brave is in battle, lucky. However, a slight shadow is constantly on his image. In the first stage, a story - a return scene - he too easily descends Taras a mockery over him. (Whereas Ostap, the "right" son goes with his father on fists.) In addition, Andriy too warmly hugs his mother. In the stylized epic world of Taras Bulba, the real Cossack should put his friend higher than the "Baba", and his family feelings should be much weaker than the feeling of fraternity, partnership.

Andriy is too human, too sophisticated, too late to be a good Zaporozhet and the real hero of the epic. During the first - Kiev still - dating with beautiful polol, beauty, white as snow and piercing black, it allows her to rush over himself. Polka puts on an unfinished guest on the lip of the earring, throws a kisiny shemister, that is, disguises his woman. This is not just a game, not just a mockery of a capricious Polish beauty over the Ukrainian Babe, who sneaked in her room through the chimney. (Which in itself is indicative and throws a doubtful-demonic shadow on the hero.) Ho is also a kind of ritual of changing a man into a woman. The one who agreed to play a similar game, who changed his "male" Cossack nature, that in the paramilitary world of Gogol's story was doomed sooner or later to change faith, fatherland, partnership.

And the next step to the side of the Zaporizhia Cossacks (and therefore, away from the epic towards the love novel), the hero-flipper makes it very soon. A few days after the date, he accidentally sees his beloved in the church. That is, in the midst of religious hostility between the Orthodox and Catholics, on the eve of the Ulya, because of which he will snew and rise soon to Poland, Andri enters catholic church. Therefore, beauty for him is higher than the truth and more expensive faith.

It is not surprising, therefore, that in the end he falls out of the Great Cossack Unity, the partnership. Having learned from the exhausted maid of the Polish Beauty, that in a deposited city everything is eaten up to the mice, Andry immediately responds to a lolub of his beloved about help. But the daughter of the enemy can not, should not be interested in the real Zaporozhet even as a plan. Pulling the soup with bread from under the head, Andry goes on the enemy side.

This transition is described by the author as a transition from the world of life to the most terrestrial kingdom of death. As Andrium's Once, Andri penetrated into Polka's room through the "unclean", demonic chimney, so now he descends under the ground - in the secret tunnel, the likeness of the underworld. The first time the case took place at night, during the power of the darkness, and now Andrium will steal toward the underground move in the wrong light of the Moon. The dungeon itself, in the walls of which the coffins of Catholic monks are, compared with the Kiev caves, where they made their prayer feathers of the righteous monks. Only if the path through the Kiev caves symbolizes the road through death into eternal life, then this dungeon leads to death. Madonna, depicted on a Catholic icon, is seductive similar to Andria's beloved. Are such refined experiences, such details, such turns are possible in the traditional epic? Of course no; The narrator picks up for the story about Andry, a completely different genre, as we said, this genre is a novel.

In Dubno, too, everything is painted in a dead tone. Ho Andry this seems to notice. Among the strain is particularly bright, especially mysterious, especially the beauty seems to be the beauty of polka, her wonderful, "irresistible-victorious pallor", her pearl tears ("For that, the fate for the enemy came to the enemy?"). There is also something deadly in this beauty: no wonder the narrator in the end compares it with a beautiful statue. That is, with sculpture, devoid of life.

Ho narrator - no matter how his position was close to the epitian-whole position of Taras - and himself falls under the glamor of polka. Condeming Andria is ideologically, it is so detailed and so expressively describes the sensual perfection of the beauty, which is unnoticed for himself from the epic patronage time turns into a novelist.

To finally be convinced of this, compare the scene of the death of Andria, who rushes towards death as a real Roman hero - in flourishing white-gold clothes, with the name of his beloved on the lips, and the episode of the Ostap execution.

The younger brother moves to the enemies voluntarily - the senior is captured. Junior in the MiG of Death calls on an alien, female name, tremble from horror; The eldest silently suffers terrible flour and grieves only that no one from his relatives, his own. He draws a death crying to his father (without knowing that he stands on the square): "Batko! where are you? Do you hear? " In this shouting echo, the God's words of Christ: "My God! Oh my God! Why did you leave me? "(Matthew, Chapter 27, Verse 46) and" Father! " In your hands, I pretend my spirit! " (Gospel from Luke, chapter 23, verse 46). The fact that Ostap is at this moment they are going to interrupt the bones, and the gospel episode should also be called in the reader's memory: "... the warriors came, and the first killed his shin, and the other, crucified with him. Ho, come to Jesus, as they saw him already deceased, did not kill his heads from him "(Gospel from John, 19, 32-33).

The same epic beauty of courage, which means, to the partnership, to the end remains true and the Taras himself. His way to death runs through the flu fiery element (it should burn on the fire). And no wonder this death gives him the last joy: from his "frontal" elevation on the top of the cliff, from the height of his "Olympic Calvary" Taras sees how brothers-the Cossacks are saved from the Polish chase (and even time to warn them about danger). And most importantly, he becomes a witness to the death of the brother of hateful polka, which was seduced by his fatal beauty of Andria.

The first edition of the Tale of this and ended. In the second edition (1842), Gogol invested the epic monologue in the mouth of the tarass: "- Forgive, comrades! He shouted to them [Zaporozhets] from above. - remember me ... What, they took, damn lyhas! ... Wait the same, the time will come, there will be time, you will learn what is orthodox faith! Already now there are distant and close peoples: rises from the Russian land their king, and there will be no strength in the world that would not have submitted to him! .. "

The last words of the Cossacks who died in battle for Dubno were the gloriousness of the Fatherland and the faith of Orthodox. The last word of Andria was about the Polish Pannachka. The last garbage crash was turned to his father. The last word Taras of Bulba turns into a prophetic praise of Russian power, which nothing will reset, in the progress of the coming elevation of the Russian Earth. Schish does not die, but retreats to the mythological depths of history to give the way a new one, the highest manifestation of Slavs - the Russian kingdom.

These prophetic and kind of optimistic words were not given the ideology of the "official nationality" of the era of Nikolai I, that is, the concepts on which the entire internal policy of Russia of Russia of the 1830s was focused and the essence of which expressed the formula "Orthodoxy - autocracy - Nationality". They had to tie a private story with the general context of Mirgore. And in this context, the final "imperial" prophecy romantic hero It sounds darling and hardly not hopeless than the first edition final sounded. All came true: russian kingdom It was raised, but in the end he suffered the same fate, which one had once fell out of the sash. It lost greatness, drowned in a Mirgorod puddle, which mockingly told in the preface to "a story about how Ivan Ivanovich and Ivan Nikiforovich quarreled."

And the story itself is about two Mirgorod landowners, Ivan Ivanovich Rereranko and Ivan Nikiforovich Dorgochene, almost indistinguishable from each other, turns into a tragic epilogue of the sublime history of life and the feats of Taras Bulba. The less distinguishes the heroes of the story, the more detailed compares them in the introductory chapter of the simplicity of the Mirgorodovets, whose intonation and stylistics are abruptly opposed by the author. In Ivan Ivanovich, the glorious Bekesh with the smushes; In the heat he lies under a canopy in one shirt; Children does not have, "but" they have Gapka's girls. Ivan Nikiforovich, extremely pleasant in communicating, never married. Ivan Ivanovich leaning and high height; Ivan Nikiforovich below, "but" thicker. Meaningless comparison formulas ("Ivan Ivanovich is somewhat frantic nature. In Ivan Nikiforovich, opposite the balls in<...> Wide folds ") Paroding a classic antique book of the biographies of great people -" parallel life ways "of Plutarch. Grinding characters themselves, in turn, parody historical heroes. And their quarrel parods serious battles - and those who led Taras Bulba, and those who led the "King of our" in the era, to which the events are confined. (A quarrel happens on July 10, 1810, two years after the conclusion of the Tilzite world of 1808 and two years before the Patriotic War.) He randomly and cause the quarrel of a purely "military" - a gun that Ivan Ivanovich is trying in vain to replace on a pig and two bags oats. The bargaining is completed by the fact that Ivan Ivanovich compares Ivan Nikiforovich with foolishness, Ivan Nikiforovich calls Ivan Ivanovich Hussak, and the characters like the heroes of the ancient tragedy are silent in a mute stage, so that after it the battle is not on life, and death is to death.

