Character box from dead shower. N.

The Box of Nastasya Petrovna is a widow of the landowner from the poem Nikolai Gogol "Dead Souls", the second "saleswoman" of the dead souls. By nature, she is a korestoloby krochobork, which in each sees a potential buyer. Chichikov quickly noticed the trading attitudes and the stupidity of this landowner. Despite the fact that she skillfully leads the economy and manage to benefit from each harvest, she did not seemed a strange idea with the purchase of "dead souls". She even wished to personally find out, how much they sell dead peasants to not be made. In addition, his dead peasants, she remembers by heart. The transaction with Chikchikov Nastasya Petrovna agrees only when he promises to buy various economic products from her.

The main goal of this heroine is the accumulation and multiplication of your small wealth. That she and a box. She has only about eighty souls at its disposal, and she lives like in the shell, extinguishing himself from the rest of the world. All their accumulations inheritating the hostess hides in the bags in the chest. Despite the obvious prospects in the house, she loves to complain about cripples or losses. And when Chichikov asks her about neighboring landowners, including Manilov and Sobevich, she pretends that he heard about them for the first time.

"Dead souls" - the classic of Russian literature, the play, which the famous writer Nikolai Vasilyevich Gogol conceived to display the grand panorama of the Russian society of officials and landowners, including all its moments, features and paradoxes. The central problem of this work is the inevitable death of the spiritual "component" of people and the flourishing of the most basic representatives of the Russian estates of the landowners of those times. The author depicts the internal and appearance of a durable landfare and sales, also there is an uncomplicated ridiculation of the detrimental passions of Russian officials.

In the title of the work, its ambiguous meaning is clearly demonstrated. "Dead souls" can be called not only dead peasants, but also other, actually living characters of the poem. And it is precisely such definitions like pathetic, insignificant, empty and, directly, the "dead" dubbing gives them himself N.V. Gogol.

Characteristic of heroine

Nastasya Petrovna, she is a box - one of the key characters of Gogol's "dead souls". She is endowed with the destiny of the landowner who lost her husband; It is the second "saleswoman" of peasants. Her nature is full of korestoloby, in essence Nastasya Petrovna a genuine choke, seen of potential customers-buyers in each passing. It was Chichikov first to drew attention to the business in trade and the wrong nonsense in life in the guise of this landowner. Despite the fact that the box is not only an impeccable mistress, but also to extract the benefit from everywhere, because it did not consider the idea of \u200b\u200bbuying "dead souls" at all. Moreover, she manifested the initiative to personally study the current prices for the dead peasants, just to be made and not to remain "with the nose." The calm life of the box is full of concern about domestic affairs, "small" farm. But who, like a box, is familiar with prices for foods like honey, fat, hemp, but all in order to raise them to resell them.

The box belonging to her the dead peasant shower itself knows by heart. The deal stipulated with Chichikov Nastasya Petrovna agreed to conclude only after his promise to acquire her economic supplies.

The central idea of \u200b\u200bthis character is to accumulate as much as possible and multiply your already small wealth. Actually, it is called a box. Nastasya Petrovna is at their disposal about eighty peasant souls, and her life is limited to a thin shell, which delimits her little personal world from the real appearance. All property accumulated, the hostess with special care takes and hides everything in the bags and in the chest. And even given a fairness and abundance in the dwelling, she remains an amateur to presant on pity and cry over losses. Chichikov's question about how things are progressing there with neighboring landowners, mentioning and manilov, and even a companion, the box skillfully depicts absolute ignorance about the existence of such personalities, as if never heard them.

The box is too superstitious landowner representative. By the way, she would never doubt that the mandated on the maps after the spoken prayer would certainly come true.

The image of the heroine in the work

("Chikchiki box", artist Alexander Agin, 1846-47)

Nastasya Petrovna can be called primitive, "poor widow", whose ignorance is displayed in the behavior and the manner of her speech.

The question arises: perhaps, Nastasya Petrovna is just an exceptional person who lost in the wilderness of the province?

