Lyrical digressions and their meaning in N. Gogol’s poem “Dead Souls”

The genre uniqueness of “Dead Souls” is that it is a fairly large work - an epic in prose. The genre of the novel did not satisfy N.V. Gogol, since the novel is an epic work that reveals the history of the fate of a particular person, and the author’s intention was to show “all of Rus'.”

In “Dead Souls” Gogol combines lyrical and epic principles. The poetry of the work is given by the lyrical digressions that appear in each chapter of the poem. They introduce the image of the author, giving the work depth, breadth, and lyricism. The topics of lyrical digressions are varied. The author reflects on the gentlemen of the “middle class”, “on youth and adolescence”, on urban people, and the fate of the writer in Russia. Particularly interesting are the reflections on education in the apt Russian word, about Russia, about “thick and thin.”

In the second chapter, where the story is told about Manilov and his wife, N.V. Gogol writes, in particular, about the kind of education girls receive in boarding schools. The ironic tone of the narration (“... in boarding houses... three main objects form the basis of human virtues: the French language, necessary for the happiness of family life; the piano, to provide pleasant moments for the spouse, and... the actual economic part: knitting wallets and other surprise prizes”) makes it clear to the reader that the author does not consider this method of education correct. Proof of the uselessness of such upbringing is the image of Manilova: in their house “something was always missing: in the living room there was beautiful furniture upholstered in smart silk fabric... but there wasn’t enough for two armchairs, and the armchairs were simply upholstered in matting... .”, “in the evening, a very dandy candlestick made of dark bronze with three antique graces, with a mother-of-pearl dandy shield was served on the table, and next to it was placed some simple copper disabled person, lame, curled to the side and all in lard..." Spouses spend their time in long and languid kisses, preparing birthday surprises, etc.

In the fifth chapter, the word “patched,” which a simple man called Plyushkin, makes the author think about the accuracy of the Russian word: “And how accurate is everything that came out of the depths of Rus', where there are no Germans, no Chukhons, or any other tribe, and everything is a nugget itself, a lively and lively Russian mind that does not reach into its pocket for a word, does not hatch it like a hen chickens, but sticks it right away, like a passport on an eternal sock, and there is nothing to add later, which your nose or lips—one line outlines you from head to toe!” The author plays on the well-known proverb: “What is pronounced accurately is the same as what is written, cannot be cut down with an ax.” Reflecting on the characteristics of other languages, Gogol sums it up: “The word of a Briton will respond with heartfelt knowledge and wise knowledge of life; The short-lived word of a Frenchman will flash and spread like a light dandy; the German will intricately come up with his own, not accessible to everyone, clever-but-thin word; but there is no word that would be so sweeping, lively, would burst out from under my very heart, would boil and vibrate so much, like a well-spoken Russian word.”

The author’s reflections on the subtlety of treatment frustrate the sycophants, who have a fantastic ability to determine their line of behavior, the manner of treating people of different social status (and he notes this feature exclusively among Russians). A striking example of such chameleonism is the behavior of Ivan Petrovich, the “ruler of the chancellery,” who, when he is “among his subordinates, you simply cannot utter a word out of fear!” pride and nobility... Pro-metheus, determined Prometheus! Looks out like an eagle, acts smoothly, measuredly.” But, approaching the boss’s office, he is already “in a hurry like a partridge with papers under his arm...”. And if he is in society and at a party, where people are a little higher in rank than him, then “Prometheus will undergo such a transformation that even Ovid would not invent: a fly, smaller than even a fly, destroyed into a grain of sand!”

At the conclusion of the first volume, the author’s words about Russia sound like a hymn to the glory of the Motherland. The image of an unstoppable troika rushing along the road personifies Rus' itself: “Isn’t it so, Rus', that you are rushing along like a lively, unovertakeable troika?” Genuine pride and love are heard in these lines: “Rus, where are you rushing? Give an answer. Doesn't give an answer. The bell rings with a wonderful ringing; the air thunders and becomes torn into pieces by the wind; “everything that is on earth flies past, and other peoples and states move aside and give way to it.”

Download:

Preview:

Analysis of lyrical digressions in the poem by N.V. Gogol's "Dead Souls"

