(1) It must be said that in Russia, if they have not caught up with foreigners in any other way, then they have far surpassed them in their ability to handle. (2) It is impossible to count all the shades and subtleties of our appeal. (3) A Frenchman or a German century will not see and understand all its features and differences; he will speak in almost the same voice and in the same language both with the millionaire and with the small tobacco dealer, although, of course, in his heart he does it to the best of the first. (4) This is not the case with us: we have such wise men who, with a landowner who has two hundred souls, will speak quite differently than with the one who has three hundred of them, and with the one who has three hundred, they will again speak in a different way. as with the one who has five hundred of them, and with the one who has five hundred, again it is not the same as with the one who has eight hundred - in a word, even if you go up to a million, all shades will be found.

(5) Suppose, for example, there is an office, not here, but in a distant state, and in the office, let’s say, there is a ruler of the office. (6) I ask you to look at him when he sits among his subordinates - but simply because of fear you cannot utter a word! pride and nobility, and what does his face not express? just take a brush and paint: Prometheus, resolute Prometheus! (7) Looks out as an eagle, protrudes smoothly, measuredly. (8) The same eagle, as soon as he left the room and approaches the office of his boss, hurries like a partridge with papers under his arm ... (9) In society and at a party, be everyone of a small rank, Prometheus will remain Prometheus, and a little higher than him, with Prometheus, such a transformation will take place, which even Ovid would not have imagined: a fly, even smaller than a fly, was destroyed into a grain of sand! (10) “It's not Ivan Petrovich,” you say, looking at him. - Ivan Petrovich is taller, and this one is both short and slender; he speaks loudly, bass and never laughs, but this devil knows what: he squeaks like a bird and laughs all the time. " (11) You come closer, you look - as if Ivan Petrovich! (12) "Ehe-he!" - you think to yourself ...

(N. V. Gogol.)

Short Answer Tasks

1. From sentences 7-8 write out the words formed by the prefixed way.

2. From sentence 2, write down the phrase with the connection adjoining.

3. Among sentences 1-8, find a complex sentence that includes a one-part indefinite personal. Write the number of this sentence.

4. Among sentences 1-6, find the sentence that is related to the previous one using the same root word. Write the number of this sentence.

5. Write the numbers of the means of expression used in sentences 5-11.

1) hyperbole

2) question-answer form of presentation

3) syntactic parallelism

4) inversion

6) lexical repetition

7) contextual antonyms

8) comparison

9) colloquial vocabulary

6. Write down the text, opening the brackets, choosing the necessary words (terms).

Features of the poetics of N.V. Gogol is clearly manifested in an episode from the poem "Dead Souls". The appeal to characters (ancient Russian literature, ancient mythology), the use of such syntactic techniques as (rhetorical appeal, gradation, inversion) and the use (phraseological units, contextual antonyms, litoty), for example, in sentences 8-9 reflect the author's indifferent attitude to the depicted and create in the text a special (ironic, ironic) intonation characteristic of N.V. Gogol.

Read the text. Highlight micro-themes, draw up a plan based on them. Do the number of micro themes and paragraphs match? What style and type of speech does the text refer to?

Think carefully about what I am going to tell you, young friends. And don't just think that I just want you to "read the moral."

Love plays a huge role in human life. First, it is love for your parents, for your family. Then it is love for your school, for your class, for your village or city. Another important step is love for your people, for your country.

I adhere to the view that love for the Motherland begins with love for your family, for your home. It is gradually growing. With age, she also becomes love for her city, for her village, for her native nature, for her countrymen, and when she matures, she becomes conscious and strong until her death love for her country and its people. It is impossible to skip over any link in this process, and it is very difficult to fasten the whole chain again when something in it fell out or more than that was absent from the very beginning.

Love for your country and your people - this is the transpersonal principle that truly sanctifies (makes saint) all human activities, brings him real happiness.

Love for the Motherland gives meaning to life, transforms life from vegetation into a meaningful existence.

Patriotism is a creative beginning, a beginning that can inspire a person's whole life: his choice of his profession, a range of interests - determine everything in a person and illuminate everything.

(D.S. Likhachev)

Algorithm of work (secondary text)

Formulate the problem using an interrogative sentence. (What role does ... play in a person's life? What is ...?)

Make a text commentary. To do this, you should answer a number of questions:

b) What can you say about the composition (structure) of the text?

On the subject: methodological developments, presentations and notes

Lesson - workshop. Elective course "The Entertaining Life of the Russian Word." Grade 9 Topic of the lesson: "Linguistic analysis of the text of V.P. Astafiev" And with your dust ... "

The purpose of the lesson: To carry out a linguistic analysis of the text at the phonetic, lexical, morphological and syntactic levels of the language Lesson objectives: to apply the theoretical knowledge gained about ...

Comprehensive text analysis. Work with the text of I. Bunin.

These materials should serve to expand vocabulary, foster a sense of love for the beautiful and the ability to see this beautiful in the world around us, to consolidate the skills of text analysis ...

Work with text. Comprehensive text analysis. Grade 9.

The complex analysis of the text is intended for the preparation of students in the 9th grade of the State Academy of Arts in the Russian language. It includes the syntactic material of Parts B9 - B14. A simple complicated sentence is repeated, and so ...

Introduction

CHAPTER I. The tragic and the terrible in the poetic structure of Gogol's prose as a theoretical problem 19

1. Theoretical and aesthetic foundations of the category of the tragic 19

2. Tragic and terrible in literary studies about N.V. Gogol 36

3. The terrible and artistic forms of its expression in the prose of N.V. Gogol 52

CHAPTER II. The artistic expression of the tragic and terrible in the stories of N.V. Gogol 66

1. Tragic in the artistic, philosophical and moral comprehension of N.V. Gogol 66

2. The plot, figurative and semantic expression of the tragic and the terrible in the cycles of N.V. Gogol 83

3. The originality of the poetics of the tragic and the terrible in the St. Petersburg stories і 11

Conclusion 138

Bibliography 143

Introduction to work

Modern literary science has a huge number of works dedicated to N.V. Gogol, which testifies to the unquenchable interest in the creative heritage of this unusual artist. The works of N.V. Gogol continues to be staged on stage, various cinematic versions of them are offered, quite active work is underway to identify the innovative features of Gogol the artist, taking into account the new provisions of the theory of literature developed in the last decade.

Literary critics of the 20th century have produced a number of interesting works about the work of Gogol, among which we note the monographs of M.B. Khrapchenko, G.N. Pospelova, N.L. Stepanova, Yu.V. Mann, SI. Mashinsky, G.A. Gukovsky, V.V. Ermilova, V.Sh. Krivonos, A.A. Elistratova and others 1.

And, nevertheless, much in Gogol's work continues to arouse keen interest, for Gogol the artist, as they say in relation to authors of this level, is a writer of Shakespearean scale. Indeed, N.V. Gogol turns out to be inexhaustible from the point of view of the universal and world ideas to which he turned. He was interested in eternal, contradictory questions, insoluble to the end. The works of N.V. Gogol is in such a row as Shakespeare's Hamlet, Cervantes's Don Quixote, as the creations of Lope de Vega, Goethe, Defoe, Swift.

