In one of his articles, Belinsky remarks that “the author of Dead Souls never speaks himself, he only makes his characters speak in accordance with their characters. He expresses the sensitive Manilov in the language of a man educated in petty-bourgeois taste, and Nozdryov in the language of a historical man. ..” The speech of Gogol's heroes is psychologically motivated, determined by their characters, way of life, type of thinking, situation.

So, in Manilov, the dominant features are sentimentality, daydreaming, complacency, excessive sensitivity. These qualities of the hero are unusually accurately conveyed in his speech, elegantly ornate, courteous, “delicate”, “sugary-sweet”: “observe delicacy in your actions”, “magnetism of the soul”, “name day of the heart”, “spiritual pleasure”, “ such a guy”, “a most respectable and most gracious person”, “I don’t have a high art of expressing myself”, “the chance brought me happiness”.

Manilov gravitates toward bookish sentimental phrases, in the speech of this character we feel Gogol's parody of the language of sentimental stories: "Open up, darling, your mouth, I'll put this piece for you." So he turns to his wife. Manilov and Chichikov are no less "gracious": "they honored us with their visit", "let me ask you to sit in these armchairs."

One of the main features of the speech of the landowner, according to V. V. Litvinov, "its vagueness, confusion, uncertainty." Starting a phrase, Manilov seems to be under the impression of his own words and cannot clearly finish it.

Characteristic and speech manner of the hero. Manilov speaks quietly, insinuatingly, slowly, with a smile, sometimes closing his eyes, "like a cat that has been slightly tickled behind the ears with a finger." At the same time, his facial expression becomes “not only sweet, but even cloying, similar to the potion that the clever secular doctor sweetened mercilessly.”

In Manilov's speech, his claims to "education", "culture" are also noticeable. Discussing the sale of dead souls with Pavel Ivanovich, he asks him a high-flown and ornate question about the legality of this "enterprise". Manilov is very worried "whether this negotiation will be inconsistent with civil regulations and further types of Russia." At the same time, he shows “in all the features of his face and in compressed lips such a deep expression, which, perhaps, was not seen on a human face, except for some too smart minister, and even then at the moment of the most puzzling case” .

Characteristic in the poem is the speech of Korobochka, a simple, patriarchal mother landowner. The box is completely uneducated, ignorant. In her speech, colloquialism constantly slips: “something”, “theirs”, “manenko”, “tea”, “so hot”, “you bend down the zabranki”.

The box is not only simple and patriarchal, but fearful and stupid. All these qualities of the heroine are manifested in her dialogue with Chichikov. Fearing deceit, some kind of trick, Korobochka is in no hurry to agree to the sale of dead souls, believing that they may "somehow be needed in the household." And only Chichikov's lies about the conduct of government contracts had an effect on her.

Gogol also depicts Korobochka's inner speech, in which the landowner's vital and everyday sharpness is conveyed, the very trait that helps her gain "little by little money in motley bags." “It would be nice,” Korobochka thought meanwhile to herself, “if he took flour and cattle from me for the treasury. You need to appease him: there is still dough left from yesterday evening, so go tell Fetinya to bake pancakes ... "

Nozdrev's speech is unusually colorful in Dead Souls. As Belinsky noted, "Nozdryov speaks the language of a historical person, a hero of fairs, taverns, drinking parties, fights and gambling tricks."

The speech of the hero is very colorful and varied. It contains both “ugly Frenchized jargon of an army-restaurant style” (“bezeshki”, “clicot-matradura”, “burdashka”, “scandalous”), and expressions of card jargon (“banchishka”, “galbik”, “password”, “break the bank”, “play with a doublet”), and the terms of dog breeding (“face”, “sideways ribs”, “breasty”), and a lot of swear words: “svintus”, rascal”, “you’ll get a bald trait”, “fetyuk” , “beast”, “you are such a cattle breeder”, “zhidomor”, “scoundrel”, “death do not like such thaws”.

In his speeches, the hero is prone to "improvisation": often he himself does not know what he can come up with in the next minute. So, he tells Chichikov that he drank "seventeen bottles of champagne" at dinner. Showing the guests the estate, he leads them to a pond, where, according to him, there is a fish of such size that two people can hardly pull it out. Moreover, Nozdryov's lie has no apparent reason. He lies "for a red word", wanting to impress others.

Nozdryov is characterized by familiarity: with any person he quickly switches to “you”, “affectionately” calls the interlocutor “svintus”, “cattle breeder”, “fetyuk”, “scoundrel”. The landowner is "straightforward": in response to Chichikov's request for dead souls, he tells him that he is a "big swindler" and should be hanged "on the first tree." However, after that, Nozdryov, with the same "ardor and interest," continues his "friendly conversation."

Sobakevich's speech is striking in its simplicity, brevity, and accuracy. The landowner lives alone and unsociable, he is skeptical in his own way, has a practical mind, a sober view of things. Therefore, in his assessments of those around him, the landowner is often rude, in his speech there are swear words and expressions. Thus, characterizing city officials, he calls them "swindlers" and "Christ sellers." The governor, but in his opinion, is “the first robber in the world”, the chairman is a “fool”, the prosecutor is a “pig”.

As V.V. Litvinov notes, Sobakevich immediately grasps the essence of the conversation, the hero is not easily confused, he is logical and consistent in the dispute. So, arguing the price requested for dead souls, he reminds Chichikov that "this kind of purchase ... is not always permissible."

Characteristically, Sobakevich is also capable of a great, inspired speech, if the subject of conversation is interesting to him. So, talking about gastronomy, he discovers knowledge of German and French diets, "hunger cures." Sobakevich's speech becomes emotional, figurative, vivid even when he talks about the merits of dead peasants. “Another swindler will deceive you, sell you rubbish, not souls; but I have a vigorous nut”, “I’ll bet my head if you find such a man anywhere”, “Maxim Telyatnikov, shoemaker: whatever pierces with an awl, then boots, and that boots, then thank you.” Describing his "goods", the landowner himself is carried away by his own speech, acquires a "lynx" and a "gift of words."

Gogol also depicts Sobakevich's inner speech, his thoughts. So, noting Chichikov's "stubbornness", the landowner remarks to himself: "You can't knock him down, he's stubborn!"

The last of the landowners in the poem is Plyushkin. This is an old miser, suspicious and wary, always dissatisfied with something. The very visit of Chichikov infuriates him. Not in the least embarrassed by Pavel Ivanovich, Plyushkin tells him that "a visit is of little use." At the beginning of Chichikov's visit, the landowner speaks to him warily and irritably. Plyushkin does not know what the guest's intentions are, and just in case, he warns Chichikov's "possible encroachments", remembering his begging nephew.

However, in the middle of the conversation, the situation changes dramatically. Plyushkin understands what the essence of Chichikov's request is, and becomes indescribably delighted. All his intonations change. Irritation is replaced by frank joy, alertness - by confidential intonations. Plyushkin, who saw no use in visiting, calls Chichikov "father" and "benefactor". Touched, the landowner recalls the "gentlemen" and "hierarchs".

However, Plyushkin does not remain in such complacency for long. Not finding a clean paper to make a bill of sale, he again turns into a grouchy, grumpy curmudgeon. All his anger he brings down on the yard. Many abusive expressions appear in his speech: “what a mug”, “fool”, “fool”, “robber”, “swindler”, “swindler”, “devils will bake you”, “thieves”, “unscrupulous parasites”. Present in the lexicon of the landowner and colloquial speech: “bayut”, “boats”, “hefty jackpot”, “tea”, “ehwa”, “stuffed”, “already”.

Gogol also presents Plyushkin's inner speech to us, exposing the suspicion and incredulity of the landowner. Chichikov's generosity seems incredible to Plyushkin, and he thinks to himself: "After all, the devil knows, maybe he's just a braggart, like all these little moths: he'll tell lies, lie, to talk and drink tea, and then he will leave!"

Chichikov's speech, like Manilov's, is unusually elegant, florid, full of book turns: "an insignificant worm of this world", "I had the honor to cover your deuce." Pavel Ivanovich has "excellent manners", he can support any conversation - about a horse farm, and about dogs, and about judicial tricks, and about a game of billiards, and about making hot wine. He talks especially well about virtue, "even with tears in his eyes." The very conversational manner of Chichikov is also characteristic: "He spoke neither loudly nor quietly, but exactly as he should."

It is worth noting the special maneuverability and mobility of the hero's speech. Communicating with people, Pavel Ivanovich skillfully adapts to each of the interlocutors. With Manilov, he speaks floridly, significantly, uses "vague paraphrases and sensitive maxims." “Yes, indeed, what did I not tolerate? like a bar

amid the ferocious waves... What persecutions, what persecutions he did not experience, what grief he did not taste, but for keeping the truth, for being pure in his conscience, for giving a hand to a helpless widow and a miserable orphan! wiped away a tear with a handkerchief.

With Korobochka, Chichikov becomes a kind patriarchal landowner. "All the will of God, mother!" - Pavel Ivanovich profoundly declares in response to the lamentations of the landowner about the numerous deaths among the peasants. However, realizing very soon how stupid and ignorant Korobochka is, he is no longer particularly on ceremony with her: “Yes, perish and go around with your whole village”, “like some, not to say a bad word, mongrel that lies in the hay: and she does not eat herself, and does not give to others.