However, the author of the poem regrets the negative response to the conclusion. "No," says Gogol, because the god, characteristic of the box, its addiction to the money, the aspiration is to catch up, on what only will have, unacted mercency, stupidity and ignorance - the key qualities characteristic not only exclusively box, they also correspond to various layers of dominant classes, their top.

Ultimately, N.V. Gogol writes about a box, as a heroine, which was at the lowest stage of the infinite staircase of the improvement of the human appearance, emphasizing the typical image of the box.

Description of the presentation on individual slides:

1 Slide

Slide description:

N. V. Gogol "Dead Souls" Images of landowners. The box performed: Devitayeva Anastasia student 9A class MBOU SOSH No. 23 Novosibirsk Head: Labodina Elena Valerievna

2 Slide

Slide description:

Box. Description of appearance Meaning name: Effectiveness, incredulusity, scoomy, stubbornness. "... a hostess entered, the woman of the elderly, in some sleeping cheepets, asked for a row, with a flannel on the neck ...". In the portrait, almost the same details of clothing are repeated, but Gogol does not pay attention to the face and eyes, as if there are no them - it is underscounted by her confusion.

3 Slide

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Box. Characteristic "One of those Matushek, small landlords, which cry for crop, losses and keep their heads a few tracks, and meanwhile they type a little money in the motley bags placed on the drawers of the chest. In one bag, all the cells are selected, on another half-one, in the third quartet, although it seems that there is nothing in the dresser, except for the linen, and the night shoes ... drove the old woman ... ". Typical shallow landowner - the owner of 80 serfs. Box - Home Hostess.

4 Slide

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Box. Characteristic The main feature is a petty scare. Limited, stubborn, suspicious. The meaning of the surname: The landowner is enclosed in the "box" of its space and its concepts. The business of the box is the only virtue of her. Gogol talks about such a type of people: "... other and respectable, and the state ... man, but in reality a perfect box comes out. How he bored that he was in mind, then they would not overpower anything, no matter how the arguments clear as a day, everything bounces away from him how the rubber ball bounces off the wall. "

5 Slide

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Box. Her manor is "good village", the courtyard is full of birds, there are "spacious gardens with cabbage, onions, potatoes, beet and other economic vegetables", there are "apple trees and other fruit trees." "Abundant farm" itself leads and pays long time. A large number of pieces in the village says that the hostess takes care of the preservation of its condition. Squid money, however, it does not know how to dispose of them - they lie dead cargo. Everywhere hanging herbs beams. An important detail is the hoarse wall clock, which every time suddenly disturb the silence at home and give a feeling of deaf remoteness from life. Everything lies in their places, there are even ropes that "no longer needed now."

6 Slide

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7 Slide

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Box. The details of the situation. Distribution of the box is depicted by the author almost absurd: among the many useful and necessary items there are those that are not needed anywhere. " Petty, limitations of interests of the box are highlighted by bird-animal images: beavers, swine; Chichikova, who dropped out of her bright, back and side in the mud, "like a borov"; Scarecrow in the Cheptsy hostess - a parody twin box. Things in the house reflect her naive idea of \u200b\u200bthe beauty and circle of its entertainment (rod, fortune-telling, strish).

8 Slide

Slide description:

Box. Lifestyle Mentiered Box Circames is extremely limited. Gogol emphasizes her stupidity, ignorance, superstition, indicates that its behavior leads a carriage, passion for profit. She is very afraid to "be used" when selling. All "new and unprecedented" scares it.

9 Slide

Slide description:

Box. The response to the Offer Chichikov all the "new and unprecedented" scares it, the reluctance to sell "dead souls" is explained by the fact that she sought to accumulate all her life, and it believes that they can be useful in the farm. It shows a complete misunderstanding of the meaning of this transaction, afraid to extend and be deceived (goes to the city to find out, "how much the dead souls now go").

