Since the end of the 20s. a number of journal articles and individual books appeared, dedicated to Russian, Ukrainian and all-Slavic ethnography, and one after another editions of monuments of folk art are published: “Little Russian Songs” by M.A. Iv. Sreznevsky (1834, 1835, and 1838), the three-volume Tales of the Russian People by I. P. Sakharov (1836-1837) and many others. etc. At the same time, the “Collection of Russian Songs” by Peter Kireevsky, published later, was being prepared.

In line with this still emerging ethnographic movement, Gogol finds himself as an artist, creates and publishes his first narrative cycle, Evenings on a Farm near Dikanka.

Gogol was born and raised in Ukraine and until the end of his life he considered it his micro-homeland, and himself a Russian writer with a “Khokhlatsky” leaven.

Coming from the mid-local Ukrainian nobility, he knew well his rural and urban life, with young years he was weary of the provincial-serf "poverty" and "earthlyness" of this life, admired the folk-poetic traditions of the "Cossack antiquity", which then lived not only among the people, but also revered in some "old-world" noble families, including in the house of a noble and highly educated distant a relative of the future writer - D. P. Troshchinsky, an ardent admirer and collector of Ukrainian "old times".

"Evenings" amazed contemporaries with its incomparable originality, poetic freshness and brightness. Pushkin’s review is known: “... everyone was delighted with this lively description of a singing and dancing tribe, this fresh pictures Little Russian nature, this cheerfulness, simple-hearted and at the same time crafty.

How amazed we were at the Russian book that made us laugh, we who have not laughed since the time of Fonvizin! The mention of Fonvizin is not accidental. This is a hint that the simple-hearted gaiety of "Evenings" is not as simple-minded as it might seem at first glance.

Belinsky, who greeted The Tale of Belkin very coldly, greeted Evenings, and also before Pushkin- noting in them a combination of "gaiety, poetry and nationality."

"Merry nationality" sharply distinguished "Evenings" from the usual naturalistic depiction of the serf life of the Russian and Ukrainian villages in the so-called "common people" stories of that time, in which Belinsky rightly saw a profanation of the idea of ​​\u200b\u200bnationality.

Gogol happily avoided this danger and did not fall into the other extreme - the idealization of "folk mores", finding a completely new angle of their image. It can be called mirror reflection poetic, life-affirming consciousness of the people themselves. "Alive", in the words of Pushkin, "a description of a tribe singing and dancing" is literally woven from motifs Ukrainian folklore, gleaned from his most diverse genres - heroic-historical "dooms", lyrical and ritual songs, fairy tales, anecdotes, crib comedies.

This is the artistic authenticity of the cheerful and poetic people of Gogol's first narrative cycle. But him poetic world permeated with hidden longing for the former Zaporizhzhya liberties of the enslaved, like all "tribes" Russian Empire, "Dikan Cossacks", which forms the epic beginning and the ideological unity of all the stories included in it.

Romantically bright in its own way national flavor the poetic world of "Evenings" is devoid of another obligatory attribute of the romantic epic - historical, temporal locality. historical time each story has its own, special, sometimes definite, and in some cases, for example, in May Night, conditional. But thanks to this, the national character (according to the philosophical and historical terminology of the 1930s and 1940s, the “spirit”) of the Cossack tribe appears in Evenings from the side of its ideal, invariably beautiful essence.

Its immediate reality is the linguistic consciousness of the people in all the stories of the cycle. The predominantly verbal characterization of the characters gives the fantastic style of "Evenings" the "pictorial style" previously unknown to Russian prose, noted by Belinsky, and belongs to the number of Gogol's most promising innovations.

A tale is a means of delimiting the author's speech from the speech of his characters, in "Evenings" - from popular vernacular, which thereby becomes both a means and an object. artistic image. Russian prose knew nothing of the kind before Gogol's Evenings.

The stylistic norm of the colloquial element of "Evenings" is rustic innocence, under the mask of which lies the abyss of "Khokhlatsky" cheerful slyness and mischief. In combination with one another, the whole comedy of "Evenings" is concluded, mainly verbal, motivated by the artistic fiction of their "publisher", "beekeeper" Rudy Pank, and a number of storytellers related to him.

