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

Gogol’s originality was that he was the first to give the broadest image of the district landowner-bureaucratic Russia and the “little man”, a resident of the corners of St. Petersburg.

Gogol was a brilliant satirist who castigated the “vulgarity of a vulgar man” and extremely exposed the social contradictions of contemporary Russian reality.

Gogol's social orientation is also reflected in the composition of his works. The plot and plot conflict in them are not love and family circumstances, and events public importance. At the same time, the plot serves only as an excuse for a broad depiction of everyday life and the disclosure of character types.

Deep penetration into the essence of the main socio-economic phenomena of contemporary life allowed Gogol, a brilliant artist of words, to draw images of enormous generalizing power.

For bright purposes satirical image Gogol's heroes are served by a careful selection of many details and their sharp exaggeration. For example, portraits of the heroes of “Dead Souls” were created. These details in Gogol are mainly everyday: things, clothes, homes of the heroes. If in Gogol’s romantic stories there are emphatically picturesque landscapes that give the work a certain uplifting tone, then in his realistic works, especially in “Dead Souls,” the landscape is one of the means of depicting types and characteristics of heroes. Subject matter, social orientation and ideological coverage of life phenomena and the characters of people determined the originality literary speech Gogol. The two worlds depicted by the writer - the people's collective and the "existents" - determined the main features of the writer's speech: his speech is sometimes enthusiastic, imbued with lyricism, when he talks about the people, about the homeland (in "Evenings...", in "Taras Bulba ", V lyrical digressions“Dead Souls”), then becomes close to a live conversational one (in everyday pictures and scenes of “Evenings...” or in stories about bureaucratic and landowner Russia).

The originality 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 had a keen sense of popular colloquial speech, skillfully using all its shades to characterize his heroes and phenomena of public life.

The character of a person social status, 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. In his articles about “Dead Souls,” Belinsky showed that Gogol’s humor “consists in the opposition of the ideal of life with the reality of life.” He wrote: “Humor is the most powerful weapon of the spirit of negation, destroying the old and preparing the new.”

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

Gogol’s originality was that he was the first to give the broadest picture of the district landowner-bureaucratic Russia and “ little man", a resident of St. Petersburg corners.

Gogol was a brilliant satirist who castigated the “vulgarity of a vulgar man” and extremely 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 broad depiction of everyday life and the disclosure of character types.

Deep insight into the essence of the main socio-economic phenomena of contemporary life allowed Gogol to genius artist words, to draw images of enormous generalizing power.

The names of Khlestakov, Manilov, Korobochka, Nozdryov, Sobakevich and others became household names. Even the minor characters depicted by Gogol on the pages of his works (for example, in “Dead Souls”): Pelageya, the serf girl Korobochka, or Ivan Antonovich, the “jug’s snout,” have great power of generalization and typicality. Gogol emphasizes one or two of his most significant features in the character of the hero. He often exaggerates them, why the image becomes even brighter and more prominent.

The purposes of a vivid, satirical portrayal of the characters are served by Gogol’s careful selection of many details and their sharp exaggeration. 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 Gogol’s romantic stories contain emphatically picturesque landscapes, giving the work a certain uplifting tone, then in his realistic works, especially in “Dead Souls,” landscape is one of the means of depicting types and characteristics of heroes.

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

The two worlds depicted by Gogol - the people’s collective and the “existents” - determined the main features of the writer’s speech: his speech is sometimes enthusiastic, imbued with lyricism, when he talks about the people, about the homeland (in “Evenings”, in “Taras Bulba”, in lyrical digressions of “Dead Souls”), then it becomes close to a live conversational one (in everyday pictures and scenes of “Evenings” or when the story is told about bureaucratic and landowner Russia).

The originality 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 had a keen sense of folk speech and skillfully used all its shades to characterize his heroes and phenomena. public life.

1) the periodic structure of a phrase, when many sentences are connected into one whole (“Taras saw how vague the Cossack ranks became and how despondency, indecent for the brave, began to quietly embrace the Cossack heads, but was silent: he wanted to give time to everything, so that they would get used to despondency brought on by farewell to his comrades, and meanwhile in the silence he was preparing to wake them all up at once and suddenly, whooping like a Cossack, so that again and with greater force than before, cheerfulness would return to everyone’s soul, which only the Slavic breed, the wide one, is capable of. a mighty rock is to others as the sea is to 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 exclamatory 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 at the Sorochinskaya Fair) or to the folk group (Taras Bulba).

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

The character of a person, his social status, 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 determined by the contradictions of the Russian reality of his time, mainly by the contradictions between the people and the anti-people essence of the noble state. In his articles about “Dead Souls,” Belinsky showed that Gogol’s humor “consists in the opposite of the ideal

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

The extraordinary, surprisingly natural language of Gogol. Gogol's language, the principles of his stylistics, his satirical manner had an undeniable influence on the development of the Russian literary and artistic language since the mid-30s. Thanks to Gogol’s genius, the style of everyday speech was freed from “conventional restrictions and literary stamps“Vinogradov emphasizes. Absolutely appeared in Rus' new language, distinguished by its simplicity and accuracy, strength and closeness to nature; figures of speech invented by Gogol quickly came into general use, Vinogradov continues. Great writer enriched the Russian language with new phraseological units and words that originated from the names of Gogol’s heroes.

