The image of a landowner from dead souls. Analysis of the image of landowners in the poem "Dead Souls"

The image of Manilov in the poem by N.V. Gogol "Dead Souls"

The gallery of landowners in the poem "Dead Souls" opens with the image of Manilov. This is the first character to whom Chichikov turns with a request for dead souls. What determines Manilov's “primacy”? Gogol's statement is known that his heroes follow one more vulgarly than the other. It turns out that Manilov in the poem represents the first, the smallest, degree moral degradation... However, modern researchers interpret the order of appearance of landowners in "Dead Souls" in a different sense, putting in line the first volume of Gogol's poem of the first part " Divine Comedy"Dante (" Hell ").

The daydreaming and romanticism of Manilov already at the very beginning of the poem creates a sharp contrast to Chichikov's immoral adventure.

There is one more reason here. According to I. Zolotussky, “whenever Chichikov meets with any of the landowners, he examines his ideals. Manilov is family life, wench, kids ... "This" part "of Chichikov's ideal is just the best that is in the hero's" crude material "dream of contentment and comfort. Therefore, the history of Chichikov's adventures begins with Manilov.

This image in the poem is static - no internal changes occur with the hero throughout the entire narrative. The main qualities of Manilov are sentimentality, dreaminess, excessive complacency, courtesy and courtesy. This is what apparently lies on the surface. It is these features that are emphasized in the description of the hero's appearance. Manilov “was a prominent man, his features were not devoid of pleasantness, but this pleasantness seemed to have been too much transferred to sugar; in his methods and turns there was something ingratiating in his disposition and acquaintance. He smiled alluringly, was blond, with blue eyes. "

However, Gogol goes on to describe inner peace Manilov, and the reader gets rid of the first impression of the "pleasantness" of the landowner. “In the first minute of a conversation with him, you cannot help but say: 'What a pleasant and good person! "The next minute you won't say anything, but in the third you will;" The devil knows what it is! - and you will move away: if you do not move away, you will feel mortal boredom. You won't get any lively or even arrogant word from him, which you can hear from almost everyone if you touch an object that is bullying him. " With a grain of irony, the author lists the traditional "interests" of landowners: passion for greyhounds, music, gourmet food, promotion. Manilov is not interested in anything in life, he has no "enthusiasm". He speaks very little, he often thinks and reflects, but about what - "unless God ... knows." Thus, several more characteristic properties of this landowner are clearly distinguished - uncertainty, indifference to everything, inertia and infantilism of life perception. “There is a kind of people,” writes Gogol, “known by the name: people are so-so, neither this nor that, neither in the city of Bogdan, nor in the village of Selifan ...” Manilov belongs to this type of people.

The writer emphasizes the "lack of shape, vagueness" of the hero's inner world with a characteristic landscape. So. the weather on the day when Chichikov arrived at Manilov's the highest degree indefinite: "The day was not that clear, not that gloomy, but some kind of light gray color, which happens only on the old uniforms of garrison soldiers ..."

In the description of the master's estate, new features of Manilov are revealed to us. Here we already see a person who claims to be "educated", "cultured", "aristocratic", but all the hero's attempts to appear as an educated and refined aristocrat are vulgar and absurd. So, Manilov's house stands “alone in the Jura, that is, on a hill open to all winds,” but the mountain on which the estate stands is “dressed with trimmed sod”, on it “scattered in English are two or three flowerbeds with bushes of lilacs and yellow acacia ". Nearby you can see a gazebo "with wooden blue columns" and the inscription "Temple of Solitary Meditation". And next to the “temple” there is an overgrown pond covered with greenery, along which, “having picked up their dresses in a picturesque way and poked themselves on all sides,” wander two women, dragging tattered nonsense behind them. In these scenes, Gogol's parody of sentimental stories and novels is guessed.

The same claims to "education" are guessed in the ancient Greek names with which Manilov awarded his children - Alcides and Themistoclus. The superficial education of the landowner turned into sheer stupidity: even Chichikov, hearing these names, experienced some surprise, it is easy to imagine the reaction of the local residents.

However, the ancient Greek names here are not only a striking characteristic of Manilov. "Alcides" and "Themistoctus" set in the poem the theme of history, the motive of heroism, which is present throughout the entire narrative. Thus, the name "Themistoclus" reminds us of Themistocles, statesman and a general from Athens, who won brilliant victories in battles with the Persians. The life of the commander was very stormy, eventful, full of significant events (against the background of this heroic theme, the inaction, passivity of Manilov becomes even more noticeable).

Manilov's "incompleteness of nature" (nature seemed to have stopped at the "pleasant" appearance of the hero, "not reporting" to him the character, temperament, love of life) is also reflected in the description of his home environment.

In everything, Manilov has an incompleteness that creates disharmony. A number of interior details testifies to the hero's penchant for luxury and sophistication, but in this very inclination there is still the same incompleteness, the impossibility of bringing the matter to the end. In Manilov's living room there is "beautiful furniture, covered with a dandy silk fabric," which is "quite expensive," but two armchairs lack it, and the armchairs are "just covered with mat." In the evening, a "dandy candlestick made of dark bronze with three antique graces" is served on the table, and next to it is "a simple brass invalid, lame, curled up on the side and covered in fat ...". For two years now, the hero has been reading the same book, reaching only the fourteenth page.

All the occupations of the landowner are senseless and absurd, just like his dreams. So, having seen Chichikov off, he dreams of a huge house "with such a high belvedere that you can even see Moscow from there." But the culmination of the image of Manilov is "the slides of ash knocked out of the pipe, arranged, not without effort, in very beautiful rows." Like all "noble gentlemen", Manilov smokes a pipe. Therefore, in his office there is a kind of "cult of tobacco", which is poured into caps, and into a snuff box, and "just a heap on the table." This is how Gogol emphasizes that Manilov's "passing of time" is completely meaningless.

The hero's speech, "delicate", ornate, fully corresponds to his inner appearance. Discussing the sale of dead souls with Chichikov, he wonders whether "this negotiation will not be inconsistent with civil regulations and further types of Russia." However, Pavel Ivanovich, who added two or three book turns to the conversation, manages to convince him of the perfect legality of this transaction - Manilov gives Chichikov the dead peasants and even takes over the execution of the deed of sale. Only complete insensitivity can explain what he, wishing to please his friend, decided to give Chichikov dead souls. And the blasphemous phrase, which he utters at the same time: “dead souls are in some way perfect rubbish,” - for Gogol, a deeply religious person, is evidence that Manilov's own soul is dead.

Thus, upon closer examination, the illusory nature of his "positive" qualities - sensitivity and sentimentality - becomes noticeable. His feelings do no good to anyone, they are not real, but only fiction, this is just a manner. Manilov does not evaluate people in terms of the criteria of good and evil. People around you just fall into the general atmosphere of complacency and dreaminess. In fact. Manilov is indifferent to life itself.

Korobochka Nastasya Petrovna - landowner widow, college secretary; the second (after Manilov and before Nozdrev) "saleswoman" of dead souls. Chichikov accidentally comes to her (Ch. 3): the drunk coachman Selifan skips many turns on the return route from Manilov. The night "darkness", the thunderous atmosphere accompanying the arrival to Nastasya Petrovna, the frightening serpentine hiss of the wall clock, Korobochka's constant memories of her dead husband, the confession to Chichikov (already in the morning) that on the third day she dreamed of the "accursed" devil all night - all this makes the reader wary. But the morning meeting between Chichikov and Korobochka completely deceives readers' expectations, separates her image from the fabulous background, dissolves without a trace in everyday life.