In the chapter on Korobochka, Chichikov's inner speech appears for the first time. Chichikov's thoughts here convey his dissatisfaction with the situation, irritation, but at the same time the unceremoniousness, rudeness of the hero: “Well, the woman seems to be strong-headed!”, “Hey, what a clubhead! ... Go and deal with her! I've been sweating, you damned old woman!"

With Nozdryov, Chichikov speaks simply and succinctly, "trying to get on a familiar foot." He understands perfectly well that thoughtful phrases and colorful epithets are useless here. However, a conversation with the landowner leads nowhere: instead of good deal Chichikov finds himself embroiled in a scandal that stops only due to the appearance of the police captain.

With Sobakevich, Chichikov at first sticks to his usual manner of speaking. Then he somewhat reduces his "eloquence". Moreover, in the intonations of Pavel Ivanovich, while observing all external decorum, one feels impatience and irritation. So, wanting to convince Sobakevich of the complete futility of the subject of bargaining, Chichikov declares: educational information."

The same feeling of irritation is present in the thoughts of the hero. Here, Pavel Ivanovich is not shy about "more definite" statements, outright abuse. "Why, really," Chichikov thought to himself, "does he take me for a fool, or something?" In another place we read: “Well, damn him,” Chichikov thought to himself, “I’ll add fifty dollars for him, the dog, for nuts!”

In a conversation with Plyushkin, Chichikov returns to his usual courtesy and grandiloquence of statements. Pavel Ivanovich declares to the landowner that "having heard about his savings and the rare management of estates, he considered it a duty to get acquainted and personally pay his respects." He calls Plyushkin "a respectable, kind old man." Pavel Ivanovich maintains this tone throughout the entire conversation with the landowner.

In his thoughts, Chichikov discards "all ceremonies", his inner speech is far from bookish and rather primitive. Plyushkin is unfriendly, inhospitable towards Pavel Ivanovich. The landowner does not invite him to dine, arguing that his kitchen is "low, bad, and the pipe has completely collapsed, you start to heat it, you will still make a fire." “Wow, how it is! Chichikov thought to himself. “It’s good that I intercepted a cheesecake from Sobakevich, and a chunk of lamb’s side.” Asking Plyushkin about selling runaway souls, Pavel Ivanovich first refers to his friend, although he buys them for himself. “No, we won’t even let our friend sniff it,” Chichikov said to himself ... “Here one can clearly feel the joy of the hero from a successful “deal”.

Thus, the speech of the characters, along with the landscape, portrait, interior, serves in the poem "Dead Souls" as a means of creating integrity and completeness of images.

PLYUSHKIN - the character of the poem by N.V. Gogol's "Dead Souls" (first volume 1842, under qualification, titled "The Adventures of Chichikov, or Dead Souls"; second, volume 1842-1845).

Literary sources images of P. - images of misers in Plautus, J.-B. Molière, Shylock W. Shakespeare, Gobsek O. Balzac, Baron A. S. Pushkin, also, obviously, Prince Ramirsky from D. N. Begichev's novel "The Kholmsky Family" , Melmoth Sr. from Ch.R. Metyurin's novel "Melmoth the Wanderer", Baron Baldwin Furenhof from the novel "The Last Novik" by I.I. Lazhechnikov. The life prototype of the image of P., probably, was the historian M.M. Pogodin. Gogol began to write a chapter about P. in Pogodin's house near Moscow, famous for his stinginess; Pogodin’s house was surrounded by a garden that served as a prototype of P.’s garden (Compare A. Fet’s memoirs: “Unimaginable chaos is in Pogodin’s office. Here all kinds of old books lay in piles on the floor, not to mention hundreds of manuscripts with begun works, the places of which, as well as banknotes hidden in different books, only Pogodin knew.") Gogol's predecessor P. is the image of Petromikhali ("Portrait"). The surname P. is a paradoxical metaphor, which contains self-denial: a bun - a symbol of contentment, a joyful feast, a cheerful excess - is opposed to the gloomy, decrepit, insensitive, joyless existence of P. The image of a moldy cracker left over from the Easter cake brought by P.'s daughter is identical to the metaphorical meaning his last name. The portrait of P. is created with the help of hyperbolic details: P. appears as a sexless creature, rather a woman (“The dress on her was completely indefinite, very similar to a woman’s hood, a cap on her head ...”), Chichikov takes P. for a housekeeper, since she has a P. has the keys, and he scolds the muzhik with “quite abusive words”; “the little eyes were not yet extinguished and were running like mice”; “one chin only protruded very far forward, so that he had to cover it with a handkerchief every time so as not to spit.” On a greasy and greasy dressing gown, “instead of two, four floors dangled” (a comic doubling characteristic of Gogol); back, stained with flour, "with a large hole below." The fictitious image (tear, hole) becomes a common noun for the universal type of a miser: P. is “a hole in humanity”. The objective world around P. testifies to putrefaction, decay, dying, and decline. The economy of Korobochka and the practical prudence of Sobakevich in P. turns into the opposite - “into rot and a hole” (“luggage and haystacks turned into clean manure, flour into stone; cloth and canvases into dust”). P.'s economy still retains a grand scale: huge pantries, barns, dried with canvases, cloth, sheepskins, dried fish, and vegetables. However, the bread rots in the pantries, green mold covers the fences and gates, the log pavement walks “like piano keys”, dilapidated peasant huts , where "many roofs see through like a sieve," two rural churches were empty. P.’s house is an analogue of the medieval castle of the miser from the Gothic novel (“This strange castle looked like some kind of decrepit invalid ...”); there are all cracks in it, all the windows, except for the two "tight-sighted" ones, behind which P. lives, are clogged. The symbol of the "heroic" stinginess of P., acquisitiveness, brought to the extreme limit, is a zambk-giant in an iron loop on the main gate of P.'s house. "(hell) and is a prototype of P.'s appeal - Gogol's thoughts to resurrect P. from the dead in the 3rd volume of the poem, hinting at the "Garden of Eden". On the other hand, in the description of P.’s garden there are metaphors with elements of P.’s real portrait (“thick stubble” of the “gray-haired chapyzhnik”), and “the neglected plot of the garden acts as a kind of emblem of a person who left his “mental economy” without care, in Gogol's words" (E. Smirnova). The deepening of the garden, “yawning like a dark mouth,” also reminds of hell for those whose soul is dying alive, which happens to P. A zealous, exemplary owner, whose measured course “moved mills, felters, worked cloth factories, carpentry machines, spinning mills”, P. transforms into a spider. First, P. is a “hard-working spider”, busily running “at all ends of his economic web”, he is famous for his hospitality and wisdom, his pretty daughters and his son, a broken boy who kisses everyone in a row. (Compare with Nozdrev; symbolically Nozdrev is the son of P., letting his wealth go to the wind.) After the death of his wife, the eldest daughter runs away with the headquarters captain - P. sends her a curse; the son, who became a military man and violated the will of his father, P. denies funds and also curses; buyers, unable to bargain with P., stop buying goods from him. The "spider" essence of P. evolves. P.'s things deteriorate, time stops, eternal chaos freezes in P.'s rooms: “It seemed as if the floors were being washed in the house and all the furniture was piled up here for a while. On one table there was even a broken chair, and next to it was a clock with a stopped pendulum, to which the spider had already attached a web. The objectified metonymy of the image of P., separated from him, like a soul from a dead body, is a worn cap on the table. Objects shrink, dry out, turn yellow: a lemon “no bigger than a hazelnut”, two feathers, “dried up, as in consumption”, “a toothpick, completely yellowed, with which the owner, perhaps, picked his teeth even before the French invasion of Moscow” . A dusty heap in the corner, where P. drags all sorts of rubbish: a chip found, an old sole, an iron nail, a clay shard, a bucket stolen from a gaping woman - symbolizes the complete degradation of everything human” Shv. In contrast to Pushkin's Baron, P. is depicted not surrounded by a pile of chervonets, but against the background of decay that destroyed his wealth. “The stinginess of P. is, as it were, back side his falling away from people…” (E. Smirnova). P.'s mental abilities are also declining, reduced to suspicion, insignificant pettiness: he considers the courtyards to be thieves and swindlers; compiling a list of "dead souls" on a quarter of a sheet, he laments that it is impossible to separate another eight, "molding sparingly line by line." Enthralled by Chichikov's stupidity, P. recalls hospitality and offers Chichikov a decanter of liquor "in the dust, as in a jersey" and breadcrumbs from Easter cake, from which he first orders to scrape off the mold and carry the crumbs to the chicken coop. P.'s bureau, where he buries Chichikov's money, symbolizes a coffin where his soul, a spiritual treasure that died from acquisitiveness, is buried in the depths of inert matter (cf. the Gospel parable about talent buried in the ground). Outstanding performers of the role of P. in dramatizations and adaptations of the poem are L.M. Leonidov (Moscow Art Theater, 1932) and I.M. Smoktunovsky (1984). incident artistic destiny This image was the fact that in R. K. Shchedrin's opera "Dead Souls" (1977), the part of P. was intended for the singer (mezzo-soprano).

Plushkin

Plushkin
One of the heroes of the poem "Dead Souls" (1842) //. V. Gogol (1809-1852), obsessed with pathological stinginess, a passion for collecting and storing the most useless things that "it's a pity to throw away." A common noun for people of this type.

Encyclopedic Dictionary of winged words and expressions. - M.: "Lokid-Press". Vadim Serov. 2003 .