"Khrapchenko MB Nikolay Goyul Literary path Greatness of a writer M, 1984, Pospelov G N I work of NV Gogol M, 1953; Stepanov NL Gogol Creative way M., 1955, Mann SE Gogol's poetics Variations to a theme M, 1996, his Gogol Іrudіidni 1809-1845 - M, 2004, Mashinsky SI The artistic world of Gogol M, 1979, Gukovsky GA. Realism of Gogol M, 1959, Grmilov VV The genius of Gogol M, 1959, Glistratova AA Goyul and the problems of the Western European novel M, 1972, Krivonos VIII The problem of the reader in the work of Gogol Voronezh, 1981; his Motives of fictional prose Gogol S-Mb, 1999 and other works.

The writer's satirical gift has long been recognized. N.V. Gogol as a satirist is really great, unusual and unique. Moreover, his satire in most cases is considered in the context of the natural school and in line with the prospects of the developing realism of the 19th century.

D. Nikolaev in his famous book "Gogol's Satire" insists on just this idea: "... It must be said with all certainty that he (Gogol) was a satirist first of all, a satirist predominantly." At the same time, the satirical line of N.V. The researcher associates Gogol with the most important trends in the historical and literary process of the 30s-40s of the XIX century, and, first of all, of course, with the traditions of the natural school, which, in fact, N.V. Gogol created and practically headed. This important point indicates to us the truly innovative nature of the writer's work.

The main efforts of literary scholars referring to the heritage of N.V. Gogol, were reduced mainly to emphasizing the realistic nature of the writer's work, manifested in a variety of genres. Authors of “History of Russian Literature of the 19th Century. 1800-1830s "indicate that" in Soviet literary criticism N.V. Gogol was considered for a long time almost exclusively(italics ours - A.Zh.) as a realist "2. Indeed, in most of the works devoted to N.V. Gogol, the main idea is that the writer is close to realistic poetics. This is all true. However, as the authors of this work note, “a number of complex issues of N.V. Gogol still remains insufficiently researched and continues to cause controversy. " In particular, there is still a lot of work to be done to study the style and artistic skill of the writer. In this case, the authors consider

1 Nikolaev D Satire Gogol M Fiction, 1984 C 3.

2 "History of Russian literature of the XIX century 1800-1830s" M Enlightenment, 1989 С 380

3 Ibid C 379

a detailed consideration of the originality of the creative method of N.V. Gogol and his connections with romanticism. We agree that this is a necessary and productive direction.

However, when considering the originality of the poetics of N.V. Gogol as a whole, we also see another significant direction associated with the specifics of expression in N.V. Gogol is terrible as an extreme form of manifestation of the tragic in images that are exceptional from the point of view of emotional and expressive impact.

And, nevertheless, one should point to another little-studied, but important aspect of Gogol's poetics, which is organically inherent in it - the expression of the tragic and the terrible in an extremely vivid, emotional-figurative form, which is advisable to consider in the following series: comic(but the comic is special - "laughter through tears"), satirical and finally, actually tragic. Moreover, the tragic in its various manifestations and, above all, in the form of supertragic or terrible.

In this case, we can talk about the complexity of artistic phenomena of this kind. The actual work of N.V. Gogol and symbolizes the transition to new literature (this idea was expressed by VG Belinsky in his article "On the Russian Story and Stories of Mr. Gogol"), literature of the realistic direction, which received the well-known name "natural school".

In this regard, it is necessary to say about the new trends in modern literary science when we touch on complex theoretical and historical-literary issues. So, the authors of the solid work "Liberation from dogma" 1 offer new approaches to solving the issue of

1 Liberation from dogmas The history of Russian literary state and ways of studying Volume one M Heritage, 1997-312s

literary directions and methods. In particular, the Petersburg researcher V.M. Markovich is inclined to think about the universality of the realistic method, which absorbs the most diverse phenomena of the surrounding reality, artistically rethinks them and gives them out in the form of expressive images: together with it and pre-realistic in their origin forms of comprehension of transcendental realities - revelation, religious and philosophical utopia, myth ”1. In addition, V.M. Markovich argues that next to the empirical plan in a realistic work, a mystery plan may appear: “Social life, history, the throwing of the human soul then acquire a transcendental meaning, begin to correlate with such categories as eternity, the highest justice, the providential mission of Russia, the end of the world, the Terrible judgment, the kingdom of God on earth. " In our opinion, this is theoretically very valuable, accurate thought, which can be applied in explaining the tragic and terrible aspects of the poetics of N.V. Gogol.

Indeed, the “energy of spiritual maximalism” so characteristic of N.V. Gogol, really was not just reflected in his works, but found a rather successful poetic combination with satirical, tragic, as well as terrible and mystical.

1 Liberation from dogmas History of Russian literature state and ways of studying Gom first. M .. Heritage, 1997. S. 244. Imzhe

Thus, we can note a significant turn in literary science towards a new research methodology, according to which the merits of our authors in the development of a realistic method cannot be reduced only to stating the importance of depicting the real, real and socially significant, what, in principle, organically entered into the whole into the realistic poetics of this or that author.

If in the Soviet period the merits of writers were often considered according to the well-known scheme: "the area of ​​achievement is the area of ​​delusion" (Gogol, as well as Dostoevsky and Tolstoy, in this case were classic examples), now there is a noticeable tendency towards enlargement research field. The "area of ​​delusions" becomes not just an interesting subject of study, but, at times, a necessary link, where it is possible, no matter how paradoxical it may sound, to find the focus of truth. Isn't the "area of ​​delusions" N.V. Gogol in the very area where the writer reached certain heights in the search for spiritual meaning? The question is very difficult! The search for the spiritual could receive a kind of artistic expression from N.V. Gogol, in our opinion, precisely in the form of the tragic and the terrible.

In this regard, it is interesting to note that B.M. Eichenbaum, in an article devoted to Gogol's "The Overcoat" (1919), expressed the idea that "the composition of a novel largely depends on what role it plays in its composition. personal tone(BM Eikhenbaum's italics) of the author, that is, is this tone an organizing principle ”. Under the personal tone of B.M. Eichenbaum understood the manner of the story, that is, the narrative manner. The personal tone, or the narrative manner of the works of N.V. Gogol, has different expressions depending on what task is posed by

1 Eikhenbaum B.M. How "The Overcoat" of Goyol did it // BM Eikhenbaum About the Proie About the Poetry Collection of stitches. L. Fiction, 1986 C 45

author. The personal tone in many works of N.V. Gogol takes on a tragic sound, and this tragedy in many of the writer's stories really becomes an organizing principle, that is, it composes the plot, determines the character of the faces and the expressiveness of the images. Our attention in this work will be precisely focused on the problem of how a personal tragic tone does not just "postpone" a kind of artistic imprint on a particular work of N.V. Gogol, but how this personal tone as a whole organizes it, in accordance with the main idea of ​​the author. This is all the more important to note in connection with the recent increased attention to the poetics of “artistic modality,” an aesthetic category that attracts the attention of contemporary literary theorists. So, V.E. Khalizev believes that the tragic is perhaps the most important form of "emotional comprehension and artistic development of life's contradictions." Hence, the need for a comprehensive consideration of the specificity of the artistic modality of the tragic and the terrible as the highest form of the tragic is quite obvious.