The preface to Evenings, written on behalf of Rudy Panok, characterizes their "publisher" as the bearer of the speech norm, not by the author, but by his storytellers and heroes. And this norm remains unchanged in all stories of the cycle, which also emphasizes the constancy of the fundamental properties national character"Dikan Cossacks" in all historical circumstances.

So, for example, the vernacular, and thus the spiritual image of the characters of "Sorochinsky Fair" and "The Night Before Christmas" do not differ from each other, despite the fact that the action of the first story is related to the present, takes place before the eyes of the author, and the action of the second dated to the end of the 18th century, at the time when the government decree promulgated in 1775 was being prepared, according to which the Zaporozhian army was deprived of all its liberties and privileges.

In the breadth of the historical time covered by the "Evenings", their lyrical and ethnographic beginnings merge into one, acquire an epic scale.

“The Night Before Christmas” opens the second part of “Evenings”, published at the beginning of 1832. And if the epic of the first part (“ Sorochinskaya Fair”, “Evening on the Eve of Ivan Kupala”, “May Night”) declares itself only with the historical overtones of folk fantasy, oral-poetic “tales” and “fables”, then the stories of the second part, together with the “Missing Letter” that concludes the first part, have a fairly clearly marked historical space- from the era of the struggle of the "Cossack people" against Polish domination (" Terrible revenge”) to its feudal modernity (“Ivan Fedorovich Shponka and his aunt”).

So history merges with modernity on the principle of contrasting the beauty of the heroic past of the freedom-loving "tribe" with the ugliness and dullness of its serfdom.

Exactly the same ideological and artistic connection exists between the stories of Gogol's second cycle, Mirgorod (1835). If two of them are old world landowners"and especially" The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich "- stylistically and thematically adjoin the story about Shponka, then the other two - "Viy" and "Taras Bulba" - are on a par with the vast majority of the stories of "Evenings" , have in common with them a bright poetic flavor.

It is no coincidence that Gogol gave "Mirgorod" the subtitle "Continuation of Evenings on a Farm near Dikanka", thus emphasizing the ideological and artistic unity of both cycles and the very principle of cyclization. This is the principle of the contrast between the natural and the unnatural, the beautiful and the ugly, high poetry and base prose of national life, and at the same time, of its two social poles - the folk and the local.

But both in "Evenings" and in "Mirgorod" these social polarities are attached to different eras national existence and correlate with each other as its beautiful past and ugly present, and the present is depicted in its immediate feudal "reality", and the past - as it is imprinted in the people's consciousness, deposited in the national "spirit" of the people and continues to live in its legends, beliefs, legends, customs.

Here manifests itself the most important feature artistic method Gogol - his philosophical historicism, the Walter-Scott beginning of the writer's work.

Image popular movements and mores - one of the most promising innovations historical novels W. Scott. But this is only the historical background of their action, the main "interest" of which is love affair and related to it the fate of the personal heroes of the narrative, voluntary or involuntary participants in the depicted historical events.

The national character of Gogol's Ukrainian stories is already essentially different.

National specificity and historical projection of their Cossack world are a form of critical reflection on "poverty" and "earthness" modern writer Russian life, recognized by the writer himself as a temporary "lulling" of the national spirit.

History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983

I. General characteristics of a general education institution.

II. Brief description of the main groups (divisions) of algae and their individual representatives.

N. V. Gogol is the first major Russian prose writer.

The flourishing of realism in Russian prose is usually associated with Gogol and the "Gogolian trend". It is characterized by particular attention to social issues, depiction (often satirical) of social evils Nicholas Russia, careful reproduction socially and culturally significant details in portrait, interior, landscape and other descriptions;

Realism Gogol completely special kind. Some researchers do not consider Gogol a realist at all, others call his style " fantastic realism". The fact is that Gogol is a master of phantasmagoria. In many of his stories there is fantasy element. There is a feeling of a "twisted" reality, reminiscent of false mirror. This is due to hyperbole and the grotesque - the most important elements of Gogol's aesthetics. Much connects Gogol with the romantics. But, starting from romantic traditions, Gogol directs the motifs borrowed from them into a new, realistic direction.