The usual life of Mirgorod is so fixed and empty, so unstable that Ivan Ivanovich, to his quarrel with Ivan Nikiforovich, even amounted to the "chronicle" of eaten melons: this melon is eaten by such a number ... participated such. Now both sides of the conflict, and inhabitants, and especially the urban bosses feel the participants truly historical events. Everything is any detail, even the insignificant plot of Bura Swing Ivan Ivanovich, who killed the judicial petition of Ivan Nikiforovich, is growing up into an epically extensive episode on the visit of the chrome Governing to Ivan Ivanovich.

Ultimately, everything in the story indicates the root cause of the scary grinding of Mirgorod residents: they lost religious meaning Life. Having stopped in Mirgorod after twelve years of absence, the author (not coinciding with the storytellor) sees around the autumn dirt, boredom (in church language it is a synonym for sinful despondency). With the appearance of the city "harmonize" the aged characters, which the author meets in the church and who are not thinking about prayer, not about life, but only about the success of their lawsuits.

Romanticism and naturalism in the artistic world of Gogol. Petersburg Tale. In full compliance with the new life, Gogol changes its style. In those Mirgorod's reports, which were built on modern material, he followed the principle: "Than the subject of the usant, the higher you need to be a poet to extract from it an extraordinary and that this extraordinary was among the other than the perfect truth." And in the audience from the legendary past, he continued to adhere to the "squeezed", raised, fantastic style. And the more impressive, mighty it seemed to be the past, the more small, the modern life looked insignificant.

Let's try this idea to express otherwise in the language of literary criticism. The language is slightly more difficult, but more accurate.

"Evenings on the farm ..." created according to the laws of romantic prose. According to the laws, which followed many Russian prose 30s. For example, the literary comrade of Gogol, the same fan of Hoffman, German and French romantics, Vladimir Fedorovich Odoyevsky.

Heroes of his philosophical novel "The last quartet of Beethoven" (1831), "Improviser" (1833) were poets, artists, musicians who received their great gift in exchange for everyday calm. Any mistake on this path, any manifestation of mistrust to the mysterious, unpredictable nature of creativity turns into a tragedy.

On the contrary, the heroine of the secular agents of the Ooevsky "Princess Mimi", "Princess Zizi" (both 1834) are too ordinary, their souls without a residue belong to the desuneal, inhuman light. Ho and here plot trails lead characters to a catastrophe. Princess Mimi dissolves a false rumor about the love relationship between Baron Grade Daertal and the borders - "Beautiful Static Young Man." The gossip acts into effect the inexperienced mechanism of mutuation; The result is two deaths, broken fate.

Finally, in the fantastic standards of the Odoevsky "Silfide" (1837), Salamander (1841), the characters are in contact with the other, invisible life, with the kingdom of natural spirits. And it often ends for them is crying: "one-dimensional" world either expels the "Primons" from their limits, or subordinates them, with their "everyday views."

It was in such a romantic bed that early Gogol developed. Only in the story of Ivan Fedorovich Shpongly, he began to master the principles of naturalistic, that is, life-like, underlined the household image of reality. In the titles from the Mirgorod cycle, everything is somewhat different. The artistic world of Gogol is now impossible to reduce something alone - either to romanticism or to naturalism. The writer uses narrative techniques of romantic poetics, then a genuine school - depending on the artistic problem, which is solved for a moment. And this means that in now on, no literary system can completely exhaust its idea, accommodate images created by his inclusive genius. The fact that used to be the main method of an artistic image becomes one of several artistic techniques that the writer holds at the ready as the master keeps the set of a variety of tools.

The final combination of two artistic systems, romantic and naturalistic, occurred in the cycle, later as the name "Petersburg stories", which was created by the writer in 1835-1840. Grotesque and bertography, limit fiction and attention to the smallest realities - all this is equally present in the "Nose", "Nevsky Prospect", "Portrait", "Notes of Crazy", "Shinel". Fantasy is shipped here in the smallest of everyday life. The cycle heroes are the strange inhabitants of the northern capital, the official city, in which all the lies, all the deception, everything fluctuates in the wrong light of shimmering lamps. Let us dwell on two issues from this cycle in more detail. "Nose" and "Shinel" .

The plot of "NOS" is incredible to absurdity: Gogol eliminated the possibility of a rational explanation of the adventures that fell into the share of his hero. It would seem that Major Kovalev's nose could well cut the barber Ivan Yakovlevich, who finds this nose baked in bread. Especially since Ivan Yakovlevich is a drunkard. Ho shaves it Major on Sundays and Wednesdays, and the case is on Friday, and the whole quarter (that is, Thursday) nose renounced on the face of Kovalev! Why in two weeks the nose "wishes" suddenly return to the previous place, is also unknown. And this absurdity of the situation sharply sends the social meaning of the plot collision.

The narrator draws the reader's attention to the fact that Kovalev is not just a major. He is a college assessor, that is, the civilian rank of the 8th grade. According to the rank of rank, this correspondent to the military rank of Major, but in practice it was appreciated below. Major Kovalev - College Assestor "Second Freshness". By ordering to call himself by Major, he deliberately exaggerates his bureaucratic status, because all his thoughts are aimed at occupying a place higher in the service hierarchy. It is essentially not a person, but a bureaucratic function, a part that has given an integer. And the nose of Major Kovalev, who was an arbitrary person who left the face to become a statistical adviser, only grotesque continues the life path of its owner. Part of the body that has become integer symbolizes the official world order in which a person before becoming someone loses his face.

HO narrow-social sense will open in an immense religious and universal context. Let's pay attention to the "little things", which in the artistic work sometimes play a decisive role. What is the number Kovalev reveals the loss of the nose? March 25. But this is the Day of Annunciation, one of the main (two-month) Orthodox holidays. Where does the barber of Ivan Yakovlevich live? On the Ascension Prospect. What bridge meets Major Kovalev Merchant Oranges? On Voskresensky. Meanwhile, the Resurrection (Easter) and Ascension is also the two-month holidays. Ho actually the religious meaning of these holidays in the world depicted Gogol is lost. Despite the Annunciation, in one of the main cators of the capital, where Major Kovalev follows the nose, little ones; The church also became one of the bureaucratic fictions, the pretrial (or rather, "absent") place. Only the disappearance of the nose can crush the heart of a formal Christian, how, like the majority, Major Kovalev is depicted.

The main character of another story of the St. Petersburg cycle, Akaki Akakievich Bashmachkin, also has a clear social "registration". He is the "Eternal Title Advisor." That is, a 9th grade Stat official who has no right to purchase a personal nobility (if he was not born nobleman); in military service This rank corresponds to the title of captain. "Little man with a lisinka on the forehead", just over fifty years, serves as a correspondence of papers "In one department".

And yet it is a completely different type, another image. Kovalev himself strives for a bureaucratic unfortunate, hears his life to a set of service characteristics. Akaki Akakievich Persons did not lose for the simple reason that there is almost nothing to lose. He is impersonated from birth, he is a victim of social circumstances. His name, Akaki, translated from Greek means "kindly". However, the etymological meaning of the name without a rest is hidden behind his "indecent" sound, intended to them. Orately "indecent" names that seemed to be in the salty of Mother Akakia Akakiyevich before his baptism (money, dessation, hostedazat, trophyligue, dula, varachius, Pavsika). Gogol rhymes "unworthy" the sound of names with the insignificance of the hero. His surname is meaningless and his name, which, how ironically notes the narrator, originated from the shoe, although all the ancestors Akakia Akakievich and even Shurin (despite the fact that hero is not married) went in boots.

