Dead souls. Analysis of lyric deviations in the poem N.V

Lyrical retreat - an extrapty element of the work; The composite-stylistic acceptance of the author's retreat from the direct stories; Copyright, reflection, statement expressing attitude to the indirect attitude to it. Lirically, the deviation in the poem of Gogol "Dead Souls" makes a lifeful, refreshing start, shall be drawn by the content of life-arising from the reader, reveal the idea.

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Analysis of lyrical deviations in the poem N.V. Gogol "Dead Souls"

Lyrical retreat - an extrapty element of the work; The composite-stylistic acceptance of the author's retreat from the direct stories; Copyright, reflection, statement expressing attitude to the indirect attitude to it. Lirically, the deviation in the poem of Gogol "Dead Souls" makes a lifeful, refreshing start, shall be drawn by the content of life-arising from the reader, reveal the idea. The subject of lyric retreats is diverse.
"On fat and subtle officials" (1GL); The author resorts to the generalization of the images of civil servants. Care, bribery, kindness - characteristic of their features. Apparent at first glance, opposition to thick and thin actually identifies common negative features and those and others.
"On the shades and subtleties of our circulation" (3HL); It is referred to imprisonment in front of rich, sinking, self-reliance of officials before bosses and arrogance to subordinate.
"On Russian People and His Language" (5HL); The author notes that the language, the speech of the people reflects its national character; A feature of the Russian word and Russian speech is an amazing accuracy.
"On two types of writers, about their lots and destinies" (7HL); The author opposes the realist writer and the writer of the romantic direction, indicates the characteristic features of the Creativity of the Romance writer, speaks of the beautiful funeral of this writer. Gogol with bitterness writes about the Writer-Realist Writer, who risked to portray the truth. Reflecting on a realistic writer, Gogol determined the meaning of his creativity.
"Many accomplished in the world of delusions" (10Hl.); The lyrical retreat of the World Chronicles of Humanity, his delusions is the manifestation of the Christian looks of the writer. All mankind left the straight road and stands on the edge of the abyss. Gogol indicates to all that the straight and bright path of mankind consists in following the moral values \u200b\u200blaid down in Christian teaching.
"On the expanses of Russia, the national character and the Troika Bird"; The final lines of the "dead souls" are associated with the theme of Russia, with the reflections of the author about the Russian national character, about Russia-state. In the symbolic image of the bird-triple, Vera Gogol in Russia, as a state, which is intended for more than a great historical mission. At the same time, the thought of the very difference of the path of Russia is traced, as well as the idea of \u200b\u200bthe complexity of the presence of specific forms of promising development of Russia.

"Dead Souls" - a lyrol-epic work - a poem in prose, which unites two starts: epic and lyrical. The first principle is embodied in the author's plan to draw "all of Russia", and the second - in the lyrical retreats of the author associated with its intention constituting an integral part of the work. The epic story in the "Dead Souls" is also interrupted by the author's lyrical monologues, evaluating the behavior of a character or reflecting about life, about art, about Russia and its people, as well as affecting topics such as youth and old age, the appointment of a writer who help to learn more About the spiritual world of the writer, about his ideals. Larine deviations about Russia and Russian people have the greatest importance. Throughout the poem, the idea of \u200b\u200bthe author is approved about the positive image of the Russian people, which merges with the glorification and chanting of the Motherland, which is expressed by the civil-patriotic position of the author.

So, in the fifth chapter, the writer famous "live and wagon Russian mind", his extraordinary ability for verbal expressiveness, that "if he rewards a sense, he will go to him in the genus and offspring, he will take him with himself and in service, and resign , in St. Petersburg, and on the edge of the world. " Chichicov's such reasoning brought his conversation with peasants who called Plushkin "paid" and knew him only because he fed his peasants badly.

Gogol felt the living soul of the Russian people, his delets, courage, diligence and love for free life. In this regard, the author-invested in the mouth of Chichikov, about the fortress peasants in the seventh chapter, have deep importance in this regard. Here is not a generalized image of Russian men, and specific people with real features, in detail discharged. This is a carpenter Stepan Cork - "Bogatyr, that in the guard would be suitable", which, on the assumption of Chichikov, proceeded to all Russia with an ax behind the belt and boots on the shoulders. This is a shoemaker Maxim Tjaleshovers, who studied in German and decided to get rich anger, making boots made of rotten skin, which were spread in two weeks. On this he abandoned his work, washed, dumbfounded on the Germans who do not give to the life of the Russian man.