There is a lot of humor in Gogol's works . In Gogol's humor the absurd predominates. The tendency to depict only funny and ugly psychologically burdened the writer, he felt guilty for showing only caricatured characters. Gogol repeatedly admitted that he passed on to these heroes his own spiritual vices. This theme is particularly acute, for example, at the beginning of Chapter VII of Dead Souls. IN later years creativity Gogol experienced a deep mental crisis and was on the verge of a mental disorder

The real in Gogol's stories coexists with the fantastic throughout the life of the writer. But this phenomenon is undergoing some evolution - the role, place and methods of including a fantastic element do not always remain the same.

IN early works Gogol (“Evenings on a farm near Dikanka”, “Viy"") fantastic comes out on foreground plot (wonderful metamorphoses, the appearance of evil spirits), it is associated with folklore (fairy tales and legends) and romantic literature.

One of Gogol's "favorite" characters is the "devil". Various devilry often appears in the plots of Evenings on a Farm near Dikanka, not scary, but rather funny. In the works of a later period, the author's mystical anxiety, the feeling of the presence of something sinister in the world, is more strongly felt. re, the craving to conquer it with laughter.

Petersburg stories fantasy element abruptly retracts to the background plot, fantasy seems to dissolve into reality. The supernatural is present in the plot not directly, but indirectly, for example, like a dream (“ Nose”), delirium (“ Diary of a Madman”), implausible rumors (“Overcoat”).

Finally , in works last period("Inspector", " Dead Souls») The fantastic element in the plot is practically absent. The events depicted are not supernatural, but rather strange.

The role of descriptions. Gogol is a recognized master artistic descriptions. Descriptions in prose are valuable in themselves, their manner and style are very expressive, primarily due to the abundance of household, portrait, linguistic and other details. Detailing is an important aspect of Gogol's realistic writing.

Petersburg image- one of the important motifs in Gogol's work (it is present in the fairy tale "The Night Before Christmas", in "The Government Inspector", in "The Tale of Captain Kopeikin" from "Dead Souls"). Gogol also has a cycle of Petersburg stories, which can serve as the most typical example disclosure of this topic.

Petersburg in Gogol's stories is a phantasmagoric half-ghostly city in which the strange is intertwined with the everyday, the real with the fantastic, the majestic with the low.

At the same time, a deeply realistic vision of Petersburg is present in Gogol's works. Most often, the writer depicts the world of officials, their specific relationships.

Evenings on a Farm Near Dikanka- Gogol's first book of short stories. Two parts of it appeared in 1831-1832. This book is about Ukraine, where G. was born in 1809. The stories express love for the native land, its nature and people, its history and folk legends. The theme of the rich and generous Ukrainian nature, among which the characters live, plays a special role in the book, which is not quite common in narrative prose. The fullness of life, the strength and beauty of the spirit are characteristic of the heroes of the writer. Young heroes are beautiful, cheerful, full of mischief. These heroes feel like not just farmers, but “wave Cossacks”, who are characterized by a sense of honor and personal dignity. Gogol not only retold in his stories traditional stories from folk tales, he created new and original patterns, as if he continued the work of folk storytellers, creating a book in which literary and folklore traditions, truth and fiction, history and modernity are organically combined.

IN great literature Gogol was introduced ("Evenings on a Farm near Dikanka 1831-1832), which amazed contemporaries with the extraordinary originality of poetic material: "... everyone was delighted with this lively description of a singing and dancing tribe, these fresh pictures of Little Russian nature, this cheerfulness, simple-minded and at the same time crafty. How amazed we were at the Russian book, which made us laugh, we, who had not laughed since the time of Fonvizin!" Pushkin wrote.

The cycle "Evenings", written over two and a half years, included the stories "Sorochinsky Fair", "Evening on the Eve of Ivan Kupala", "May Night or a Drowned Woman", which made up the first part of the collection (1831).

Gogol's appeal to the Ukrainian theme was natural: the writer's childhood and youth were spent in Ukraine, he was always interested in Ukrainian culture and literature, he was especially fascinated by oral folk art talented people. It is known with what persistence Gogol collected information about Ukrainian folk customs, rituals, legends, beliefs.