The surname Korobochka metaphorically expresses the essence of her nature: thrifty, mistrustful, fearful, poor-minded, stubborn and superstitious.

The little box is “one of those mothers, small landowners who cry for a crop failure, losses and keep their heads a little to one side, and meanwhile they are gaining a little bit of money in variegated bags ... In one ... rubles, in the other half a ruble, in the third quarter ...”. A chest of drawers, where, in addition to linen, night jackets, thread skeins, a ripped cloak, bags of money lie. - analogue of the Box. (Chichikov's box with drawers, partitions, nooks and crannies, a hidden box for money is also identical to the image of Korobochka. Symbolically, the Box has opened, revealing Chichikov's secret. Thus, the magic box, a box with a "double bottom", thanks to Korobochka gives out its secret.)

If in the image of Manilov Gogol exposed the myth of the enlightened master, then in the image of Korobochka the writer dispelled the idea of ​​a thrifty and businesslike landowner who wisely manages the household, takes care of the peasants, and keeps the family hearth. The patriarchal nature of this landowner is not at all the careful preservation of traditions, about which Pushkin wrote: "They kept in a peaceful life / The habits of dear old times." The box seems to be simply stuck in the past, time seems to have stopped for her and began to move in a vicious circle of petty household worries that consumed and killed her soul. Indeed, unlike Manilov, she is always busy with the housework. Sown vegetable gardens, a bird house filled with “all kinds of domestic creatures,” and peasant huts, which are “properly maintained”, speak of this. Her village is well-groomed, and the peasants living in it do not suffer from poverty. Everything speaks about the accuracy of the hostess, her ability to manage the estate. But this is not a manifestation of a lively economic mind. The box simply follows a kind of "action program", that is, it grows, sells and buys. And only in this plane can she think. There can be no question of any spiritual requests here.

Metonymic transfer characteristic of Gogol - a stuffed animal on a long pole in the hostess's cap, reinforcing the impression of the comic absurdity of the frugality of a lonely widow who is hoarding for no one knows for whom and cannot see beyond her nose. The things in Korobochka's house, on the one hand, reflect Korobochka's naive notions of lush beauty; on the other, her hoarding and home entertainment (fortune-telling, darning, embroidery and cooking): “the household room is hung with old striped wallpaper; paintings with some kind of birds: between the windows there are old small mirrors with dark frames in the form of curled leaves: behind every mirror were laid either a letter, or an old deck of cards, or a stocking: a wall clock with painted flowers on the dial ... ”.

The Korobochka House with old small mirrors, hissing clocks and pictures, behind which something is sure to be laid, lush feather beds and hearty food informs us about the patriarchal way of life of the hostess. But this simplicity borders on ignorance, unwillingness to know at least something that goes beyond the circle of her concerns. In everything, she thoughtlessly follows the usual patterns: a visitor means a "merchant", a thing "from Moscow" means " good job" etc. Korobochka's thinking is limited, as is the vicious circle of her life - even in a city located not far from the estate, she got out only a couple of times.

The way Korobochka communicates with Chichikov betrays her stupidity, which is in no way hindered by practical acumen, the desire not to miss out on profit. This is most clearly seen in the scene of the sale and purchase of dead souls. The box appears to be extremely stupid, unable to grasp the essence of Chichikov's "advantageous" offer. She understands him literally: "Something you want to dig them out of the ground?" - the landowner asks. Korobochka's fear of selling dead souls is absurd and ridiculous, since she is not so much afraid of the object of trade itself, but more worries about how not to sell too cheap, and suddenly dead souls will come in handy for some reason in the household. Even Chichikov cannot stand Korobochka's impenetrable stupidity. His opinion about her surprisingly coincides with the author's: this is a "club-headed" landowner. Korobochka decides to sell the “souls” out of fear and out of superstition, for Chichikov dry the devil with her and almost cursed (“Yes, perish and roundabout with all your village!”), Especially since the devil dreamed of her in her dream: “disgusting, but horns- that is longer than bulls. "

Fear of cheap prices forces Korobochka to go to town to find out the price of “dead souls” by equipping a tarantass “rather like a thick-cheeked bulging watermelon, set on wheels ... , skins, quick-thinking and choux pastry pretzels. " Watermelon-tarantass Korobochki is another analogue of her image, along with a chest of drawers, a casket and variegated bags full of money.

Gogol shows readers that people like her are incapable of any movement - neither external nor internal, because the soul in them is dead and can no longer be reborn.

The very location of the village of Korobochki (away from the high road, on a side branch of life) indicates its "hopelessness", "hopelessness" of any hopes for its possible correction and revival. In this she is similar to Manilov - and occupies one of the lowest places in the “hierarchy” of the heroes of the poem.

The main character traits of Nozdryov are arrogance, bragging, a tendency to rowdy, energy and unpredictability. Gogol notes that people of this type are always “talkers, revelers, reckless men,” in their faces you can always see “something open, direct, daring,” they are desperate gamblers, lovers of walking. They are sociable and ceremonial, "they seem to make friends forever: but it almost always happens that a friend will fight them that very evening at a friendly feast."

Revealing the image of Nozdryov. Gogol skillfully uses various artistic means. First of all, the portrait of the hero is expressive. Something can be traced in his portrait that resembles a folklore good-fellow: “He was of average height, a very well-built fellow, with full ruddy cheeks, teeth white as snow and black as pitch whiskers. He was fresh as blood and milk; health seemed to spill over his face. " Of course, there is a clear irony in this description. It is not for nothing that the author, talking further about the fights in which Nozdryov is constantly getting involved, notes that “his full cheeks were so well created and contained so much plant power that the sideburns soon grew again” when they were pretty much pulled out to him in the next mess. There is in this hero and something of the animal (remember, he was among the dogs "just like a father among the family"), but the definition of "historical man" was not given to him in vain. In the author's description of this landowner, not only irony and mockery sounds, but also another motive - the motive of the unrealized possibilities contained in this nature

It is characteristic that Nozdryov has an attractive appearance, physical strength, he laughs “with that sonorous laugh, which only fresh, healthy person… ”The motive of Russian heroism, which appears in the depiction of Nozdryov, is comically reduced. The contrast between his appearance and is enormous in its inner appearance: the hero's life is meaningless, the “heroic deeds” of this “hero” do not go further than card cheating or a fight quieted down at a fair. Nozdryov is just “the semblance of a broad nature. He is insolent, a drunkard, a liar, he is at the same time a coward and a completely insignificant person.

The landscape surrounding the episode of Chichikov's visit to the landowner is also characteristic. “Nozdryov led his guests over a field, which in many places consisted of hummocks. The guests had to make their way between the fallows and the raised fields ... In many places their legs squeezed out the water under them, to such an extent the place was low. At first they were careful and stepped over carefully, but then, seeing that this was of no use to anything, they walked straight ahead, not distinguishing where there was more and where less dirt ”. This landscape speaks of the disorganized economy of the landowner and at the same time symbolizes the carelessness of Nozdryov.

So, already the hero's way of life is devoid of any orderliness. The landlord's economy has completely fallen into disrepair. It was empty in the stable, a water mill without flutters, in the house it was a mess and neglect. And only his kennel is in good condition. “Among dogs, Nozdryov ... is exactly like a father among a family,” notes Gogol. This comparison sets in the narration the theme of the "slander" of the hero. As S. Shevyrev notes, Nozdryov "is very similar to a dog: for no reason at the same time he barks, and nibbles, and caresses."