Further, Chichikov reflects on the fate of many peasants purchased from Plushin, Sobevich, Manilov and Boxes. But the idea of \u200b\u200bthe "rampant of the people's life" so did not coincide with the image of Chikchikov that the word takes the author himself and already on his own name continues the story, the story about how the Abakum Fyrim walks on the Breast Pier and merchants, while working on one, like Rus, song. The image of Abakum Fyris indicates the love of the Russian people to the free, rampant life, walking and fun, despite the heavy serf life, the oppression of landowners and officials.

In lyric retreats, the tragic fate of the reserved people, scored and socially fitted, which was reflected in the images of Uncle Mitya and Uncle Mine, the girls Pelagei, who did not know how to distinguish, where the right, where the left, Plushkin proshi and Maur. Behind these images and paintings of the people's life lies deep and wide soul of the Russian people. The love of the Russian people, to the Motherland, Patriotic and sublime senses of the writer, was expressed by the created Gogol the image of a triple, carried forward, personifying the mighty and inexhaustible forces of Russia. Here the author is thinking about the future of the country: "Rus, where are you rushing? "He looks to the future and does not see him, but as a true patriot believes that in the future there will be no Manilov, Soberevichi, Nosdrey, plush, that Russia will rise to greatness and glory.

The image of the road in lyric retreats is symbolic. This is the road from the past to the future, the road at which every person and Russia is being developed in general. The work is completed by the anthem of the Russian people: "Eh! troika! Troika Bird, who invented you? You could have been known for the Boygogo People .... "Here, lyric retreats perform a generating function: serve to expand the artistic space and to create a holistic image of Russia. They reveal the positive ideal of the author - Russia of the People, who is opposed to Russia's Rusian-rank.

But, in addition to lyrical deviations, who chanting Russia and its people, in the poem there are both reflections of the lyrical hero on philosophical topics, for example, about youth and old age, calling and appointing a true writer, about his fate, which are somehow related to the way the road in the work . So, in the sixth chapter, Gogol exclaims: "Take the same way to the path, leaving the soft youthful years in the harsh faster courage, take all human movements with them, do not leave them on the road, do not fit! .. "Thereby, the author wanted to say that all the best in life is connected with younger and do not need to forget about it, as the landowners described in the novel, stas" dead souls ". They do not live, but exist. Gogol urges to keep the living soul, freshness and completeness of feelings and remain as long as possible.

Sometimes, reflecting on the agent of life, about changing the ideals, the author himself appears as a traveler: "Before, for a long time, in the summer of my youth .... I had fun to approach the first time to an unfamiliar place .... Now I am indifferent to any unfamiliar Village and indifferently looked at her duty; My chilled outstand is unpleasant, I'm not ridiculous .... and the insane silence keep my real mouth. Oh my youth! Oh my freshness! "To recreate the impact of the author, it is necessary to say about lyrical devices in which Gogol argues about two types of writers. One of them "did not change the sublime building of his lira, did not sleep from the top of his poor, insignificant to his fellow, and the other dare to call out all that every minute before the eyes and wonder the indifferent eyes. The lot of the present writer who daring to truthfully recreate reality, hidden from popular eyes, such that, unlike the romance writer, was absorbed by his unearthly and sublime images, it was not destined to achieve fame and experience joyful feelings when you admit and chant. Gogol comes to the conclusion that an unrecognized realist writer, Satiri writer will remain without participating that "Him His field is severely, and he feels his loneliness." Also, the author talks about "connoisseurs of literature", who have its idea of \u200b\u200bthe appointment of a writer ("better to imagine a beautiful and fascinating"), which confirms its conclusion about the fate of two types of writers.

All this recreates the lyrical image of the author, which long will still go hand in hand with a "strange hero, to look around the whole huge life, to look at her through a prominent laughter and invisible, unknown tears to him! "

So, lyrical retreats occupy a significant place in the poem of Gogol "Dead Souls". They are remarkable from the point of view of poetics. The undertakings of a new literary style are guessed in them, which will later find a bright life in the prose of Turgenev and especially in the work of Chekhov.