Vinogradov claims that Gogol saw his main purpose in “bringing the language of fiction closer to the living and apt colloquial speech of the people.”

One of characteristic features Gogol's style, which A. Bely points out, was Gogol's ability to skillfully mix Russian and Ukrainian speech, high style and jargon, clerical, landowner, hunting, lackey, gambling, bourgeois, the language of kitchen workers and artisans, interspersing archaisms and neologisms in his speech as characters, and in the author's speech.

The writer connected the authenticity of the reality he conveyed with the degree of proficiency in the class, estate, and professional style of the language and dialect of the latter. As a result, Gogol's narrative language acquires several stylistic and linguistic planes and becomes very heterogeneous.

Russian reality is conveyed through the appropriate linguistic environment. At the same time, all existing semantic and expressive shades of official business language are revealed, which, when ironically describing the discrepancy between the conventional semantics of social clerical language and the actual essence of phenomena, appear quite sharply.

Gogol used colloquial speech more widely and deeply than all his predecessors. Gogol masterfully combined various, sometimes almost opposite, “stylistic elements of the Russian language.” His use of the jargon of petty officials, nobility, landowners and army officers not only enriched literary language, but also became a means of satire in the style of Gogol himself and his followers.

When describing the spiritual world, the actions of heroes, and everyday life, characteristic features of speech are invariably highlighted, complementing and clarifying various aspects of what is depicted. Speech is the hero’s self-disclosure.

This is how the author describes the director, Sophie’s father, a man filled with penny-wise ambition: “... a very strange man. He is more silent. Speaks very rarely; but a week ago I was constantly talking to myself: “Will I get it or not?” He will take a piece of paper in one hand, fold the other empty and say: “Will I receive it or not?” .

One of the characteristic features of Gogol’s poetics is that the writer likes to talk about serious things casually, jokingly, with humor and irony, as if wanting to reduce the importance of the subject. Many stories from the St. Petersburg cycle, in particular “Notes of a Madman,” are based on this technique.

Already in his first stories, Gogol depicts the people through the realistic atmosphere of folk language, beliefs, fairy tales, proverbs and songs.

So in “Notes of a Madman” there are elements of Russian folk art: “Does my house turn blue in the distance? Is my mother sitting in front of the window? Mother, save your poor son! Drop a tear on his sore little head! Look how they torture him! Hold the poor orphan to your chest! He has no place in the world! They're chasing him! Mother! Have pity on your sick child!..”

Gogol wanted to find new methods and means of “figurative expressiveness” and strove for “concrete, expressive, saturated with life colors and details, figuratively expressive oral narration.”

Important role, in Vinogradov’s opinion, played for Gogol the principle of metaphorical animation. In addition, Gogol increasingly uses words and images characteristic of oral folk speech, brings the “verbal fabric” of the narrative into line with the image of the narrator, describes the course of actions sequentially and gives the language a subjective character, writes Vinogradov.

In “Notes of a Madman” the narrator is more personified, Gukovsky emphasizes. He is not just a storyteller, but an author, a writer speaking about himself and addressing his reader, and this writer is not just a writer, he is Gogol. The narrator shares with the reader detailed description habits and individual moments in the lives of heroes and their relatives, thus acting as omniscient.

Gogol's language most naturally combines simplicity, capacity and diversity of living colloquial speech and the language of fiction, Russian and Ukrainian. Gogol masterfully uses the language of various social strata and classes, professional language, jargon and high style.

We observe a variety of language styles and dialects both in Gogol’s characters and in the speech of the narrators. The difference is that the language of the characters depends on their class affiliation.

The originality of Gogol’s language lies in the fact that he deliberately uses tautology, syntactic synonymy, unusual words and phrases, metaphorical and metonymic displacements and allogism. The writer piles up verbs and nouns, lists completely incompatible things and objects in one row, and even resorts to grammatical inaccuracy of expressions.

Gogol widely uses the technique of tautology in his work: “His entire office is lined with bookcases. I read the titles of some: all learning, such learning that our brother doesn’t even have an attack”; “Your Excellency,” I wanted to say, “do not order execution, but if you already want to execute, then execute with your general’s hand.”

Culinary and everyday vocabulary is also included in the structure of literary and artistic presentation (the author’s speech, revealing the evaluative orientation of the character’s remarks; Medzhi’s speech), which reveals a characteristic feature of Medzhi’s prudently greedy nature: “I drink tea and coffee with cream. Oh, I have to tell you that I don’t see any pleasure in the big gnawed bones that our Polkan eats in the kitchen. Bones are good only from game, and that too when no one has yet sucked the brains out of them. It is very good to mix several sauces together, but only without capers and without herbs; but I don’t know anything worse than the habit of giving dogs balls rolled out of bread. Some gentleman sitting at the table, who held all sorts of rubbish in his hands, will begin to knead the bread with these hands, call you and put a ball in your teeth. It’s somehow rude to refuse, so eat; with disgust, but eat..." “If they hadn’t given me hazel grouse sauce or fried chicken legs, then... I don’t know what would have happened to me. The sauce with porridge is also good. But carrots, or turnips, or artichokes will never be good...”

In Gogol's style, it is easy to distinguish two streams that run through all of his work. On the one hand, the speech is measured, rounded, solemn. It seems that in no other Russian writer can you find such regularity and solemnity as in him. Something songlike can be heard in the rhythm and turns of this speech. On the other hand, Gogol does not narrate, but recites. The tone of his stories is not calm and measured, but impetuous and stormy. His speech flows in broad lyrical streams, is interrupted by exclamations, sprinkles with jokes, falls into buffoonery and even rises again to lush lyricism.