The main object of the image in the "evenings" becomes folk life, and the main character Ukrainian people- wise, crafty, freedom-loving, noble, daring and sincerely generous.

real hero books - the people, their character, manifested in fairy tales and legends. Ukrainian fairy tales- terrible and bewitching at the same time, in them goodness is not always rewarded explicitly, but, in the end, retribution comes for all deeds - bad and good. "May Night, or the Drowned Woman" is based on many legends about "restless souls" who died innocently. A beautiful kind lady suffers the bullying of a witch-stepmother. Unable to stand it, she rushes into the pond and becomes a mermaid. Together with other mermaids, she tries to punish her stepmother, drags her into the water, but she is insidious and cunning. The stepmother turned into a mermaid. And the poor lady "cannot swim freely like a fish, she sinks and falls to the bottom like a key." The mermaid asks for help Levko, the son of the head, who does not have happiness. Levko loves the beautiful Galya, but the cunning father of the lad himself has plans for the girl and "does not hear" when his son asks for permission to marry. Levko and the mermaid meet in a dream. Pannochka tells the guy about her stepmother and asks: "Help me, find her!" The request turns out to be easily fulfilled: after watching how the mermaids play "at kite", Levko immediately sees one who likes to be an evil and predatory kite, which is not so transparent and pure, "something turns black inside her." A grateful pannochka helps Levka to connect his life with his beloved girl. The story told by Gogol is permeated with lyricism, Ukrainian songs, and is shrouded in poetic sadness. There is a lot of kindness in it and there is no Christian intransigence towards suicides. They are not cursed, they are unhappy. N. V. Gogol grew up in the atmosphere Ukrainian song and fairy tales, perfectly conveyed it in his books, managed to captivate readers with the poetry of Little Russian folk legends.

A feature of stories about Ukrainian life is a masterful combination of the real and the fantastic. Gogol's fantasy is based on the fantasy of folklore, so witches, mermaids and sorcerers living and acting next to people are not so much scary as funny, and the main motive of "Evenings" is the victory of the earthly, human over the mysterious, otherworldly.

INTRODUCTION

Fundamentally important role in the formation of a person of the XXI century, who will participate in the process of development of a civilized community of people, literature plays as special kind art. It fills the spiritual niche, being responsible for the inner needs of the individual. It is literature that forms an individual capable of solving creative problems, striving for a search. Accordingly, the requirement for the reader, the quality of reading, increases. As you know, the reader's activity is the ability to "collect an imaginary whole of meaning, without eliminating its complexity and without moving away from it" (H. L. Borges).

Creativity N.V. Gogol are devoted to numerous literary studies, a significant amount of methodological experience, diverse in interpretations and ways of understanding the material. However, schoolchildren, being in search of the "final meaning", "integrity", are still faced with one motive of mystery, penetrating all the texts of N.V. Gogol.

Aesthetic, poetic complexity of the artistic world writer XIX century creates meaningful and stylistic barriers when reading, without overcoming which it is impossible to comprehend the "paradoxes" of N.V. Gogol, full of contradictions and charm inner world. The stylistic imbalance, the metaphorical nature of Gogol's writing, first of all, alert students, amuse, and sometimes cause protest and a feeling of rejection.

This term paper is the study of methods for analyzing the characters of the play by N.V. Gogol "Inspector"

1. Explore educational literature on this topic.

2. Analyze the problem of the play "The Government Inspector".

3. Consider and characterize the characters of the play "The Government Inspector".

4. Draw conclusions on the topic studied and make recommendations.

5. Draw up an outline of a literature lesson in grade 8 based on the play "The Inspector General"

Study artistic features creativity of the writer V.N. Gogol

Characteristics of the features of N.V. Gogol in the works of Russian scientists

The appearance of Gogol's work was historically natural. In the late 1920s and early 1930s, Russian literature faced new, major tasks. The rapidly developing process of the disintegration of serfdom and absolutism evoked in the advanced strata of Russian society an increasingly persistent, passionate search for a way out of the crisis, awakened the thought of further ways historical development Russia. Gogol's work reflected the growing dissatisfaction of the people with the feudal system, their awakening revolutionary energy, their desire for a different, more perfect reality. Belinsky called Gogol "one of the great leaders" of his country "on the path of consciousness, development, progress."