See what "Plyushkin" is in other dictionaries:

Plyushkin: Plyushkin is a character in N. V. Gogol's poem "Dead Souls". Plyushkin, Alexander Moldavian cyclist. Plyushkin, Fedor Mikhailovich Russian collector. Plyushkin's syndrome Pathological hoarding ... Wikipedia

Cm … Synonym dictionary

- (Plushkin), (capital P), Plushkin, husband. (bookish contempt.). A man whose stinginess reaches mania, to the extreme; generally a miser. (After the name of the landowner Plyushkin, the protagonist of Gogol's Dead Souls.) Ushakov's Explanatory Dictionary. D.N. Ushakov. 1935… … Explanatory Dictionary of Ushakov

LEADERS IN tsarist Russia there was an elective position of a representative of the nobility of the province or district - the leader of the nobility. But the ancestor of this surname, of course, was not the leader, the nobles had their own hereditary surnames. ... ... Russian surnames

The character of N.V. Gogol's poem "Dead Souls" (first volume 1842, under qualification, titled "The Adventures of Chichikov, or Dead Souls"; second volume 1842 1845). Literary sources of the image of P. images of misers in Plautus, J. B. Molière, Shylock W. Shakespeare, Gobsek O. Balzac ... literary heroes

PLYUSHKIN- (lit. character) Be afraid of Pushkinists. / Old brainy Plyushkin, / holding a feather, / will climb / with a rusty one. / Also, they say, / the Lefs / have / Pushkin. NAR... Proper name in Russian poetry of the XX century: a dictionary of personal names

- (inosk.) stingy, miser, stingy Cf. The fraudulent housekeeper completely abandoned it (liquor), and didn’t even clog it, rascal! The boogers and all sorts of rubbish were stuffed there, but I took out all the rubbish and now it’s clean, I’ll pour you a glass. ... ... Michelson's Big Explanatory Phraseological Dictionary

Plyushkin (inosk.) stingy, miser, stingy. Wed The fraudulent housekeeper completely abandoned it (liquor), and didn’t even clog it, rascal! The boogers and all sorts of rubbish were stuffed there, but I took out all the rubbish and now it’s clean, I’ll tell you ... ... Michelson's Big Explanatory Phraseological Dictionary (original spelling)

M. 1. 2. It is used as a symbol of an extremely stingy person, reaching the mania of stinginess. Explanatory Dictionary of Ephraim. T. F. Efremova. 2000... Modern dictionary Russian language Efremova

Plushkin- Plyushkin, but ... Russian spelling dictionary

Books

• Dead Souls (play), Nikolai Gogol. Worked on the audio performance: Authors of the staging - Viktor Trukhan, Igor Zhukov Stage director - Viktor Trukhan Composer - Shandor Kallosh Sound engineer -Galina Zasimova Editor - ... audiobook

Plan.

I. Introduction. Page 2-5

II. Main part.

Speech characteristics heroes of the poem "Dead Souls" Pages 6-30

1) Manilov's speech characteristics. Pages 6-8

2) Speech characteristics of Sobakevich. Pages 8-11

3) Speech characteristic of the Box. Pages 11-12

4) Speech characteristics of Nozdrev. Pages 12-14

5) Plyushkin's speech characteristic. Pages 14-16

6) Chichikov's speech characteristics. Pages 17-24

7) Speech characteristics of secondary pp.25-30

characters.

III. Conclusion. Pages 31-32

IV. Footnotes. Pages 33-38

V. List of used literature. Page 39

I. Introduction.

Each artist is a whole world, a precious storehouse of artistic and spiritual human experience.

N.V. Gogol is one of the most amazing and original masters of the artistic word. This is a great master of a deep outlook on life. His world is unusually peculiar and complex, his language and manner in depicting a portrait have become commonplace, his satire has taken on not only accusatory, but also exploratory character. All Gogol's creations are the world of his dreams, where everything is either monstrously terrible or dazzlingly beautiful.

Every artist has a work that he considers the main work of his life - a work in which he has invested his most cherished thoughts, his heart. The main work of Gogol's life was Dead Souls. "Dead Souls" was, in its ideological and artistic originality, an unprecedented phenomenon in Russian literature. The pathos of this work is humor, looking at life, “through the laughter visible to the world and invisible, unknown to it tears” 1 . Artistic descriptions and speech characteristics reveal the characters from all sides, show their appearance, their actions.

Seventeen years were given to work on " Dead souls". These were years of special importance in Gogol's life. However, no matter how great the significance of the poem, there is no need to oppose it to other works of the writer. Without "Evenings on a Farm near Dikanka" and "Mirgorod", "Petersburg Tales" and "Inspector General" there would be no "Dead Souls". Gogol was convinced that in the conditions of contemporary Russia, the ideal and beauty of life can be expressed only through the denial of ugly reality. It was this contradiction that was the main one for his own work, and especially for the concept of "Dead Souls", in which the mighty power of Gogol's realism was most fully manifested. All this made it possible to create a broad panorama of Russian life and reveal its inner "mechanism". The writer, as it were, enters into the world in which his characters live, imbued with their interests, explores their characters and capabilities.

His works are imbued with pain for the distortion that the spiritual image of a person is subjected to in the world of soul owners, “dead souls”. The tragedy of "Dead Souls" is in the collision of the author's ideal with vulgar reality. To the abominations of feudal reality, the author contrasts his dream and faith in the great future of his native country, faith that illuminated the cold, soulless characters that rise before us from the pages of his work. Gogol combines two streams in the narrative. On the one hand, he includes a narrow, vulgar world into the big world, on the other hand, he introduces faces and motifs from big world. Two worlds - the vulgar world of soul owners and soul merchants and the world of the people, however, are not only alien to each other - they are connected by an anti-human bond. The laughter of the writer and his tears are a single world of the soul of the great writer, who infinitely loved his homeland and believed in its great future.

This was most clearly expressed in the unity of style and language of the poem. And Gogol's language is indeed full of life and originality. It is a living language of different strata of the Russian population. The speech of Gogol's heroes is always peculiar and characteristic. You cannot confuse Manilov with Nozdrev or Sobakevich. In a word, Gogol creates the characters of his characters no less than by their actions and description. Gogol's word, turned into space, is the word of "holy truth" and a living picture of that all-Russian abomination. Each phrase of Gogol expresses a complete thought. The images of the characters are written out with an accurate sense of the truth of life. Everything that happens to the heroes of the poem is not only the background of the character. In the epic with "dead souls" their energy and ingenuity are most clearly revealed.

And one of the highest achievements of the individualization of the heroes of "Dead Souls" is their speech characteristics. Each character speaks his own language, unique to him, which is a brilliant indicator of his character, level of culture and interests.

The purpose of the abstract: the study of the speech characteristics of the heroes of the work. Tasks: 1) to see how the individuality and character of the characters, their behavior in a given situation are revealed with the help of speech characteristics, 2) to trace how the mighty power of Gogol's realism is revealed with the help of speech characteristics.

For the first time in the history of Russian literature, Gogol came up with an analytical, exploratory character for satire. In the text of the abstract outlined below, the thread of disclosure can be traced with the help of speech characteristics of the internal "mechanism" of the poem, i.e. the world in which his characters live, their interests and characters.

I was interested in this topic because one of the highest achievements of the individualization of the heroes of "Dead Souls" is their speech characteristics. The poem was written over a hundred years ago, but even today we use the speech turns of one or another hero of the poem. So to a person who is too intrusive and cloyingly amiable, we can apply the term Manilovism, a rude person to compare with Sobakevich. The speech characteristics of the characters enhance their perception of the contradictions of life depicted. In other words, the study of the speech characteristics of the heroes of the work is relevant, since only through speech their character and their individuality are most fully revealed.

While working on the abstract, I used a number of books: the book by S. Mashinsky "Dead Souls" by N.V. Gogol reveals the history of the work, its ideological concept, features of language and style, as well as features of speech characteristics; the book by E.S. Smirnova-Chikina, N.V. Gogol's poem "Dead Souls" reveals Gogol's talent and skill in creating images; P.K. Bogolepov’s book “The Language of N.V. Gogol’s Dead Souls” reveals the deep ideological nature of the work, the writer’s love for his homeland, his merciless laughter, a gallery of immortal images, speech characteristics of the characters; the book "N.V. Gogol in Russian criticism and memoirs of contemporaries" reveals the critical and accusatory nature of Gogol's realism, capable of posing the main, fundamental questions public life Russia; Yu.M. Lotman's book " At the school of the poetic word" introduces us to the world of N.V. Gogol, teaches us to understand his work, think and analyze the work, understand the characters, perceive their speech characteristics.

II. Main part.

SPEECH CHARACTERISTICS OF IMAGES.

1. Manilov's speech characteristics.

The speech of the beautiful-hearted Manilov, "an exceptionally kind and courteous person" 2, is distinguished by the same qualities. Manilov is sentimental. His wife, Lizonka, is a match for her husband: she is gentle and sweet in handling and is a type that complements and deepens the image of Manilov. There is a truly idyllic relationship between them. Their sensitive love, which has not cooled down for eight years, is expressed in one phrase full of idyllic tenderness: “Open your mouth, darling, I will put this piece for you” 3 . Manilov is very considerate towards Chichikov, who was invited by him and "made happy" with his arrival. Evidence of his courtesy and courtesy towards Chichikov is also his speech. First of all, sugary courtesy to the guest is expressed in the following words: “Here you are, finally, honoring us with your visit” 4 . Further, the courtesy of Manilov is emphasized by the words: “if you please,” “allow me,” “if you please, you will pass,” “you deigned to express yourself”; “Let me introduce my wife to you”; “let me not allow you to do this,” etc. The same line is expressed by a kind, twice-said invitation to “lunch: “I humbly ask,” “I humbly ask” and an apology for your simple lunch: “you’re sorry if we don’t have such a dinner like on the parquet floor" 5, etc. Manilov's excessive courtesy and sensitivity, turning into cloying sentimentality, find their outpouring in a number of his famous sayings: "delivered pleasure ... May day ... name day of the heart"; ... spiritual pleasure"; "I would like to prove ... the heart's attraction, the magnetism of the soul" 6 . Analyzing Manilov's speech, V. V. Vinogradov rightly notes: “For Manilov, speech is pure poetry, art for art's sake. Therefore, not daring to understand Chichikov's words in the literal sense, he "had no difficulty" 7 .