Akaki Akakievich is doomed to life in an immense society, so the whole story is based on the formulas like "one day", "one official", "one significant person." This in society is lost hierarchy of values, therefore the speech spell, who almost never coincides with the author, is syntactically illogical, overwhelmed with "superfluous" and the same type: "His name was: Akaki Akakievich. Maybe it will seem to the reader somewhat strange and embarrassed, but it is possible to assure that it was not looking for him, and that such circumstances happened themselves, which could not be given to another name, and this was exactly how. "

However, the Konosonasching of the chatty narrator is not a comparison with the Kosonazyi Hero: Akaki Akakievich is expressing almost one pretexts and adverbs. So he belongs to another literary and social type than Major Kovalev, - Tip " little man", Having occupied Russian writers of 1830-1840s. (Remember Samson Vyrna from the "History of Belkin" or poor Eugene from the "copper rider" Pushkin.) In this type of hero (what we have already spoken) concentrated the reflection of Russian writers of the XIX century on the contradictions of Russian life, that too many Their contemporaries, lunch, as if falling out of the historical process, become defenseless before destiny.

The fate of a "little man" is hopeless. He cannot, has no strength to rise above the circumstances of life. And only after death from the Social Victim, Akaki Akakievich turns into a mystical avenger. In the dead silence of the St. Petersburg Night, he breaks over Sineli from officials, without recognizing the bureaucratic difference in the ranks and acting both behind Kalinka bridge (in the poor part of the capital) and in the rich part of the city.

Ho is not wonderful in the story about the "posthumous existence" of a "little man" there are also horror, and comic. The author does not see the present exit from the impasse. After all, the social insignificance inexorably leads to the insignificance of the very person. Akakia Akakievich had no addictions and aspirations, except for passion to a senseless rewriting of departments, except love for dead letters. No family, no rest, nor entertainment. The only positive its quality is determined by a negative concept: Akaki Akakievich in full agreement with the etymology of his name is unlobin. He does not respond to permanent rides of colleagues officials, only occasionally begging them in the style of PRACTING, Hero "Notes of Crazy": "Leave me, why do you offend me?"

Of course, the innovation of Akakia Akakiyevich has a certain, albeit unconscious, who has not implemented itself spiritual power. No wonder in the story introduced a "lateral" episode with a "one young man", which suddenly heard in the pitiful words of the offended Akakiya Akakievich "Biblesky" by the exclamation: "I'm your brother" - and changed my life.

So social motives suddenly intertwined with religious. A description of the Ice Winter Wind, which tortured Petersburg officials and eventually kills Akakia Akakievich, is associated with the theme of poverty and humiliation of a "little man." Ho Petersburg Winter acquires in the image of Gogol and the metaphysical features of the eternal, hellish, ancient cold cold, into which the souls of people, and the soul of Akakia Akakievich, above all.

The attitude of Akakia Akakiyevich to the covered overcoat and socially, and religiously. The dream of a new sheer nourishes him spiritually, turns into a "eternal idea of \u200b\u200bthe future overcoat", in the perfect image of things. The day when Petrovich brings the update, it becomes for Akakia Akakiyevich "the most solemn in life" (pay attention to the wrong stylistic design: either "most" or "triumpheless"). This formula likes this day Easter, "celebration from celebrations." Saying goodbye to the deceased Hero, the author notes: Before the end of his life, a bright guest grumbled in the form of a sheel. The bright guest was customary to call the angel.

The life catastrophe of the hero is predetermined by a bureaucratic-anonymous, indifferent social world order, at the same time religious void reality, which owns Akaki Akakievich.

Comedy "Auditor": philosophical subtext and "insignificant hero". In 1836, Gogol made his debut as a playwright of the Auditor comedy.

By this time, the Russian comedy tradition has fully developed. (Remember our conversation that the lyrics and drama are faster and easier to adapt to changes in the literary situation.) The first spectators of the "Auditor" knew to resemble many moral comedies of the Epoch of Enlightenment, from Fonvizin to Krylov. Of course, they had stuck in memory poetic comedies Dramaturgome early XIX. A century Alexander Shakhovsky, in the comedian characters of which the public easily guessed the features of real people, prototypes. A steady set of comedy situations was formed; The authors virtuoso varied them, "spinning" a new cheerful plot. Comedy characters had recognizable _ and unchanged features, since a long time was developed a system of theatrical role. For example, the role of the false groom: blinded by love the stupid hero. Absorbed the main character of the main heroine and does not notice that everyone feels over him. And the hero of the resonant, such as the Fonvizinskogo Staruga, was generally exempted from comedy service, he was not so much a member of funny adventures as a mocking judge, a peculiar representative of the author's (and auditor) interests on the theater scene ...

So debut in the genre of Comedy Gogol was much easier than in the genre of the story. And at the same time much harder. No wonder after more than a successful premiere, Gogol could not come to himself for a long time. He was literally shocked by the universal misunderstanding of the essence of the comedy, believed that the audience, like the heroes of the "auditor," did not know, on what laugh. What was the case? The habit is the second nature not only in life, but also in art; It is difficult to force the viewer to cry where he is used to laugh, or think about the fact that he was used to perceive thoughtlessly. Gogol was to overcome the stereotype of the audience perception. The actors (especially the performers of the role of Klezkleskov) did not understand the Gogol intent, brought to the comedy the water waters. Trying to explain to the public, what the creature of his creation, Gogol writes in addition to the "Auditor" play "Theatrical Track after the presentation of the new comedy" (1836), then returns to this topic for ten years, creates several articles. The most important of them is "pre-issue for those who wish to play as a" auditor "(1846).

If the author's plan failed to comprehend even experienced actors, what was waiting from the main part of the audience? Few people thought about why Gogol cast a comedy into the close limits of the county city, from which "at least three years I have been downloading, no to which state you can do." But such a "medal" city was supposed to serve as a symbol of provincial Russia in general. Moreover, afterwards in the dramaturgical "junction of the" auditor "(1846), Gogol gave an even wider, even more allegorical interpretation of his comedy. The city is the metaphor of the human soul, the characters are personified passion, overcoming the human heart, Khlestakov depicts windy secular conscience, and the "real" auditor, which appears in the final, is the court of conscience, waiting for a man behind the coffin. So, everything that happens in this "national team" (such is Gogol formula), and in Russia, mired in bribery and laminate, and to humanity as a whole.

Ho Isn't it strange that in the center of the symbolic plot of the "auditor" costs a completely insignificant, a worthless hero? Khlestakov is not a bright adventurer, not a clever rogue who wants to deceive the buried officials, but a silly fadaharone. He reacts to what is happening, as a rule, the nefple. HE His Wine (and even more so not his merit) that everyone around want to deceive and try to find a deep hidden meaning in his rampant replicas.

For Gogol, there was not the slightest contradiction in all this. The funnier of the situation in which Khlestakov gets, the sad "light" laughter through the invisible, the unknown world of tears, which Gogol considered the only positive face of the comedy. It's funny when Khlestakov after the "Bottle-Toltastrushki" with the provincial Mader from a replica to a replica raises themselves all higher and higher on the hierarchical staircase: here they wanted to make a college astronor, the soldiers received him for the commander-in-chief, but for him Couriers carry, "Thirty-five thousand of some couriers" with a request to join the department of department ... "I am everywhere, everywhere ... tomorrow I will produce now in Field Marsh ..." Ho What seems funny, at the same time Infinitely tragic. The lies and the boasting of Khleklekov do not go to the empty chatter of Fanfaron Reetalov from the comedy "grief from the mind", or the carelessly excited lies of the Nozder from the "dead souls", or the fantasy of some hydroevive shalun. Pribeling, he overcomes the limitations of his social life, becomes a significant person, destroys social barriers, which in real life it will never be able to overcome.