Among the largest works of modern times, which are also related to the problem indicated by us, one should name the Gogol collection edited by E.I. Annenkova, O. M. Buranka, S.A. Goncharova, V.Sh. Krivonos. So, in the article by V.Sh. Krivonos "Portrait in" Portrait "of Gogol" is a very interesting direction of research of the famous Gogol story. According to the author, the “mythological semantics of the very act of creativity” 4 acquires special significance. The scientist drew attention to the fact short moment when the "scary face of the old man" clearly expressed itself - a mystical, scary and even awful moment.

1 Broitman S. N. Historical Poetics M, 2001. P 253-359 Khalizev VG Theory of Literature M, "High School", 1999 P 74

3 Gogolevsky collection - St. Petersburg, Samara Publishing house of STPU, 2003 - 284 p, Goolevsky collection
Issue 2 (4) SPb, Samara Publishing house of SGPU, 2005 - 360 p.

4 Krivonos V. Sh. "Portrait" in "Poriret" by Gogol // Gogol collection Issue 2 (4) St. Petersburg,
Samara. Publishing house SGPU, 2005.P 73

V.Sh. Krivonos resorts to an original comparison of an old man emerging from the frame ("Portrait") with a pannochka rising from a fob ("Viy"). Is this real or surreal? Both take place, expresses a special spiritual meaning, which boils down to the fact that evil and hostile are real and mystically constantly present in a person, manifesting themselves in terrible, terrible, terrible pictures.

So, in the last decade in the literature about N.V. Gogole is increasingly developing the religious and philosophical side of the writer's worldview and its reflection in the author's work. Moreover, we note that attention to the religious aspects of Gogol's work has become an integral element of modern monographic research 1.

The relevance of the work. N.V. Gogol belonged to those artists whose work hid many secrets and mysteries that arouse the imagination, provoke controversy, but leave no one indifferent. The writer's creative heritage in Soviet times was interpreted by literary science mainly from the point of view of the significance of the socially accusatory side, which, of course, is true, but not enough. Gogol's poetics contains many (sometimes hidden) elements that still require their scientific explanation. These, undoubtedly, should include the terrible as the highest form of the tragic. The artistic significance of the tragic and the terrible in the poetic structure of the works of N.V. Gogol is not in doubt, but this question was not received in

Vinogradov IA Gogol - artist and thinker Christian foundations of the world outlook, M, 2000, Voropaev VA In the spirit of the schema contrite Life and work II V Gogol in the light of Orthodoxy, M, 1994, as well as numerous other works of this avur, Lazarev M II Spiritual experience II V Gogol - M, 1993, Dunaev M M Orthodoxy and Russian Literature 43 M, 2002; Gsaulov I. A. The spectrum of adequacy in the interpretation of a literary work ("Mirgorod" II V. Gogol) - M, 1995, Krivonos V. Sh. Motives of fictional prose by Gogol St. Petersburg, 1999 and other works

literary science of the necessary explanation, in particular it belongs to the category of terrible. Comprehension of its complex nature precisely determines the relevance of the dissertation research.

In addition, a deep and comprehensive study of the poetic role of the tragic and the terrible in the works of N.V. Gogol, in our opinion, is unthinkable without taking into account the religious views of the writer, which made it possible for him to comprehend the entire catastrophic essence of this phenomenon.

Gogol's religious system of worldviews is based, as you know, on the well-known biblical commandments. The writer strove, as it were, to open the eyes of his compatriots to their delusions, to remind once again about the inviolability of moral truths. However, attempts to convey such views to the secular readership (sometimes in a somewhat straightforward way) to the writer did not always succeed, since his lofty ideal, fancifully hidden behind comic content (and the reader, as a rule, primarily perceived the comic content), was sometimes alien and incomprehensible to contemporaries 1.

The opposition of external and internal, imaginary and true, insignificant and high, artistically expressed in the gap between dream and reality - these are the problems cementing the content of the stories that are in the center of the writer's attention. Heroes N.V. Gogol, in one way or another, come to an understanding of the imperfection of being, feel their guilt for what they have done.

N.V. Gogol in his work picturesquely presented widespread prejudices, fears and a keen sense of injustice, refuting what seemed an acceptable form

An example of this is the publication of "Selected Passages from Correspondence with Friends"

life, but in reality it was not her, but seemed to be vegetation, madness, a terrible waking dream, a dream that should be dispersed at all costs. That is why in many of his works, long before the Petersburg stories, “Dead Souls”, “Selected Passages from Correspondence with Friends”, words full of tragedy sound so strongly and vividly: “Thunder, roar, songs were heard quieter and quieter. The bow was dying, weakening and losing vague sounds in the emptiness of the air ... Isn't it just that joy, a beautiful and fickle guest, flies away from us, and in vain a lonely sound thinks to express fun? In his own echo, he already hears sadness and the desert and wildly listens to him ... It is boring to be abandoned! And the heart becomes heavy and sad, and there is nothing to help it with "1," Sad, I am sad in advance! " (2, 6), "It's boring in this world, gentlemen!" (2, 234) etc.

Ironically at the naive desire of people to accept at face value what the surrounding life seemed to be, N.V. Gogol showed that the funny, the tragic, and at the same time the terrible always coexist side by side, making up a bizarre unity of opposites, reflecting the essence of real life. The writer clearly understood that human life on earth is a symbiosis of good and evil, but more often than not, evil acts much more efficiently and therefore the balance of forces is not always possible, and the scales are constantly leaning towards the tragic, leaving the funny behind them.

N.V. Gogol exposes a society in which the fate of people is determined by those who want to succeed and rise, renouncing the principles of justice, but, most importantly, Christian morality. Anyone who himself has not become a monster will inevitably become a victim of evil spirits, which N.V. Gogol depicted with such an artistic

1 Gogol II B Collected works in eight volumes M "Pravda", 1984 T 1 C 91-92 Further citations from this edition References are given in the text itself in brackets indicating the volume and page

persuasiveness, showed his contemporaries that they are at the mercy of the most savage, brutal, monstrous and deadening evil.