The hero is prone to lies, deceit, idle chatter. He can easily slander, slander a person, dissolve gossip about him, "a fable, which is more stupid than it is difficult to invent." It is characteristic that Nozdryov is lying for no apparent reason, "out of love for art." So, having come up with a story with the governor's daughter, he continues to lie further, entangling himself in this story. The reason for this is simple: Nozdryov understood that “he could have caused trouble in this way, but he couldn’t hold his tongue any longer. However, it was also difficult, because such interesting details presented themselves by themselves, which cannot be denied ... "

The tendency to deception and cheating is manifested in him and during card game... Therefore, the game often ends in a fight: "they beat him with their boots, or they asked him overexposure to thick and very good sideburns ..."

The character of the hero, his interests and lifestyle are reflected in the interior of his house. In Nozdryov's office there are no books and papers, but sabers, rifles, Turkish daggers and pipes of various kinds - “wooden, clay, foam, stoned and unstuffed, covered with suede and not covered”, are hanging. In this interior, one object is symbolic - a barrel organ, in which there is "one pipe, very lively, which did not want to calm down." This expressive detail symbolizes the character of the hero, his restlessness, irrepressible energy.

Nozdryov is unusually "active", energetic, briskness and agility of character push him to new and new "enterprises". So, he loves to change: a gun, a dog, horses - everything instantly becomes an object of exchange. If he has money, then at the fair he immediately buys up "all sorts of things": clamps, smoking candles, raisins, tobacco, pistols, herring, paintings, pots, etc. he can lose everything on the same day.

Nozdryov is very consistent in his behavior and during the sale and purchase of dead souls. He tries to sell Chichikov a stallion, dogs, a hurdy-gurdy, then starts an exchange of chalets, a game of checkers. Noticing the trickery of Nozdryov. Chichikov refuses to play. And then the “historical” person starts a scandal, a fight, and only the appearance of the police chief in the house saves Chichikov.

Nozdryov's speech and manner are also characteristic. He speaks loudly, emotionally, often crying out. His speech is very motley and varied in its composition.

In addition, it is worth noting the static nature this image... Gogol gives the character of Nozdryov already established, ready, the prehistory of this character is closed to the reader, during the narrative the hero does not undergo any internal changes.

Thus, the character created by Gogol - a braggart, a chatterbox, a reckless man, a kick-ass, a player, a rowdy and a disputant, a lover to drink and add something - is colorful and easily recognizable. The hero is typical, and at the same time, thanks to a number of details, special trifles, the writer was able to emphasize his individuality.

The image of Sobakevich in N.V. Gogol "Dead Souls"

Sobakevich is fourth in the gallery of Gogol's landowners. The main traits of Sobakevich are intelligence. efficiency, practical acumen, but at the same time he is characterized by tight-fistedness, some kind of ponderous stability in his views. character, lifestyle. These features are already noticeable in the very portrait of the hero, who looks like a bear. " average size". And his name is Mikhail Semenovich. “To complete the resemblance, the dress coat on him was completely bearish, the sleeves were long, the pantaloons were long, he stepped with his feet at random and sideways and stepped incessantly on other people's legs. His complexion was red-hot, hot, which is what happens on a copper penny. "

In the portrait of Sobakevich, one can feel the grotesque motive of the hero's rapprochement with an animal, with a thing. Thus, Gogol emphasizes the limited interests of the landowner in the world of material life.

Gogol also reveals the qualities of the hero through landscapes, interiors and dialogues. The village of Sobakevich is "quite large". To the left and to the right of it are "two forests, birch and pine, like two covered, one dark, the other lighter." Already these forests speak of the landlord's economy and his practical sense.

Fully corresponds to the external and internal appearance of the owner and his estate. Sobakevich does not at all care about the aesthetics, the external beauty of the objects around him, thinking only about their functionality. Chichikov, driving up to Sobakevich's house, notes that during the construction, obviously, "the architect was incessantly struggling with the taste of the owner." "The architect was a pedant and wanted symmetry, the owner - convenience ..." - says Gogol. This "convenience", concern for the functionality of objects is manifested by Sobakevich in everything. The landlord's yard is surrounded by "a strong and excessively thick wooden lattice", the stables and sheds are made of full-weight, thick logs, even the village huts of the peasants are "cut down like a miracle" - "everything ... fit tightly and properly."

The furnishings in Sobakevich's house reproduce the same "strong, awkward order." The table, armchairs, chairs - all "of the heaviest and most restless quality", in the corner of the living room stands "a pot-bellied walnut bureau on preposterous four legs, a perfect bear." On the walls hang pictures of "Greek generals" - "unusually strong and tall fellows, with such thick thighs and unheard-of mustaches that trembling goes through the body."

It is characteristic that here again the motive of heroism arises, "playing the role of a positive ideological pole in the poem." And this motive is set not only by the images of the Greek generals, but also by the portrait of Sobakevich himself. having "the strongest and most wonderful image." This motive reflected Gogol's dream of Russian heroism, which, according to the writer, is contained not only in physical strength, but also in the “innumerable wealth of the Russian spirit.” The writer captures here the very essence of the Russian soul: “Russian movements will rise ... into the Slavic nature that slipped only through the nature of other peoples. "

However, in the image of Sobakevich, the "wealth of the Russian spirit" is suppressed by the world of material life. The landowner is concerned only with the preservation of his wealth and the abundance of the table. Most of all, he loves to eat well and tasty, not accepting foreign diets. So, Sobakevich's dinner is very “varied”: a stuffed lamb stomach is served with cabbage soup, then “mutton side with porridge”, cheesecakes, stuffed turkey and jam follow. "When I have pork, put the whole pig on the table, lamb - take the whole ram, just goose goose?" - he says to Chichikov. Here Gogol debunks gluttony, one of the human vices that Orthodoxy fights against.

It is characteristic that Sobakevich is far from stupid: he immediately realized what was the essence of Pavel Ivanovich's lengthy speech and quickly appointed his exchange to the dead peasants. The landowner is logical and consistent when bargaining with Chichikov. And he himself looks so that it becomes clear; he is “one of those faces, over the decoration of which nature didn’t for long ... I did it with an ax once - my nose came out, I did it in another - my lips came out, I poked my eyes with a big drill ...” It seems that he is only interested in how to fill my stomach more tightly ... But behind such an appearance is an intelligent, vicious and dangerous predator. No wonder Sobakevich recalls how his father could have overwhelmed the bear. He himself turned out to be able to "overpower" another powerful and terrible predator - Chichikov. The buying and selling scene in this chapter is fundamentally different from all similar scenes with other landowners: here it is not Chichikov, but Sobakevich leading the party. He, unlike the others, immediately understands the essence of a fraudulent transaction, which does not bother him at all, and begins to conduct a real bargaining. Chichikov understands that he is serious, dangerous enemy, which should be feared, and therefore accepts the rules of the game. Sobakevich, like Chichikov, is not embarrassed by the unusual and immoral nature of the deal: there is a seller, there is a buyer, there is a product. Chichikov, trying to bring down the price, reminds that "the whole item is just fu-fu ... who needs it?" To which Soba-kevich reasonably remarks: "Why, you are buying, therefore, well-wives."

Sobakevich is shrewd in his own way, endowed with a sober view of things. He does not harbor any illusions about city officials: "these are all swindlers: the whole city is like this: the swindler sits on the swindler and drives them away with the swindler." In the words of the hero here lies the truth of the author, his position.