§2. Image of a box

Nastasya Petrovna is a box - the landowner, the widow of the college secretary, a very economic and overwhelming elderly woman. The village is small, but everything is fine in it, the economy flourishes and, it can be seen, brings good income. The box is favorably different from Manilov: She knows all his peasants ("... no notes led, no lists, but knew almost everyone,"), responds about them as good workers ("All the glorious people, all workers" here and further quoted . By ed.: Gogol N.V. Collected works in eight volumes. - (Library "Spark": Domestic Classic) - T.5. "Dead Souls". Tom First. - M., 1984.), herself deals with the economy - "Interested in a key to the key", "Miscellated, all moved everything to the economic life." Judging by the fact that, asking Chichikov, who he is, she lists those people with whom it is constantly communicating: the assession, merchants, a protopop - its communication is small and is mainly connected, mainly with economic deeds - trade and payment of state taxes.

Apparently, she rarely leaves to the city and does not communicate with the neighbors, because he answers the question about Manilov that there is no such landlord, and calls old noble names that are more appropriate in the classic comedy of the 18th century - Bobrov, Canopaev, Pleshakov, Harpakin. The surname Svignin, which spends a straight parallel with a comedy of Phonvizin "Lady" (Mother and Uncle Mitrofanushki - Svetyins).

Behavior of the box, her appeal to the guest "Batyushka", the desire to serve (Chichikov called himself a nobleman), poverty, arrange for the night as much as possible - all these are characteristic features of the images of provincial landowners in the works of the XVIII century. Mrs. Prostakova also behaves, when he learns that the fools of the nobleman and adopted at the court.

The box, it would seem definition, in her speeches there are constantly promsders and expressions, characteristic of a believer person: "With us, the cross force!", "Seen, in punishment, God and sent him", but there is no special faith in it. When Chichikov persuades her to sell the dead peasants, Sully benefits, then she agrees and begins to "calculate" the benefit. A trustee of the box is the Son Protopopa, who serves in the city.

The only entertainment of the landowner, when she is not occupied by the economy, fortune telling on the maps - "hewing it was on the night to make the cards after prayer ...". Yes, and evenings, she is shifted with the maid.

The portrait of the box is not so detailed as portraits of other landowners and, as it were, stretched: First, Chichikov hears the "hoarse baby voice" of the old women; Then, "again some kind of woman, the lattern is the former, but very similar to it"; When he was held in the room and he managed to look around, Baryna entered - "The Woman of the Older Years, in some Sleeping Cepeci, asked back, with a flannel on her neck, ...". The author emphasizes the old age of the box, then the chiches about himself directly calls her old woman. The appearance of the hostess in the morning does not change in the morning - only a sleeping chapecins disappears: "She was dressed better than yesterday, - in a dark dress (widow!) And no longer in a sleeping cape (but on the head, apparently, shepherd was still ), but on the neck there was still something implied "(Fashion of the late XVIII century - Fish, i.e. Little cake, which partially closed the neckline and the ends of which were removed into the cutout dresses, see Kirsanova R.M. Suit in Russian Artistic culture of the 18th - the first half of 20 centuries: the experience of encyclopedia / ed. T.G.Morozova, V.D. Sinukova. - M., 1995. - p.115).

The author's characteristic, which follows the portrait of the hostess, on the one hand, emphasizes the typical character, on the other - gives a comprehensive description: "One of those Mothers, small landlords, who cry on crop failure (it is the words about the crumbs and bad times that the business conversation boxes and Chichikova begins ), Losses and keep your head a few days, and meanwhile, you are gaining a little money in the motley motion - the fabric from the remains of yarn of various kinds, domain matter (Kirsanova) bags placed on drawers of the chest. All the cells are taken into one bag, on another half-one, in the third quarter, although it seems that there is nothing in the dresser, except for linen, yes night blouses, yes threaded motches, and a spinning salop salop - outerwear from fur and rich fabrics released from fashion for 1830; The name "Salopnitsa" has an additional shade "old-fashioned" (Kirsanova). Apparently, for this purpose, Gogol and mentions Salop as an indispensable attribute of such landlords. having then to contact the dress if old somehow prohibit during the cooking of festive cakes with all sorts of greens of greents - a filling that laid out right on the peculiar cake or pancake, differently, pan. Or it gets very different. But does not burn the dress and does not be empty by itself; Permanent old woman ... ". It is just like that a box, so Chichikov immediately not particularly ceremony and turns to business.