Gogol often uses this phrase epic poetry, not found in other Russian writers - an epic comparison. The essence of the phrase is that, having compared the thing being described, the artist is so carried away by the object taken for comparison, describes it in such detail that he no longer explains, but obscures the thing being compared with it: “I pressed myself against the wall. The footman opened the doors, and she flew out of the carriage like a bird. How she looked to the right and to the left, how she flashed her eyebrows and eyes...” “Holy saints, how she was dressed! Her dress was white, like a swan: wow, so lush! And how I looked: the sun, by God the sun!” “What a car! What kind of people don’t live there: how many cooks, how many visitors! And our brotherhood of officials is like dogs, one sits on top of the other. I also have a friend there who plays the trumpet well.” “Damn it, his face looks like an apothecary bottle, and there’s a tuft of hair on his head, curled into a tuft, and he holds it up, and smears it with some kind of rosette, so he already thinks that he alone can do anything.” “The hair on his head is like hay.” "Ah ah ah! What a voice! Canary, right canary."

Words with diminutive suffixes: “frachishka”, “feather”, “rain”, “droshki”, “quiet”, “umbrella”.

French phrases and individual words are quite rare: “Sophie”, “ma chire”, “papa”, “Fidel”, “equivoques”, “dana” acquire a satirical connotation.

But in Gogol’s language there are many provincial, sometimes rude, but bright and characteristic words and expressions, like no one else. There are also specific words here, like: “kike”, “mug”, “rags”, “little dog”, “damn”, “collapsed”, “stupid serf”, “drag”, “pigs”, “trashy”, “vile” ", "swindle", "rude", "boob", "insolent", "lies", "donkey", "scoundrels", "you can't fool me!"

Here there are such expressions as: “Damned heron!”, “My God, the Last Judgment will come sooner,” “ask, even if you crack, even if you are in want, the gray-haired devil will not give it away,” “the face is such that one would spit I want”, “caught my eye”, “so that I don’t get a salary!”, “damn it”, “don’t make your nose stick”, “after all, you’re a zero, nothing more”, “not a penny to my name”, “I spit on him ”, “plugging his nose, he ran at full speed”, “not completely bad-looking”, “loves without memory”, “what a vulgar tone”, “will start as expected, and end like a dog”, “vile language”, “after all, his nose is not made of gold”, “raise the mess”, “this insidious creature is a woman”, “went around incognito”, “got into a scam”, etc.

And finally, the original proverbs: “Sometimes you get things so mixed up that Satan himself can’t figure it out,” “Sometimes you rush around like crazy,” “love is a second life,” “you won’t get a third eye on your forehead,” “When England takes snuff, then France is sneezing."

INTRODUCTION

Fiction is a special form of reflecting reality, logically incompatible with the real idea of ​​the world around us. It is widespread in mythology, folklore, art and expresses a person’s worldview in special, grotesque and “supernatural” images.

In literature, fantasy developed on the basis of romanticism, the main principle of which was the depiction of an exceptional hero acting in exceptional circumstances. This freed the writer from any restrictive rules and gave him freedom to implement creative possibilities and abilities. Apparently, this is what attracted N.V. Gogol, who actively used fantastic elements not only in romantic, but also in realistic works.

The relevance of the topic of the course work lies in the fact that N.V. Gogol is an exceptionally original, national writer. He created captivating image Motherland, addressing not only the motives folk legends and legends, but also to the facts of real life. The combination of romantic, fantastic and realistic becomes the most important feature Gogol's works and does not destroy the romantic conventions. Descriptions of everyday life, comic episodes, national details are successfully combined with fantasy, imagination, fiction, lyrical musicality characteristic of romanticism, with a conventional lyrical landscape expressing the mood and emotional richness of the narrative. National color and fantasy, appeal to legends, fairy tales, folk legends testify to the formation of N.V. Gogol has a national, original beginning.

According to the Russian philosopher N. Berdyaev, Gogol is “the most mysterious figure in Russian literature". There was no writer in Russia who caused such irreconcilable controversy as Gogol.

The purpose of the course work is to highlight the real and the fantastic in “Petersburg Tales” by N.V. Gogol.

Coursework objectives:

Consider the artistic world of Gogol;

Analyze the fantastic and the real in “Petersburg Tales”;

Highlight the features and significance of fantasy and realism in Gogol’s “Petersburg Tales”.

The object of the course work is the cycle of works by Gogol - “Petersburg Tales”.

The subject of the course work is the features of the real and fantastic in these stories by the author.

The work used sources on literary theory, materials from printed media, as well as the author’s own developments.

The course work consists of three chapters, a conclusion and a list of references.

GOGOL'S ARTISTIC WORLD

Every great artist is the whole world. To enter this world, to feel its versatility and unique beauty means to bring oneself closer to the knowledge of the infinite diversity of life, to place oneself at some higher level of spiritual, aesthetic development. The work of every major writer is a precious storehouse of artistic and spiritual, one might say, “human-science” experience, which is of enormous importance for the progressive development of society.