It becomes quite obvious that humanly living in such a society is impossible, and adapting to it, serving it is disastrous. But people did not oppose this order of things, because they themselves did not know where they lived and what they put up with. For N.V. It was obvious to Gogol, he knew the real state of affairs. This was, in our opinion, one of the reasons for Gogol's conversion to Orthodoxy. Therefore, he with the special power of his artistic imagination in his work "Terrified" readers with a spectacle of abominations and humiliation, sometimes in an exaggerated, fantastic, grotesque form. Thus, he wanted to awaken humanity from a calm, serene sleep-life. Revealing the dark secrets of the kingdom of the night, the writer deprived them of their aura of immunity. Illuminating people with the light of knowledge of the world where they vegetate, N.V. Gogol wanted to dispel their passions in front of the unknown, incomprehensible, elusive. Therefore, the words of V.Sh. Krivonos that “the means of unity with the reader turns out to be for N.V. Gogol preaching word(our italics - A.Zh.), denouncing and instructing each individual person, encouraging him to change internally and improve himself. "

Other researchers who analyze the work of N.V. Gogol already from a purely theological standpoint. According to M.M. Dunaeva, N.V. Gogol “was given a special gift: such a heightened vision and sensation of world evil, which is rarely given to anyone in the world. This is both a gift - and a test of the soul, a call from above to inner struggle with the aggravated horror revealed to man.

Krivonos V Sh The problem of the reader in the work of Gogol Voronezh, published by Voronezh University, 1981 P 18

vision and reference ”. This, perhaps, was the reason for the mysteriousness and tragedy of Gogol the artist and Gogol the man.

The well-known statement of N.V. Gogol's talk about “laughing through tears” is a figurative expression of all the complexity and versatility of his poetic credo. Everything that belongs to the category of laughter and funny, and, accordingly, comic, we are quite clear and understandable. And in relation to "tears", additional explanations are required.

In other words, “laughter” is the comic side associated with a satirical rethinking of reality, while “tears” represent something else, a different element that already belongs to the category of the tragic.

Scientific novelty research is that tragic motives, tragedy and the terrible as a special artistic form in the work of N.V. Gogol were not previously the subject of a separate study, but were included in the works of literary scholars as an integral part of the general analysis of the writer's poetics, which will be discussed in the first chapter.

We proceed from the understanding that the tragic and its derivative terrible is one of the ways of realizing and artistic embodiment of life's contradictions. That is why in our work the tragic is considered, firstly, as a certain the form of the author's consciousness, giving the writer's creativity special poetic features, and, secondly, as a factor that actively influences the figurative, compositional and plot structure of his works.

Let us emphasize that his famous phrase about laughter and tears was not expressed by chance. This is a kind of creative, poetic manifesto of N.V. Gogol - a statement of his intentions and artistic principles, an announcement of the discovery of his method in literature.

1 Dunaev MM Orthodoxy and Russian Literature 42 M: Christian Literature, 1996 C 97

The tragic as a phenomenon of aesthetics and literature has been fully studied, on this score we have at our disposal very solid research. However, we consider it necessary to clarify some of the theoretical aspects of the problem that we touched upon in the study. For this, it is proposed to consider the following group of questions:

    tragic as a style-forming factor;

    connection of the tragic with the category of "terrible".

Thus, it is obvious that it is necessary to comprehensively consider the tragic and the terrible as the highest form of the tragic, as an important artistic constant of the writer's poetics, which determines the creative manner of Gogol the artist as a whole.

The coverage of these issues determines purpose of the study, reduced to revealing the originality of the artistic expression of the tragic and the terrible.

In the course of the implementation of this goal, the following tasks were solved:

    Show the inextricable connection of Gogol's artistic system with the tragic and the terrible.

    Argue the legitimacy of the concept of "terrible" as a theoretical and literary category, defining its artistic aspects.

    To reveal the connection between the tragic and the terrible with realistic tendencies in the work of N.V. Gogol.

    Show the role of the tragic and the terrible in the broad context of the development of the writer's style.

1 Pospelov GN, Theory of Literature M, 1978, Rudnena VI. Paphos is a work of art. M, 1977, Lazareva MA Tragic in literature M, 1983, Losev AF Traicheskoe // Philosophical Encyclopedic Dictionary 2nd edition M, 1989, Volkov IF Theory of Literature M, 1995, Khalizev VP Theory of Literature M, 1999, Lorev K) B Aesthetics M , 2002

5. Determine the place and significance of the tragic and the terrible in the work of N.V. Gogol in general and in individual works in particular.

The first chapter of the dissertation is devoted to the theoretical side of the problem, which reveals the essence of the tragic, its nature and various forms of artistic embodiment.

In this regard, it is important to emphasize that the tragic in its artistic development has several stages or phases. Accordingly, the level of the tragic is expressed in a variety of artistic forms. Extreme manifestation, pronounced form of tragic is terrible.

We view the terrible precisely from the position that the tragic in its highest development, in its highest concentration, takes the form of the terrible.

But if the phenomenon of the tragic has been sufficiently studied from the point of view of aesthetics, philosophy, literary criticism, which we show in the first chapter on examples of the development of views on the tragic from Aristotle to our days, then the terrible artistic the form of the tragic is theoretically not comprehended with the necessary completeness and depth. Although all researchers who turn to the tragic, to one degree or another, touch on the terrible or mention this category, but the terrible as such was not the subject of special consideration in their works.

To this we add that the terrible and artistic form of its expression in literature, including in N.V. Gogol, do not have any auxiliary, additional features of revitalization of action or escalation of the situation. Terrible as a phenomenon in the work of N.V. Gogol is a kind of final version of the development of tragic motives. WITH

From this point of view, the terrible in Gogol includes different elements: religious and philosophical ideas and motives at the highest level of their abstraction ("Terrible revenge", "Viy"). Secondly, the terrible thing in the artistic consciousness of N.V. Gogol is associated with the chaotic, apocalyptic, with the end of the world ("Nevsky Prospect", "Portrait"), with the question of the historical path of mankind ("Selected Passages from Correspondence with Friends").

Therefore, we are not dealing with a secondary poetic device, but with a whole system of artistic comprehension of sinful human existence on a global scale. Hence, a variety of moral and ethical questions arise, requiring an explanation of the nature and essence of the category "terrible" as a phenomenon not only of an artistic, but also of a spiritual order.

If we have in mind N.V. Gogol, the logic of his work is as follows: terrible is not just a game technique designed for vivid external effects, but an artistic category, an important component of the writer's poetics. Comprehension of this phenomenon from an artistic point of view leads us to a deep understanding of the ideological position of N.V. Gogol.

In our work, special attention is paid to the development of theoretical provisions concerning the terrible as an artistic phenomenon in the work of N.V. Gogol. We drew attention to the fact that the terrible in literature is most often conveyed in the form of some disharmonious, nightmarish pictures, acts as a kind of mysterious, hostile and aggressive entity in relation to a person. Moreover, the terrible thing in N.V. Gogol manifests itself quite actively, interferes in the lives of heroes, cripples their souls, plunges them into fear and awe, or vice versa - presents their life in the form of a crooked mirror, absurdity, chaos, nonsense. In addition, the awful fulfills

a kind of ironic role. It sneers at the human appearance, thoughts, deeds. The terrible often manifests itself in the form of an invisible, invisible, but actively participating in the events of the phenomenon.

Object of study- tragic and terrible in the structure of N.V. Gogol.

Subject research is the artistic expression of the tragic and terrible in the stories of N.V. Gogol.