An important role in understanding the image of the landowner is played by the description of the estate and decoration of rooms in the house. This is one of the techniques characteristic of the characteristic of Gogol in the "Dead Souls": the image of all landlords is made up of the same set of descriptions and artistic parts - estate, rooms, details of the interior or significant items, indispensable feast (in one form or another - from full lunch Like Sobesevich, before the suggestion of the Pishushkin of Kulichik and Vints), the manners and behavior of the owner during the business negotiations and after them, the attitude towards an unusual deal, etc.

The estate box is distinguished by a fortress and contentment, it is immediately clear that it is a good mistress. The courtyard on which the windows of the room overlook, filled with birds and "every home creature"; Next, gardens with "economic vegetables" are visible; Fruit trees are covered with networks from birds, visible and stuffed on the poles - "On one of them was the cape of the hostess." Peasant horses also show the wealth of their inhabitants. In a word, the economy of the box clearly flourishes and brings sufficient profits. Yes, and the village itself is not small - eighty shower.

Description of the estate is divided into two parts - at night, in the rain, and during the day. The first description is scanty, it is motivated by the fact that chikchik drives up in the dark, during the rain. But in this part of the text there is also an artistic part, which, in our opinion, is essential for further narration - the mention of the external house of the house: "Stopped<бричка> Before the small house, which was difficult for darkness, it was difficult to consider. Only one half of it was illuminated by the light that proceeded from the windows; It was already visited by a tuning in front of the house, which was directly hit the same light. " Chichikova meets and Lai dogs, which indicates that "that the village was decent." The windows of the house is a kind of eye, and the eyes, as you know, the soul mirror. Therefore, the fact that Chischik drives up to the house in the dark, only one window and the light falls out of it in the puddle, says, most likely, about the scarcity of inner life, about the aimed at some one side, about the landing of the aspirations of the owners of this house.

The "day" description, as mentioned earlier, emphasizes this particular one-scene of the inner life of the box - the direction only on economic activities, laundry and thrift.

In a brief description of the rooms, first of all, the growth of their decoration is observed: "The room was engaged in old striped wallpaper; paintings with some birds; between windows ancient small mirrors with a dark framework in the form of curved leaves; Behind every mirror were laid or a letter, or an old deck of cards, or stocking; Wall clock with drawn flowers on the dial ... ". In this description, two features are clearly distinguished - language and artistic. First, the synonyms "old", "old" and "old" are used; Secondly, a set of items that come across Chichiku on the eyes during a brief inspection also indicates that people living in such rooms are more addressed to the past than to the current one. It is important that flowers are mentioned several times (on the clock clock, leaves on the frame of the mirrors) and birds. If you remember the history of the interior, you can find out that such a "design" is characteristic of the Rococo era, i.e. For the second half of the XVIII century.

Further in the episode Description of the room is complemented by another detail, which confirms the "oldity" of life boxes: Chichikov detects two portrait on the wall - Kutuzov and "some old man with red abbreasses on the uniform, as they were called with Pavel Petrovic

In a conversation about the purchase of "dead" shower, the entire essence and character of the box are revealed. At first she can't understand what chikchik wants from her - the dead peasants have no economic value, so they cannot be the subject of sale. When she understands that the deal can be beneficial for her, then bewilderment is replaced by another - the desire to get the maximum benefit from the sale: after all, if someone wants to buy the dead, therefore, they stand something and are the subject of bargaining. That is, dead souls become for her in one row with hemp, honey, flour and lard. But all the other, she has already sold (as we know, quite profitable), and this is the case for her new and unknown. The desire does not work: "He began to be very afraid to be very afraid, so that some kind of purchaser's inflated on it," "I am afraid at first, to somehow not incur damage. Maybe you, my father, be deceiving me, and they ... they still stand somehow "," I am a mannenially, there may be a merchant, but applied to prices, "" in the economy somehow need it ... ". She dismisses his chician, who expect a slight agreement. This is where the epithet arises, which expresses the essence of not only the boxes, and the whole type of such people is "distinth-shaped". The author explains that neither the Chin nor the situation in society is the cause of such a property, the "DUBOGOMOD" - the phenomenon is very common: "other and respectable, and the state even a person. And in fact, the perfect box comes. How he shoved that Bebe in the head, so I would not overpower him; How many do not imagine the arguments clear as a day, everything bounces off from him how the rubber ball bounces off the wall. "

The box agrees when Chichikov offers her another deal, understandable to her, - stateless contracts, i.e. the state order for the supply, which was well paid and was beneficial for the landowner with his stability.