Shchedrin called fiction a “condensed universe.” By studying it, a person gains wings and is able to understand history more broadly and deeply, and he is always restless. modern world where he lives. The great past is connected with the present by invisible threads. The artistic heritage captures the history and soul of the people. That is why it is an inexhaustible source of his spiritual and emotional enrichment. This is also the real value of Russian classics.

Gogol's art arose on the foundation that was erected before him by Pushkin. In "Boris Godunov" and "Eugene Onegin", " Bronze Horseman" and "The Captain's Daughter" the writer committed greatest discoveries. The amazing skill with which Pushkin reflected the fullness of contemporary reality and penetrated into the recesses of the spiritual world of his heroes, the insight with which in each of them he saw a reflection of the real processes of social life.

Gogol followed the trail laid by Pushkin, but he went his own way. Pushkin revealed deep contradictions modern society. But for all that, the world, artistically realized by the poet, is full of beauty and harmony, the element of negation is balanced by the element of affirmation. Pushkin, according to true word Apollo Grigoriev, “was a pure, sublime and harmonious echo of everything, transforming everything into beauty and harmony.” Art world Gogol is not so universal and comprehensive. His perception of modern life was also different. There is a lot of light, sun, and joy in Pushkin’s work. All his poetry is imbued with invincible force of the human spirit, it was the apotheosis of youth, bright hopes and faith, it reflected the boiling of passions and that “revelry at the feast of life” about which Belinsky enthusiastically wrote.

In the first half of the 19th century, many great poets and writers lived and worked in Russia. However, in Russian literature it is generally accepted that the “Gogolian” period of Russian literature begins in the 40s of the 19th century. This formulation was proposed by Chernyshevsky. He credits Gogol with the merit of firmly introducing the satirical - or, as it would be more fair to call it, the critical - trend into Russian fine literature. Another merit is the foundation new school writers.

Gogol's works, which exposed the social vices of Tsarist Russia, constituted one of the most important links in the formation of Russian critical realism. Never before in Russia has the gaze of a satirist penetrated so deeply into the everyday, into the everyday side social life society.

Gogol's comedy is the comedy of the established, everyday, which has acquired the force of habit, the comedy of petty life, to which the satirist gave a huge generalizing meaning. After the satire of classicism, Gogol's work was one of the milestones of the new realistic literature. Gogol's significance for Russian literature was enormous. With the appearance of Gogol, literature turned to Russian life, to the Russian people; began to strive for originality, nationality, from rhetorical she sought to become natural, natural. In no other Russian writer has this desire achieved such success as in Gogol. To do this, it was necessary to pay attention to the crowd, to the masses, to portray ordinary people, and unpleasant ones were only an exception to the general rule. This is a great merit on Gogol’s part. With this, he completely changed his view of art itself.

Gogol's realism, like Pushkin's, was imbued with the spirit of fearless analysis of the essence social phenomena modernity. But the uniqueness of Gogol’s realism was that it combined a broad understanding of reality as a whole with a microscopically detailed study of its most hidden nooks and crannies. Gogol depicts his heroes in all the concreteness of their social existence, in all the smallest details of their everyday life, their everyday existence.

“Why depict poverty, and poverty, and the imperfection of our life, digging people out of the wilderness, from the remote corners of the state?” These opening lines from the second volume of Dead Souls perhaps best reveal the pathos of Gogol's work.

Never before have the contradictions of Russian reality been so exposed as in the 30s and 40s. Critical image its deformities and ugliness became the main task of literature. And Gogol sensed this brilliantly. Explaining in the fourth letter “Regarding “Dead Souls”” the reasons for the burning of the second volume of the poem in 1845, he noted that it was pointless now “to bring out several wonderful characters that reveal the high nobility of our breed.” And then he writes: “No, there is a time when it is impossible to otherwise direct society or even an entire generation towards the beautiful until you show the full depth of its real abomination.”

Gogol was convinced that in the conditions of contemporary Russia, the ideal and beauty of life can be expressed, first of all, through the denial of ugly reality. This is exactly what his work was like, this was the originality of his realism. Gogol's influence on Russian literature was enormous. Not only all the young talents rushed to the path shown to them, but also some writers who had already gained fame followed this path, leaving their previous one.

Nekrasov, Turgenev, Goncharov, Herzen spoke about their admiration for Gogol and connections with his work, and in the 20th century we observe the influence of Gogol on Mayakovsky. Akhmatov, Zoshchenko, Bulgakov and others. Chernyshevsky argued that Pushkin is the father of Russian poetry, and Gogol is the father of Russian prose literature.

Belinsky noted that in the author of “The Inspector General” and “Dead Souls” Russian literature found its “most national writer" The critic saw the national significance of Gogol in the fact that with the appearance of this artist, our literature exclusively turned to Russian reality. “Perhaps,” he wrote, “through this it became more one-sided and even monotonous, but also more original, original, and, consequently, true.” A comprehensive depiction of the real processes of life, the study of its “roaring contradictions” - all great Russian literature of the post-Gogol era will follow this path.

Gogol's artistic world is unusually original and complex. The apparent simplicity and clarity of his works should not deceive. They bear the imprint of the original, one might say, amazing personality of the great master, his very deep view of life. Both are directly related to his artistic world. Gogol is one of the most complex writers in the world. His fate - literary and everyday - shocks with its drama.