Based on what was said, The following provisions are brought up for defense:

    The tragic and the terrible, as the highest form of manifestation of the tragic, organically enters into the general structure of N.V. Gogol, giving her a unique originality. The tragic and terrible are even more sharply emphasized by the social and critical aspects of N.V. Gogol, enriching it both from the side of psychological analysis and from the side of satire and humor, while successfully combining with the grotesque and fantasy.

    The tragic and terrible in the work of N.V. Gogol does not contradict the principles of realism and the poetics of the natural school.

    The tragic and the terrible are defined in the dissertation as significant artistic and aesthetic categories that are organically included in the poetics of N.V. Gogol and allowing the writer to reach the highest level of philosophical and religious generalizations, to express ideas related to the field of the sacred.

    Everything that is in the work of N.V. Gogol belongs to the mystical, religious-philosophical and, accordingly, terrible, in the Soviet period was considered mainly as "the area of ​​delusion." However, the “area of ​​delusions” N.V. Gogol contains a huge number of such issues, the solution of which required from the author

deep knowledge in the field of religion, artistic aesthetics and philosophical thought.

5. The tragic and the terrible are considered depending on the creative period and genre and, as a result, have a different basis: folklore - in early work ("Sorochinskaya Fair", "Night before Christmas", "May Night, or the Drowned Woman" and other stories) and philosophical and religious, artistic and aesthetic - in a later period, in particular, in St. Petersburg stories.

Methodological and the theoretical basis of the dissertation work was the research of M.B. Khrapchenko, G.N. Pospelov, N.L. Stepanov, G.A. Gukovsky, Yu.V. Manna, V.A.Voropaeva, I.A. Vinogradov, V.A.Krivonos Sh., Buranka O.M. and others. The dissertation research is based on the theoretical positions of Aristotle, Hegel, Lessing G.E., Belinsky V.G., Chernyshevsky N.G., theoretical works of Bakhtin M.M., Likhachev D.S., Khalizev V.E.

Theoretical and practical significance thesis is due to the possibility of using its materials and results in lectures and practical classes on the history of Russian literature of the 19th century, in the preparation of special courses and special seminars dedicated to the work of N.V. Gogol.

The dissertation consists of an introduction, two chapters, a conclusion and a bibliography. The first chapter is mainly theoretical in nature and is devoted to the study of the category of the tragic in aesthetics and literary criticism. In the second, we tried to analyze the works of art by N.V. Gogol, where the tragic and terrible received their most vivid artistic expression.

Theoretical and aesthetic foundations of the category of the tragic

The tragic is usually associated with misfortune, various forms of suffering and apocalyptic events in history. However, the source of the tragic cannot be reduced only to a simple identification with the above. From a philosophical and aesthetic point of view, the tragic is a rather complex category, reflecting various conflicts of a social, moral and ethical order.

The tragic in literature reflects the drama of reality itself, which, artistically transforming, from real life passes into fictional life, which, with a greater or lesser degree of reliability, but always deeply individual for each era or social environment, reproduces a tragic outlook and tragic conflicts. It is no coincidence that tragic art gains its widest development during periods of social calamity and revolutionary outbursts, when fundamental social contradictions are especially clearly exposed.

The expression of tragic motives in the work of this or that artist can be conditioned not only by the corresponding social state, but also by individual reasons; among them, one can designate an ideological or spiritual crisis, a global change in the worldview, in outlook on life, and finally, changes in personal life, which are often reflected to one degree or another in works. It can be considered a certain rule that in the biography of every artist there are moments associated with a crisis, a turning point, various changes, which they consciously or unconsciously reflect in their creations, thereby injecting tragic intonations into the fabric of a work of art. Suffice it to recall the creative evolution of such artists as Pushkin, Lermontov, Dostoevsky, Tolstoy.

From a theoretical and philosophical point of view, the tragic is a form of dramatic consciousness that reflects a person's experiences of conflict with forces that threaten not only his interests, but life in general. These forces actively interfere in the daily life of an individual, disrupting its harmony, becoming the cause of painful excitement, and on the other hand, intensify the desire for an active struggle against these forces, which, moreover, often cause a person to lose the most important spiritual values. Hostile forces place a person in a position of choosing between good and evil. They can be so powerful that they can bring a person to a critical, catastrophic and terrible state, when the hero cannot find a way out of the current conflict and he has no choice but to go into the world of lonely existence or even perish.

In addition, the understanding of the tragic is largely determined by the socio-historical type of worldview. But it is important to take into account the fact that the conflicts of a person with society, with himself - this is only one side of the issue, but there is another - the sacred, which was fundamentally significant for a certain circle of writers. So, it is well known that for N.V. Gogol and, say, F.M. Dostoevsky's lack of fear of God in people seemed to be the very source that gave rise to tragic situations and terrible consequences. Calling people to turn to God and thus cleanse their souls from despondency, blindly following the devil's temptations, which are always the cause of misfortune in a person's life, N.V. Gogol wrote: “The beginning, root and affirmation of everything is love for God. But we have this beginning at the end, and we love everything that is in the world more than God ”1. The artistic expression of the category of the tragic in a literary work often acquired a sacred meaning associated in the mind of the author with the idea of ​​original sin, which is ultimately the cause of everything tragic and terrible on earth. A person's innate attraction to temptations leads to denial, violation of divine commandments, which, of course, is one of the reasons for the tragic in human life.

The tragic, as one of the types of artistic content, manifested itself in ancient Russian literature. A peculiar expression of it was martyrdom, the physical or spiritual death of a person; the source of tragic collisions was often the contradictions between the physical and the spiritual, the secular and the religious2. In ancient Russian literature, as a rule, it was not the tragedy of an individual, not a personal, but a collective tragedy that was portrayed, mainly associated with wars, glorious campaigns, the death of heroes. The tragic more often reflected historical situations (a tragedy associated with specific historical events, specific historical figures). Tragedy from this point of view in ancient Russian literature in most cases is associated with a global perception of the world and the universal. Over time, the manifestation of the tragic in a literary work changed under the influence of the era, but the semantic component of this phenomenon, I think, has remained the same.

The tragic and terrible in literary studies about N.V. Gogol

Tragic and terrible as a characteristic feature of N.V. Gogol, were not previously the subject of a separate study, but were included in the works of literary critics as an integral part of the analysis of the writer's work. Most often, the study of various aspects of N.V. Gogol is conducted, as a rule, without additional consideration of the tragic as an integral element of his works. Many scientific works are based on the analysis of the writer's work mainly from the point of view of the comic. Comedy, satire, often accompanied by the fantastic and the surreal, are the main categories of interest to researchers, but we note that they are only a shell of the writer's works, and their core is something else: that which was hidden in the soul of the writer at the time of their creation. This allows us to single out the external, often touched upon in the research literature, and the internal aspects of the works of N.V. Gogol. It should be emphasized that only taking into account both sides of such poetics, one can understand the full depth of N.V. Gogol.

However, it should be noted that recently in the scientific literature about Gogol, the religious-philosophical, Orthodox side of the worldview and creativity of the writer is being developed more and more intensively, which is reflected in the works of V.V. Zenkovsky, M.M. Dunaeva, V.Sh. Krivonos, V.A. Voropaeva, I.A. Vinogradova, I.A. Esaulov, and others.