He asks Chichikov: “Perhaps here ... in this explanation you have just expressed ... something else is hidden ... Maybe you deigned to express it this way for the beauty of the style?” eight . Against this background, the admiration that Manilov was imbued with while listening to Chichikov becomes natural. When Chichikov flashed the highest forms of an official rhetorical style: “Obligation for me is a sacred matter, a law. I am dumb before the law,” the author does not miss a chance to emphasize Manilov’s admiration: “Manilov liked the last words, but “he still didn’t get into the sense of the matter itself ...” 9 Compare also: “Manilov, enchanted by the phrase, from pleasure, he only shook his head approvingly, plunging into the position in which a music lover is when the singer outdid the very violin and squeaked such a subtle note that even a bird's throat could not. "The desire to be pleasant is often expressed in a number of exaggerated compliments addressed to a guest: "The chance brought me happiness, one might say, rare, exemplary, to talk with you and enjoy your pleasant conversation"; or: "I would gladly give half of my entire fortune in order to have some of the virtues that you have" 10. The same Manilov also shows a kindly sentimental attitude towards noble dignitaries.From here, the characteristics given to him are understandable: the vice-governor is a “nice person”, the police chief is a “pleasant person”, his wife is “prefect kindest woman." Manilov is courteous and polite even with the clerk, whom the amiable one calls, and with Selifan, to whom you speak. In him, sentimentality is combined with claims for culture and with the inability, due to his carelessness, mismanagement, to implement them. This is reflected in his "English" garden, and in furniture, and in a candlestick, and in a book, and in organizing the upbringing of his children (they have a teacher), and in the names of the sons of Alkidi, Themistokus. This is splendidly noted in speech: in the use of foreign words (projects, surprises, negotiation), in attempts to express floridly: “I cannot comprehend”; “I couldn’t get such a brilliant education, which, so to speak, is visible in your every movement; I don’t have a high art of expressing myself”;

2. Speech characteristics of Sobakevich.

Sobakevich's speech is also peculiar. He is a landowner-fist, clumsy, rude, "clumsy" in character, appearance and behavior. The same is true of his language. Hence his laconic “please” - whether he invites you to visit him, whether he invites you to dinner. Of course, Sobakevich, for all the rudeness of his nature, has some elementary ideas about decency and the duty of hospitality, and therefore he, rarely seduced by anyone and rarely speaking of anyone "on the good side", full of respect for Chichikov , defines him in a conversation with his wife: "a pleasant person" and invites him to his estate. Sobakevich also shows elementary politeness in the fact that, knowing his habit of stepping on his feet, he immediately asks: “Have I disturbed you?” or, having already stepped on, immediately apologizes: “I beg your pardon.” But callousness prevails in his nature, and he accepts Chichikov more officially and dryly than Manilov: "I recommend you", "I had the honor to meet you" 13.

His words are dry, jerky and laconic when seeing off Chichikov: “Farewell. Thanks for visiting; I ask you to go ahead, do not forget, ”etc. The tinge of the official language is also felt in other places in the conversation between Sobakevich and Chichikov. Hence his frequent “please”: “please, so that they do not claim me”; “if you please ... and I’ll also tell you my last word,” etc. Sobakevich’s language becomes especially official-clerical when he wants to scare Chichikov somewhat in connection with his strange deal: “Tell me or anyone else - such a person there will be no power of attorney regarding contracts or entering into any profitable obligations” 14 . His receipt is also a sample of clerical work: “I received a deposit of twenty-five rubles in state banknotes for the sold Revizh souls” 15 . The rudeness and clumsy straightforwardness of Sobakevich are splendidly expressed in his appraisal of the same city officials about whom Manilova spoke so kindly. Sobakevich's chairman is "such a fool as the world did not produce"; the governor - "the first robber in the world ... and a robber's face", "just give him a knife and let him out on the main road - he will slaughter him." 16 The police chief is “a swindler, he will sell, deceive, and also dine with you” 17 . Summarizing his judgment about officials, he says: “These are all swindlers; the whole city is like this: a scammer sits on a scammer and drives a scammer. All Christ-sellers" 18 . One decent person is singled out by Sobakevich - the prosecutor, but he is also awarded the epithet "pig". Sobakevich also gives Plyushkin a devastating critique: "A swindler, such a miser, which is hard to imagine" 19 . The bearish rudeness of Sobakevich is also reflected in the fact that he is not at all shy in his expressions either with a guest or during dinner. For example: “That scoundrel cook who learned from a Frenchman will buy a cat, skin him, and serve him on the table instead of dinner” 20 - this is how he characterizes the governor's dinner, for which his wife scolds him. Sobakevich's rudeness crosses the line in another place.

When he and Chichikov talked about Plyushkin, Sobakevich called him a "dog" and added to his characterization: "It's more excusable to go to some obscene place than to him."

The rough, kulak nature of Sobakevich is perfectly revealed in the deal with Chichikov. In essence, of all the landowners who have been brought out, he is the only one who conducts the most real deal, deftly orienting himself in it, quickly realizing that he can get a certain benefit from it, holding the main thread of this deal in his hands. The kulak nature of Sobakevich is also characterized by the hyperbolic sum requested by him, which amazed Chichikov. Sobakevich's language is characterized by the expressions of a real fist, a huckster: "Ek, where did they get it ... because I'm not selling bast shoes"; “You are ashamed to say such a sum. You bargain, say the real price”; “What are you stingy about? Right, not expensive” 22 . It should be noted how sharply Sobakevich's speech changed when he got into the taste of the operation being performed. Laconic, silent, Sobakevich enters "into the very power of speech", that is, he indulges in such eloquence that Chichikov does not have time to insert a single word. Sobakevich unfolds a vivid description of the dead souls in question, trying to convince Chichikov of the usefulness of the goods being sold. “Just consider: here, for example, is Mikheev, a carriage maker, because he didn’t make any more carriages, as soon as spring ones. And it’s not like Moscow work happens, that for one hour, such strength, it will beat itself and cover it with varnish” 23. Or another example: “And Cork Stepan, a carpenter? I'll lay my head down if you find such a man anywhere. After all, what a force it was! If he served in the guards, God knows what they would have given him, three arshins and a verst in height ”24. In the heat of excitement, Sobakevich falls into complete absurdity and begins to praise the dead as if they were alive, not even noticing all the absurdity of his arguments. When Chichikov scolds him, Sobakevich continues his arguments with even greater passion: “Well, no, not a dream. I will tell you what Mikheev was like, because you will not find such people: in his shoulders he had such strength that a horse does not have; I would like to know where you would find such a dream elsewhere.

Sobakevich's speech is distinguished by accuracy, persuasiveness, efficiency, without any curtsy to the guest who came to him, although he sometimes makes hints at the close relationship that supposedly exists between them, trying to get at least a drop of benefit for himself through this cunning move: "only for acquaintances”, “I can’t help but give pleasure to my neighbor”; "what sincerity happens between short friends should remain in their mutual friendship" 26 .

3. Speech characteristic of the Box.

Korobochka is “one of those mothers, small landowners who cry for crop failures, losses” (as Gogol characterizes her), and this is perfectly reflected in her speech. "Yes, trouble, times are bad, that's last year There was such a crop failure that God save. “What a pity, really, that I sold honey to merchants so cheaply.” More examples: "The people are dead, but pay as if they were alive." “Now I have nothing to go out on: there is no one to shoe the horses.” "The harvest is bad, the flour is already so unadvantaged" 27 . Korobochka's speech reflects her stupidity and ignorance, the fear of the new, the unusual, the fear of Chichikov's offer to sell dead souls: "Really, I don't know, because I never sold the dead." “Really, I’m afraid, at first, so as not to suffer a loss somehow.” “My such an inexperienced widow’s business! I'd better wait a little longer" 28 . Sometimes in the speech of the “club-headed” Korobochka, the extreme primitiveness of her thoughts, reaching some kind of childish naivety, is revealed. “Do you want to dig them out of the ground?” she asks Chichikov about the dead. Or in another place: “Or maybe they’ll need it somehow on the farm for the occasion.” There are many colloquial words and expressions in Korobochka's speech: boar, greasy, underwear, small fry, something, manenko, maybe, how they rested; with what you sip a seagull; tea, assessor; I won’t take it for granted; apply to prices; I will not take everything, how should I be. Korobochka, an old-fashioned feudal landowner living in a “decent wilderness”, keeps the elementary principles of landowner hospitality and shows in the scene with Chichikov the features of cordiality necessary for her environment. Hence her appeal to Chichikov: “my father”, “father”. She graciously turns to Chichikov with suggestions: “Would you like to drink tea, father?” “Here, sit down, father, on this sofa.” “Don’t you need something to rub your back with?” At night, she wishes the guest “good night”, in the morning she graciously greets: “Hello, father. How did you rest?" Korobochka's religiosity is emphasized by her speech. She keeps saying: “what time did God bring you”; "God forbid that it pass"; “there was such a crop failure that God save”; “God saved from such a disaster”; “hierarchs, what passions”; “the power of the cross is with us”; "Oh God."