By exposing everything that is bad, Gogol believed in the triumph of justice, which will win as soon as people realize the fatality of the “bad”, and in order to realize, Gogol ridicules everything despicable and insignificant. Laughter helps him accomplish this task. Not the kind of laughter that is generated by temporary irritability or bad character, not that light laughter that serves for idle amusement, but the one that “all flies out of bright nature man,” at the bottom of which lies “his eternal spring.”

The judgment of history, the contemptuous laughter of descendants - this is what, according to Gogol, will serve as retribution to this vulgar, indifferent world, which cannot change anything in itself even in the face of the obvious threat of its senseless death. Artistic creativity Gogol, who embodied in bright, complete types everything negative, everything dark, vulgar and morally wretched with which Russia was so rich, was for the people of the 40s an endless source of mental and moral excitement. The dark Gogol types (Sobakevichs, Manilovs, Nozdryovs, Chichikovs) were a source of light for them, for they were able to extract from these images the hidden thought of the poet, his poetic and human sorrow; his “invisible tears, unknown to the world,” turned into “visible laughter,” were both visible and understandable to them.

The artist’s great sorrow went from heart to heart. This helps us feel the truly “Gogolian” way of storytelling: the narrator’s tone is mocking, ironic; he mercilessly castigates the vices depicted in Dead Souls. But at the same time, the work also contains lyrical digressions, which depict the silhouettes of Russian peasants, Russian nature, the Russian language, roads, troikas, distances... In these numerous lyrical digressions, we clearly see the author’s position, his attitude to what is depicted, the pervasive lyricism his love for his homeland.

Gogol was one of the most amazing and original masters artistic word. Among the great Russian writers, he possessed, perhaps, perhaps the most expressive signs of style. Gogol's language, Gogol's landscape, Gogol's humor, Gogol's manner of depicting a portrait - these expressions have long become commonplace. And yet, the study of style, artistic skill Gogol still remains far from a fully solved problem.

Domestic literary criticism has done a lot to study Gogol's legacy - perhaps even more than in relation to some other classics. But can we say that it has already been fully studied? It is unlikely that even in the historically foreseeable future we will have grounds for an affirmative answer to this question. At each new turn of history, the need arises to re-read and re-think the work of the great writers of the past. The classics are inexhaustible. Each era discovers previously unnoticed facets in the great heritage and finds in it something important for thinking about its own, contemporary affairs. Much in Gogol’s artistic experience today is extremely interesting and instructive.

One of the most beautiful achievements of Gogol's art is the word. Few of the great writers mastered the magic of words, the art of verbal painting, as completely as Gogol.

He considered not only language, but also syllable “the first necessary tools of every writer.” When assessing the work of any poet or prose writer, Gogol first of all pays attention to his syllable, which is, as it were, the calling card of the writer. The syllable itself does not make a writer, but if there is no syllable, there is no writer.

It is in the syllable that, first of all, the individuality of the artist is expressed, the originality of his vision of the world, his capabilities in revealing the “inner man,” his style. The syllable reveals all the most hidden things that exist in the writer. In Gogol's view, a syllable is not the external expressiveness of a phrase, it is not a manner of writing, but something much deeper, expressing the root essence of creativity.

Here he is trying to determine the most essential feature of Derzhavin’s poetry: “Everything about him is large. His syllable is large, like none of our poets.” It is worth noting: there is no mediastinum between one and another phrase. Having said that with Derzhavin everything is big, Gogol immediately then clarifies what he means by the word “everything” and begins with a syllable. For to talk about a writer’s style means to talk about almost the most characteristic thing in his art.

A distinctive feature of Krylov, according to Gogol, is that “the poet and the sage merged into one in him.” Hence the picturesqueness and accuracy of Krylov’s images. One merges with the other so naturally, and the image is so true that “you can’t catch his syllable. The object, as if not having a verbal shell, appears by itself, in kind, before the eye.” The syllable does not express the external brilliance of the phrase; the artist’s nature is visible in it.

Gogol considered caring for language and words to be the most important thing for a writer. Accuracy in handling words largely determines the reliability of the image of reality and helps to understand it. Noting in the article “On Sovremennik” some of the latest phenomena in Russian literature, Gogol, for example, singles out modern writers V. I. Dalya. Without mastering the art of fiction and in this regard not being a poet, Dahl, however, has a significant advantage: “he sees business everywhere and looks at every thing from its practical side.” He does not belong to the number of “storytellers-inventors,” but he has a huge advantage over them: he takes an ordinary incident from everyday life, of which he was a witness or an eyewitness, and, without adding anything to it, creates “the most interesting story.”

Language mastery is an extremely important, perhaps even the most important, element of the art of writing. But the concept of artistic mastery, according to Gogol, is even more capacious, for it more directly absorbs all aspects of the work - both its form and content. At the same time, the language of the work is in no way neutral in relation to the content. Understanding this very complex and always individually manifested relationship within the art of artistic expression lies at the very essence of aesthetic position Gogol.

Great art never gets old. The classics invade the spiritual life of our society and become part of its self-awareness.

Gogol's artistic world, like that of any great writer, is complex and inexhaustible. Each generation not only reads the classic anew, but also enriches it with its own continuously developing historical experience. This is the secret of the unfading power and beauty of the artistic heritage.

Gogol's artistic world is a living spring of poetry, which has been moving forward the spiritual life of millions of people for almost a century and a half. And no matter how far the development of Russian literature has gone after The Inspector General and Dead Souls, many of its most outstanding achievements were predicted and prepared by Gogol at their origins.