The episode of the trading author finishes a generalized reasoning about the prevalence of this type of people: "Is it exactly a box worth it so low on an infinite staircase of human cultivation? Is the abyss that separates it from her sister, unattainable by the walls of the aristocratic house withcenary cast-iron stairs, shining copper, red tree and carpets, yawning for a declared book in anticipation of a welfare and secular visit, where she will be shy to shine and express Thoughts on the laws of fashion for the whole week of the city, thoughts are not about what is being done in her house and in its estates, tangled and upset due to the ignorance of an economic case, but what kind of political coup is being prepared in France, what direction made fashionable Catholicism " The comparison of the economic, leaning and practical box with a worthless secular lady makes you think that it is a "sin" box, is it only her "dupulized"?

Thus, we have several grounds for determining the meaning of the image of the box - an indication of its "distinctness", i.e. jam on one thought, inability and inability to consider the situation from different sides, limited thinking; comparison with the familiar-solved life of the secular lady; The explicit domination of the past in all that concerns the cultural components of the life of a person embodied in fashion, interior, speech and rules of etiquette towards other people.

Rightly, chikhikov gets to a box after plots on the dirty and dark road, at night, during the rain? It is possible to put forward the assumption that these parts metaphorically reflect the nature of the image - the absence of spirituality (darkness, rare reflections of light from the window) and aimlessness - in a spiritual and moral plan - its existence (confusing road, by the way, girl who escorts Chichikov to a large road, confuses right and left). Then a logical answer to the question about "sin" the landowners will be the lack of life of the soul, the existence of which rushed to one point - the distant past, when she was still alive, the deceased, who loved his heels before bedtime. The clocks that are barely hit by the last hour, flies that will be in the morning of Chichikov, the entanglement of the roads to the estate, the lack of external contacts with the world - all this confirms our point of view.

Thus, the box embodies this state of the soul, in which life turns into a single point and remains somewhere far behind, in the past. Therefore, the author emphasizes that the box is the old woman. And no future for it is impossible, therefore, and reborn, i.e. Expand life to the completeness of being, she is not destined.

The reason for this lies in the initially poor-minded life of a woman in Russia, in its traditional position, but not social, but in psychological. Comparison with the secular lady and details, speaking how the box holds "Free Time" (fortune telling on maps, troubles by farm) reflect the absence of any life of intellectual, cultural, spiritual. Further in the poem, the reader will meet with an explanation of the reasons for this state of a woman and her soul in the monologue of Chichikov after meeting with an excellent stranger, when the hero argues, what is happening with a clean and simple girl and how "rubbish" is obtained from it.

The "DUBIOHOLOGY" of the same boxes also gets the exact meaning: it is not excessive practicality or mercantility, but the limit of mind, which is determined by a single thought or belief and is a consequence of the overall limitation of life. And it was the "distinct one" box, and did not leave the thought of possible deception from Chichikov and who coming to the city to ask "how much dead souls", it becomes one of the cause of the hero's adventure and the rapid escape from the city.

Why does Chichiki box fall after Manilov and to meet with Nozdrev? As mentioned earlier, the sequence of landowners are built on two lines. The first is descending: the degree of "sin" in each next case is all heavier, the responsibility for the state of the soul is increasingly on the person itself. The second is ascending: as far as possible for the character, the revival of life and "Resurrection" of the soul?