Starting with the third chapter of Gogol, his irony is combined with lyrical inspiration. Comic goes into tragicomic, the genre of the poem arises, which is manifested primarily in lyrical deviations. The author's laughter is accompanied by sadness, longing to ideal, with hope for the revival of every hero and Russia as a whole. The author's ideal fights throughout the poem with low reality.
Creating "Dead Souls" Gogol perceived as a matter of life, as its purpose: "Rus! What do you want from me? What incomprehensible connection is lighted between us? What do you look like that and why all that neither in you turned the full expectations of the eyes? .. And still, full of bewilderment, I still stand still, and the chapter already painted the Terrible cloud, heavy rains, and the thought of you before space. What will this immense obstacle prophesate? Is there a lawless thought if you yourself without end? Is it not to be herself here when there is a place where to turn around and go to him? And Grozno, the volume of me mighty space, the terrible force is painted in the depths of mine; The unnatural power was illuminated by my eyes: y! What a sparkling, wonderful, unfamiliar far distance! Rus! .. "He considered his duty to help Russia, to promote her moral reincarnation through literature.
Gogol appears to us by a man sincerely loving his homeland, a true patriot seen by its vices and disadvantages, but they hope to fix them. His love for Russia is limitless, as the world, he prevents the country a great future, believes that it should go to her own, before anyone in an unknown way, that Russia is a country in which, thanks to the strongest faith of the people and his tireless, unlimited strength, will come once A happy time when all the vices are finally eradicated.

Lyrical deviations (by chapters)

Chapter I:

Chapter V:

Chapter VI:

Chapter VII:

Chapter X.

Chapter XI:

Sapchenko L. A. (Ulyanovsk), Ph.D., Professor of Ulyanovsk State University / 2010

It has long been noted by researchers that some characters of the "dead souls" have a background, while the Biography of Chichikov is given from childhood. The theme of age is associated not only with the image of the main character, but also with the general content of the poem, where the characters of different ages are presented. The human life road - from childhood to old age, from birth to death - makes up the subject of deep lyrical pondays of the author. This allows you to apply as a generalizing such inventory tool for artistic analysis as "age of age."

We are not talking about the correlation of the Gogol poem with the genre of the Roman of Education, nor about the problem of the phased formation of the hero. "Some typically repeated path of the formation of a person from youth idealism and a dreamy to mature sobriety and practicalism", "The image of the world and life as experience, like schools through which every person should pass and bring out the same result from it - siping from one or Another degree of rubbing "- just inconspicuous by the poetics of the" dead souls "with their ideal of public ministry, the high purpose of man. At the same time, the genre model of the adventurous novel, and the satirical view of the image, and the grotesque are inseparable in the poem from the penetration of lyrism, from a strongly pronounced copyright. The author is quite viewed in the poem and is her hero, opposing the very idea of \u200b\u200breconciliation with the vulgar reality and calling to take away the "best movements of the soul", inherent in adolescence. Gogol is presented, on the one hand, the confusion of his characters, on the other hand, the "faithful romantic spirit of the maximalist's sublime idealistic position of the author-writer", captured by the search for "fruitful grain" of Russian life, searching for a "live soul". In "Dead souls undergo the test" Ontological nature of man ". At the same time, the hero's age for the author is not disseminated (and each age is recreated by special poetic means, which is supposed to be considered in the article). Through the system of artistic agents (comic or lyrical) related to the image of one or another age, fundamental author's ideas about the meaning of the earth's existence, which inseparable to Gogol from the idea of \u200b\u200bdebt are revealed.

In the image of each age, there is its own figurative-symbolic dominant. Through this is the image of the window: a muddy, not turned away - in childhood, open - in adolescence and maturity, forever closed - in old age.

Closed, muddy and uncompretable "Space of Childhood" Pavlushi Chichikov. Little windows, not dismissed in the winter, nor in the summer, father - "a sick person ..., increablely sighing, walking around the room, and who said in standing in the corner of the sandbox ...", "Permanent seat on a shop", eternal passing Before your eyes: "Not Licks, Ostimize the eldest and rose a virtue in the heart" (wept, i.e., a faceless teaching, in the absence of a teacher, his words), the "reassured again!" When "the child, a misundance of labor, attached to The letter is some kind of quenching or tail ", and after these words an unpleasant feeling, when" the ear of his ear twisted very painful with the nails of the long stretching from behind the fingers "(VI, 224). "When parting, the tears was not spilled out of the parental eyes" (VI, 225), but it sounded to all the memorable instruction about the need to take care of a penny, deeply learned by the Son.

Gogol shows the poverty and mission of the "Children's World", devoid of fertile spiritual food. Early years are appeared as "antigoripania" and "antiquity". The lack of paternal love (about the mother there is no mention of any mention) and the only taught son of the "lesson", which is pride-marked by the author, determine the further path of the hero.