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Literature

abstract

Features of the narration in N.V. Gogol’s story “The Overcoat”

FEATURES OF THE NARRATOR IN N.V.’S STORY GOGOL
"OVERCOAT"
TABLE OF CONTENTS
INTRODUCTION 3
1. Historical reference 4
2. Features of revealing the idea of ​​the story 5
3. Characteristic features of the narrative 6
4. The image of a “significant person” in the story 9
CONCLUSION 12
REFERENCES 13
INTRODUCTION
Among the remarkable figures of Russian and world culture, a place of honor belongs to Nikolai Vasilyevich Gogol. A brilliant master of the poetic word, he created great works that captivate with the depth and truthfulness of his images, the power of creative generalization of life, and artistic perfection.
It is known that the works of great writers, in terms of the depth of their content and the meaning of artistic images, go far beyond the boundaries of the historical time in which they appeared. The greatest artistic creations live for centuries and millennia, arousing the interest of many generations of readers, giving them aesthetic pleasure. This happens because creative generalizations outstanding artists words illuminate universal human problems and help people of different historical periods understand many very dissimilar phenomena of life.
Each new era judges the writer in her own way, perceiving in his work those close to her artistic principles. Historical existence literary phenomena is very complex. Here, periods of widespread interest in a writer and his works are often followed by decades and even centuries of declining or fading interest in them. With all this, over time there is a process of gradual disclosure of the artistic potential of classical creations. In the emergence of this potential, the decisive role belongs to the talent, individuality of the artist, and his connections with reality. That is why clarifying the writer’s place in the movement of life, in the development of society and literature is very important not only for understanding his originality, but also for clarifying the fate of his work. Ignoring the historical approach to the artistic heritage gives rise to subjectivism, all kinds of arbitrary judgments and “concepts”.
1. Historical background
The idea of ​​the “Overcoat” first appeared to Gogol in 1834 under the impression of a clerical anecdote about a poor official who, at the cost of incredible efforts, realized his long-standing dream of buying a hunting rifle and lost this rifle on his first hunt. Everyone laughed at the joke, P. V. Annenkov says in his memoirs. But in Gogol this story caused a completely different reaction. He listened to her and bowed his head thoughtfully. This anecdote sank deeply into the writer’s soul, and it served as an impetus for the creation of one best works Gogol.
Work on “The Overcoat” began in 1839 abroad and was roughly completed in the spring of 1841. The story was originally called "The Tale of an Official Stealing an Overcoat."
"The Overcoat" occupies a special place in the cycle of St. Petersburg stories. The story of an unhappy official overwhelmed by poverty, popular in the 30s, was embodied by Gogol in a work of art, which Herzen called “colossal.”
With his story, Gogol first of all distanced himself from the development of a plot about a poor official, characteristic of reactionary writers of the 30s, who was a target for ridicule and vulgar ridicule. The polemical address was indicated by Gogol quite clearly: Bashmachkin “was what is called the eternal titular adviser, on whom, as you know, various writers have worked hard and sharpened their wits, having the commendable habit of leaning on those who cannot bite.”
2. Features of revealing the idea of ​​the story
“The Overcoat,” like Gogol’s other stories about a humiliated man, is in continuity with Pushkin’s “The Station Agent.” Based on the creative experience of Pushkin, Gogol created deeply original artistic generalizations in his St. Petersburg stories. Author's Spotlight" Stationmaster"was a depiction of sharp clashes between a "little" man and nobles, strongmen of the world this, clashes that resulted in the collapse of the hero’s happiness. Gogol reflected more widely social inequality“little” people, showing not only their defenselessness, but also the harsh struggle for everyday existence. The depiction of the life fate of Gogol's heroes inextricably merges with the disclosure of constant social oppression, which, dooming the “little” person to suffering, mercilessly disfigures him, erasing living human individuality.
The deep drama with which “The Overcoat” is imbued is revealed, on the one hand, in the depiction of the everyday and-on the other-in showing the hero's "shocks". The development of the plot in the story is primarily based on this internal conflict. "This is how it went peaceful life a man who, with a salary of four hundred, knew how to be satisfied with his lot, and would have lived, perhaps, to a very old age, if there had not been various disasters scattered along the road of life not only to titular, but even secret, real, court and all kinds of advisers.” The story about the acquisition of an overcoat is everyday life revealed in its dramatic tension. An ordinary, ordinary phenomenon appears in the form of a “disaster”; an insignificant event, as if in focus, concentrates a reflection of the essential aspects of reality.
The tension and drama of these clashes make the ending of the story organic, into which the author introduces fantasy. Fiction in "The Overcoat" is a necessary element in revealing the main idea of ​​the story.
3. Characteristic features of the narrative
"The Overcoat" is one of those works in which the writer resorts to the technique of narration on behalf of the narrator. But the narrator in “The Overcoat” is not at all like Rudy Panka, who brings with him a special, sharply expressed manner of narration; He also doesn’t look like the narrator from the story about a quarrel, who is distinguished by his bright “characteristics.” In "The Overcoat" the narrator is not highlighted, but at the same time this image is clearly felt in the story. “Unfortunately, we cannot say where exactly the official who invited us lived; our memory is beginning to fail us greatly, and everything that is in St. Petersburg, all the streets and houses, have merged and mixed up so much in our heads that it is very difficult to get anything decent from there. form". While retaining the features of some external simplicity, the narrator in “The Overcoat” is far from the “spontaneity” of narrators belonging to the patriarchal world.