Sobakevich's mind, his insight and, at the same time, the "wildness", unsociability, uncommunicativeness of the landowner are manifested in his speech. Sobakevich speaks out very clearly, briefly, without excessive "prettiness" and ornateness. So, to Chichikov's lengthy rantings about the burdensome landlord's duty to pay taxes for the revision souls who have “finished their life”, Mikhail Ivanova “reacts” with one phrase: “Do you need dead souls?” When discussing acquaintances, the landowner can scold, use a "strong word".

The image of Sobakevich in the poem is static: readers are not presented with the life story of the hero, any spiritual changes in him. However, the character before us is lively and versatile. As in the chapters devoted to the rest of the landowners, Gogol uses here all the elements of the composition (landscape, interior, portrait, speech), subordinating them to the leitmotif of this image.

The image of Plyushkin in the poem by N.V. Gogol "Dead Souls"

The gallery of "dead souls" ends in the poem by Plyushkin.

The main features of Plyushkin are stinginess, greed, thirst for hoarding and enrichment. alertness and suspicion. These features are masterfully conveyed in the portrait of the hero, in the landscape, in the description; environments and dialogues.

Plyushkin's appearance is very expressive. “His face did not represent anything special: it was almost the same as that of many thin old people, one chin only protruded very far forward, so he had to cover it with a handkerchief every time so as not to spit: small eyes had not yet gone out and were running from under the high-grown eyebrows, like mice, when, sticking out their sharp muzzles from the dark holes, their ears alert and blinking their noses, they look out for a cat hiding somewhere ... "Plyushkin's outfit is remarkable - a greasy and torn dressing gown fastened around his neck with rags ...

Small running eyes, similar to mice, testify to the wariness and suspicion of Plyushkin, generated by fear for his property. His rags resemble the clothes of a beggar, but by no means a landowner with more than a thousand souls.

The motive of poverty continues to develop in the description of the landowner's village. In all the village buildings one can see "some kind of special dilapidation", the huts are made of old and dark logs, the roofs look like a sieve, there are no glass in the windows. The house of Plyushkin himself looks like "some decrepit invalid". In some places it is one floor, in other places it is two, on the fence and gates there is green mold, through decrepit walls you can see "naked plaster lattice", only two are open from the windows, the rest are overcrowded or hammered. The "beggarly appearance" here metaphorically conveys the hero's spiritual poverty, the severe limitation of his world acceptance by the pathological passion for hoarding.

Behind the house stretches a garden, just as overgrown and decayed, which, however, "is quite picturesque in its picturesque desolation." “Green clouds and irregular domes lay on the celestial horizon the connected tops of trees that had grown free. The colossal white trunk of a birch ... rose from this green thicket and swirled in the air like ... a sparkling marble column ... In places the green thickets, illuminated by the sun, diverged ... This landscape contrasts with the presence of light effects to the description of the interior decoration of the manor house, which recreates the atmosphere of lifelessness, death, grave.

Entering Plyushkin's house, Chichikov immediately falls into darkness. “He stepped into a dark, wide entrance, from which a cold blew, as if from a cellar. From the vestibule he entered a room "also dark, slightly illuminated by the light coming out from under a wide gap at the bottom of the door." Further, Gogol develops the motive of death, lifelessness outlined here. In another room of the landowner (where Chichikov ends up) - a broken chair, "a clock with a stopped pendulum, to which a spider has already attached its web": a chandelier in a canvas bag, thanks to a layer of dust, looks like "a silk cocoon in which a worm sits." On the walls, Pavel Ivanovich notices several paintings, but their plots are quite definite - a battle with screaming soldiers and drowning horses, a still life with a duck hanging head down.

A huge pile of old rubbish is piled on the floor in the corner of the room; through a huge layer of dust Chichikov notices there a piece of a wooden shovel and an old boot sole. This picture is symbolic. According to I. Zolotussky, Plyushkin's pile is "a grave mound over the ideal of a materialist." The researcher notes that whenever Chichikov meets with any of the landowners, he makes an "examination of his ideals." Plyushkin in this case "represents" a state, wealth. In fact, this is the most important thing that Chichikov strives for. It is monetary independence that opens the way for him to comfort, happiness, prosperity, etc. All this is inextricably fused in the mind of Pavel Ivanovich with home, family, family ties, "heirs", respect in society.

Plyushkin makes the return journey in the poem. The hero seems to reveal to us the reverse side of Chichikov's ideal - we see that the landlord's house is completely neglected, he has no family, he has severed all friendly and family ties, there is not even a hint of respect in the reviews of other landowners.

But Plyushkin's life was once a thrifty owner, he was married, and “a neighbor came to dine with him” and learn from him about farming. And everything was no worse for him than the others: "a friendly and talkative hostess" famous for hospitality, two pretty daughters, "blond and fresh as roses", a son, a "smart boy", and even a French teacher. But his "good mistress" and his youngest daughter died, the eldest ran away with the staff officer, "the time has come for my son to go to work," and Plyushkin was left alone. Gogol closely traces this process of the disintegration of the human personality, the development in the hero of his pathological passion.

The lonely life of a landowner, widowhood, "gray hair in coarse hair", dryness and rationalism of character (" human feelings... were not deep in it ") - all this gave" full food of avarice. " Indulging his vice, Plyushkin gradually ruined his entire economy. So, his hay and bread rotted, flour in the cellars turned to stone, canvases and materials “turned to dust”.

Plyushkin's passion for hoarding became truly pathological: every day he walked the streets of his village and collected everything that came to hand: an old sole, a woman's rag, an iron nail, a clay shard. What was not in the yard of the landowner: "barrels, intersections, tubs, lagoons, jugs with stigmas and without stigmas, brothers-in-arms, baskets ...". “If someone would drop in to the workers' yard, where a supply of all kinds of wood and utensils that had never been used had been prepared, it would have seemed to him that he had not ended up in Moscow at the wood chips yard, where quick mother-in-law and mother-in-law go every day ... detail their household stocks ... "- writes Gogol.

Submitting to the thirst for profit and enrichment, the hero gradually lost all human feelings: he ceased to be interested in the life of his children and grandchildren, quarreled with his neighbors, and discouraged all guests.

The character of the hero in the poem is fully consistent with his speech. As V. Litvinov notes, Plyushkin's speech is “one continuous grumbling”: complaints about relatives, peasants and abuse with his servants.

In the scene of the sale and purchase of dead souls, Plyushkin, like Sobakevich, begins to bargain with Chichikov. However, if Sobakevich. not caring about the moral side of the issue, he probably guesses about the essence of Chichikov's scam, then Plyushkin does not even think about it. Hearing that it is possible to make a “profit,” the landowner seems to forget about everything: he “expected,” “his hands trembled,” he “took money from Chichikov in both hands and carried it to the bureau with the same caution, as if would carry some liquid, every minute afraid to unleash it. " Thus, the moral side of the issue leaves him by itself - it simply fades under the pressure of the hero's "surging feelings".

It is these “feelings” that take the landowner out of the category of “indifferent”. Belinsky considered Plyushkin a "comic face," disgusting and disgusting, denying him the significance of his feelings. However, in the context creative concept the author presented in the poem life story hero, this character seems to be the most difficult among the Gogol landowners. It was Plyushkin (together with Chichikov), according to Gogol's plan, to appear morally revived in the third volume of the poem.

Landowner: Manilov

The meaning of the surname: it is a dreamer. He is constantly attracted by some ideas and castles in the air.