Manilov lives enough "openly - appears in the city, present at the evenings and meetings, communicates, but his life is similar to the sentimental novel, and therefore illusory: it is very reminded by appearance, and reasoning, and attitudes towards people of the hero of sentimental and romantic works, Fashionable at the beginning of the XIX century. You can guess about his past - good education, short-term public service, resignation, marriage and life with a family in the estate. Manilov does not understand that its existence is not related to reality, so realize that his life goes wrong, as he should, he cannot. If you carry out a parallel with the Danov "divine comedy", then it reminiscent of sinners of the first circle, whose sin is that they are unresolved babies or pagans. But the possibility of revival is closed for him for the same reason: his life is an illusion, and he does not realize it.

The box is too immersed in the world of material. If Manilov is entirely in fantasies, then it is in prose of life, and the life is intellectual, the spiritual comes down to the usual prayers and the same familiar piety. The focus on the material, on the benefit, the one-sidedness of her life is worse than Fantasy Manilov.

Could the life of the box be in a different way? Yes and no. The influence of the surrounding world, society, the circumstances imposed a mark on her, made her inner world as it was. But the exit was still - sincere faith in God. As we will see on, it is the true Christian morality, from the point of view of Gogol, is that saving force that holds a person from spiritual fall and spiritual death. Therefore, it is impossible to consider the image of the box with a satirical image - one-sidedness, "DUBOGOGODY" is already caused by no laughter, and sad reflections: "But why among having fun, funny, careless minutes sternly, a different wonderful jet sweeps: still a laughter did not have time to run away from his face and has already become different among the same people, and the face of ... "

A further meeting with the nostril - a walk, scandalist and community - shows that worse one-sidedness of life may be dishonor, willingness to make a nastiness to its neighbor, sometimes at all without any reason, and excessive activity that has no goal. In this regard, the nostroches is a kind of antipode of the box: instead of one-sidedness of life - excessive scattering, instead of sinopping - contempt for any conventions, up to a violation of the elementary norms of human relations and behavior. Gogol himself said: "... one by one follows me the heroes of the other than the other." Vulgarity is a spiritual fall, and the degree of vitality is the degree of death of death over life in the soul of man.

So, in the image of the box, the type of people who limit their lives only by one sphere, which "be resting by the forehead", do not see about something, and most importantly - do not want to see - nothing that exists besides subject to their attention. Gogol chooses the scope of material - care for the economy. The box reaches in this area sufficient for a woman, the widow, which has to be managed with a decent size by the estate, level. But her life is so concentrated on this that she does not have any other interests. Therefore, the real life remains in the past, and the current one, and even more so the future is not life. but only existence.

§3. Artistic detail as a characteristic characteristic characteristics

In addition to the above-mentioned artistic parts, an indication of items that are also important to understand the image of the box are found in the episode.

An important detail is the clock: "... a wall clock came hunting to beat. They immediately followed whether the hoarse was immediately followed, and finally, with all their might, they struck two hours with such a sound, no matter how those who kicked his stick on a broken pot, after which the pendulum went again late to click right and left. " The clock is always a symbol of time and the future. Inhibition, again, some old age of hours (means, and time) in the house of the box, emphasizes the same inhibition of life.

In addition to hours, time is presented in the speech box. It does not use calendar deadlines to designate dates, and focuses on church-earth holidays (shints, Filipples post), characteristic of folk speech. This testifies not to so much about the proximity of the lifefriend of the landowner to the people, how much about its uneducation.

Two artistic details are interesting, which relate to the toilet parts of the box: Cepets on the scarecrow and stocking behind the mirror. If the first characterizes it from the point of view of only the practical orientation and similarity of a person (after all, scarecrow should depict a person), then the role of the second part is unclear. It can be assumed, judging by a number of "Letter" - "the old deck of cards" - "stocking", that this is some kind of entertainment or maiden divination, which also confirms that the life of the box remained in the past.

The description of the yard and the description of the room begin with the mention of birds (chickens and turkeys in the courtyard, "some" birds in the paintings, "indirect clouds" forty and sparrows), also additionally characterizes the essence of the hostess of the estate - the soul of it is landed, practicality is the main measure of values .

In the speech, the boxes are found not only the integral and folk expressions, but also the words characteristic of the past era - "Avenue".

In general, it can be said that the artistic part in Gogol's poem is a means of characteristics of the character, adds nuances or indicates implicitly on essential traits of the image.