Korobochka speaks in a primitive, miserable language, expressing his thoughts most often in simple sentences. “True, from such a road, you really need to rest. Here, sit down, father, on this sofa. Hey, Fetinya, bring a featherbed, pillows and a sheet. For some time, God sent: such a thunder - I had a candle burning all night in front of the icon. Eh, my father, but you, like a boar, have mud all over your back and side! where did you deign to get salty? 29. The above passage is typical of Korobochka's speech. Here is a kind address to the guest, and sympathy for him, and a hospitable offer, and an order to his maid, and an expression of religiosity. At the same time, she often uses colloquial words, she also has elements of official speech.

4. Speech characteristics of Nozdrev.

The speech of the liar Nozdryov is also brightly individualized. Nozdrev is a "broken fellow" with his inherent "vigilance and glibness of character." His violent and restless nature is reflected both in the constant desire to "walk" and in the passion for gambling, and in the desire for adventure, and in the ability to spoil one's neighbor, and in uncontrollable lies. Broken, highly unorganized, shameless nature of Nozdryov is susceptible to committing all sorts of dishonest acts, to inflating gossip of fables. Almost all of his speech is empty, vulgar chatter, sheer lies.

Here are examples. "I alone drank seventeen bottles of champagne in the course of dinner." “In this field of the Rusaks, such a death that the earth is not visible; I myself caught one by the hind legs with my own hands. “A pond in which ... there were fish of such a size that two people could hardly pull out a thing” 30 . The refutation of Nozdryov's deceit is done not only by direct exposure, but also by a different, very subtle, disguised technique. In his office, "Turkish daggers were shown, on one of which it was mistakenly carved: master Savely Sibiryakov." The underlined words are undoubtedly Nozdrev's lies and the "explanation" given by him. Here is a pouch embroidered by some countess - this is also a detail extremely characteristic of the language of the liar Nozdryov. In these examples, we clearly feel the nostril trait of lying and boasting, and at the same time the author's exposure of this boastfulness of the hero. Thus, distrust of Nozdryov's words is growing. The speech of Nozdryov, who is constantly in the circle of the city and in the circle of reveling officers, is characterized, on the one hand, by the presence of foreign words: meringue, bezeshki, courage en gros, in empyreans, etc., and on the other hand, colloquial words and expressions : sharpened his teeth on a muzzle; hang out with a wife; you can't get along; frost on the skin; you'll get the hell of a bald man; I will not remove the hymen from the devil knows him; not yours takes. It is noted in the speech of Nozdryov, who rotates among the reveling officers, “echoes” of the “army” language: “how they were drinking”; "Bordeaux calls simply a burdashka"; “twisted into fortune”; "you will be cruelly taken aback"; “I have long wanted to pick him up”; "in the mouth ... as if the squadron had spent the night." The following features are characteristic of Nozdryov’s speech: abrupt transitions from one feeling to another, for example, he says to Chichikov: “You are a pig for this, a kind of cattle breeder! kiss me, soul, death love you. Or: “I won’t let you in! .. Trifles, trifles! We'll build a bank this minute." 32 . Numerous exclamatory and interrogative sentences: “Then I'll see what kind of player he is! But, brother Chichikov, how we drank in the first days! True, the fair was excellent.

Fragmentary, unfinished sentences, showing that his words do not keep up with flying thoughts: “How did we start drinking, brother ... Captain Kisses ... so glorious! mustache, brother, such! .. Lieutenant Kuvshinnikov ... Ah, brother, what a sweet man! 34 . An unstoppable cascade of vulgar and swear words with which he addresses Chichikov and his son-in-law: a pig, a cattle breeder, a canal, a fetuk, a rakalia, rubbish, a swindler, a scoundrel, a skaldyrnik, a dog man, a shilnik, an ugly stove-maker.

Nozdryov’s passion for dogs is expressed by Gogol in listing the varieties of dogs: “both thick-dog and pure-dog, of all possible colors and stripes: muruga, black and tan, half-piebald, murugo-piebald, red-piebald, black-eared, gray-eared” . He immediately gives all kinds of dog nicknames: Shoot, Scold, Flutter, Fire, Skosyr, Cherkay, Dopekay, Bake, Severga, Kasatka, Reward, Guardian. The words of Nozdryov, a dog connoisseur, also emphasize the especially positive qualities of dogs: “breasty with a mustache”; wool stands up “like bristles”; “the sideways ribs are incomprehensible to the mind”; "The paw is all in a lump."

5. Plyushkin's speech characteristic.

The image of Plyushkin is built on one leading feature: it is his all-encompassing and devastating passion - stinginess. Hence unsociableness, distrust of people, suspicion. Plyushkin is constantly in a state of irritation, ready to snap at every person. He sank to the point of losing the human image and turned into a "hole in humanity." Gogol conveys all these features in Plyushkin's language with unparalleled skill. Almost nothing is left in him from the former cultural master, his language is full of colloquial expressions or abuse. His speech is stingy and incoherent, sharply colored emotionally, since Plyushkin is constantly in a state of irritation. Irritation and hostility are felt in the following explanation of Plyushkin and Chichikov.

When Chichikov asks Plyushkin, his housekeeper, "Where is it?" [master], Plyushkin biliously replies: “What, father, are you blind, or what? .. Ehva! And I’m the owner!” 35 . When Chichikov considered it his duty to pay respect to the owner, he disapprovingly “muttered something through his lips”, probably (Gogol suggests): “And the devil would take you with your respect.” True, Plyushkin formally politely addresses the guest with the words “I ask you to humbly sit down,” but immediately shows himself extremely inhospitable, speaking sharply negatively about hospitality in general: “I see little use in them (guests). They started an obscene custom of visiting each other, but there are omissions in the household, and feed their horses with hay. Plyushkin from the very first words indulges in grouchy complaints about the shortcomings: "My kitchen is so bad, and the pipe has completely collapsed." "Seine at least a shred in the whole economy." “The earthling is small, the man is lazy, he doesn’t like to work, he thinks, as if in a tavern.” And he pessimistically concludes: “Look, you will go around the world in your old age” 37 . The irritation of the gloomy miser Plyushkin, who does not trust people, can also be heard in his next remark. When Chichikov noticed that Plyushkin, as he was told, had more than a thousand souls, with some annoyance in his voice, turning more and more into a rude tone, he asked: “Who said that? And you, father, would spit in the eyes of the one who said this! He, the mockingbird, apparently wanted to play a joke on you. And the unwillingness to show himself still rich, and distrust of the person, and petty resentment to the guest's questions are in his words. As soon as Chichikov asked in amazement: “A whole hundred and twenty?”, Plyushkin sharply and touchily replies: “I’m too old, father, to lie: I live in my seventies!” And although Chichikov promptly hurried to express condolences to Plyushkin, nevertheless the latter, in the same unfriendly, irritable tone, continues: Plyushkin's relative. And only when Chichikov stunned his interlocutor with the fact that for him he was “ready and at a loss,”

Plyushkin softens, expresses undisguised joy, and hears completely different words; "Ah, father! oh, you are my benefactor! So console the old man! Oh, my God! ah, you are my saints!” The joy that flashed across Plyushkin's face instantly disappears, and again his speech is sprinkled with lamentations about fate, complaints about his "people": "The orderlies are so shameless ...". “I have a year, then they run. The people are painfully gluttonous, from idleness they got into the habit of cracking, but I have nothing to eat myself. “For the sake of my poverty, they would have already given forty kopecks.” Fasten two kopecks each 39 . And only at the moment of Chichikov's departure, when Plyushkin received money from him, when the guest showed himself so well-mannered that he even refused tea, he finds a few courteous words for him: "Farewell, father, God bless you!" Plyushkin's suspicion is splendidly manifested even further, in his attitude towards Proshka, Mavra and, in general, towards the courtyards.

6. Speech characteristics of Chichikov.

Chichikov's speech is an example of the highest skill, linguistic individualization. With its richness and versatility, it contributes to the disclosure of this classic image. Chichikov is a clever, enterprising businessman, an acquirer; seeks the goodwill and attention of all those around him: landlords, officials, city dwellers. This he achieves different ways: and with all his appearance, and behavior, and manner of speaking. He fully appreciated the importance of polite, amiable, restrained, decent speech: "he dropped words with weight." In the 4th chapter, Gogol remarks: "Any expression that was somehow rude or insulting decency was unpleasant for him." Elsewhere (chapter 11), the author says that Chichikov "never allowed himself an obscene word in his speech." He showed amazing politeness not only in actions, but also in words while still in the customs service, when he addressed the searched with exquisite delicacy: “Wouldn’t you like to worry a little and get up?” "Would you like, ma'am, to go to another room?" Allow me to cut the lining of your overcoat a little with a knife. Obviously, the service taught the "injured" Chichikov to skillfully take care of softening his expressions for various selfish reasons, and this skill went to him for the future and is used by him later. Here are two excellent examples of this:

1) when Chichikov, in a conversation with Sobakevich, instead of dead "souls, stubbornly calls them "non-existent";

2) when, in the second volume, Gogol says about Chichikov that he did not "stole", but "used" (mitigation typical of Chichikov).