Portrait: he is a well-fed, very pleasant-looking, blue-eyed and blond middle-aged man. It can be seen that he is used to comfort and well-being. He smokes a pipe.

Character: A soft and amorphous slacker. He dreams and makes unrealizable plans all day. He is polite and pleasant to talk to to nausea. Very sentimental and sensitive, even tearful. But his sentimentality is not expressed in real good deeds. Completely uncomplicated.

Description of the estate: due to the mismanagement of the landowner, desolation reigns in the village. The house is cold, the pond is overgrown. Manilov does not know how many of his peasants have died, he does not know how to ask the servants at all. Manilov himself suffers from the chaos in the estate, but does not try to do anything about it.

Behavior during bargaining with Chichikov for "dead souls": continues to dream. He understands nothing about the deal with Chichikov and does not try to understand, since he is impractical. Agrees to sell the "dead souls", although he is pretty surprised at the unusualness of the offer. Remains perplexed after Chichikov's departure.

Landowner: Sobakevich

The meaning of the surname: grippy and tenacious like a dog.

Portrait: a tall, hefty, strong and blooming man, clumsy and uncouth, like a block or a bear. The impression that "nature was chopping him off the shoulder." Always stepping on other people's feet. Suddenly agile and agile when he needs it.

Character: stingy and petty, practical and businesslike at the same time. Heather. Moderately hospitable - treats Chichikova generously. The farm on the estate is well run, keeping abreast of all the events in the village. Loves strength and convenience in everything, even to the detriment of beauty. Likes to eat well - Chichikov notices that his "lip is not stupid"

Description of the estate: the furniture in the house is as solid, but stupid, massive and uncouth, like its owner. In the estate, in contrast to Manilov's economy, there is order, the peasants are prosperous. Everywhere in the house there are portraits of ancient Greek athletes and heroes, as large and powerful as Sobakevich himself.

graspingly clings to the prospect of cash in on dead souls. He quickly realizes that Chichikov has his own benefit and presses on it. Agrees to sell right away, breaks the price, bargains. Greedy drives Chichikov to white heat. Attributes to dead souls woman.

Landowner: Nozdryov

The meaning of the surname: aggressive and boastful, he always lies and cock - "flares up his nostrils"

Portrait: handsome, healthy, "not badly built, blood and milk" has jet-black sideburns. One sideburn was injured in the fight. The face is rosy. Energetic and chatty without measure. Excellent, sugar-white teeth. There is no chain, no watch on the suit - he lost everything at cards.

Personality: Drinker and rascal. The revelry. Brawler, always gets into "stories", has troubles with the authorities. He gets into friends with Chichikov, then tries to rip him off in a game of chance, threatens with beating. In the future, he again climbs to Chichikov's friends, as if nothing had happened. Loves guests.

Description of the estate: there is a permanent renovation. There are many dogs and horses, as the only love of the owner is hunting. Live wolf cub on a leash. The mansion contains a collection of pipes, sabers and daggers. A lot of nice, but useless little things, borokhla, which the owner purposelessly bought at the fairs.

Behavior during bargaining with Chichikov: He doesn't want to sell souls, because he doesn't even want to think about any household chores. He offers Chichikov to sell him all sorts of nonsense: a puppy, a barrel organ, a mare, a chaise, which makes Chichikov mad. Then he tries to deceive Chichikov and impose gambling on him. He promises to play checkers for "dead souls", but cheats. Stupid so much that he does not even understand his own benefits in the deal. Everywhere the rumor spreads about the purchase of "dead souls" by Chichikov.

Landowner: Box

The meaning of the surname: a person living in his "box". A very narrow-minded old lady.

Portrait: a flannel scarf is always tied around the neck for warmth. An elderly woman already. He meets Chichikova in some kind of unprepossessing sleeping cap.

Character: she hasn't left the estate for a hundred years, she's afraid of everything. She is harmless and kind, caring, but extremely stupid and inconsiderate. She is hospitable, treats her guest with delicious pancakes, even invites Chichikov to send him a servant "to scratch his heels -" without this my late father could not fall asleep. " Very thrifty, alters old things, saves money. On garden scarecrow I even put on my old cap.

Description of the estate: it is a poor, but not a poor manor - old wallpaper, antique furniture, old-fashioned high feather beds. Everything is sweet and sugary, "as if smeared with honey." The peasants in the village do not live in poverty, they live in contentment. For some reason, all the peasants of Korobochka funny nicknames type "Petr Savelyev Neuvazhay-Koryto" or "Ivan Cow Brick".

Behavior during bargaining with Chichikov: does not sell souls for a long time, because he does not understand how dead souls can be sold. "Oh, what a cudgel-head!" - Chichikov is amazed at her. Later, on the contrary, she worries to the point of stupidity whether she has made too little money, and in a panic she goes to the city to find out how much there are now dead souls.

Landowner: Plyushkin

The meaning of the surname: material well-being and wealth. Simultaneously hoarding.

Portrait: Dressed in shabby old clothes, God knows what. It is not clear whether these are men's or women's clothes. The peasants call him “patched,” and for good reason. The back is stained with flour, and there is "a big hole below." Chichikov at first takes him for a woman - a servant. This is simply amazing when you consider that Plyushkin is the richest landowner in Dead Souls. He is five times richer than Manilov, and 15 times richer than Korobochki.

Character: Curmudgeon, mentally ill. Dragging garbage into the house, even a bent horseshoe, is not able to throw out even toothpicks. He does not spend his large incomes at all, either on himself or on maintaining the economy in the countryside. Closed, lonely and suspicious.

Description of the estate: this is a large economy, it is clear that earlier it flourished. Now half of the village of peasants scattered. The outbuildings are moldy and rotten. Everything falls apart, employees steal mercilessly. Everything in the landlord's house is littered with rubbish - even broken chairs are on the tables. In the corner of the room there is a pile of rubbish that Plyushkin picked up on the street, such as the soles of his boots that fell off.

Behavior during bargaining with Chichikov: I am very happy to sell, but it is noticeable that he is afraid that he will not be cheated. All the costs of the transaction fell on Chichikov. Realizing that it is necessary to treat the guest, he sincerely suffers that he will have to spend money on it and burn firewood on a samovar. He wants to treat Chichikov with a rusk of cake, brought by his daughter about a year ago. I'm just happy when Chichikov refuses tea.

1. The most interesting place in the poem is the chapters on the five landowners.
2. The image of Manilov.
3. The image of the Box.
4. The image of Sobakevich.
5. Image of Nozdryov!
6. The image of Plyushkin.
7. The role of images of landowners in the novel.

The most interesting place in IV Gogol's poem "Dead Souls" is the chapters dedicated to five landowners: Manilov, Korobochka, Nozdrev, Sobakevich and Plyushkin. It is easy to see that the chapters are arranged in a special sequence: from the least to the greatest degree of character degradation.

The surname of the landowner Manilov is formed from the verb "to attract". The main features of this character are daydreaming, sentimentality and laziness. Gogol describes his hero as follows: "... a man so-so, neither this nor that, not in the city of Bogdan, nor in the village of Selifan." Manilov's house is located on the Jura, which is blown by all the winds, which speaks of his frivolity and inability to think realistically. The landowner loves to lend himself to his dreams in the gazebo, on which the inscription flaunts: "The Temple of Solitary Reflection." This is the only secluded place for Manilov, where he can calmly dream about some completely unrealistic projects. But, as it seems to him, digging an underground passage from the house or erecting a stone bridge over a pond are quite normal ideas. Housekeeping is not Manilov's part. Everything goes awry in his estate, and the hero doesn't even care about it.