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Introduction

§one. Principle of construction of landowners in the poem

§2. Image of a box

§3. Artistic detail as a means

characteristics of character

§four. Box and chikchiki.

Conclusion

List of used literature

Introduction

The poem "Dead Souls" was created by N.V. Goggle about 17 years. She was prompted by A.S. Pushkin. The poem Gogol began to work in the fall of 1835, and on May 21, 1842, "Dead Souls" appeared in the press. The exit to the light of the Gogol Poem caused a fierce controversy: Some admired her, others saw in her slander to modern Russia and the "special world of the villains". Over the continuation of the poem, Gogol worked until the end of his life, writing the second volume (which was then burned) and planning to create the third.

According to the writer's plan, in the poem should be depicted not only to him Russia with all its problems and disadvantages (serfdom, bureaucratic system, loss of spiritual principle, illusiveness, etc.), but also the basis on which the country could be revived in the new social - Economic situation. The poem "Dead Souls" was to become an artistic search for a "living soul" - of the type of man who could be the owner of the new Russia.

The composition of the poem Gogol put the architectonics of the "Divine Comedy" of Dante - the wanderings of the hero, accompanied by the conductor (Poet Vergilius), first on the circles of hell, then, through purm, on the spheres of Paradise. In this journey, the lyrical hero of the poem met the soul of people burdened with sins (in the circles of hell) and marked by grace (in paradise). The Poem Dante was a gallery of the types of people embodied in the artistic images of famous characters of mythology and history. Gogol also wanted to create a large-scale work, which would affect not only real Russia, but also its future. "... what a huge, original story ... All Russia will appear in it! .." - wrote Gogol Zhukovsky. But for the writer it was important to portray not the outside of Russia's life, and its "soul" is the inner state of human spirituality. Following the Dante, he created the gallery of the types of people from different layers of the population and classes (landlords, officials, peasants, metropolitan lights), in which psychological, and class, and spiritual traits were also reflected in generalized. Each of the characters of the poem at the same time and the typical, and brightly individualized character - with their own peculiarities of behavior and speech, attitude to peace and moral values. The skill of Gogol was manifested in the fact that his poem "Dead Souls" is not just a gallery of the types of people, this is a collection of "shower", among which the author is looking for a living, capable of further development.

Gogol was going to write a product consisting of three volumes (in accordance with the architectonics of the "Divine Comedy" of Dante "):" Hell "of Russia," purgatory "and" paradise "(future). When the first volume was published, disputes that broke out around the work, especially negative assessments, shook the writer, he left abroad and began work on the second volume. But the work went very hard: the views of Gogol had changed, art, religion; He survived the spiritual crisis; Friendly connections with Belinsky were ruined, in a sharp tone criticized the worldview of the writer, expressed in the "selected places from correspondence with friends." Practically written in the second volume per minute was burned, then restored, and nine days before death the writer again betrayed the Floor Manuscript of the Poem. The third volume remained only in the form of an idea.

For Gogol - a deeply believer man and the original writer - the most important spirituality of man was the most important basis, and not only external social circumstances in which Russia was modern. And Russia, and her fate he perceived as a son, heavily experiencing everything that was observed in reality. The exit of Russia from the spiritual crisis Gogol has not seen in economic and social transformations, but in the revival of morality, the cultivation of true values, including Christian, in the souls of people. Therefore, the assessment that a work was obtained in a democratically confined criticism and which for a long time determined the perception of the first volume of the novel - a critical image of Russian reality, "hell" of serfdom, not exhaustion, neither the idea nor the plot, no poetics of the poem. Thus, there is a problem of philosophical and spiritual content of the work and determining the main philosophical conflict in the images of the "dead souls".

The purpose of our work is the analysis of one of the images of the poem from the point of view of the main philosophical conflict of the poem - the boxes of the box.

The main method of research is a literary analysis of the episode of the Chichikov meeting with a box. As well as the analysis and interpretation of artistic parts.