Gogol's art arose on the foundation that was erected before him by Pushkin. In "Boris Godunov" and "Eugene Onegin", " The Bronze Horseman"And" The Captain's Daughter "the writer made the greatest discoveries. The amazing skill with which Pushkin reflected the fullness of contemporary reality and penetrated the secrets of the spiritual world of his heroes, the insight with which he saw in each of them a reflection of real processes public life, the depth of his historical thinking and the greatness of his humanistic ideals - with all these facets of his personality and his work, Pushkin discovered new era in the development of Russian literature, realistic art.

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 was exactly what his work was, this was the originality of his realism [Mashinsky S.I. Art world Gogol - M.: Enlightenment, p.5.].

Of all the variety of literature about Gogol created by Russian writers (immigrants of the first wave), the most significant are the books of K.N. Mochulsky " spiritual path Gogol ”(1934), professor protopresbyter V.V. Zenkovsky “N.V. Gogol" (1961) and V.V. Nabokov "Nikolai Gogol" (1944).

They largely determined Gogol's thought not only in the West, but also in Russia. Along with these studies, there are a number of less voluminous works that also contributed to the study of the life and work of the great Russian writer. These are the works of S.L. Frank, Archpriest G.V. Florovsky, I.A. Ilyina, D.M. Chizhevsky, P.M. Bitsilli, V.N. Ilyin. Let us also name the publications of V.K. Zaitsev, V.F. Khodasevich, A.M. Remizova, G.I. Gazdanova, G.A. Meyer, Yu.P. Annenkova, A.L. Bema, R.V. Pletnev, Abbot Konstantin (Zaitsev) - articles in which there are observations useful for the science of Gogol. It should be noted that almost all those who wrote about Gogol in exile as one of the most important sources used the book by V. Veresaev "Gogol in Life" (1933), which, for all its merits, does not contain documents in the necessary completeness [Voropaev V. Gogol in criticism of Russian emigration. - p.19.].

As the basis of his research “The Spiritual Path of Gogol” (Paris: YMCA-Press, 1934; 2nd ed., 1976; reprinted in the book: Mochulsky K. Gogol. Soloviev. Dostoevsky. - M., 1995) K. V. Mochulsky put the words of the writer, expressed in a letter to his mother in 1844: "Try to see me better as a Christian and a person than a writer." Considering Gogol not only a great artist, but also a teacher of morality, a Christian ascetic, Mochulsky sets the goal of his research to evaluate the religious feat of the writer. Speaking about Gogol's childhood, the author makes a number of remarks concerning, first of all, the features of his spiritual appearance. “Gogol did not belong to those chosen ones who are born with love for God,” writes Mochulsky, “the patriarchal religiosity surrounding his childhood remained alien and even hostile to him. Faith had to come to him in a different way, not from love, but from fear ”(K. Mochulsky“ Gogol. Soloviev. Dostoevsky ”). From this position, the researcher concludes: “In the soul of Gogol, the experience of cosmic horror and the elemental fear of death are primary ...” [Voropaev V. Gogol in criticism of Russian emigration. - p.18.]

Gogol's work is socially conditioned. His views were formed among the small landed nobles, oppressed both “from above” and “from below”: “from above” - by large feudal lords, who treated their almost ruined brothers in class arrogantly, and sometimes simply mockingly (remember Pushkin, his Dubrovsky and Troekurov). From here, "from above," the formidable new industry of some kind was approaching the ill-fated small landowners. But there, "above", in a place hard to reach for a small landowner public sphere high education was also concentrated, the treasures of world philosophy, world art were mastered there. Pushkin's Troyekurov labored there, but there, even higher up, were the princes Trubetskoy, the princes Volkonsky - the leaders of the Decembrists. The petty landowner peered into the life of the "tops" inquisitively, and preoccupied, and with apprehension, and with a natural desire to learn from these "tops" the best that they possessed, to compete with them on an equal footing. And "from below" - the peasants, whose grumbling in different forms and in varying degrees worried him, frightened him or pushed him to naive attempts to reconcile everyone and everything [Turbin V.N. Heroes of Gogol. - Moscow "Enlightenment", 1983. - p.22.].