At the same time, the religious and philosophical direction of literary thought opens up before the researchers of N.V. Gogol, there are many unresolved, unresolved problems, the study of which, perhaps, will explain to us everything that is usually attributed to the mysterious and mysterious side of this author.

One of these, in our opinion, is the problem of artistic expression of the tragic and terrible in the work of N.V. Gogol, which has not yet been considered in detail in the extensive literature about the writer, since the researchers dealt with this topic mainly in part, in connection with the general characteristics of the artist's work and worldview.

Comprehension of the terrible as a kind of artistic element inherent in many works of N.V. Gogol, we find already in A. Bely in the book "Symbolism as a worldview." Moreover, this comprehension is carried out in a very specific way: through comprehension,

first of all, the nature of Gogol's laughter, its most characteristic expressive features: "And the most terrible, heart-grabbing laughter, sounding like laughter from a churchyard, and yet disturbing us, as if we are dead, - the laughter of a dead man, Gogol's laughter."

So, N.V. Gogol is scary, disturbing, that is, reflecting aspects of reality that are associated with something obscure, frightening and even nightmarish, which belongs to the area of ​​the terrible. Indeed, what can be more eloquent than the following definition: "Gogol's laugh turns into a tragic roar, and some kind of night falls on us from this roar ..."

Along with this, A. Bely drew attention to the specificity of the artistic space and images of Gogol's stories, where the tragic and the terrible received a fairly definite stylistic expression. Considering the plots and situations of such works as "May Night", "Viy", "Terrible Revenge", A. Bely wrote: "What are these images? From what impossibilities are they created? Everything is mixed in them: colors, aromas, sounds. Where is there a bolder comparison, where is the artistic truth more incredible? ”3

Comprehending the most complex poetic aspects of N.V. Gogol, A. Bely, undoubtedly, understood that the tragic, and with it the terrible, occupied one of the central places in the writer's work and, ultimately, determined the innovative nature of his work. In addition, A. Bely, judging by his emotional and figurative definitions, deeply felt the terrible, as a special element with its own specific features, and organically included in the poetics of Gogol the prose writer.

The tragic in the artistic, philosophical and moral comprehension of N.V. Gogol

The worldview of N.V. Gogol is an infinitely complex and multifaceted world. This complexity was especially reflected in his ideas about man, in search of the ideal of goodness and beauty, to which he devoted his whole life. In his artistic and philosophical reflections, we find a variety of moods: hope and expectation, pain and despair, indignation and deep longing for the loss of the present, true and valuable.

Artistic work of N.V. Gogol was due to a kind of creative thinking and worldview. In his worldview, spirituality is a defining element of a person's inner world and the way of his artistic creation.

In many of his works N.V. Gogol paints both the beautiful, enchanting aspects of life and its opposite manifestations. This ambivalence concerns, first of all, the human soul, the study of which Gogol paid special attention to. The writer believed that the purpose of a person is to bring harmony, goodness, beauty to the world - everything that is most dear to humanity, and thanks to which a person can find the meaning of being in the world. Imbued with the idea of ​​harmony between the individual and the world, between culture and nature, between the cultural and the natural in the individual himself, N.V. Gogol turns to the analysis of turning points in human life on the way from the gaiety of "Evenings on a Farm near Dikanka", where the world of the soul is included in the eternal life of nature, to the tragedy of being

"Dead souls", where true values ​​are "split" in the flow of social life. This process begins already in the idealized world of "Evenings ..." and is revealed by N.V. Gogol through a number of themes and motives, among which the theme of the devil's temptation, the presence of the irrational, the incomprehensible in life is brought to the fore. The presence of irrational evil, embodied in the guise of the devil, is felt in almost all stories of "Evenings ..." , in a red scroll, which will cause fear no less intense than himself). N.V. Gogol deeply felt the presence of evil in this world and its disastrous, destructive consequences.

Observing nature, he saw that harmony and order reign in it. Beauty and harmony, in his opinion, have the power that is needed to revive the "damned places", here nature will cope on its own. But what about man?

N.V. Gogol to the human soul testifies to a deep understanding of all the complexity, duality of the living space of a person who cannot (or does not want?) To escape from the world of "dead souls". The "revitalization" of a person, the establishment of harmony with the world of "living souls", that is, overcoming the tragic gap between the worlds - this is, I think, the essence of Gogol's quest. The writer saw all the disorder and nonsense that man brings into the world of nature (including his own). A striking example of this is the quiet life of old-world landowners, which was familiar to him since childhood: do not exist and you saw them only in a brilliant, sparkling dream. " (2, 5) Where else, if not in this quiet world, can you find harmony, spiritual freedom and peace? It seems that the author sincerely loves Afanasy Ivanovich Tovstogub and his wife Pulcheria Ivanovna Tovstogubikha. Their images are fanned with incredible depth of feelings, beauty and humanity. They have something pure, light, sincere; all their lives they lived in harmony and harmony, their love was not ardent and passionate, but was strong and constant. They are so close to each other people that N.V. Gogol even endows them with the same patronymic. They never did any harm to anyone, they lived quietly and calmly. But N.V. Gogol also knew something else, that excessive kindness and generosity of the soul "created" both the bailiff of the clerk, and the insatiable housekeeper, rogues and liars. Tovstogubs were robbed and deceived, but they seemed not to notice anything, lived in a world of idyll, and thus created a huge devastation and oversight in the economy around them. The quietest and meekest life of old-world landowners, their whole history leads to the unexpected conclusion that good has a downside. By “naively” manifesting itself, good becomes a source of evil.

It should be borne in mind that the work of N.V. Gogol has a two-pronged character in the study of problems associated with the moral development of the individual. Thanks to fantastic elements, he draws the line between good and evil, separates "charm" from "demonic". The reverse side of human souls (the role of which belongs to evil spirits) is a kind of background that emphasizes the beauty and greatness of the "pure soul". For example, in "Terrible Vengeance" the purity of Katerina's soul is revealed through spiritual suffering and sincerity of feelings for her father.

The plot, figurative and semantic expression of the tragic and the terrible in the cycles of N.V. Gogol

The works of N.V. Gogol "are funny when you read them, and sad when you read them." These words of Belinsky contain the ideological kernel of the entire Gogol heritage; they have become the leitmotif of many studies devoted to the writer's work. This phrase contains the fundamentally important for understanding the work of N.V. Gogol's thought about the tragic element that fills the artistic space of "Evenings on a Farm near Dikanka", "Mirgorod", "Arabesques" and "Dead Souls". That is why the once prevailing opinion about Gogol's heritage as a satirical one has become almost an axiom. It should be said, however, that in the studies of G.A. Gukovsky, Yu.V. Mann, M.B. Khrapchenko, SM. Mashinsky's elements of the tragic were noted, but their main attention was focused on the comic side.