Images of childhood, naturally associated with the theme of the future, repeatedly appear in the poem (and in the first, and in the second volume), but the special view of the image is questioned by the military or diplomatic field of Alkid and Femistocleus. The data writer names "embody the empty dreams of Manilov about the heroic future of his children." In this case, the names are not the only way to create a comic effect. The semantic complex of a liquid or semi-liquid substance is associated with the theme of childhood: tears, fat on the cheeks, "Interrogal foreign drop" (VI, 31), which would certainly have rushed into the soup, if Lackey did not deliver the nose to the Messenger in time, etc.

In one of the last preserved heads of the second volume, the maximum allowed in the drawing of the child is the physiology of shipments. The baby, not without irony called by the author "the fruit of tender love of recently marching spouses", sprinkled at first, but polished chikhikov to himself with the help of Agukania and carnelian searches from the clock - "suddenly he behaved badly" than and spoiled the novel Frak Chikchiku. "Would you like to drink you, the damned damn!" (Vii, 95) - muttered chischiki in the hearts of himself, trying to inform his face as much as possible, a cheerful expression. The instantaneous transformation of an angel in Chetchen, "innocent child" in the "Cursed Canalchonka" is accompanied by a sarcastic definition of this age as "golden time".

After the replica of the father who guessed the baby: "... what could be enviable childish age: no concerns, no thoughts about the future" and the appropriate answer Chichikova: "The condition for which you can change the same hour," follows the author's comment: "But it seems , both lay down: offer them such an exchange, they would have immediately on the opponent's courtyard. Yes, and what the joy to sit at mom's mums on the hands yes, spoil Thraks "(VII, 228). It is time in which there is no "no thoughts about the future" is not attractive for the author, nor for the hero.

Although the poem is repeatedly mentioned about Chichikov's desire to have in the Bunch of the family, the author's text sounds sarcastically, and all the children, the Hero-Giving Hero, look comically, is not enough, and sometimes it is hardly repulsive. Chichikov's preliminary speeches only parody the possible loss of the dietary and give the insincerity of the intentions of Pavel Ivanovich.

Relationships of parents and children: Father's instruction that destroyed Chichikov, damned by the father of the daughter and the son of Plushkin, the useless future of Alkid and Femistocleus, nobody the necessary children of Nozdrev, the irresponsibility of the rooster in front of their younger sons (their non-promotional growth and the need for a spiritual poverty), the need to reduce From the paternal bonds hlothuyev, - cause the author the invisible to the world tears.

"How to raise the children who did not bring them up? After all, they can only bring up an example of their own life "(VII, 101)," says Muzhov Hlobuev.

Through both Gogol Tom passes the theme of female education. The criticism of the institutional education and the parallel loss of the parental decent influence, the "Baby" environment (when meeting Chichikov with a young blonde) is replaced by the Mother's responsibility for the future of his daughter. Kostagglo's wife announces his brother that I have no time to do the music: "I have an ample daughter, which I have to teach. To pass it on the hands of an alien governess then only to have free time for music, - no, I'm sorry, brother, I will not do this "(VII, 59). Oxilent, i.e., at that age, when childhood ends and adolescence comes and when a moral lesson is especially necessary. "We know the first and holy law of nature that the mother and father should form the morality of their children, which is the main part of the upbringing," Karamzin written by Gogol.

In the second volume, "History of Education and Childhood", Andrei Ivanovich Tetenenikov, is represented. Actually about childhood does not say anything (no childhood impressions or any moral lessons). Instead, on the first pages of Tom, the reader gets acquainted with the wonderful and immeasurable space, which, apparently, surrounded the hero from infancy.

The artistic perfection of the descriptions becomes an expression of the feeling of absolute freedom, which the author itself is experiencing, and with him the reader, in this infinity, paradoxically called "Zakolek" and "deaf". Infinity spreads vertically (golden crosses hanging in the air and their reflection in water) and horizontally ("without end, spaces opened"; VII, 8). "Lord, as spacious here!" (VII, 9) - just could exclaim the guest or the visitor after "some two-hour contemplation".

The image of the infinite space is the initial motive of the head of the Tetenechnik, young lucky, "moreover a non-native man" (VII, 9) - suggests the idea of \u200b\u200bthe unlimited possibilities opening before this hero. The age of youth (when a certain degree of spirituality is achieved) attracts the permanent attention of the author, poeticized, sounds in lyrical retreats of the poem.