§one. Principle of construction of landowners in the poem

The main philosophical problem of the poem "Dead Souls" is the problem of life and death in the soul of man. The very name is indicated by the name - "dead souls", which reflects not only the meaning of Chichikov's adventures - the purchase of "dead", i.e. existing only on paper, in audsky fairy tales, peasants - but also, in a wider, generalized sense, the degree of the death of the soul of each of the characters of the poem. The main conflict - life and death is localized in the field of internal, spiritual plan. And then the composition of the first volume of the poem is divided into three parts that form an annular composition: the arrival of Chichikov to the county city and communication with officials - a trip from the landowner to the landowner "according to their own need" - return to the city, scandal and departure from the city. Thus, the central motive organizing all the work is the motive of travel. Streams. Strong as the plot basis of the work is characteristic of Russian literature and reflects the idea of \u200b\u200bsearching for a high meaning, truth, continuing the tradition of "walking" of the ancient Russian literature.

Chichikov travels on the Russian outback, by county cities and estates in search of the "dead" souls, and the accompanying hero author - in search of the soul "alive." Therefore, the gallery of landowners who appear in front of the reader in the first volume is a logical series of human types, among which the author is looking for someone who is able to become a real owner of new Russia and revive it economically, without destroying the morality and spirituality. The sequence in which the landowners appear to us are built on two bases: on the one hand, the degree of the death of the soul (differently - whether the soul of a person is alive) and sinfulness (do not forget about the "circles of hell", where the souls are arranged according to the severity of their sins) ; On the other hand, it is possible to revive, gain vitality that is understood by Gogol as spirituality.

In the sequence of landowners, these these lines are combined and create a double structure: each next character is in a lower "circle", the degree of its sin is harder, death in his soul increasingly replaces life, and at the same time - every next character is closer to revival, because each next character is closer to revival because , in Christian philosophy, the lower one fell below, the harder of his sin, the more his suffering, the closer he to salvation. The correctness of such interpretation is confirmed by the fact that, firstly, each next landower has an increasingly detailed history of the previous life (and if a person has a past, it means that the future is possible), secondly, in passages from the burned second volume and The sketches of the third one knows that the two characters Gogol prepared a revival - Rotary Chichikov and "Spread on Humanity" Plushhina, i.e. Those who are in the first volume at the very bottom of the spiritual "hell."

Therefore, the image of the boxes boxes will be considered from several positions:

How do life and death correlate in the soul of the character?

What is the "sin" box, and why is it located between Manilov and Nozdrey?

How close is it to revive?

§2. Image of a box

Nastasya Petrovna is a box - the landowner, the widow of the college secretary, a very economic and overwhelming elderly woman. The village is small, but everything is fine in it, the economy flourishes and, it can be seen, brings good income. The box is favorably different from Manilov: she knows all his peasants ("No notes led, no lists, but knew almost everyone,"), speaks about them as good workers ("All the glorious people, all workers"), herself The economy - "I looked into the key to the key", "Miscelred, all moved everything to the economic life." Judging by the fact that, asking Chichikov, who he is, she lists those people with whom it is constantly communicating: the assession, merchants, a protopop - its communication is small and is mainly connected, mainly with economic deeds - trade and payment of state taxes.

Apparently, she rarely leaves to the city and does not communicate with the neighbors, because he answers the question about Manilov that there is no such landlord, and calls old noble names that are more appropriate in the classic comedy of the 18th century - Bobrov, Canopaev, Pleshakov, Harpakin. The surname Svignin, which spends a straight parallel with a comedy of Phonvizin "Lady" (Mother and Uncle Mitrofanushki - Svetyins).

Behavior of the box, her appeal to the guest "Batyushka", the desire to serve (Chichikov called himself a nobleman), poverty, arrange for the night as much as possible - all these are characteristic features of the images of provincial landowners in the works of the XVIII century. Mrs. Prostakova also behaves, when he learns that the fools of the nobleman and adopted at the court.

The box, it would seem definition, in her speeches there are constantly promsders and expressions, characteristic of a believer person: "With us, the cross force!", "Seen, in punishment, God and sent him", but there is no special faith in it. When Chichikov persuades her to sell the dead peasants, Sully benefits, then she agrees and begins to "calculate" the benefit. A trustee of the box is the Son Protopopa, who serves in the city.