But even the small landowner was indispensable to our history; and this necessity arose precisely from the intermediate nature of his position in society. Staying, so to speak, "at the bottom of the tops", he lived "at the top of the bottoms". Be that as it may, the rays of spiritual wealth that the “tops” possessed reached him. At the same time, the small landowner, unlike his brother, the city dweller, the aristocrat, communicated with the people directly, daily. Voice of the people, testaments folk thought were not an abstraction for him. The people in his eyes appeared in the person of those 20-30 "souls" who fed him and whom he fed in any way, who made up his fortune and for whom he was responsible to himself and to the empire. The complex agricultural cycle, the annual and daily cycle of the sun, bad weather or a bucket and the hopes and tragedies associated with them - all this the small landowner experienced in the same way as the people experienced from time immemorial. Proximity to the original and original in human life made his world very simple. In this simplicity, a remarkable spiritual strength was laid down [Turbin V.N. Heroes of Gogol.- M.: Enlightenment, 1983.-p.23.].

The more complexities around us, the closer Gogol is to us. Tem clearer beauty and the depth of its simplicity, which is becoming more relevant day by day.

The original family. Happiness to those who have it big and friendly; bad for those who don't have it. But even if for some reason it doesn’t exist, some, albeit the smallest, family that arose and then disappeared, unable to save itself, gave birth to us. And around us are families: in nature, in society. And we simply cannot help but think of ourselves as part of a family.

Finally, our neighbor is original. It is primordial even now, because the neighbor accompanies us from the place of birth to the place of our last rest: we were barely born, and this and that was already placed next to us, and this was our first neighbor, then involuntarily forgotten by us. And in our conscious life? Friendship of neighbors, enmity between them, love of a neighbor for a neighbor. The neighborhood of schoolboys in the Tsarskoye Selo Lyceum, the mournful neighborhood of prisoners in the tsarist prisons and fortresses, the wary neighborhood of landlords in different-sized landholdings, the neighborhood of peasants in the countryside - an innumerable tangle of neighborhoods. Neighborhood is also a concrete historical phenomenon, the social content here is very variable; but the very fact of neighborhood, the very necessity of it for a person has an enduring character. [Ibid., p.34.]

In everyday life, laughter lives in different qualities. When a person commits himself to the life of the spirit, "laughter dies in him." Art is a matter of the soul. Gogol is “permeated with sincerity” not only in works of art, but also when it concerns "questions of moral and religious". He has at his disposal two main means - "fantasy and laughter." Rushing towards the spiritual, Gogol tears "the framework of art, not fitting into them." There is a "duel between the 'poet' and the 'moralist'". "Carefree Gogol's laughter, careless Gogol's fantasy. But how much it already contains and how much even this laughter and this fantasy teach. In terms of soul, Gogol's laughter already partly possesses "great religious and moral power, invariably greater than Gogol's fantasy." Explaining The Inspector General, Gogol reduces the strength of the "learning" of his laughter, giving it the functions of a "religiously colored supreme moral court." In the Church-Christian consciousness, the role of satire and laughter is negligible. “Human art, no matter how convincingly it speaks of the heavenly, no matter how attractively it depicts, remains earthly. At best, it only leads a person to spiritual world". Gogol “brings the vulgarity of life he observed to the limit - and reconciles the reader with it. At least - while the reader is under the spell of his artistic gift. ”[ Voropaev V. Gogol in criticism of Russian emigration. - p.19.]

There is a completely natural logic in how the assessment of Gogol's works has changed historically. At the first stage of the functioning of works, the subject of discussion, debate and even struggle (democratic and aesthetic criticism) becomes what distinguishes the text against the background of generally accepted literary norms, and at the same time - the question of the right of creativity to recognition, to a certain niche in the literary space. At the next stage, the attention of readers moves to another plane: aspects of the correlation of creativity with real life(gallery of recreated types, positions of heroes, meaning of conflicts). At the same time aroused interest art form, features of language, style. The complexity, integrity of the artistic structure of the work was clarified: genre, stylistic specificity. [ Esin A.B. Principles and methods of analysis literary work. - M.: Vlados, 1998.- p.112.