Chichikov has a brilliant gift for maintaining a lively conversation in society on any topic, thereby showing his versatile awareness and at the same time being able to arrange society in his favor. Chichikov tells little about himself, with "noticeable modesty," and his conversation on such occasions took on somewhat bookish turns:

“That he is an insignificant worm of this world and is not worthy of being cared for a lot, that he experienced a lot in his lifetime, endured in the service of truth, had many enemies who even attempted on his life, and that now, wanting to calm down, he is looking to choose , finally, a place to live, and that, having arrived in this city, he considered it an indispensable duty to testify his respect to its first dignitaries” 41 . Giving this short, but so pompous description of himself, embedded in several ready-made formulas, Chichikov sometimes adds to them more words about likening his fate to a barque among the waves (by Manilov), thereby trying to arouse even greater sympathy in the listener.

In more detail, the set of images that Chichikov characterizes "the field of his service" is described by General Betrishchev (in the second volume). In general, in the second volume, he speaks about himself in a shorter and different way, emphasizing mainly the purpose of his trips. He says: "To see the light, the rotation of people -" whatever you say, there is, as it were, a living book, a second science. These words are essentially unchanged, like a learned formula, he repeats to Platonov, Kostanzhoglo, Platonov's brother Vasily. From the bureaucratic years, Chichikovo has preserved, apparently, a manner in an upbeat official tone to introduce themselves, to be recommended to some persons who have a desire for ostentatious, outward culture. So, when Manilov invites Chichikov to visit his estate, he immediately replies that he "will respect it for the most sacred duty." Arriving at General Betrishchev, Chichikov introduces himself as follows: “Having respect for the valor of men who saved the fatherland on the battlefield, I considered it my duty to introduce myself personally to Your Excellency” 42. So in Chichikov's speech there is a gloss that he tries to impose on himself. But one has only to listen to his explanations by Selifan, as all this external gloss of speech already disappears and one hears swear words and scoldings, well known in serf-owning Russia: “what, swindler, which road are you going on?”; "you're drunk as a shoemaker"; “Here I’ll flog you, so you will know me.”

He lashes out with abuse at Selifan: a pig, Urban, a scoundrel, a dissolute, a fool, I will bend it into a horn and knot a string; go, go. Chichikov’s speech perfectly reveals his character, the character of a clever businessman and a swindler, who knows how to quickly get used to, adapt to circumstances, adapt to people, get into the rut of their interests and even speech, with one being extraordinarily kind, with the other, more simple and unceremonious in the selection of expressions , with whom - cautious, with whom - compliant, and even persistent. Here he comes to the amiable Manilov, and between them there is a kind of competition in politeness and courtesy, and Chichikov is in no way inferior to the owner, not only in actions, but also in speech. "Do me a favor, don't worry like that for me"; "don't bother, please don't bother"; “please come in” - such expressions pour from Chichikov’s lips, completely in tune with the owner. As soon as Manilov started talking about a good neighborhood, about such a person with whom one could “talk about courtesy, about good treatment,” etc., Chichikov immediately picks up this idea with a kind of proverb: “Have no money, have good people for appeal." Manilov, in the ecstasy of his courtesy, was frank to the point that he would gladly give half of his fortune in order to have part of the merits of his guest. Chichikov is now trying to outdo him: "On the contrary, I would consider it the greatest for my part ...". It is not known with what compliment Chichikov wanted to block the courteous host in this "peculiar verbal contest, but it is important to note one thing: Chichikov in no way wants to give up the palm to Manilov. Chichikov is amiable, even gentle with Manilov's children: "what cute children," "cute little ones, "" my crumbs, "- that's what he calls them. "Clever, darling," he praises Themistoclus (an epithet inherent in Manilov: that's what he calls his wife). And only when Chichikov tries to state to the impractical Manilov his request for dead souls , he changes his tone and gives his speech an official official tone: “I suppose to acquire the dead, which, however, would be listed as living according to the revision” 43 .

Or: “So, I would like to know if you can give me those who are not really alive, but alive in relation to the legal form, to transfer, to yield, or as you please better?”. "Obligation for me is a sacred matter, the law - I am dumb before the law" 44 .

Chichikov's speech in Korobochka is completely different, because Korobochka does not look like Manilov. The author himself notes that with Korobochka Chichikov, "despite his affectionate appearance, spoke, however, with more freedom than with Manilov, and did not stand on ceremony at all." Dexterity and sharpness helped Chichikov quickly determine the character of Korobochka, and he talks to her in a different way. The author, following his hero, repeats: "Chichikov ... decided not to stand on ceremony at all." Not wanting to embarrass the hostess in any way, and apologizing for disturbing her unexpected arrival, Chichikov here, of course, shows the necessary courtesy and calls Korobochka respectfully "mother" several times. Chichikov’s courtesy towards the caring hostess is also manifested in the fact that in the morning he considers it necessary to ask: “How are you, mother?” (rested). When Korobochka recommends herself to him, he politely thanks the hostess: "Thank you most humbly." After making a deal that caused him a lot of trouble (it was not for nothing that he was “all in a sweat”), Chichikov again enters the polite tone of a kind guest: “Your pancakes are very tasty, mother,” and resorts to repeated repetitions in which his impatience is expressed. to leave, since there is nothing more for him to do here now: “they will pawn ... they will pawn”; "I won't forget, I won't forget"; “We will buy, we will buy, we will buy everything, and we will buy pork fat”; “good, good”, “will be, will be ready” 45 .

It is curious to note that Chichikov, trying to win over the old woman by courteous address, in the same interests tries in places in the conversation to get into her tone. Here are examples. When Korobochka treats Chichikov and says: “What will you take a sip of tea with? In a flask of fruit, ”he picks up this colloquial word:“ Bread and fruit. 46.

When Korobochka asks him: “After all, I’m tea, an assessor?” Chichikov again supports the conversation, inserting a phrase typical of a hostess: “Tea, not an assessor.” Realizing that in front of him was a patriarchal, religious old woman (she had already discovered this more than once in her speech), Chichikov decided to play on this line of the hostess and used her piety just at the most crucial moment; just before the very request for the sale of dead souls, he expresses sympathy for his interlocutor with words taken from her own vocabulary: “God's will for everything”; “Nothing can be said against the wisdom of God.” Chichikov tries to convince the dull, stubborn old woman of the urgency of the deal, hence the following expressions in his speech: “Well, is it clear now?” “Do they really have any use?” "Do you understand this?" “Oh, what are you! What can they cost? Consider: it's dust. Do you understand? it's just dust." Chichikov tries to reassure Korobochka: “Stram, stram, mother! just fear. Well, what are you saying?" "Ek where enough" 47 . The stubborn old woman infuriates Chichikov, and swearing epithets addressed to her fly from his lips: “Well, the woman seems to be strong-willed”; “Eck her, what a clubhead”; "damned old woman" True, Chichikov still keeps all these expressions "to himself." But, finally, the cup of patience overflows, Chichikov loses his balance and all decency, grabbing his chair on the floor in his heart and promising the devil to the hostess, and resorts to rude and insulting expressions: “May they perish and be around with your whole village.” “It’s like some kind, without saying a bad word, a mongrel that lies on hay: she doesn’t eat hay herself and doesn’t give it to others” 48. What a difference compared to Manilowe's speech!

With Nozdryov, Chichikov behaves very carefully, knowing his broken and unceremonious nature, and this is evident from his first words. He does not want to go to Nozdryov, as it will be a waste of time (for which he is annoyed with himself), he does not want to tell where he is heading.

Therefore, in order to draw attention to his words as little as possible, he says: “But I’m going to one person,” and only with further harassment Nozdryov forces him to tell the truth.

The same thing, only in a more detailed form, we observe later, when Chichikov starts the deal. One can clearly see Chichikov's desire to somehow curb the litigious and dishonest Nozdryov. However, the classic conversation that followed between Chichikov and Nozdryov is proof of how Chichikov fell into the clutches of Nozdryov's quarrel. Nozdryov mocks and laughs “hell, insults him. Chichikov, who did not know anything about his request, can only be offended and defend his trampled dignity: “However, this is insulting! Why do I have to lie? “There are limits to everything, if you want to flaunt such speeches, then go to the barracks” 49 . The entire subsequent scene between Chichikov and Nozdryov represents Chichikov's desire to get rid of all purchases, exchanges, and playing cards with all his might, until, finally, Nozdryov persuaded him to play checkers. And Chichikov's speech is various options his refusals: "I don't need a stallion." “Why do I need a dog? I'm not a hunter." “I don’t want to, and that’s enough.” "Not at all a hunter to play." And only when Nozdryov offended Chichikov’s personal dignity with a dishonest game of checkers, he persistently defends himself: “I have the right to refuse (to play), because you don’t play as decently as an honest person”; “there is no possibility to finish the party”; "if you played like an honest man." In the last two expressions, one can hear the incompleteness of thought, caused by Chichikov's natural timidity in front of the owner, who stepped on him with a chubuk in his hands.