Gogol says that Manilov's hospitality and cuteness are too luscious: “In the first minute of a conversation with him, you cannot but say:“ What a pleasant and kind person! ” In the next ... you won't say anything, but in the third you will say: "The devil knows what this is!" - and you will move away! .. ". This manifests itself not only in the manners of the landowner, but also in his relationship with his wife. They lisp with each other all the time, and this makes the author very funny.

The image of this hero has become one of the key for literature. From him came the name of such a phenomenon as "manilovism", which means the unnaturalness of a person.

Another no less striking character in the story is the landowner Korobochka. Her surname was not chosen by Gogol by chance. By nature, the landowner is immensely economical and superstitious. The box belongs to the type of women who can cry about a crop failure, but still always save themselves a pretty penny. Her chest of drawers, besides all the nonsense, is filled with bags of money. The box is very small, it only cares about the management household, in him she sees the meaning of life. Gogol endows her with "animal" surnames: Bobrov and Svinin, which once again emphasizes that the heroine is only carried away by her estate. The author distinguishes, among other "advantages" of his character, cudgel-headedness. Korobochka shows this quality in a situation when Chichikov is trying to negotiate with her about the sale of "dead souls". The heroine thinks that her interlocutor is going to dig from the graves dead peasants... She does not rush to sell her "wealth", and instead tries to slip hemp and honey. Korobochka agrees to Chichikov's proposal only after he mentions the devil.

The next landowner who was visited by Chichikov was Sobakevich. His image was compiled by N. V. Gogol from everything big: big boots, cheesecakes "much larger than a plate", "a turkey the size of a calf." Even the health of this character is heroic. Thanks to such descriptions, the author achieves a comic effect. Parading the great deeds of the heroes, Gogol thereby emphasizes the true essence of Sobakevich himself, whose main qualities can be called rudeness and clumsiness. All objects in the house are as bulky and unwieldy as their owner: a table, chairs, a wooden bureau - everything seems to be shouting: "And I am Sobakevich too!" In his opinion, everyone around is liars and the latest scammers. The human soul is not at all important to him; interest for Sobakevich consists only in money.

From all of the above, we can conclude that Sobakevich is one of the most "dead souls" of the poem. There is nothing spiritual for him. Only money and things are valuable for this hero. He is only interested in "earthly" affairs.

The most striking character, in my opinion, is Nozdryov. This is the image of an inveterate buffoon. The author is ironic about his character, speaking of him as a "historical" person. In relation to his hero, Gogol uses figurative sense this word. Nozdryov's "historicism" is that he always gets into some kind of stories: either he gets drunk in the buffet, or mercilessly lies about the allegedly acquired horse. Like any rake, he adores women. But the most important feature of the Nozdrev character is a great desire to "make a mess of one's neighbor." Not once did he commit vile deeds. For example, he told fictional stories, disrupted a wedding, upset a trade deal, etc. But the most outstanding thing in his character is that, after all his tricks, he, without a twinge of conscience, continued to consider himself a friend of the victim.

According to tradition, in the poem, the atmosphere in the house of each landowner corresponds to the character of his owner. So the dwelling of Nozdryov is imbued with the spirit of passion and boasting. According to Nozdryov himself, in his possession there was once "a fish of such a size that two people could hardly pull it out." The walls of his chorus are randomly flooded with paint, as the men whitewash them. His office is filled with weapons instead of books and papers. Nozdryov likes to change one thing for another, only not because of money or some other material interest, but simply because he is carried away by this process. Since all sorts of tricks are main passion character, it is not difficult for him to circle around his finger and Chichikov, whom Nozdryov solders and tries to deceive when playing checkers.

What else can you say about Nozdryov? His description will tell everything much better: “... he sometimes returned home with only one sideburn, and that was rather liquid. But his healthy and full cheeks were so well created and contained so much plant power that the sideburns soon grew again, even better than before. "

And the final image in the gallery of Russian "dead souls" is a landowner named Plyushkin. As you know, all surnames in the poem are speaking. Only "Plyushkin" is given in a figurative sense. It looks more like not a bun, but a completely dried biscuit. The image of the landowner Plyushkin is very sloppy. Gogol mentions his double chin, which has to be constantly covered, as well as a greasy dressing gown, which causes nothing but disgust in the reader. The author gives his hero a very capacious definition: "a hole in humanity." This character is a symbol of a decadent mood and decay of all living things. And again the house speaks for its owner: the bread in the pantries is rotting, the gates and the fence are covered with mold, and the roofs in the huts are completely leaking. Gogol adds a short story about the fate of his hero, whose wife first died, and after that his daughter fled with the headquarters captain. These events became for Plyushkin the last moments of real life. After that, time stopped for the hero.

All images of N.V. Gogol are very bright and unique in their own way. But there is one main thought that unites them. Author showing illustrative examples degradation of humanity, urges readers not to become " dead soul", But always remain" alive ".

Lesson 3 N.V. Gogol “Dead Souls2 System of images of the poem. Images of landowners (Manilov, Korobochka)

Goals: to give students an idea of ​​the system of images of the poem "Dead Souls"; to acquaint students with the images of landowners using the example of Manilov and Korobochka; to formulate the skills and abilities to build an answer to the question of a work of art based on theoretical and literary knowledge; improve the skills of analytical work with prosaic text; to contribute to the aesthetic and moral education of students; foster a culture of reading perception.

Equipment : textbook, text of the poem "Dead Souls", handouts, table, illustrative material on the topic of the lesson.

Lesson type : lesson - analysisartwork

Predicted Results : students knowabout the system of images of the poem by N.V. Gogol

"Dead Souls", are able to characterize the characters of the poem, analyze the text, retell individual episodes in the form of descriptions,participate in the conversation, develop their point of view on the work of art in accordance with the author's position and the historical era.

During the classes

I ... Organizational stage

II... Updating basic knowledge

Conversation (analysis of the first chapter)

Tell us what you learned from what you read about the main character of the work.

What was the purpose of his visit to the provincial town?

Find in the text and read the portrait description of Chichikov. Why do you think the writer makes him stand out with his faceless appearance? Justify your answer. With what words does the author express his attitude to the character?

III... Motivation for learning activities

The poem was conceived by Gogol as a broad epic canvas, in which the author wanted to truthfully reflect, as in a clear mirror, living modernity.
The poem reflected Russia first third of XIX century - Russia at the time when the tsarist government, having dealt with the Decembrists, with the dreams of the best people in the country about the introduction republican rule, was intensively creating a bureaucratic bureaucratic apparatus when the energetic Chichikovs - businessmen-acquirers, able to make money from anything - went up the hill.
The poem is built in the form of a journey and allows the reader to look into all the details that interest him. The subject of attention is "lord middle hand

System of images. Figurative system the poem is built in accordance with three main plot-compositional links: landlord, bureaucratic Russia and the image of Chichikov. The peculiarity of the system of images lies in the fact that the contrast to the characters shown in the real plan of the poem makes up an ideal plan, where the author's voice is present and the image is created.

The first chapter of the poem can be defined as a kind of introduction. The action has not yet begun, and the author is only in general outline outlines the heroes. The reader begins to guess that Chichikov came to the provincial town with some intentions, which are clarified later.