“The Overcoat” was by no means written in the techniques of skaz; nevertheless, in a number of places Gogol subtly notes the linguistic features of the narrator: “... Akaki Akakievich was born against the night, if memory serves, on March 23... Mother was still lying on the bed opposite the doors, and right hand stood the godfather, an excellent man, Ivan Ivanovich Eroshkin, who served as the head of the Senate, and the godfather, the wife of a quarterly officer, a woman of rare virtues, Arina Semyonovna Belobryushkova"; "in such a state, Petrovich usually very willingly gave in and agreed, every time he even bowed and thanked. Then, however, the wife came, crying that her husband was drunk and therefore took it cheaply; but sometimes you add one kopeck, and it’s in the bag.”
The image of the narrator carries a clearly expressed sympathy for the ignorant, to the common man. Along with this, the writer, in individual episodes of the narrative, expresses in a direct, immediate form his attitude towards the hero of the work. This determines the lyric pathetic flow of the story, which is revealed both in the words about cruel “inhumanity” and in the reflections in connection with the death of Akaki Akakievich (“the creature disappeared and hid itself”).
In creating "The Overcoat", Gogol relied on his enormous creative achievements in the use of wealth vernacular. Unlike a number of his other works, the writer in this story almost did not turn to a picturesque and concrete description of everyday life, the “environment” of the hero, which made it possible to clearly outline his psychological appearance. The most important creative task that Gogol set for himself in “The Overcoat” was, first of all, to clearly show the microscopic world of the humiliated hero, and then to characterize the relationship of the depressed person with the social world around him. Consistently implementing this creative task, Gogol achieved amazing concentration of verbal expression, extraordinary accuracy of the artistic word. “There, in this copying, he saw his own diverse and nice world. Pleasure was expressed on his face;
He had some favorite letters, which if he got to me, he was not himself: he laughed, and winked, and helped with his lips, so that in his face, it seemed, one could read every letter that his pen wrote."
The richness and accuracy of Gogol's metaphor is an integral feature of the description of the hero's actions and the events of his life. “Akaky Akakievich began to feel for some time that he was somehow feeling a particularly strong pain in his back and shoulder, despite the fact that he was trying to run across the legal space as quickly as possible. He finally thought whether there were any sins in his overcoat Having examined it carefully at home, he discovered that in two or three places, namely on the back and on the shoulders, it had become like a sickle." An aptly found word, an expressive metaphor very often seems to sum up an entire narrative episode. “He returned home in the happiest mood, took off his overcoat and hung it carefully on the wall, once again admiring the cloth and lining, and then deliberately pulled out, for comparison, his old hood, which had completely fallen apart. He looked at it and even laughed himself : such a far difference! And for a long time afterwards at dinner he kept grinning as soon as the situation in which the hood was located came to his mind.”
Characterizing the real place of the hero in social life, his attitude to reality, the writer widely uses the technique of internal comparisons, which becomes an organizing principle in the construction of the sentence itself, in its selection lexical composition. “If they had given him rewards in proportion to his zeal, he, to his amazement, might even have ended up as a state councilor; but he, as his comrades’ wits put it, earned a buckle in his buttonhole and acquired hemorrhoids in his lower back.”
Internal comparisons in narrative speech"Overcoats" are distinguished by great diversity; they are built on the collision of the imaginary and the real, the sublime and the prosaic. “Fire sometimes appeared in his eyes, the most daring and courageous thoughts even flashed in his head: should he just put a marten on his collar.” Or: “Thanks to the generous assistance of the St. Petersburg climate, the disease spread faster than could have been expected, and when the doctor appeared, he, having felt the pulse, could not find anything to do except prescribe a poultice, only so that the patient would not be left without a beneficial medical assistance
The use of internal comparisons in the structure of a sentence or a whole group of sentences is often combined with emphasizing, “playing on” one stressed word. “If Akaky Akakievich looked at anything, he saw his clean, even handwriting lines written out on everything, and only if, out of nowhere, a horse’s muzzle was placed on his shoulder and blew a whole wind into his cheek with its nostrils, then he only noticed that he is not in the middle of the line, but rather in the middle of the street."
4. The image of a “significant person” in the story
Gogol brilliantly uses the “play” of words to expressly characterize heroes, social phenomena, and reality. In this sense, the disclosure of various semantic shades of the word “significant”, which appears in the description of a “significant person,” is very interesting. “You need to know that one significant person recently became a significant person, and before that time he was an insignificant person. However, his place even now was not considered significant in comparison with others, even more significant. But there will always be a circle of people for whom the insignificant is in in the eyes of others there is already something significant. However, he tried to enhance the significance by many other means.” The comparison of “significant” with “insignificant” in various connections gives an ironic character to the story about a high-ranking person.
For satirical purposes, Gogol with great skill combines seemingly mutually exclusive semantic meanings of words and achieves a remarkable effect. “The police made an order to catch the dead man, at any cost, alive or dead, and punish him, as an example in another, most severe way.” The constant formula of the zealots of order about the capture and punishment of the guilty appears here in its comic absurdity.
The image of a “significant person” shows the cruelty of representatives of government and the law. Drawing the insults to which Akaki Akakievich was subjected in the department, Gogol showed “how much inhumanity there is in a person, how much ferocious rudeness is hidden in refined and educated secularism.”