In the phantasmagoric world, which was created in a false imagination of Klezlekov, an insignificant official is produced in Field Marshals, the impersonal rewrite becomes famous writer. Khlestakov seems to be jumping out of his social series and rushes up the public stairs. If they were not censored "limiters", he would never stop at the Feldmarsh, and would certainly imagine himself a sovereign, as it does this another Gogol official, Parcinchin ("notes of the crazy"). PRACTIVISSIA frees his madness from social stacker, Khlezkova - his lies. At some point, he looks at this unthinkable height of the real and suddenly, with unlimited contempt, he speaks about his present position: "... And there is an official for the letter, a sort of rat, the pen is only - Tr, Tr ... went to write "

Meanwhile, many heroes of the auditor want to change their estate-bureaucratic status, many heroes of the "auditor" want to be elevated over shallow fate. So, Bobchinsky has a one-sole "lowest request": "... how we go to Petersburg, tell everyone there all the way there: the senators and admirals ... if a person and the sovereign will have, then say the sovereign, that , Your imperial majesty, Peter Ivanovich Bobchinsky lives in such a city. Thus, he, too, essentially wants to "exalted" himself to the highest officials of the Empire. Ho Since it is not endowed with a bold xlestaki imagination, it timidly begins to "move" through the estate obstacles at least one name and consecrate his insignificant sound of the "divine" hearing of the sovereign.

With the help of Klezlekova and the city hopes to change his life. After leaving the imaginary auditor, he seems to continue to play the "Khlestakovsky" role - the role of the blister and fantasy. Reflecting on the benefits of kinship with an "important person", he himself mentally produces into generals and instantly gained in new image ("A, damn it, nice to be general!"). Histakov, imagining himself by the head of the department, is ready to despise the current fellow correspondence, the official for the papers. And the gingerbread, imagining himself by the general, immediately begins to despise the city: "Cavalry will hang on your shoulder. ... go somewhere - the fagmer and adjutants will jump everywhere forward: "Horses!" ... you dine yourself from the governor, and there - stand, granted! Xe, he, heh! (Poured and snaps with laughter.) That's what the channel, tempting! " An unexpected discovery: Histakov "not at all of the auditor", insults Governing to the depths of the soul. He really "killed, killed, completely killed," "slaughtered. Gingerbile rebelled from the top of the social staircase, which was already mentally climbed. And, having survived an incredible, humiliating shock, granted - for the first time in life! - For a moment, hears, although he believes that the land: "I see nothing. I see some kind of pork figs instead of individuals, and nothing more. " Such is the city he managed, he himself. And at the peak of experienced shame, he suddenly rises to the present tragism, exclamation: "Do you laugh at whom? Laughing over yourself. " And he does not recognize that in this cleansing laughter of man over himself, over his passion, the author of his sin and sees the exit from the semantic conflicts of the comedy.

Ho is one instant of the life of Governing. And whipping in many respects due to their carefree, its inspired lies much more bold. His stupid delets, at least "not there", "not on that" directed, allowed Gogola from the very beginning to consider Klezlekov "the type of much scattered in Russian characters." In it, in his social behavior, they were collected, summarized, the desires of the county city officials were carried out; The main social and philosophical, philosophical problems of the play are connected with it. This makes it a scene center of comedy. V. G. Belinsky, who called the chief hero of Governed, and the subject of the play found a satirical exposure of the officialhood, later recognized the arguments of Gogol.

Friendly journey. On the way to "Dead Souls". The comedy turned out very cheerful. And at the same time very sad. After all, the vice triumphs without anyone visible efforts in itself. Just because he completely captured the souls of people. And the famous "auditor" isolation, when participants in the events learn about the arrival of the "real" auditor and freeze in a silent stage, does not indicate that the vice is punished. Because - who knows how the arrival auditor will behave? On the other hand, this mute scene generally translated the sense of comedy into another plane - religious. She reminded of the coming terrible court, when our true conscience will be wanted in each of us, the soul will appear, as a kind of heavenly auditor, and expose the business of the conscience of false, sleepy, ubanic.

And again, the crisis followed the creative rise of Gogol. And again he, deciding that no one understood his comedy and the great idea fell victim to universal vulgarity, suddenly left abroad, to Germany. Then he moved to Switzerland and here continued the interrupted work on a new product in which "all of Russia, although with one side" was to be reflected. This work was destined to become a vertex creation of Gogol, his literary celebration and at the same time His bitter defeat.

It was not just a novel, but (according to Gogol's definition) "Small epic" from modern lifeBut in the spirit of the ancient Greek epic of Homer and the medieval epic poem Dante "Divine Comedy". That is why Gogol gave his new prosaic creation, called "Dead Souls", the subtitle "Poem". This genre designation indicated that the pathetic lyrical start would penetrate all the space epic Work And intensify from the head to the chapter, from the book to the book. It is from the book to the book, because the subtitle treated the plan in general, and was intended to work in three plot independent parts.

As the hero of the "Divine Comedy" rises along the spiritual staircase from hell in purgatory, and from purgatory to heaven, like the heroes of the "human comedy", Balzak is negatively moving around the circles of social ad, so the heroes of the "dead souls" were to move step by step from the darkness of the fall , Cleaning and saving your souls. The first volume of the Gogol poem corresponded to Datovsky hell. The author (and with him the reader) would seek the heroes by surprise, with a laugh showed their vices. And only from time to time his lyrical voice was filled up, under the dome of the majestic novel, sounded solemnly and at the same time sincerely. In the second volume, the author suggested talking about the purification of heroes through suffering and repentance. And in the third - to give them a plot chance to show the best qualities of becoming samples for imitation. For Gogol, who believed in his special spiritual calling, such a finale was fundamentally important. He hoped all Russia to teach the lesson, point out the road to salvation. Moreover, after the death of Pushkin in 1837, Gogol comprehended his work on the "dead souls" as a "sacred will" of the Great Poet, as his last will, which must be executed.

Hogol lived at the time in Paris; Later, after long congesters in Europe, he moved to Rome. The eternal City, placed the beginning of the Christian civilization, made an indelible impression on the Russian writer. He, he gone in St. Petersburg, in the North Rome, in the South Sun, warmth, energy, experienced the rise of mental and physical forces in Rome. From here, as from the beautiful, he returned to the thought and heart in Russia. And the image of the beloved Fatherland was freed from the whole random, small, too much detailed, smasted to the world wide scale. This is how it is impossible to more accurately corresponded to the artistic principles of Gogol and coincided with his romance plan.

Briefly returning to Moscow (1839) and reading some of the heads of the poem in the houses of the nearest friends, Gogol realized that he would be waiting for a full success. And hurried to Rome, where he was so nice to work. Ho at the end of summer in Vienna, where he stayed by literary deeds, Gogol first overtakes the attack of severe nervous disease, which from now on will pursue him to the grave itself. As if the soul could not withstand those unbearable obligations to the world, who accepted the writer: not just to create an artistic image of Russia and the literary types of contemporaries. And not just to teach the society a moral lesson. Ho, making his writer's feat, mystically save Fatherland, give him a spiritual recipe for correction.

What is the famous work of world literature oriented Gogol, is the affix of the novel in three volumes? What path were the main characters of the "dead souls" from the first volume to the third?

"Judge of contemporaries". "Selected places from correspondence with friends." No wonder so changes in the early 40s, the style of Gogol's letters: "My work is great, my feat is saving; I died for all the petty. " They look more like the epistles of the Apostles, the first students of Christ than on the letters of the usual (even a brilliantly gifted) writer. One of the friends called Gogol "the judge of contemporaries," talking to the neighbor, "as a person whose hand is filled with decrees that arrange their fate by their will and against their will." A little later, this is inspired and at the same time very painful state will affect the main journalistic book of Gogol "selected places from correspondence with friends." The book, conceived in 1844-1845, consisted of fiery moral and religious sermons and teachings on the most diverse reasons: from treasures to the right device of family life. (Despite the fact that Gogol himself did not have.) She testified that the author of the "dead souls" finally believed in his chosenchairs, became a "teacher of life."