Chichikov feels completely different with Sobakevich, the sharp-witted and stern master, crushing with his presence. It should be noted that Chichikov, more courteous than Sobakevich, was forced to speak first, seeing that "no one is disposed to start a conversation." Not only cautiously, diplomatically, but even timidly, Chichikov approaches the deal with Sobakevich. that, according to the existing provisions of this state, in whose glory there is no equal, revision souls who have completed their careers are, however, until the submission of a new revision fairy tale, on a par with the living, so as not to burden the government offices "with a lot of petty and useless references and not to increase the complexity of an already very complex state mechanism, ”that is, he began with that ornate, official-bookish speech that he knew how to speak and make an undeniably favorable impression on listeners. Chichikov understands that one cannot simply speak to the Sobakeviches, that his kulak nature is well acquainted with all sorts of bureaucratic subtleties, that one must behave officially, cautiously and diplomatically with him. It is no coincidence that hence the "non-existent" souls instead of "dead" - this is said both carefully and gently. It is characteristic that Chichikov repeats this definition even after Sobakevich directly and sharply called them "dead." The deal is carried out in such a way that Chichikov immediately fell into the kulak grip of Sobakevich, who quickly understood the meaning of the upcoming deal and the possibility of profit. Chichikov continues the conversation in the same cautious style: “And if there are, then you, no doubt ... will be pleased to get rid of them?” To which Sobakevich just as succinctly replies: "Excuse me, I'm ready to sell." Chichikov: “Although, of course, this is such an object ... that it’s even strange about the price ...”. But Sobakevich cuts off in the same tone: "One hundred rubles apiece."

Sobakevich plays the first fiddle in the deal, and Chichikov manages to insert only a few cautious remarks with the aim of somewhat upsetting, bringing to reason the carried away, stingy huckster. “Agree yourself: after all, these are not people either.” “After all, the souls have long since died, there is only one sound that is not tangible by the senses.” "It's a dream after all." “After all, the subject is simple: fu-fu. What is he worth? who needs?" 51 . Outwardly, Chichikov observes restraint and correctness, while to himself he rewards Sobakevich with a lot of swear words (such a fist; scoundrel; fist, fist, and even a beast in addition; damn fist).

Plyushkin puzzled Chichikov to such an extent with his appearance and unfriendly meeting that he could not immediately think of where to start the conversation.

In order to win over the gloomy old man and get a benefit for himself, Chichikov decides to try to influence him with such a flowery speech, which would combine both respect for the owner, and the courtesy of Chichikov himself and his ability to clothe his thoughts in decent for cultured person book form. The initial version was planned by Chichikov as follows: “Having heard about the virtue and rare properties of the soul (the owner), ... I considered it my duty to personally pay tribute” 52 . This option was instantly rejected, since these were already too much. Chichikov replaces the moral and psychological nature of his “entry” with an economic one (this is both more specific and closer to the point) and says that “having heard about his savings and rare management of estates, ... I considered it a duty to get to know me personally to bring my respect.” When Plyushkin shows irritation from the very first words and begins to complain about his poverty, Chichikov deftly turns the conversation to his goal: “I was told, however, that you have more than a thousand souls.” And Plyushkin’s next acrimonious remark, where he involuntarily touched on the fever that had exhausted his peasants, that is, precisely the topic that interests the guest, Chichikov skillfully picks up and again leads directly to what he needs, but outwardly combines it with expression of participation: “Tell me! and starved a lot? Chichikov is in a hurry to find out the number and cannot hide his joy from the upcoming profit. Hence the stream of interrogative sentences: “How much is the number .. No ... Really? A whole hundred and twenty?" 53 .

It is not for nothing that Gogol twice here speaks of Chichikov as follows: "He expressed his readiness." Once, Chichikov even literally repeats Plyushkin's words: "I'll fasten my seat belt for two kopecks, if you please."

Thus, observations of the speech of Chichikov, as well as other main characters of the poem, convince of the great skill that Gogol possessed when describing the characters by means of their individual speech characteristics.

7.Speech characteristics minor characters.

The linguistic characteristic is a brilliant means of revealing not only the central characters, but also the secondary characters of the poem. Gogol masters the art of linguistic characterization to such perfection that the secondary characters are endowed with exceptionally expressive, apt, unique speech.

Gogol perfectly reproduces in a sharply satirical way the speech of the ladies' society typical of that time. The ladies' society of the city N, which is a typical ladies' society of that time, was distinguished primarily by blind admiration for everything foreign: etiquette, fashion, language. Striving for the elegance and nobility of speech, the ladies of the city of N saw the opportunity to acquire these properties of speech only by the increased introduction of foreign words (mainly French), very often distorted. The predilection of city ladies for the French language forces Gogol to insert into their speech, even into their characterization, a number of foreign words,

which have a sharply revealing function here: presentable, etiquette, fashion, counter-visit, skimping, interest-santka, anonymous, incomodite, clock, roulo, chemizet, belfam, gallop, receive force, robrons. In particular, the use of the last word is accompanied by the following remark by Chichikov in the hearts, behind the words of which we clearly hear the author himself: “Failure them, take them as they are called ...” The ladies avoided “rude” words, as ignoble, and. they tried to replace them with periphrastic expressions, which again contributed to the "ennoblement" of speech. Gogol says that they “distinguished themselves ... by extraordinary caution and decency in words and expressions. They never said: "I blew my nose, I sweated, I spat," but they said: "I relieved my nose, I got by with a handkerchief." In no case was it possible to say: “this glass or this plate stinks ...”, but instead they said: “this glass behaves badly.” Elsewhere in the poem, Gogol once again emphasizes that the "lady's fragrant lips" with particular zeal resorted to many hints and questions, "permeated through and through with subtlety and courtesy" in their treatment of Chichikov, whom they tried to charm with the grace of their speech: "Are we allowed, to the poor inhabitants of the earth, to be so bold as to ask you what are you dreaming about? “Where are those happy places in which your thought flutters?” "Is it possible to know the name of the one who plunged you into this sweet valley of thought?" 55. The same function of exposing the exquisite and smoothed language of the ladies is performed by individual epithets invented by them: “a cake known as a kiss”; "little crenellated walls of thin batiste, known by the name of modesty." The crown of this sentimentally graceful lady's speech in the poem is the letter received by Chichikov. It was written, according to Gogol, "in the spirit of the time" and thus represents a clear example of the epistolary style of that era. The curly syllable of the letter is striking. No wonder even Chichikov exclaimed: "And the letter is very, very curly written!" In this letter, which began "very emphatically"; "No, I have to write to you..."

a selection of formulas of sentimental-romantic bookish speech, very fashionable at that time, but given by Gogol with the aim of explicit exposure, is given. The letter speaks of “secret sympathy between souls”, posing meaningful rhetorical questions with answers given to them: “What is our life? - The valley where sorrows settled. What is light? - A crowd of people who do not feel 56 . It was written further about the tears with which the author of the letter wets the lines of a tender mother who has already died; an invitation was made to Chichikov to go with him to the desert, "to leave forever the city, where people in stuffy fences do not use the air." In these words, sustained in the same comic tone, there is a clear echo of the words from Pushkin's Gypsies, where criticism of urban life is also given. It is worth noting that Gogol highlights another feature of the ladies of the city associated with their speech: they were very sensitive to individual, significant words for them, and often these words themselves were more important for them than the content embedded in them. So, the poem brilliantly shows how the entire ladies' society was alarmed by the magic word "millionaire" associated with Chichikov. The ladies were alarmed, says Gogol, “not the millionaire himself, but precisely one word, because in one sound of this word, past any bag of money, there is something that affects both scoundrels and people neither this nor that. , and on good people - in a word, it affects everyone.

An excellent example of ladies' speech is a dialogue between two ladies: simply pleasant and pleasant in every way. This dialogue is characterized by the following main features. The speech of the ladies is lively, dynamic, and at the same time devoid of serious content. The excitement of the ladies, the instability of their thoughts, their frivolity is expressed in jumps from one thought to another and in the fact that the main goal for which the guest arrived was instantly overshadowed by a conversation about new styles of dress: “Words, like hawks, were ready to start chasing one after the other." The expressiveness of speech is emphasized in different ways. First of all, the conversation is strewn with exclamatory and interrogative sentences: “What a cheerful chintz!” "Honey, it's easy!" "Yes, congratulations!" "Well, it's simple: I confess!". "What about our charmer?" "What's the story?" "How does it feel to you?" "Ah, charms!"

The dialogue includes a live transmission of Korobochka's story about Chichikov's visit to her. This story is characterized by tension, the presence of stylistic details inherent in the romantic works of that time: “in the dead of midnight”; "a knock, the most terrible one can imagine"; "is armed from head to toe like Rinald Rinaldin"; "sell... all the souls that have died"; "pale as death." This conversation differs sharply from the immobile, deliberately slowed down, sustained in the patriarchal language form of Korobochka's conversation with Chichikov in the 3rd chapter. And next to it are everyday conversations of a visiting lady with her maid Masha. Many words, especially those related to the details of ladies' outfits, are used with endearing and diminutive suffixes: checks, cloth, stripes, laces, paws, scallops, epaulettes, cheerful, narrow, etc. The dynamism of the dialogue is supported by the structure of speech: a lot of short simple sentences, for example: “The whole village has come running, the children are crying, everyone is screaming, no one understands anyone”; gradation technique: “I am ready to lose my children, my husband, all my property right now, if she has at least one drop, at least a particle, at least a shadow of some blush” 57.

The speech of the ladies is characterized by the deliberate introduction of foreign words, sometimes distorted: belfam, skonapel, istoar, orrer, scandalous, passage, march. It should be noted that the ladies use mannered epithets addressed to Chichikov: charmer, humble, like Rinald Rinaldin, and next to this, elements of colloquial speech: fool, inflict, etc.