The subject of youth correlates with the motives of the frontier, open window, the threshold and limitless space, in other words - an extremely responsible moment, overshadowed by the premonition of vain expectations, a brief moment, after which a useless life comes, and then hopeless old age (tentes, Platonov, Plushkin). The unforgettable opportunity to some extent is associated with the lack of influence of the teacher - a mature husband ...

The extraordinary mentor of TTetenenikov died too early, and "There are no those feathers in all of the world, who would be able to erect the messengers to the eternal fluctuations and deprived of the elasticity of the messenger will, who would shook the soul with an awakening cry of the wicked word: ahead, which is eager to go everywhere, At all steps standing, all classes, and ranks, and crafts, Russian people "(VII, 23).

The image of the window again appears in the chapter on the Tenterests, which decided to be used to complete the sacred debt of the Russian landowner, but I froze, who fell asleep in his promised Zakull. After the late awakening, a two-hour stationary seating on the bed, a long breakfast, the tenters with a cold cup "moved to the window turned to the courtyard", where "took place every day" the noisy scene of the buffetber of Gregory with a friend's home - which, looking for support, pointed to The fact that "Barin sits by the window" and "everything sees". When the noise on the courtyard became unbearable, Barin went to his office, where he spent the rest of the time. "He was not walking, did not want, did not want to even climb up, I did not even want to dissolve the windows then to pick up fresh air into the room, and the beautiful view of the village, which could not indifferently admire any visitor, did not quite exist for the owner itself." VII, 11).

In contrasting a "tangible" reality and unattainable Dale, the expression of the conflict, which is peculiar to romantic globalism. "It is in such a aspect that the image of the" ordinary ", sometimes the everyday interior with a window open in the" big world "gets widespread in the art of the beginning of the XIX century", and the "distance is not realized, it remains a tendency, opportunity, aspiration, dream."

With the theme of youth, the motive is associated with a possible, but not a sales miracle. He sounds in the episode of the Chichikov meeting with a young blonde standing on the threshold of life:

"A pretty sulfur face rumbled, like a fresh egg, and, like him, Bell some kind of transparent whiteness, when freshly, just demolished, it keeps against the light in the dark hands of the test key testing and passes through itself the rays of the shiny sun; Her thin ears were also swayed, having fun penetrating them with warm light. "

"Everything can be done from it, it can be a miracle, and can go out and rubbish, and rubbish!" Only here and only for a moment the poetry of childhood arises ("she is now like a child, everything in it simply, she will say that she will cry, laughing where he wants to laugh"; vi, 93), and the motive of purity, freshness, transparent whiteness sounds , missing attics actually children. The presence of a child is usually associated with different types of pollution or awkward situation: legs knee-deep in mud (VI, 59), linen by rubbing cheeks (VI, 31), the need to wipe something with a napkin or to rub cologne and so on. Child, like The rule was spoiled, blurred, someone bit.

A peculiar metaphor of the children-youthful state becomes "just demolished egg" in the hands of the "test key", like that the author is experiencing a hero - what will come out of its contents - "miracle" or "rubbish".

As a result - childhood it turns out to be conjugate with the images of "substances", deprived of hardness and shape, the youth is defined as the "soft" summer, and in the characters of the mature age, the hardness of the spirit is not ready for the first place, not the readiness to be a "citizen of its country" (VII, 13 ), and the body of the body (Sobashievich), elasticity (chischiki is repeatedly compared with the "rubber ball"), breathing flesh (nostrils) and so on.

The topic of old age accompanies from Gogol of the symbolism of the vehicle - the Old, the ugly, pressed rag. Appears here and the other already familiar image. The windows, before all open in Plushkin's house, blended one after another, and one left, and then the battered papers (the exception of the expanser was fully given, the prospects). However, the motive of old age acquires not so much a squeaming, how much hopeless, inexorably tragic intonation. "Great, terrible old age is terrible, and nothing gives back and forth! The grave of her mercy, on the grave, beats: a man is buried here! But you will not read anything in the consideration, inexless features of inhuman old age "(VI, 127).

In the doomedness of childhood on confusion and emptiness, in the inhumanity of old age, the tragedy of the overall idea of \u200b\u200bthe "dead souls" was concluded: for what will the slamming young man grow and what will the threshold of maturity come? The image of a human life road enters a logical and plot contradiction with the theme of Russia in the poem. The rapid flight of the bird-triple, the motive of movement "Forward", for the better, opposes the inner vector of life path: from youth to old age, from the best to the worst.

Thinking about the future of the Russian man, Gogol, however, portrayed the path of the loss of the best movements of the soul, in many respects connecting it with the lack of a spiritual teacher.