IV ... Working on the topic of the lesson

1. Introductory remarks by the teacher.

Creating images of landowners, Gogol not only shows us different types of owners of serf souls: dreamy idlers (Manilov) who are absolutely indifferent to the serfs entrusted to him; skuperdyaev (Sobakevich), who will not miss anything in life; "cudgel-headed" boxes, bogged down in small subsistence farming, where every piece of land, every piece, every box and casket is registered; senseless bully (Nozdryov), who rages more at fairs and on neighboring estates than is at home; and finally, phenomenal buns from all sides. The author creates a whole system of images, very realistic and at the same time clearly satirical. He shows us the "heroes" from all sides, using three types of description: portrait, landscape of the estate, interior of the landlord's house.

2. Teamwork to compile reference circuit- synopsis "System of images of the poem" (writing on the board and in a notebook)

Poem image system

3. Analytical conversation "Reflecting, discussing"

a) Analysis of the first chapter

Which of the landowners does Chichikov visit first?

When does the first meeting between Chichikov and Manilov take place?

What is the leading detail in the description of the hero?

Tell us who Manilov is. What impression did he make on you?

What was the landlord busy with? How does he feel about his estate?

Find in the text and read the description of the interior of Manilov's house. - Expressively read how Manilov reacted to Chichikov's offer to sell "dead souls". How does this scene characterize Manilov?

Argument your answer

Explain the term "manilovism"

Please comment on the assessment of this chapter given by V.A. Zhukovsky: "It's funny and painful."

b) Analysis of the third chapter

With the help of which artistic means the author reveals the image of the Box? Examples from the text.

Find in the text and read the characteristics of the Box. What the hell is Korobochka leading? Examples from the text.

- Read expressively how Korobochka reacted to Chichikov's offer to sell “dead souls”. How does this scene characterize Box?

Think about whether this image can be called typical? Why?

Which artistic device enhances the author's generalization? Examples from the text.

4. Collective work on compiling the table “Heroes of N.V. Gogol "Dead Souls"

“The heroes of the poem by N.V. Gogol "Dead Souls"

5. Comparative work

Analysis of the images of Manilov and Korobochka (in pairs)

V ... Reflection. Lesson summary

The generalizing word of the teacher

Gogol's heroes were not fictional, bookish characters for Boklevsky. He long years lived in the Ryazan province and easily recognized the customs of the Russian province well known to him in the officials and landowners of city N.

Boklevsky completely refuses to reproduce household parts, furnishings. Its main task is to convey the intellectual scarcity, the moral squalor of the Gogol types. Therefore, the artist is limited only to portraits of heroes, concentrates on the image of their faces.

Manilov is represented by the artist as having a rest in the afternoon. Having unbuttoned his tie, unbuttoned his waistcoat, with an invariable pipe with a long shank, he is basking in a soft armchair. Manilov is a delicate, educated gentleman. Therefore, down jackets dispose him to dreaminess. He turned his eyes, threw back his head - he was carried away with his imagination under the clouds. However, he does not rise from the pillows, he is in complete idleness, and it is clear to the viewer that Manilov's fantasies are as ephemeral as the smoke coming out of his pipe.

Korobochka is "one of those mothers, small landowners who cry for crop failures, losses and keep their heads a little to one side, and meanwhile they are gaining a little bit of money in variegated bags placed on the drawers of the dressers." The watercolor portrait of Korobochka represents a good-natured little old woman, wearing a cap and a bonnet, in funny knitted shoes. The round, soft figure of Nastasya Petrovna, with some kind of rag tied around her neck, surprisingly resembles a tightly packed sack or sack - an important attribute of a homely landowner. Boklevsky often gives Gogol's characters an appearance similar to one or another animal. This creates additional associations for the viewer that contribute to a better understanding of the essence of the image. So, it is no coincidence that Sobakevich looks like a bear, and Chichikov looks like a cunning fox. Boklevsky's box makes you think about one of the small rodents, caring, homely animals that drag everything they see into their burrow. In fact, she has round, surprised eyes, a triangle-raised upper lip, exposing the incisors, and, finally, short arms, ingenuously folded over the protruding abdomen, just like the legs of a mouse.

VI . Homework

1. Prepare quotation material to the images of Nozdrev, Sobakevich, Plyushkin.

2. Individual task. To prepare for role-playing game

3. Leading task. Prepare a verbal response to problematic issue: "For what purpose does Chichikov visit landowners over the course of five chapters?"

Images of landowners and their comparison with Chichikov ("Based on the poem" Dead Souls ")

"Dead Souls" is one of the brightest projects in Russian and world literature, the pinnacle of thinness. mastery of Gogol. One of the main topics in Gogol's TV-ve is yavl. the topic of the Russian landlord class, the Russian nobility as the ruling class, its fate and role in public life... It is characteristic that the main method of depicting landowners in Ggol's works is. satire. The images of the landowners reflect the process of gradual degradation of the landlord class, and all of its failures and shortcomings are revealed. Gogol's satire is colored with irony and
"It hits right in the forehead." The poem is constructed as the story of the adventure of Chichikov, an official who buys up "dead souls".
The composition of the poem allowed the author to tell about different landowners and their villages. Gogol creates five characters, five portraits that are so dissimilar to each other, and at the same time, typical features of a Russian landowner appear in each of them. Our acquaintance begins with Manilov and ends with Plyushkin. This sequence has its own logic: from one landowner to another, the process of impoverishment of the human personality deepens, an increasingly terrible picture of the decomposition of serf society unfolds.

He opens the portrait gallery of the landowners Manilov (Chapter I). His character is already manifested in the surname itself. The description begins with a picture of the village of Manilovka, which "could have lured few with its location." With irony, the author describes the manor's courtyard, with a claim to "an English garden with an overgrown pond", thin bushes and with a pale inscription "Temple of secluded reflection". Speaking about Manilov, the author exclaims: "God alone could have said what Manilov's character was." He is kind by nature, polite, courteous, but all this took on his ugly forms. Manilov is beautiful-hearted and sentimental to the point of cloying. Relationships between people seem to him idyllic and festive. Manilov did not know life at all, reality was replaced with empty fantasy. He loved to reflect and dream, sometimes even about things useful to the peasants. But his searchlight was far from the demands of life. He did not know and never thought about the real needs of the peasants (or M. lives in illusory world, and the very process of fantasizing gives him great pleasure, he is a sentimental dreamer, incapable of practical action)
Manilov imagines himself to be a bearer of spiritual culture. Once in the army, he was considered the most educated person. The author speaks ironically about the atmosphere at home
Manilov, in whom "there was always something lacking," about his corny relationship with his wife. At the time of the conversation about dead souls, Manilov was compared to an overly clever minister. In comparison with other landowners, Manilov really seems to be an enlightened person, but this is only one appearance.