This aspect of the study, I think, is associated with the creative personality of N.V. Gogol, with the "duality" of his aesthetic position. Here it is necessary to say about the contact of the romantic and realistic principles in the early work of the writer, which gives rise to polemics with those researchers who argued the priority of the satirical line in the works of N.V. Gogol, not paying due attention to the categories of the tragic and the terrible as inherent properties of his poetics.

The duality of N.V. Gogol also lies in his perception of the world: on the one hand, he dreamed of the transformation of a stagnated society, mired in vices, pettiness and mercantilism; dreamed of an ideal person who would be able to transform the social order; on the other hand, he understood that in the present it was impossible to do this. It is impossible to fundamentally change social relations without eliminating vice and debauchery. Human egoism is aggressive and tries to limit any encroachments on it.

It is this gap between dreams and reality, often expressed in the opposition of the high romantic and the low real, that many researchers rightly interpret as the main reason for the artist's spiritual drama, on the basis of which the tragic outlook was formed, reflected in the poetics of many works of art by N.V. Gogol.

Attention should also be paid to the fact that the category of the tragic in its full scale and artistic expression in early Gogol did not yet have a final aesthetic design. And this is natural, since N.V. himself Gogol said that he created his first works with the aim of “entertaining himself”: “The reason for the joy that was noticed in my first works ... was a certain spiritual need ... To entertain myself, I thought of everything funny what I could think of. He invented completely funny faces and characters, put them mentally in the most ridiculous positions, not caring at all about why it was, what it was for and who would benefit from it. Youth, during which no questions come to mind, pushed me. This is the origin of those first works of mine ... ”(7,437).

The path from the comic to the tragic, and from it to the terrible for N.V. Gogol was far from easy. The author himself has gone through a lot, rethought. Gogol's ideas about ideals and values ​​changed and became more complex throughout his entire career. It was not an easy way in which one can designate certain successive "transitions", in a peculiar way reflecting the creative evolution of the author. N.V. Gogol, from the pictures of a cheerful, joyful, happy life, turned to the opposite element, to the element of tragic life. But this entire path, each "transition" was accompanied by "holy, pure love for humanity" (4, 239). It was this phrase from "Theatrical traveling" that became the leitmotif for all the works of N.V. Gogol.

Poetics of Gogol

Considering the successive phase change in the image of the fantastic Gogol, Yu.V. Mann identified three stages; their diachrony is described as a gradual transition to the principle of silence, indistinctness, removal of the obvious motivation of what is happening, as an expansion of plot gaps and ambivalences. The chain of cause and effect, revealing the meaning of the motive, goes in its development from an expanded sequence of explicit formulations, integrated into the plot and readable unambiguously, to a concise formula, sometimes - the only word usage that has lost its connection with the event context and has concentrated all the plot-forming potential. In this case, the restoration of the semantic possibilities of the motive becomes the task of the reader, forced by the reduction of the narrative to fill the plot voids with the available semantic paradigms in the context.

Speaking about the problem of the fantastic in Gogol, Yu.V. Mann, cited numerous examples of what D. Fanger aptly called "the narrator's refusal of his authoritative role." All slips, hesitations, gaps in the narrator's memory got their explanation thanks to the concept of the author of The Poetics of Gogol: together with other oddities of narration and history, they make the narrated world unsteady, indefinite, in a word, fantastic.

In addition, the narrative structure of this group of texts became one of the main themes of the monograph by V. M. Markovich “St. Petersburg Tales of N.V. Gogol ". The author of the monograph richly illustrated his key thesis: "the narrative in the Petersburg stories is stylistically heterogeneous and the position and appearance of the narrator are clearly heterogeneous here." From his point of view, one of the functions (meaning-forming) of this heterogeneity is the connection to the literary form of the possibilities of “grassroots” culture, ranging from anecdote to legend. Being associated with the mythological chronotope of St. Petersburg, such a narrative acquires a mythological dimension. Both in the aspect of syntactics (the mythogenic scattered subject of narration), and in the aspect of semantics (the apocalyptic invasion of chaos into the St. Petersburg "space"), we have a holistic concept.

The artistic world of Gogol

The absurd in Gogol's world, according to Nabokov, has several specific features. First, it borders on the tragic, and this is its main property. The combination of tragedy and absurdity gave rise to such, in the writer's opinion, a significant story for Gogol, like The Overcoat, one of the most milestone in his work. Secondly, the absurd is not part of the writer's artistic world, it is his immediate property; the world is primordially and infinitely absurd. It would be wrong to say that Gogol puts his characters in absurd situations. You cannot put a person in an absurd position if the whole world in which he lives is absurd ...

Gogol in his work combined "reality" and "fiction": in his texts they are combined within one specific work. Here the question of the relationship between the worlds and the choice of the writer becomes fundamental - what becomes more important for him - fiction or "objective reality". Gogol studies give various answers to this question, but the fundamental for us is the answer of Nabokov, who, not only in his interviews, but directly in the book, conceived as a biography, but realized as a work of fiction, manifests his attitude towards the writer and his own attitude towards creativity. which is based on fiction ("In addition to Gogol's personal characteristics, one walking delusion played a fatal role for him. The writer died when questions such as" what is art? "and" what is the duty of a writer? "). Weisskopf and Nabokov echo: “The artistic world of Gogol during the period of Petersburg stories and“ The Overcoat ”is as hermetic and endogenous as the inner world of Akaki Akakievich. The desire to overcome this isolation (volume II of "Dead Souls") led Gogol to disaster. " ...

Gogol began his creative career as a romantic. However, he soon turned to critical realism.

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

Gogol was a genius satirist who castigated the "vulgarity of a vulgar person", utterly exposed the social contradictions of contemporary Russian reality.
This social orientation of Gogol is also reflected in the composition of his works. The plot and plot conflict in them are not love and family circumstances, but events of social significance. At the same time, Gogol's plot serves only as a pretext for a / wide depiction of everyday life and the disclosure of characters-types.

A deep penetration into the essence of the main socio-economic phenomena of contemporary life allowed Gogol to draw generalizing images of the NDP: "Dead Souls": Pelageya, the serf girl Korobochki, or Ivan Antonovich, "the pitcher's snout" - have great power of generalization, typicality.

Gogol's careful selection of many details and their sharp exaggeration serve the purpose of a vivid, satirical depiction of heroes. For example, portraits of the heroes of Dead Souls were created. These details in Gogol are mainly everyday: things, clothes, the hero's home.

In the romantic stories of G., picturesque landscapes are given, which give the work a certain elevation of tone;

In realistic works - the landscape is one of the means of depicting types, characteristics of heroes ("Dead Souls")

The two worlds portrayed by Gogol - the collective of the people and the "creatures" - determined the main features of the writer's speech: his speech is sometimes enthusiastic, imbued with lyricism when he speaks about the people, about his homeland (in "Evenings", in "Taras Bulba", in lyric digressions of "Dead Souls"), then it becomes close to lively conversational (in everyday pictures and scenes of "Evenings" or when it tells about the bureaucratic-landlord Russia).

The peculiarity of Gogol's language lies in the widespread use of common speech, dialectisms, Ukrainianisms.