Gogol creates a satirically generalized type of person - a representative of the bureaucratic power of Russia. His position is not significant, it is the boss in general. The way it behaves with Bashmachkin is how all “significant persons” behave.
The scene at the general's is the ideological culmination of the story. Here the social tragedy of the “little man” in the conditions of autocratic Russia is shown most forcefully.
It is characteristic that Gogol does not even give a name to this hero of his. Unlike Bashmachkin and Petrovich, the “significant person” is depicted in satirical colors: “The techniques and customs of the significant person were solid and majestic, but not polysyllabic. The main basis of his system was severity. “Severity, severity and severity,” he usually said and at last word he usually looked very significantly into the face of the one to whom he was speaking... His ordinary conversation with those below him was stern and consisted of almost three phrases: “How dare you? Do you know who you are talking to? Do you understand who is standing in front of you?”
In his relations with “inferiors”, in his social practice, a “significant person” expresses the prevailing “norms”; his personal qualities do not play any significant role in this. "He was in the shower a kind person, good with his comrades, helpful...", "but as soon as he happened to be in a society where there were people at least one rank lower than him, there he was simply out of hand."
The personification of brute and cruel force, the “significant person” cares only about the inviolability of the “foundations”, that there is not even a hint of free thoughts. Bashmachkin’s appeal to a “significant person” for help provokes the anger of a high-ranking person. When Bashmachkin timidly remarks: “...I dared to trouble your Excellency because the secretaries of that... are unreliable people...” - a storm of indignation falls on him. “What, what, what?” said a significant person. “Where did you get such a spirit? Where did you get such thoughts? What kind of riot has spread among young people against their bosses and superiors!”
The very strong impression this scolding makes on Bashmachkin causes complete satisfaction of the “significant person.” He is intoxicated by the thought “that his word can even deprive a person of his feelings.”
Scenes depicting a “significant person” expand and generalize the impact of the social order, which predetermined the course of Akaki Akakievich’s entire life and led to his death. One of the editions of “The Overcoat” contains the following lines: “And we, however, completely ignored the main cause of all the misfortune, namely a significant person.” There is no doubt that this passage was modified by the writer under the pressure of censorship requirements; in the printed text it acquired a different edition. “But we, however, completely left out one significant person, who, in fact, was almost the reason for the fantastic direction, however, of a completely true story.”
Bashmachkin's meeting with a "significant person" is shown in "The Overcoat" as a clash not with a bad person, but with the "usual" order, with the constant practice of "those in power." Bashmachkin suffers not from the inhumanity of individual people, but from the lack of rights in which he is placed by his social status. Portraying a “little” man in “The Overcoat,” Gogol acted as a great humanist. His humanism was not abstract and contemplative, but effective, social character. The writer defended the rights of those people who are deprived of them in society. The words “I am your brother” reflected the ideas of social justice and social equality.
Akaki Akakievich is depicted as a man who dutifully carries his heavy cross in life, without raising his voice of protest against the cruelties of society. Bashmachkin is a victim who is not aware of the tragedy of his situation and does not think about the possibility of a different life. In the original edition of the epilogue of the story, the writer bitterly noted Bashmachkin’s submission to fate and resignation. “The creature disappeared and hid, not protected by anyone and not dear to anyone, not interesting to anyone, not even turning the gaze of a natural observer on itself and only obediently suffering clerical ridicule and never uttering a murmur about its fate in its entire life and not knowing "Is there a better fate in the world?"
The “humility” of the hero of “The Overcoat” did not at all mean Gogol’s reconciliation with reality. By showing the hero as an uncomplaining victim of society, the writer expressed his bold protest against the social order.
CONCLUSION
Based on the principles of realism and democratic humanism, Gogol’s artistic works had a huge influence on the development of public consciousness and spiritual culture in Russia and other countries. His work was a significant effective factor in the growth of advanced social thought
Gogol's literary activity was characterized by ideological and creative contradictions, especially strong in last period his life. These contradictions have often been used and are used in our time in order to interpret Gogol’s life and literary path, his artistic heritage in the spirit of outright conservatism. However, this kind of interpretation comes into irreconcilable conflict with the truth. The main direction of Gogol’s creative activity had as its source not the false views that were somehow reflected in his works, but the progressive, liberating ideas so clearly expressed in them. It was not prejudices and misconceptions that determined the content, the essence creative creatures writer, and their deep life truth, the wonderful artistic discoveries made by him.
Gogol's realistic masterpieces represent a major contribution to the treasury of Russian and world literature. The artistic generalizations created by the writer have become the property of all progressive humanity and arouse the keenest interest of readers different nationalities. Gogol boldly asserted new creative principles that had a wide influence on literature and received their further development in the works of outstanding Russian writers and writers from other countries.
BIBLIOGRAPHY
1. Mashinsky S. The artistic world of Gogol. M.: "Enlightenment", 1971
2. N.V. Gogol: History and modernity: To the 175th anniversary of his birth / Comp. V.V. Kozhinov, E.I. Osetrov, P.G. Palamarchuk. - M.: Sov. Russia, 1985.
3. Khrapchenko M. B. Nikolai Gogol. Literary path. The greatness of the writer. - M. Sovremennik, 1984.

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