The third chapter of the poem is devoted to the image of the Box, which Gogol refers to as those "small landowners who complain of crop failures, losses and keep their heads a little to one side, and meanwhile collect a little bit of money in variegated bags placed on the drawers of the chest of drawers!" (or M. and Korobochka are in some way antipodes: Manilov's vulgarity is hidden behind high phases, behind discussions about the welfare of the Motherland, while Korobochka's spiritual scarcity appears in its natural form. high culture: in all its appearance, a very unpretentious simplicity is emphasized. This is emphasized by Gogol in the appearance of the heroine: he indicates her shabby and unattractive appearance. This simplicity reveals itself in relationships with people. The main goal of her life is to consolidate her wealth, continuous hoarding. It is no coincidence that Chichikov sees traces of skillful management on the estate. This household reveals its inner insignificance.
She has no feelings besides the desire to acquire and benefit. Confirmation is the situation with the "dead souls". Korobochka trades in peasants with such efficiency as he sells other items of his farm. For her, there is no difference between an animate and an unanimated being. In a sentence
Chichikova scares her only one thing: the prospect of missing something, not taking what can be bailed out for “dead souls.” The box is not going to yield them to Chichikov on the cheap. Gogol awarded her with the epithet "clubhead.") This money is obtained from the sale of a wide variety of products. households.
Korobochka understood the benefits of trade and, after much persuasion, agrees to sell such an unusual product as dead souls

When switching to the image of Nozdryov, Gogol emphasizes the contrast between him and the box. In contrast to the motionless landowner, Nozdryov is distinguished by her courage and "wide scope of nature." He is mobile, ready to do any business, not thinking about what, but all his activity is devoid of ideas and goals. Therefore, all his impulses end as easily as they begin, without any positive results: "Everything ends either with trifles or with all kinds of stories." ... His activity is aimed at burning life. He was a reveler and a reckless driver. Nozdryov finds himself wherever the pleasures of life can await him. Unlike Korobochka, Nozdryov is not inclined to petty hoarding. His ideal is people who always know how to have a fun life, not burdened with any worries. In the chapter about Nozdryov, there are few details that reflect the life of his serfs, but the description of the landowner itself gives comprehensive information about this, since for Nozdryov serfs and property are equivalent concepts. Both are the source of the burning of life. Wherever Nozdryov appears, there is a mess, a scandal. In the understanding of Nozdryov, his life is filled with meaning. In this respect, he resembles Manilov, but differs in that he likes to lie, to embellish. In a conversation with Chichikov, he boasts of absolutely everything: a stallion, a pond, a dog, and in his lies he simply cannot be exhausted. Lie for the lie itself. In relations with people, Nozdryov is free from any norms and principles. He easily converges with people, but does not remain true to his word, not to anyone else. In the desire of Nozdryov to bring discord in someone else's life, one feels the desire to spoil everyone. As a result, all the versatility of the hero is devoid of any positive principle.
He called Nozdrev “a historical person.” (“Nozdryov was in some respects a historical person.”) Not a single meeting where he was was without stories.

Unlike Nozdrev, Sobakevich cannot be counted as people in the clouds. This hero stands firmly on the ground, does not indulge himself with illusions, soberly evaluates people and life, knows how to act and achieve what he wants.
With the character of his life, Gogol notes thoroughness and fundamentalness in everything. These are natural features of Sobakevich's life. On him and on the furnishings of his house there is a stamp of awkwardness and ugliness. Physical strength and clumsiness appears in the guise of the hero himself. "He looked like a medium-sized bear," Gogol writes about him. Animal nature predominates in Sobakevich. He is devoid of any spiritual needs, far from dreaminess, philosophizing and noble impulses of the soul. The meaning of his life is to nourish his stomach. He himself has a negative attitude towards everything connected with culture and education: "Enlightenment is a harmful invention." It is the place where the local existence and the storehouse coexist. Unlike Korobochka, he well understands the environment and understands the time in which he lives, knows people. Unlike other landowners, he immediately understood the essence
Chichikova. Sobakevich is a cunning rogue, an arrogant businessman who is difficult to deceive. He assesses everything around him only from the point of view of his own benefit. His conversation with Chichikov reveals the psychology of a kulak who knows how to make the peasants work for themselves and derive the maximum benefit from it. He is straightforward, rather rude and does not believe in anything. Unlike Manilov, in his perception all people are robbers, scoundrels, fools. (Everything in Sobakevich's house surprisingly reminded him of himself. Each thing seemed to say: "And I, too, Sobakevich."
The last landowner that Chichikov visits, Plyushkin, is similar in aspirations to K. and S., but the desire for hoarding takes on the character of an all-embracing passion. The only purpose of his life is the accumulation of things. As a result, he does not distinguish between the important, the necessary from the little things, the useful from the unimportant. Everything that comes to his hand is of interest. Plyushkin becomes a slave to things. The thirst for hoarding pushes him on the path of all kinds of restrictions. But he himself does not experience any unpleasant sensations from this. Unlike other landowners, the story of his life is given in full. She reveals the origins of his passion. The more the thirst for hoarding becomes, the more insignificant his life becomes. At a certain stage of degradation, Plyushkin ceases to feel the need to communicate with people. He began to perceive his children as robbers of his property, feeling no joy at meeting them. As a result, he ended up in all alone... Gogol dwells in detail on the description of the situation of the peasants of this richest landowner. ************************************** ****************************
****** Chichikov

In "M.D." Gogol typifies the images of Russian landowners, officials and peasants. Only person standing out from the overall picture Russian life- this is Chichikov. Revealing his image, the author tells about his origin and the formation of his character. Chichikov is a character whose life story is given in every detail. We learn from the eleventh chapter that
Pavlusha belonged to a poor noble family. His father left him a legacy of half a copper and a covenant to study diligently, to please teachers and bosses and, most importantly, to save and save a penny. Chichikov quickly realized that all lofty concepts only hinder the achievement of the cherished goal. He makes his way in life by his own efforts, not relying on anyone's patronage. He builds his well-being at the expense of other people: deception, bribery, embezzlement, fraud at the customs - the main character's tools. No amount of failure can break his greed for profit. And every time, committing unseemly acts, he easily finds excuses for himself.

With each chapter, we see more and more new opportunities for Chichikov: with Manilov he is cloyingly amiable, with Korobochka he is petty-persistent and rude, with Nozdrev he is assertive and cowardly, he bargains with Sobakevich insidiously and relentlessly, Plyushkina conquers with his “generosity”.

But let us pay special attention to those moments of the poem where Chichikov does not need to disguise himself and change himself for the sake of adaptation, where he remains alone with himself. While inspecting the city of N, our hero “tore off the poster nailed to the post so that when he came home he could read it well,” and after reading it, “rolled it up neatly and put it in his little chest, where he used to put everything that came across”. This collection of unnecessary things, careful storage of trash is vividly reminiscent of Plyushkin's habits. WITH
Manilov Chichikov is brought together by uncertainty, because of which all assumptions on his account are equally possible. Nozdryov notes that Chichikov looks like Sobakevich: “… no straightforwardness, no sincerity! Perfect Sobakevich ". In the character of Chichikov there is a Manilov love for the phrase, and the pettiness of Korobochka, and narcissism.
Nozdryov, and gross stinginess, Sobakevich's cold cynicism, and greed
Plyushkin. It is easy for Chichikov to turn out to be a mirror of any of these interlocutors, because he has all those qualities that make up the foundations of their characters. Still, Chichikov differs from his counterparts on estates, he is a man of the new era, a businessman and a purchaser, and has all the necessary qualities: "... and pleasantness in turns and actions, and agility in business games", but he is also a "dead soul", because the joy of life is not available to him.

Chichikov knows how to adapt to any world, even his appearance is such that he will suit any situation: "not handsome, but not bad-looking either", "not too fat, not too thin", "middle-aged man" - everything in him is vague, nothing stands out.

The idea of ​​success, entrepreneurial spirit, practicality obscure all human impulses in him. "Selflessness", patience and strength of character of the protagonist allow him to constantly revive and show tremendous energy to achieve this goal.
Chichikov is forced to flee the city, but this time he achieved his goal, approached one more step to his faceless "happiness", and everything else is no longer important for him.

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