However, by the time the "selected places ..." was published and called a storm of the most dispensable responses in criticism, Gogol managed to publish the first volume of the "dead souls" (1842). True, without a plug-in "Tale of Captain Copeikin," which banned censorship, with numerous amendments and under a different name: "Chichikov's adventures, or dead souls." Such a name reduced Gogol's plan, reflected the reader to the tradition of an adventurous-moralopsychiatory novel. The main theme of the poem was not spiritual death of mankind, but the funny adventures of the charming rogue Chichikov.

Ho much worse was another. Gogol, in 1842 again left for three years abroad, did not complain with his too large-scale intent, exceeding the measure of ordinary human strength, and after the next attack of the nervous disease and the mental crisis in the summer of 1845 burned the manuscript of the second volume.

Later, in "four letters to different persons about the" dead souls "(letters entered the book" Chosen Places ... ") he explained this" act of burning "by the fact that in the second volume were not clearly indicated" ways and roads To ideal. " Of course, true reasons were deeper and more diverse. There is also a sharp weakening of health, and a deep contradiction between the "ideal" idea and the real character of Gogol dating, his tendency to the image of the dark sides of life ... Ho is the main thing - you can repeat and once again - was in the mistake of the task, literally crushing Gogol Talent . Gogol in the right and terrible sense of the word was relieved.

Torture silence (1842-1852). The audience, with the exception of the closest friends, did not notice this donkey. After all, Gogol's books continued to go out. In 1843, its writings were published in 4 volumes. Here first was published a story "Shinel", where a writer with such a piercing force said about the fate of a "little man", which the story literally turned the literary consciousness of the whole generation of Russian writers. The great Russian novelist Fyodor Mikhailovich Dostoevsky, who made his debut during these years, will later say that they all came out of Gogol Sineli. In the same collection of works for the first time they saw the light of the comedy "marriage", "players", the play-afterword to the "Auditor" "Theatrical Tracking ...". Ho not everyone knew that the Shinel was started back in 1836, and "marriage" - in 1833, that is, to the "auditor". And new artistic works after the first volume of the "dead souls" Gogol did not create.

"The selected places ...", as well as the "author's confession", started in 1847, and only posthumously printed, were written instead of the "small epic" promised to the public. Essentially, the last decade of Gogol life has become an incessant torture by silence. As intensively and happily worked, he worked in the first ten years of his writing (1831-1841), so painfully suffered from creative non-de-decades in the second decade (1842-1852). As if life demanded that he would pay an incredible price for ingenious insights who visited him in the 1830s.

Continuing to wander on the roads of Europe, living in Naples, in Germany, then again in Naples, Gogol in 1848 makes a pilgrimage to holy places, prays in Jerusalem from the coffin of the Lord, asks Christ to help "collect all the strengths of our work on the work of creations, us cherished ... ". Only after that he returns to the kind one. And no longer leaves him until the end of life.

Externally, it is active, sometimes even cheek; Meets in Odessa with young writers who consider themselves his followers, - Nikolai Alekseevich Nekrasov, Ivan Alexandrovich Goncharov, Dmitry Vasilyevich Grigorovich. In December, communicates with novice playwright Alexander Nikolayevich Ostrovsky. Gogol tries to finally arrange his family life and woven to A. M. Vilygorskaya. The proposal should be a refusal that wounded Gogol in the heart and once again reminded him of everyday loneliness. About the loneliness that he sought to overcome with the help of creativity, becoming a correspondence interlocutor, a friend, and sometimes mentor thousand readers.

In 1851, he reads his friends the first six or seven heads of rewritten (more precisely written by anew) the second volume of the Dead Souls. On January 1, 1852, he even informs one of them that the novel is completed. Ho hidden internal dissatisfaction with the results of many years of work imperceptibly increased and was ready to break through any minute, as water breaks through the dam during a flood. The crisis again broke out suddenly and caused catastrophic consequences.

Having learned about the death of the sister of the poet Nikolai Mikhailovich Langua, his close friend and like-minded man, shocked Gogol warming his own closest death. And in the face of the impending death, which summarizes everything that a man did on Earth, he renounces the manuscript of the second volume, is horrified and after the conversation with his confessor about. Matvey Konstantinovsky again burns written. (Only draft options for the first five chapters have been preserved.)

Gogol regarded creative failure as the collapse of the entire lived life, fell into the most severe depression. Ten days after the burning of the manuscript of the second volume "Dead Souls" Gogol died, as if his own life was burned in the flame of this fire ...

Thousands of people came to say goodbye to the great Russian writer. After the funeral committed in the university church of St. Tatiana, Professors and students of Moscow University carried a coffin on their hands to the scene of the burial. A monument was set over the grave of the writer with the words from the biblical book of the Prophet Jeremiah. The ends and began closed, the epitaph became an epigraph to all Gogol creativity: "I lay down the bitter word."

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

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

Gogol was a brilliant satirist, whisked "vulgarity vulgar man", Extremely exposed public contradictions to the modern Russian reality.

This social orientation of Gogol affects the compositions of its works. The string and plot conflict in them are not love and family circumstances, but events social significance. At the same time, Gogol's plot serves only a reason for / wide images of the life and disclosure of character-types.

Deep penetration into the essence of the main socio-economic phenomena of the modern life allowed Gogol, ingenious artist Words, draw images of a huge summary power.

The names of Klezlekova, Manilov, boxes, Nozdrov, Sobesevich and others became nominal. Even second facesGogol on the pages of its works (for example, in the "dead souls"): Pelagia, a fastener girl boxes, or Ivan Antonovich, "pitcher," - have a lot of generalization, typical. Gogol emphasizes in the character of the hero one or two most essential features. Often he hyperbolizes them, why the image becomes even brighter and convex.

The goals are bright satyric image Heroes serves Gogol a thorough selection of many details and sharp exaggeration. So, for example, portraits of the "dead souls" heroes are created. These details at Gogol are predominantly domestic: things, clothes, housing hero.

If in romantic Hands Gogol is given underlined picturesque landscapes, which give the work of a certain risk of tone, then in its realistic works, especially in the "dead souls", the landscape is one of the means of drawing types, characteristics of heroes.

Themes, social orientation and ideological coverage of the phenomena of the life and characteristics of people led to the peculiarity of the literary speech of Gogol.

Two worlds depicted by Gogol - the people's team and "existers" - identified the main features of the speech of the writer: his speech is enthusiastic, imbued with lyrism, when he speaks of the people, about the Motherland (in the "Evenings", in Taras Bulbe, in Larine deviations of "dead shower"), then it becomes close to the lively conversational (in household paintings and scenes "evenings" or when it is narrated about the official landlord of Russia).

The originality of the Gogol language is wider than its predecessors and contemporaries, use simply folk speech, dialectisms, Ukrainism. Gogol loved and thinly felt the people's speaking speech and skillfully applied all shades to the characteristics of his heroes and phenomena of public life.

1) the periodic structure of the phrase, when a lot of sentences are connected to one whole ("Taras saw that the Cossack ranks were confused and as a despondency, indecent brave, it became quietly embraced by Cossack heads, but silent: he wanted to give the time to everyone so that they did The disadvantage, with the companions, and meanwhile, was preparing in silence and suddenly wake them all, gibbing in Cossacks, so that again and with the biggest force than before, the vigor of everyone in the soul, which is capable of the Slavic breed, wide Mighty breed before others, that the sea in front of shallow rivers ");

2) the introduction of lyrical dialogs and monologues (such, for example, the conversation of Lekko and Ganny in the first chapter of the "May night", monologues - appeals to the Cossacks of Koshevoy, Taras Bulba, Bovdyuga in Tarasa Boulebe);

3) the abundance of exclamation and question purposes (for example, in the description of the Ukrainian night in the Major Night);

4) Emotional epithets transmitting copyrighted inspiration made by love for native nature (Description of the day in the Sorochin Fair) or to the People's Group (Taras Bulba).