The lyricism in the speech of the author and his characters determines some of the methods of its construction:
1) the periodic structure of the phrase, when many sentences are combined into one whole (“Taras saw how the Cossack ranks became confused and how despondency, indecent to a brave, began to quietly hug the Cossack heads, but he was silent: he wanted to give time to everything so that they could get used to despondency, induced by parting with his comrades, and meanwhile in silence he was preparing at once and suddenly to wake them all up, shouting like a Cossack, so that once again and with greater force than before, cheerfulness would return to everyone's soul, which only the Slavic breed, wide a mighty rock in front of others, that the sea in front of shallow rivers ");
2) the introduction of lyrical dialogues and monologues (for example, the conversation between Levko and Ganna in the first chapter of "May Night", monologues - appeals to the Cossacks of Koshevoy, Taras Bulba, Bovdyug in "Taras Bulba");
3) an abundance of exclamation and interrogative sentences (for example, in the description of the Ukrainian night in "May Night");
4) emotional epithets that convey the power of the author's inspiration, born of love for native nature (description of the day in the Sorochinskaya Yarmarka) or for the folk collective (Taras Bulba).



Gogol uses folk speech in different ways. In early works (in "Evenings"), its bearer is the narrator. The author puts into his mouth both vernacular (everyday words and phrases), and such appeals to the listeners, which are familiar and good-natured, characteristic of this environment: “By God, I'm already tired of telling! What do you do
The character of a person, his social position, profession - all this is unusually clearly and accurately revealed in the speech of Gogol's characters.
Gogol's strength as a stylist lies in his humor. Gogol's humor - "laughter through tears" - was due to pr

contradictions of the Russian reality of his time, mainly - the contradictions between the people and the antinational essence of the noble state. In his articles on Dead Souls, Belinsky showed that Gogol's humor "consists in the opposite of the ideal of life with the reality of life." He wrote: "Humor is the most powerful instrument of the spirit of negation, destroying the old and preparing the new."



Science fiction and grotesque in TV for the first time. in one of his first productions. - "Evenings on a Farm Near Dikanka"- the fantasy of folk legends and beliefs become expressive of the predecessors of ideological tendencies. the heroes are in the power of religious fantasies, pagans and Christ of their beliefs.

Fant.characters: witches, sorcerers, werewolves, mermaids and most of all the devil, to whom the popular superstition was ready to attribute every evil deed on earth.

The motive of the final auction of high moral and general prince clearly sounds. over all sorts of tricks of the dark forces, the fantastical is intertwined with the real, acquiring a naive narod.

For G. Combining fantasy with real. the subordination of the illusory to the real is characteristic ("Sorochinskaya Fair", "May Night"). G. Depicts fantastic figures as ordinary people of the NPR: the devil from the story "The Night Before Christmas" - "a real provincial solicitor in a uniform, because he had a tail hanging, as sharp and long as the current uniform coattails", He acts as usual -th person. Fant. loses here its wonderful halo and camp. one of the Wed-in comedy, ridicule of the way of life and customs of people.

The originality of the novel poetics of I.S. Turgenev. The novel "Fathers and Sons" in Russian criticism and Russian literary criticism. Reading and primary perception of a literary work. Forms of studying the reader's perception of schoolchildren.

Turgenev's novels are not large in volume. As a rule, the writer chooses an acute dramatic collision for his storytelling, depicts his heroes at the most important moments in his life. This largely determines the structure of all works of this genre.

The action unfolds without lengthy slowdowns and retreats, without complications by side plots, ends in a short time. Usually the action is timed to a precisely defined time of the NDP: the plot events in Fathers and Children begin on May 20, 1859, in Eve, in the summer of 1853, and in Smoke, on August 10, 1862.

Biography of heroes interwoven into the course of the narrative, now in detail and in detail (Lavretskny), now briefly, fluently and incidentally, the NDP: the reader learns little about Rudin's past, even less about the past of Insarov and Bazarov.

Turgenev's novel- it is, as it were, a "series of sketches" organically merging into a single theme, which is revealed in the image of the central character.

Hero of Turgenev's novel- a representative of a certain social group (advanced nobility or commoners). He seeks to find and implement the depot of his life, to fulfill his public duty, but he collapses. The conditions of Russian social and political life doom him to failure NPR: Rudin- ends the journey as a wanderer, dies as an accidental victim of the revolution in a foreign land; Lavretsky- after long wanderings, he arrived at his desolate estate Vasilievskoye and expects to be “sober up by boredom ... and prepare him to make a depot without haste,” that is, good to host. The outgoing, flowing away, lonely, useless - this is the elegy of the life of the living Lavretsky, who has not found an answer for himself what to do in life.

Turgenev's hero is a failure not only in public affairs. He is also a failure in love.

Turgenev's novels are filled with controversy, disputes-dialogues. NPR: between nobles and commoners. In Fathers and Children, they are reflected in the disputes between Kirsanov and Bazarov.

One of the characteristic elements of T.'s novels is a landscape... Sometimes he gives an idea only of where and when the action takes place, Sometimes he shows the mood and experience of the NDP hero: "Inexpressible beauty" of Venice, with "this silvery tenderness of the air, this flying away and close distance, this wondrous consonance of the most graceful outlines and fading colors" , contrasts with the experience of the dying Insarov and the grief-stricken Elena.

Very often Turgenev shows how deeply and strongly nature affects his hero, being the source of his moods, feelings, thoughts of the NPR: Lavretsky is riding in a tarantass on a country road to his estate. The picture of the evening day sets Nikolai Petrovich in a dreamy mood, awakens sad memories in him and gives support to the idea that (in spite of Bazarov) "you can sympathize with nature." "Sympathizing", Nikolai Petrovich bows down to her charm, "favorite poems" are recalled to him, his soul calms down, and he thinks: "How good, my God!" The pacifying forces of nature, "speaking" to man, is revealed in the thoughts of Turgenev himself - in the last lines of Fathers and Sons. The flowers on Bazarov's grave “speak” not only of the great, “eternal” tranquility of “indifferent” nature - “they also speak of eternal reconciliation and endless life”. The lyrical element plays an essential role in Turgenev's novels. The epilogues of his novels - Rudin "," The Noble's Nest "," Fathers and Children "are especially imbued with deep lyricism.

Artistic features in the work of Gogol

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

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

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

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

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

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

Gogol's careful selection of many details and their sharp exaggeration serve the purpose of a vivid, satirical depiction of heroes. For example, portraits of the heroes of Dead Souls were created. These details in Gogol are mainly everyday: things, clothes, the hero's home.

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

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

The two worlds portrayed by Gogol - the collective of the people and the "creatures" - determined the main features of the writer's speech: his speech is sometimes enthusiastic, imbued with lyricism when he speaks about the people, about his homeland (in "Evenings", in "Taras Bulba", in lyric digressions of "Dead Souls"), then it becomes close to lively conversational (in everyday pictures and scenes of "Evenings" or when it tells about the bureaucratic-landlord Russia).

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

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

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

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

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

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

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

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

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