The speech of Selifan, Chichikov's coachman, is very expressive. When asked about the master, he, silent, taciturn, succinctly answers: "I performed the state service, but first I served at customs." He talks more readily about the gentleman with horses and adds in this conversation many details that otherwise you would not hear from him:

"everyone respects our gentleman"; "he is a Skole adviser" and many others, so that "if Chichikov had listened (says Gogol), he would have learned many details relating to him personally" 58 . With Chichikov, he is generally respectful. “Yes, if you please report,” he turns to the master; magnifies him “your nobility”, to Chichikov’s threat to flog him he slavishly, humbly answers: “As your grace will automatically: if you flog, then flog; I
nothing away from it. Why not cut, if the will of the Lord is for the cause. It needs to be cut because the man is playing around. His characterization of horses is interesting, to which he approaches the assessment from the point of view of their fulfillment of their duty: "The bay is a respectable horse, he fulfills his duty, ... and the Assessor is also a good horse." But on the other hand, Selifan is constantly at war with a chubary harness horse, crafty and lazy. He characterizes him: “quite a scoundrel”; “such a horse, simply, God forbid, only a hindrance”; "Cunning horse" - and asks Chichikov to sell him. Therefore, he continually turns to the chubarom with “very sensible remarks”, teaches him and at the same time scolds him: “Cunning, cunning! Here, I'll outsmart you." "You know your business." “Listen when they say! I will not teach you, ignorant one, bad things.”59

And he unleashes a hail of abusive epithets on the horse: ignoramus, fool, German pantalooner, barbarian, Bonaparte ... accursed (eloquent proof that the hated attitude towards the "damned" aggressor enemy lived in the mind of the dark Selifan). From direct teachings to the horse, Selifan in his ranting sometimes comes to broad moral and philosophical generalizations: "You live in truth when you want to be respected." "Everyone will give respect to a good person." “You better not let a man eat, but you must feed a horse, because the horse loves oats, this is his food.” "I know it's not a good thing to be drunk" 60 . But these, in their own way, reasonable conclusions of Selifan are combined with obvious ignorance, which finds expression both in the primitiveness of thought and in the distorted use of certain words: fulfilled, sovereign, scole, food, potyash, zavgodno.

But how much prowess is felt in the same dark Selifan, when he, having cheered up, “whipping” his troika, shouts at her: “Hey you, respectable friends,” and she starts galloping, taking off from hillock to hillock, and he only waves his whip yes shouts: "Oh! eh! eh!"

All the examples considered serve as vivid examples of the individualized speech of the characters in the poem and convince Gogol of his amazing skill in making the language of the hero one of the most powerful means of characterizing him.

III. Conclusion.

The speech characteristics of Gogol's heroes clearly show the complete impoverishment of people who become isolated in their separate existence. The writer reveals the disgusting appearance of philistinism and predatory hoarding, severely denounces bureaucratic arrogance, greed, arrogance, shows the cold selfishness of heroes who live at "someone else's expense", the power of things that makes a person its slave.

In "Dead Souls" all the social strata of that time - landlords, officials, entrepreneurs - are depicted with an unprecedented power of truth, tearing off all masks. Many characters in the poem have received such a generalized meaning that they are relevant in our time.

Deep ideological content of Gogol's creations, their originality, exceptional richness and diversity of language. This is the greatest strength of the writer's talent. Yes, Gogol's language is indeed full of life and originality. It is a living language of different strata of the Russian population.

The author skillfully enters into a conversation with the reader: “A lot has been done in the world of delusions, often humanity has turned off the straight path, and then laughed at its delusions, but again the current generation presumptuously begins a series of new delusions, which will then also be laughed at by descendants.” He considers irony a characteristic feature of Russian literature: “We all have a lot of irony, it is visible in our proverbs and songs and, what is most amazing, often where the soul apparently suffers and is not at all disposed to gaiety” 61. It is the satirical irony in the mouths of the characters and the author himself that helps to expose the objective contradictions of reality.

And the reality of Nikolaev Russia is so improbable in itself, the relations between people are so distorted that the most incredible, the most improbable events from the point of view of common sense take place in this world. Belinsky, discussing Gogol's style, wrote "He does not write, but draws, his phrase, like a living picture, rushes into the eyes of the reader, striking him with his bright fidelity to nature and reality" 62. Therefore, we can say that the individual speech of the characters in the poem convinces us of the author's amazing skill in making the hero's language one of the most powerful means of characterizing him.

The work on this essay enriched my knowledge of the talent of N.V. Gogol, a great realist artist, an unsurpassed master of the word. Now I understand more Gogol's admiration for the heroic nature of his people and for the mighty Russian language. I got a more complete picture of the life of ordinary people in Nikolaev Russia, of the morals of officials, of the disenfranchised life of serfs. And in this reality, the living language of different strata of the Russian population helps to understand. I think that the word of truth endured by Gogol remains a living picture of the abomination in which they lived the best people of our Motherland, who were looking for a road on which the Russian people crushed by oppression could go.

IV.Footnotes.

1. From a letter from N.V. Gogol to A.I. Herzen. S.Mashinsky

"Dead Souls" by N.V. Gogol. M. Enlightenment.

Moscow 1966. p.108.

2. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.26

3. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.28

Volume 1.p.28

5. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.27

6. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.27-28

7. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.27-28

8. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.28

9. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.32

10. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.33

11. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.29

12. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.31

13. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.87

14. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.91

15. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.94

16. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.99-100

17. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.99-100

18. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.99-100

19. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.99-100

20. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.99-100

21. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.100

22. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.97

23. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.95

24. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.95

25. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.94

26. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.100

27. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.46

28. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.46

29. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.60

30. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.66

31. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.69-70

32. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.69-70

33. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.69-70

34. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.60-61

35. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.108

36. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.115

37. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.115

38. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.119

39. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

40. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.119

41. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.157-158

42. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 2.pp.281-282

43. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.33-34

44. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.30-31

45. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.46-47

46. ​​N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.52-53

47. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.45-46

48. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.49-50

49. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.67-68

50. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.97-98

51. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1. p.99

52. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.209

53. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1. p.213

54. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.201

55. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.184

56. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.189

57. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.pp.203-206

58. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.208

59. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 1.p.207

60. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 2.pp.358-359

61. N.V. Gogol "Dead Souls". M. Enlightenment. 1975

Volume 2.p.294

62. VG Belinsky about the poem "Dead Souls". M. Enlightenment.

V.List of used literature.

1. S. Mashinsky. "Dead Souls" by N.V. Gogol.

M. Enlightenment. Moscow 1966

2. E.S. Smirnova-Chikina. N.V. Gogol's poem "Dead Souls".

M. Enlightenment. Moscow 1952

3. P.K. Bogolepov. The language of N.V. Gogol's poem "Dead Souls".

M. Enlightenment. Moscow 1952

4. N.V. Gogol in Russian criticism and memoirs of contemporaries.

M. Enlightenment. Moscow 1951

5. Yu.M. Lotman. In the school of poetry.

M. Enlightenment. Moscow 1988

255 0

One of the heroes of the poem "Dead Souls" (1842) //. V. Gogol (1809-1852), obsessed with pathological stinginess, a passion for collecting and storing the most useless things that "it's a pity to throw away." A common noun for people of this type.

Meanings in other dictionaries

Plushkin

(inosk.) - stingy, miser, stingy. The fraudulent housekeeper completely abandoned it (liquor), and didn’t even clog it, rascal! The boogers and all sorts of rubbish were stuffed there, but I took out all the rubbish and now it’s clean, I’ll pour you a glass. Gogol. Dead Souls. 1, 6. Plushkin. harpagon. ...

Plushkin

PLYUSHKIN -a; m. Unapproved. About an overly stingy, greedy person. ● By the name of one of the heroes of N.V. Gogol's poem "Dead Souls" (1842). ...

Plushkin

(Capital), Plushkin, m. (bookish contempt.). A person whose stinginess reaches mania, to the extreme; generally a miser. (After the name of the landowner Plyushkin, the protagonist of Gogol's Dead Souls.) ...

Plushkin

PLYUSHKIN is a character in N.V. Gogol's poem "Dead Souls" (the first volume of 1842, under the qualification, called "The Adventures of Chichikov, or Dead Souls"; second, volume 1842-1845). The literary sources of the image of P. are the images of misers by Plautus, J.-B. Molière, Shylock W. Shakespeare, Gobsek O. Balzac, Baron A.S. Kholmskikh", Melmot Sr. from Ch.R. Metyurin's novel "Mel...

Plushkin

PLYUSHKIN LEADERS In tsarist Russia there was an elective position of a representative of the nobility of a province or district - the leader of the nobility. But the ancestor of this surname, of course, was not the leader, the nobles had their own hereditary surnames. Such a surname during registration could be received by a serf or a servant of such a leader. (F) ...

Bad is the soldier who does not dream of being a general

From the collection "Soldier's Notes" (1855) by the Russian writer Alexander Fomich Pogossky (1816-1874), nicknamed "military Dahl" by his contemporaries. In his collection of aphorisms-teachings, stylized as folk proverbs, there is also such an expression: “The soldier who does not think to be a general is bad, and even worse is the one who thinks too much what will happen to him” (Complete collection of works by A. F. Pogossky. T. I. .. .

Swim, my boat, at the behest of the waves

The original source is the comic opera The Bells of Corneville (1877) by the French composer Robert Plunkett (1848-1903). From the verses of her character named Greniche: Swim, my favorite boat, Swim, swim, through the foam of the waves... Quoted: ...