Hagol consumer speech enjoys differently. In early works (in the "evenings"), its carrier is a narrator. In his mouth, the author and the spaciousness (domestic words and turnoves) are investing, and such appeals to listeners who wear a familiar-good-natured character, which is peculiar to this environment: "To God, already tired of telling! Yes what do you do

Human character, his social status, profession - all this is extremely clearly and accurately reveals in the speech of Gogol characters.

The power of Gogol-stylist is in his humor. Hogol humor - "Laughter through tears" - was due to the contradictions of the Russian reality of his time, mainly contradictions between the people and the anti-people essence of the noble state. In his articles about the "dead souls" Belinsky showed that Hogol humor "consists in the opposite of the ideal

life with the validity of life. " He wrote: "Humor is the powerful instrument of the spirit of denial, destroying the old and preparing a new one."

Every big artist is a whole world. Log in to this world, feel his versatility and unique beauty - it means to bring themselves to know the infinite diversity of life, put yourself on some higher step of spiritual, aesthetic development. Creativity of each major writer is a precious storehouse of artistic and spiritual, one can say, "manual" experience having enormous importance for the progressive development of society.

Shchedrin called the fiction of the "Abbreviated Universe". Studying her, a man acquires wings, turns out to be wider, to understand the story to be more deeply and that is always a restless modern world in which he lives. The great past is invisible threads associated with the present. IN art Heritage Imprisoned the history of the people. That is why it is an inexhaustible source of its spiritual and emotional enrichment. The same consists of real value and Russian classics.

The art of Gogol arose on the ground, which was erected before him by Pushkin. In Boris Godunov and Evgenia Onegin, "Copper Horseman" and " Captain's daughter"The writer committed the greatest discoveries. A striking skill, with how Pushkin reflected the entire fullness of modern reality and penetrated his heathies of his heroes, insight, with which in each of them he saw a reflection of the real processes of public life.

On the trail, laid Pushkin, Gogol was walking, but she was his way. Pushkin revealed deep contradictions of modern society. But with all that the world, the artistically informed by the poet, performed by beauty and harmony, the element of denial is balanced by the element of the allegation. Pushkin, according to the faithful word Apollo Grigoriev, "was clean, elevated and harmonious echo everything, all implementing in beauty and harmony." The artistic world of Gogol is not so universal and comprehensive. Oton was his perception of modern life. In the work of Pushkin a lot of light, sun, joy. All his poetry is imbued with the disadvantaged power of the human spirit, she was apotheosis of youth, bright hopes and faith, she reflected the boiling of passion and that "raised to the feast of life," Belinsky enthusiastically wrote.

In the first half of the 19th century, many great poets and writers lived in Russia. However, in Russian literature it is believed that from the 40s of the 19th century, Gogol's period of Russian literature begins. This wording was offered Chernyshevsky. He attributes to Gogol merit of durable introduction to the Russian elegant literature of satirical - or, as it is equitable to call it, a critical direction. Another merit is the foundation of the new school of writers.

Creation of Gogol, exposed social vices tsarist Russia, amounted to one of the most important links of the formation of Russian critical realism. Never before in Russia, the gaze of Satirik did not penetrate so deep into the daily, on the everyday side of the social life of society.

Gogol Komism is a community of established, daily, who has acquired the strength of the habit, the comic of petty life, to whom Satir gave a huge summary meaning. After the satire of classicism, Gogol's work was one of the new realistic literature. The value of Gogol for Russian literature was huge. With the advent of Gogol, literature appealed to Russian life, to the Russian people; I began to strive for identity, nation, from rhetorical sought to become natural, naturally. In no Russian writer, this desire did not achieve such success as in Gogol. To do this, it was necessary to pay attention to the crowd, to the mass, depict people of ordinary, and unpleasant - only an exception from general rules. This is the great merit from Gogol. By this, he completely changed the sight of the art itself.

The realism of Gogol, like Pushkin, was penetrated by the spirit of fearless analysis of the essence social phenomena Modern. But the peculiarity of Gogol realism was that he combined the breadth of reality in himself as a whole with a microscopically detailed study of its most hidden zakulkov. Gogol depicts his heroes in all the specifics of their public being, in all the smallest details of their household text, their daily existence.

"Why depict poverty, yes poverty, and the imperfection of our life, digging people from the wilderness, from the remote boring states?" These initial lines from the second volume of the "dead souls" may be best revealed by Paphos Gogol creativity.

Never before the contradictions of Russian reality were not so naked, as in the 30--40s. The critical image of her deformations and disgraces became the main task of literature. And it was brilliantly felt Gogol. Explaining in the fourth letter "Regarding the" dead souls "of the reasons for the burning of the second volume of the poem in 1845, he noticed that it is pointless now to" bring out several excellent characters that discover the high nobility of our breed. " And then he writes: "No, it happens when it is impossible to straighten society or even all generation to the beautiful, until you show the whole depth of its real abomination."

Gogol was convinced that in the contemporary of Russia, the ideal and beauty of life can be expressed, first of all, through the denial of ugly reality. This was his work, this was the originality of his realism. The influence of Gogol on Russian literature was huge. Not only all young talents rushed to the path specified by him, but some writers who have already acquired fame went on this path, leaving their own former.

Nekolas, Turgenevs, Goncharov, Herzenov, and Herzenov, and in the 20th century, we observe the influence of Gogol on Mayakovsky in the 20th century. Ahmatov, Zoshchenko, Bulgakov, etc. Chernyshevsky argued that Pushkin is the father of Russian poetry, and Gogol is the father of Russian prosaic literature.

Belinsky noted that in the author of the "auditor" and "dead souls", Russian literature found his "National Writer himself." The nationwide importance of Gogol critic saw that with the advent of this artist, our literature solely appealed to Russian reality. "Maybe he wrote," through it, it became more unilaterally and even monotonous, but more original, originality, and, consequently, true. " A comprehensive image of real life processes, a study of its "roaring contradictions" - on this path will make all the great Russian literature of the postlegal era.

The artistic world of Gogol is unusually peculiar and complicated. The seeming simplicity and clarity of his works should not be deceived. They lies the imprint of the original, one can say, the amazing personality of the Great Master, his very deep look at life. Both are directly related to his artistic world. Gogol is one of the most difficult writers of the world. His fate - literary and life - amazing with his drama.

Having squeezed everything bad, Gogol believed in the triumph of justice, which will win, as soon as people realize the worstness of "bad", and to realize, Gogol commemorates everything desired, insignificant. To implement this task, it helps a laughter. Not that laughter that is generated by temporary irritability or bad character, not that light laughter that serves for idle entertainment, but the one that "all seals from the light nature of man", at the bottom of which he was concluded "Emerging His Spring."

The court of history, the contemptuous laughter of the descendants - this is what, according to Gogol, will serve as a retribution of this vulgar, indifferent world, who can not change anything in himself, even in the face of the obvious threat of meaningless death. Gogol's artistic creativity, embodied in bright, finished types, all negative, all the dark, vulgar and moral and misery, which Russia was so rich, it was for people of the 40s with an acute source of mental and moral excitations. Dark Gogol Types (Sobeshevichi, Manilov, Nostrils, Chikchiki) came the source of light for them, for they could learn from these images hidden thought Poet, his poetic and human grief; Its "invisible, unknown to the world of tears", turned into "visible laughter," were visible and understood.