In the aspect of the poetics of ages, the typology of the teacher's images required in the world of teenage or young men can be traced: the Unnamed Teacher of Children Manilov, a Frenchman in Plushkin's house (VI, 118), Teacher Chichikova, Tentenchnikov's mentors ...

A special place occupies the image of the first teacher Tentertyman - Alexander Petrovich, the only one who knew the science of life. "Only the one was elected from the sciences that it is capable of forming the citizen of the Earth to the Earth. Most of the lectures consisted in stories about what the young man expects ahead, and the whole horizon his field knew how to outline<так>That young man, still on the shop, thoughts and soul lived there, in service. " The topic of hope for youth, faith in a person, the poetry of the rapid movement forward, overcoming obstacles, courageous perseverance among the terrifying Tina little things is connected.

Like each other Teacher Chichikova and the second mentor Tetenenikov, "Some Fedor Ivanovich" (VII, 14): both lovers of silence and commendable behavior, not tolerating smart and sharp boys. Suppression of the mind and neglecting to successes in favor of good behavior led to hidden poverty, kitsuzh and debauchery.

Pupils, deprived of the "Wonderful Teacher", were forever were doomed either on "shameful laziness", or on the "insane activity of immature young men." And therefore, Gogol appears to those who have grown in itself, who can hear the Almighty word "forward!" And to follow him, entering out of "soft youthful years in the harsh, faster courage" (VI, 127).

Vera Gogol in the holiness of the teacher's word was clean and sincere. Not only the traditions of church literature, but also the ideas of the Education of Education, who considered literature as a means of education of young people are affected.

It is the accusation that "no gracious young man" "does not owe him with some new light or an excellent desire for good, which would have inspired his word," hurts for living M. P. Pogodina, who answered Gogol, that was distressed "to the depth Hearts "and" was ready to cry. " Meanwhile, in the 2nd issue of "Moskvatyanina" for 1846, the appeal was posted for "to the young man", where the time of his youth appeared as a gate of life as the very beginning of a citizen's path, test threshold. Further life road was depicted as cooling, fatigue, exhaustion, extinction and - unexpected help from above, if the man has retained the true love of Christian. "You will rise<...> The updated, sanctified, will rise and raise the height, "where your gaze will enlighten." "What is the importance in your eyes this poor earthly life, as a service, how to prepare to another, to the highest state!" . Pogodin is solidary with Gogol that the soul should hear the "heavenly origin" (VII, 14). Both are associated with adolescence, by age, when the word of the teacher will help to find spiritual maturity.

Meanwhile, returning to the topic of public destiny in the "selected places ...", Gogol emphasizes the duty of a person to cultivate himself. "... Physical maturation of a person is not subject to his intervention, in the spiritual it is not only an object, but also a free participant." For Gogol, an example of a person and a citizen who was "educated in junior" and performed his duty, was N. M. Karamzin. Thus, Gogol gives a dominant role not to "Almighty Word" of an extraordinary mentor (it is rarely born in Russia. "VII, 145), and internal spiritual work, part of which is the individual moral impact of" one soul, more enlightened to another Soul, less enlightened. " All can be involved in this mutual process, and only in it, according to Gogol, there may be hope for the spiritual renewal of the Company.

In the "selected places ...", having a special genre nature, images of physiology associated with Gogol with the theme of childhood, and images of the sprawling vehicle ("cutters"), accompanying the topic of old age, and only the poetics of Dali and space remains, Peculiar to the theme of youth and apology of high, Christian, ministry. The writer rejects the "ordinary natural course" of human life and speaks about the complete cost of age for the Christian: "According to ordinary, natural move, a man reaches full development of his thirty years. From thirty to forty else something go ahead of his strength; Next of this period in it is nothing navigating, and all of them produced not only is not better than the previous, but even weaker and cold former. But for a Christian it does not exist, and, where for other limit of perfection, it only begins for him "(VIII, 264). Overcoming the frontier, shining distance, "seeking power", the thirst for the battle, which is characteristic of youthful years, always alive in the holy elders. Higher wisdom is impossible without upbringing himself and without sweetness to be a student. And the whole world, and the insignitive of people can be a teacher for a Christian, but all wisdom takes away if he hesitated that "the teaching of him is over, that he is no longer a student" (VIII, 266). The best readiness for spiritual apprenticeship, to the movement "Forward" (head title: "Christian is going ahead") becomes for Gogol the best "age" man.