Gogol began his creative activity like a romantic. However, he turned to critical realism 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.

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

Gogol was a brilliant satirist who scourged the "vulgarity of a vulgar person", exposing to the utmost the social contradictions of contemporary Russian reality.

The 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, and the events public interest. At the same time, the plot serves only as an excuse for a broad depiction of everyday life and the disclosure of characters-types.

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

For the purposes of the bright satirical image Heroes are served by Gogol's careful selection of many details and their sharp exaggeration. So, for example, portraits of the heroes of "Dead Souls" were created. These details in Gogol are mostly everyday: things, clothes, housing of heroes. If in romantic stories Gogol, emphatically picturesque landscapes are given, giving the work a certain elation of tone, then in his realistic works, especially in " Dead souls”, the landscape is one of the means of describing the types, characteristics of the heroes. The subject, social orientation and ideological coverage of the phenomena of life and the characters of people determined the originality literary speech Gogol. Two worlds depicted by the writer - folk group and "existents" - determined the main features of the writer's speech: his speech is enthusiastic, imbued with lyricism, when he talks about the people, about the homeland (in "Evenings ...", in "Taras Bulba", in digressions"Dead Souls"), then it becomes close to live colloquial (in everyday paintings and scenes of "Evenings ..." or in narratives about bureaucratic-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 subtly felt folk colloquial speech, skillfully applied all its shades to characterize his heroes and phenomena of public life.

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

The strength of Gogol the stylist is in his humor. In his articles on Dead Souls, Belinsky showed that Gogol's humor "consists in opposition to the ideal of life with the reality of life." He wrote: "Humor is the most powerful tool of the spirit of negation, which destroys the old and prepares the new."

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The most striking illustration is the mayor's dreams of future life as the father-in-law of a great man. Both he and Anna Andreevna imagine not just luxury, but such a luxury that their present life, their present acquaintances, humiliates. Anton Antonovich draws a picture: "...If you go somewhere, the courier and adjutants will jump everywhere... Heh, heh, heh, that's what, channeling, it's tempting!" Thus, we see that the ideas of Khlestakov and Skvoznik-Dmukhanovsky about luxury life basically coincidence

Tolstoy in his novel "War and Peace" presents us with many different heroes. He tells us about their life, about the relationship between them. Almost from the first pages of the novel, it can be understood that of all the heroes and heroines, Natasha Rostova is the writer’s favorite heroine. Who is Natasha Rostova, when Marya Bolkonskaya asked Pierre Bezukhov to talk about Natasha, he replied: “I don’t know how to answer your question . I absolutely do not know what kind of girl this is; I can't analyze it at all. She is a charmer

Found in Russian literature female images who have become the embodiment of passionate and extraordinary natures. These are Tatyana Larina and Katerina Kabanova. There are Nekrasov's monumental images: "he will stop a galloping horse, he will enter a burning hut ...". There is a weak, barely blossoming flower of the “Turgenev woman”. There is, finally, Natasha Rostova - a playful child, thirsty for love. All of them are bright and memorable. And among them there is Larisa Ogudalova - "dowryless", "seagull" (before Chekhov!), A living and restless soul. ABOUT

The poem "To Chaadaev" was written by Pushkin in the "Petersburg" period, in 1818. At this time, the poet was strongly influenced by the Decembrist ideas. Under their influence, his freedom-loving lyrics of these years were created, including the program poem “To Chaadaev”. Genre - friendly message.

The comedy "Undergrowth" absorbed all the experience gained by Fonvizin earlier, and in depth ideological issues, according to the courage and originality of the found artistic solutions remains an unsurpassed masterpiece of Russian dramaturgy XVIII century. The accusatory pathos of the content of "Undergrowth" is fed by two powerful sources, equally dissolved in the structure dramatic action. These are satire and journalism. Destroying and merciless satire fills all the scenes depicting