The great sorrow of the artist walked from the heart to heart. It helps us to feel the true "Gogol" way of narration: the tone of the narrator is mocking, ironic; He is mercilessly painfully depicted in the "dead souls" of vices. But at the same time, lyrical devices are found in the work, in which the silhouettes of Russian peasants, the Russian nature, the Russian language, the roads, the Troika, Daley ... In these numerous lyrical deviations, the author's position is clearly visible, its attitude to the depicted, all-permissive lyrism His love for debris.

Gogol was one of the most amazing and peculiar masters artistic word. Among the great Russian writers, he possessed, perhaps, almost the most expressive signs of the style. Gogolevsky, Gogol landscape, Gogol Hamor, Gogol's manner in the portrait image - these expressions have long become everyday life. And, nevertheless, the study of style, the artistic skills of Gogol still remains far from a fully solved task.

Domestic literary critic Much made a lot to study the heritage of Gogol - perhaps even more than in relation to some other classics. But can we say that it is fully studied? Even even ever in the historically foreseeable future, we will have grounds for an affirmative answer to this question. On each new round of history, there is a need to re-read and in a new way to think about the work of the great writers of the past. The classic is inexhaustible. Each era opens up in the Great Heritage formerly not noticed faces and finds something important in it for thinking about the affairs of its own, modern. Much in the artistic experience of Gogol today is unusually interesting and instructive.

One of the most excellent achievements of the art of Gogol is a word. Few of the great writers owned so completely magic words, the art of verbal painting, like Gogol.

Not only the language, but also the syllable he considered the "the first necessary instruments of all writer." Evaluating the work of any poet or prosaic, Gogol primarily draws attention to his syllable, which is like a business card of the writer. The syllable itself does not make a writer yet, but if there is no syllable - no writer.

It is in a syllable, first of all, the individuality of the artist, the originality of his vision of the world, its possibilities in the disclosure of the "inner man", his style. In the syllable, everything is the most intimate, which is in the writer. In the representation of Gogol, the syllable is not the external expressiveness of the phrase, it is not a letter of writing, but much more deeply, expressing the rootality of creativity.

Here he is trying to determine the essential feature of the poetry of Derzhavin: "Everything is large. He has a syllable, like any of our poets. It is worth paying attention: there is no mediastinum between the same phrase. Having said that the Derzhaft is all big, Gogol immediately, followed, clarifies that he understands under the word "all", and begins with a syllable. For to tell about the syllable of the writer - it means to say hardly about the most characteristic in his art.

The distinctive feature of Krylov, according to Gogol, is that "the poet and the sage merged into it together." Hence the painting and the accuracy of the image in the wing. One with another merges so naturally, and the image is so true that "he does not catch his syllable. The subject, as if not having a verbal shell, protrudes himself, Naturo before the eye. " The syllable expresses not the outer glitter of the phrase, the artist's nature looks in it.

Caring for language, about the word Gogol considered the most important thing for the writer. Accuracy in circulation with the word largely determines the accuracy of the image of reality and helps her knowledge. Noting in the article "On the" contemporary "some newest phenomena Russian literature, Gogol, for example, allocates in a number of modern writers V. I. Dalya. Do not own the art of fiction and in this respect does not be a poet, the distance, however, has significant dignity: "He sees a matter everywhere and looks at any thing from her little side." It does not belong to the number of "inventors narratives", but it has an enormous advantage in front of them: he takes an ordinary case from everyday life, whose witness or eyewitness was, and not adding anything to him, creates an "the most important story."

Language skills - extremely important, maybe even the most important, element of writing art. But the concept of artistic skills, according to Gogol, is still an increase, for it directly absorbs all sides of the work - and its shape, and content. At the same time, the product language is not neutral in relation to the content. Understanding this very complicated and always individually manifested interconnection inside the art of the artistic word lies in the very essence of the aesthetic position of Gogol.

Great art never agrees. Classics invade the spiritual life of our society and become part of his self-awareness.

The artistic world of Gogol, as well as a large writer, is complicated and inexhaustible. Each generation not only re-read the classics, but also enriches it with its continuously developing historical experience. This is the secrecy of the unlawful strength and beauty of the artistic heritage.

The artistic world of Gogol is a living spring of poetry, now for almost one and a half years moving forward the spiritual life of millions of people. And as if not far away after the "auditor" and "dead souls", the development of Russian literature, but many of its most outstanding accomplishments were predicted in the origins of their predicted and prepared by Gogol.

Gogol began his creative activity as a romantic. However, he turned to critical realism, opened a new chapter in it. Like a Hu-devin-realist, Gogol developed under the noble influence of Pushkin, but was not a simple imitator of the twin priority of new Russian literature.

The peculiarity of Gogol was that he was the first to give the broadest iso-birds of the county landowner-officials of Russia and the "Little Man-Age", a resident of St. Petersburg corners.

Gogol was a brilliant satiri, who was bichnaya "vulgarity of a vulgar man-age", extremely exposed public contradictions to his modern Russian reality.

The social orientation of Gogol affects the compositions of his works. The string and plot conflict in them are not any bove and family circumstances, but the events of social importance. At the same time, the plot serves only the reason for the wide range of life and the disclosure of the characteristics.

The deep penetration into the essence of the main socio-economic phenomena of the modern life allowed Gogol, ingenious artistic words, draw images of a huge summary force.

The goals of the bright satirical image of the heroes serves Gogol a thorough selection of many details and sharp exaggeration. So, for example, portraits of the heroes of the Dead Souls are created. Gogol is predominantly domestic details: things, clothes, housing of heroes. If in the romantic agents of Gogol, picturesque landscapes, giving the work of a certain elevation of the tone, in the real-style works, especially in the "dead souls", the landscape of Java is one of the means of drawing types, characteristics of heroes.

Themes, social orientation and ideological coverage of the phenomena of the life and characteristics of people led to the peculiarity of the literary speech go-naked. The two worlds depicted by the writer - the people's team and the "existers" - determined, the main features of the speech of the writer: his speech is enthusiastic, imbued with lyrism when he speaks of the people, about his homeland (in the "evenings ...", in Tarasa Bulbe ", In lyric retreats" dead souls "), it becomes close to the lively spoken (in household paintings and scenes" evenings ... "or in narrations about the official landlord of Russia).

The originality of the Gogol language is wider than its pre-verminates and contemporaries, the use of common speech, dialectisms, and Ukrainism. Material from site.

Gogol loved and thinly felt the people's speaking speech, skillfully changed all her shades for the characteristics of his heroes and phenomena of communications.

The character of man, his social status, the profession - all this is extremely clearly and accurately reveals in the speech of Gogol characters.

The power of Gogol-stylist is in his humor. In his articles on the "dead doo-shah" Belinsky showed that Hogol humor "consists in the opposite of the ideal of life with the validity of life." He wrote: "Humor is the powerful instrument of the spirit of denial, destroying the old and preparing a new one."

Gogol verbal painting contributes to artistic clairvoyance, deriving internal appearance man and transforming it. Of course, the word has a "incomplete visibility" (according to A.F. Losev), but opens hidden in the presentation. All the nice and petty moved N.V. Gogol "Vnuzhu" and "fell" in completeness and unity. Note that only contemplative and creative reading reveals the importance of "small things" and "collecting" in the works of N.V. Gogol. A.S. Pushkin Zorko swept innovative traits Style N.V. Gogol - humor, poetry, lyricism and imagery. N.V. Gogol was "captured by the power of the word", he showed special skills in what is called "accuracy". The image of the Gogol style is the most important aesthetic principle based on a simple synthesis of arts (poetry and painting); This is a special syllable, a unique language that pays grain of painting. The roots of the Gogol language in the "contemplation", more precisely, in two opposite features of "vision". Andrey White noticed that N.V. Gogol does not have a "normal" view: his eye is either wide open, advanced, or rich, narrowed. "

"Gogol's images, names of Gogol types, Gogol expressions entered the nationwide language. They produced new words, for example, manilovshchyna, Nozdrustry, Rapaciousness, Sobekievskyetc. [...]

None of the other classical writers created such as Gogol, the number of types that would enter the literary and domestic use of the names of the nominal one.

Gogol, in the life of Belinsky, called "ingenious poet and the first writer modern Russia" Gogol marked the beginning of the application in the Russian literature of the people's household language and the reflection of the feelings of the whole people. Thanks to the genius of Gogol, the style of colloquial speech was released from "conditional constraints and literary stamps. In Russia, an absolutely new language appeared, characterized by its simplicity and accuracy, strength and proximity to nature; The speed of speech, invented by Gogol, quickly entered into a universal use. Great writer He enriched Russian with new phraseological circulation and words. Gogol his main destination saw in the "convergence of the language of fiction with the lively and tag conversational speech of the people"

One of characteristic features Gogol's style, which indicates A. White, was the ability of Gogol skillfully mix Russian and Ukrainian speech, high style and jargon, stationery, preserving, hunting, lacquer, booby, meshchansky, the language of kitchen workers and artisans, crossing archaisms and neologisms There are actors and author's speech. Vinogradov notes that the genre itself early prose Gogol is the character of the Stylistics of the Karamzin School and is distinguished by a high, serious, pathetic narrative style. Gogol, understanding the value of the Ukrainian folklore, really wanted to become "genuinely folk writer"And tried to involve a variety of oral public speech in the Russian literary and artistic narrative system. The writer associated the reliability of the reality transferred to them with the degree of ownership of the class, class, professional style of the language and the dialect of the latter. As a result, the tongue language of Gogol acquires several stylistic and language planes, becomes very inhomogeneous. Vinogradov notes that in the early editions of the "dead souls", the use of Gogol Stationery and phraseology was wider, freer and more natural. With a note of irony, Gogol is a stationery and official-official expressions in the description of "non-servicing", everyday situations and the lives of officials. The style of the spaciousness of Gogol is intertwined with a stationery and business style. Gogol sought to introduce a literary language to the literary language of different layers of society (small and medium nobility, urban intelligentsia and branches) and through the mixing of them with a literary and book language to find a new Russian literary language. In the "notes of the mad" and in the "nose", the stationery and business style and colloquial-officials are used by Gogol much more than other styles of spacious. Sometimes Gogol resorted to an ironic description of the content invested by society in a particular word. For example: "Word, they were what is called happy"; "There was nothing more secluded or, as we are expressed, beautiful square."

Gogol believed that the literary and book language of the highest classes was painfully struck by borrowing from foreign, "alien" languages, it is impossible to find foreign words that could describe Russian life with the same accuracy that Russian words; As a result, some foreign words were used in a distorted sense, some of the meaning was attributed to some, while some of the original Russian words were irretrievably disappeared.

Gogol is closely associated with a secular narrative language with a Europeanized Russian-French salon language, not only denied and paroded it, but also openly opposed his style of narration with the language standards that correspond to the salon-lingerie. In addition, Gogol struggled with a mixed semi-trunk, semi-constant Russian romantic language. Gogol opposes romantic style realistic style, reflecting real validity is more fully and plausible.

As for the national-scientific language, Gogol saw the peculiarity of the Russian scientific language in its adequacy, accuracy, brevity and objectivity, in the absence of the need to tear it. Sources of Russian scientific language Gogol saw in the Church Slavonic, the peasant and the language of folk poetry.

Gogol sought to include in his language a professional speech not only no noble, but also bourgeois class. Giving great value the peasant language, Gogol replenishes its vocabulary, writing the names, terminology and phraseology of the accessories and parts of the peasant costume, inventory and home utensils of the peasant hut, pastry, laundry, beekeeping, forestry and gardening, weaving, fishing, folk medicine, that is, What is connected with the peasant language and its dialects. The language of crafts and technical specialties was also interesting to the writer, as well as the language of noble life, hobbies and entertainment. Hunting, Mercenar, Military dialects and jargon attracted gogol's close attention.

Gogol sought to find ways to reform the relationship between the modern literary language and the church's professional language. He introduced church symbolism and phraseology into the literary speech,

Already in the first Hogol's posts, using the Ukrainian literary tradition, depicts people through the realistic atmosphere of the people's household language, Ukrainian rites, belief, fairy tales, proverbs and songs,

Gogol contrasts not only the complex, artificially embellished, far from the living oral folk speech of Panich's tongue with a simple, intelligible, populous language, Foma Grigorievich, but also their images are opposed to each other.

when comparing the two editions of the "evenings", the rapid change in the style of Gogol in the direction of the use of the expressive variety of live speaking speech. Gogol eliminates standard, the same type of book-literary vocabulary and frameological revs Or replaces it to synonymous more expressive, dynamic expressions from the living oral speech.

An important role was played for Gogol, the principle of metaphorical animation.

The author of Shenels is close to the environment in which Her Hero lives, writes a bukovsky, he understands the care and problems, dreams and reality of the life of Akakia Akakievich, he tells about everything that does not appear, but as a friend who also knew Akakiya Akakiyevich, and an official. The narrator shares with the reader detailed description The habits and individual moments of the life of the heroes and their relatives, which thus protruding.

The author combines the "pure comic tale, built on language Game, Kalaburas deliberate Kosonazychi "with a description in the sublime, emphasized pathetic in terms of rhetoric tones when it comes to really high concepts and phenomena, but, on the contrary, about something everyday life and shallow.

"I never created anything in the imagination and did not have this property. I only went out well, which was taken by me from reality, from the data to me known. I never wrote portraits in the sense of a simple copy. I created a portrait, but created it because of the consideration, and not imagination "

An important moment in the destruction of the forms of book syntax from Gogol was associated with the techniques of inclusion in the author's speech of an incomprehensive-direct, "foreign speech", with their constantly fluctuating relation. The writer included in the author's narration "someone else's speech", often contrary to the author's point of view, without any warnings or reservations. This led to a comic offset of different semantic planes, to sharp "jumps" of expression, changes in the narrative tone, at the same time, this ratio serves Gogol to create comic repetitions.

For Gogol text, the atmosphere of the little things is characterized, as an example, the reaction of Bashmachkina on the barbarian Calm Statement Petrovich on the cost of manufacturing a new sheel: "Congue of rubles for a tires!" I exclaimed the poor Akaki Akakievich, splashing his hands, screamed, maybe the first time the outgrowth, for always distinguished by the calm of the voice "

Gogol often describes the details of the narrative, while the redundancy of any quality writer shows the redundancy of the means of grammatical expression of this very quality, for example, a doctor's voice is not loud, nor quiet, but extremely steady and magnetic (nose).

there are more in "Sinels" than in other works of Gogol of detailed, specific, subject descriptions of objects, things, people, etc. The writer gives a detailed portrait of the hero, his clothes and even food.

Gogol mixed up Ukrainian with various dialects and styles of Russian. Moreover, the style of the Ukrainian language was directly dependent on the nature of the work of the work. Gogol combined the Ukrainian prison language with Russian through the spacious "pea pan" from "Evenings on the farm near Dikanka."

You need to know what Akaki Akakievich explained more part Prepositions, adverbs and, finally, with such particles that do not resolutely have any meaning. " (Shinel); "More ... there is some kind of ... some kind of ..." (dead souls).

The originality of the language of Gogol is that it deliberately uses tautology, syntactic synonym, unusual words and phrases, metaphorical and metonymic displacements and alogiism. The writer threatens the verbs and nouns, lists in one row completely incompatible things and objects, and even resorts to the grammatical inaccuracy of expressions.

The numerous features of the Gogol language are explained by the fact that the writer's language simply and naturally entered both the literary and useful Russian language.

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