Lyrical digression is an extra-plot element of the work; compositional and stylistic device, which consists in the author’s retreat from the direct plot narrative; author's reasoning, reflection, statement expressing an attitude towards the depicted or having an indirect relation to it. Lyrically, the digressions in Gogol’s poem “Dead Souls” introduce a life-giving, refreshing beginning, highlight the content of the pictures of life that appear before the reader, and reveal the idea. The topics of lyrical digressions are varied.
“About fat and thin officials” (1 chapter); the author resorts to generalizing the images of civil servants. Self-interest, bribery, veneration for rank are their characteristic features. The opposition between thick and thin, which seems at first glance, actually reveals the common negative features of both.
“On the shades and subtleties of our treatment” (chap. 3); speaks of ingratiation to the rich, respect for rank, self-humiliation of officials in front of their superiors and an arrogant attitude towards subordinates.
“About the Russian people and their language” (chap. 5); the author notes that the language and speech of a people reflects its national character; A feature of the Russian word and Russian speech is amazing accuracy.
“About two types of writers, about their destiny and destinies” (chap. 7); the author contrasts a realist writer and a romantic writer, indicates the characteristic features of the work of a romantic writer, and talks about the wonderful destiny of this writer. Gogol writes with bitterness about the lot of a realist writer who dared to portray the truth. Reflecting on the realist writer, Gogol determined the meaning of his work.
“Much has happened in the world of error” (chap. 10); a lyrical digression about the world chronicle of mankind, about its errors is a manifestation of the writer’s Christian views. All of humanity has wandered away from the straight path and is standing on the edge of an abyss. Gogol points out to everyone that the straight and bright path of humanity consists in following the moral values founded in Christian teaching.
“About the expanses of Rus', national character and the bird troika”; the final lines of “Dead Souls” are connected with the theme of Russia, with the author’s thoughts about the Russian national character, about Russia as a state. The symbolic image of the bird-troika expressed Gogol’s faith in Russia as a state destined for a great historical mission from above. At the same time, there is an idea about the uniqueness of Russia’s path, as well as the idea about the difficulty of foreseeing specific forms of Russia’s long-term development.

“Dead Souls” is a lyric-epic work - a prose poem that combines two principles: epic and lyrical. The first principle is embodied in the author’s plan to paint “all of Rus',” and the second in the author’s lyrical digressions related to his plan, which form an integral part of the work. The epic narrative in “Dead Souls” is continually interrupted by lyrical monologues of the author, assessing the character’s behavior or reflecting on life, art, Russia and its people, as well as touching on topics such as youth and old age, the purpose of the writer, which help to learn more about the spiritual world of the writer, about his ideals. The most important are the lyrical digressions about Russia and the Russian people. Throughout the entire poem, the author’s idea of a positive image of the Russian people is affirmed, which merges with the glorification and celebration of the homeland, which expresses the author’s civic-patriotic position.

Thus, in the fifth chapter, the writer praises “the lively and lively Russian mind”, his extraordinary ability for verbal expressiveness, that “if he rewards a slant with a word, then it will go to his family and posterity, he will take it with him both to the service and to retirement , and to St. Petersburg, and to the ends of the world." Chichikov was led to such reasoning by his conversation with the peasants, who called Plyushkin “patched” and knew him only because he did not feed his peasants well.

Gogol felt the living soul of the Russian people, their daring, courage, hard work and love for a free life. In this regard, the author’s reasoning, put into Chichikov’s mouth, about serfs in the seventh chapter is of deep significance. What appears here is not a generalized image of Russian men, but specific people with real features, described in detail. This is the carpenter Stepan Probka - “a hero who would be fit for the guard,” who, according to Chichikov, walked all over Rus' with an ax in his belt and boots on his shoulders. This is the shoemaker Maxim Telyatnikov, who studied with a German and decided to get rich instantly by making boots from rotten leather, which fell apart in two weeks. At this point, he abandoned his work, started drinking, blaming everything on the Germans, who did not allow Russian people to live.

Next, Chichikov reflects on the fate of many peasants bought from Plyushkin, Sobakevich, Manilov and Korobochka. But the idea of “the revelry of people’s life” did not coincide so much with the image of Chichikov that the author himself takes the floor and, on his own behalf, continues the story, the story of how Abakum Fyrov walks on the grain pier with barge haulers and merchants, having worked “under one, like Rus', a song." The image of Abakum Fyrov indicates the love of the Russian people for a free, wild life, festivities and fun, despite the hard life of serfdom, the oppression of landowners and officials.

In the lyrical digressions, the tragic fate of the enslaved people, downtrodden and socially humiliated, is presented, which is reflected in the images of Uncle Mitya and Uncle Minya, the girl Pelageya, who could not distinguish between right and left, Plyushkin’s Proshka and Mavra. Behind these images and pictures of folk life lies the deep and broad soul of the Russian people. The love for the Russian people, for the homeland, the patriotic and sublime feelings of the writer were expressed in the image of the troika created by Gogol, rushing forward, personifying the mighty and inexhaustible forces of Russia. Here the author thinks about the future of the country: “Rus, where are you rushing to? “He looks into the future and does not see it, but as a true patriot he believes that in the future there will be no Manilovs, Sobakeviches, Nozdrevs, Plyushkins, that Russia will rise to greatness and glory.

The image of the road in the lyrical digressions is symbolic. This is the road from the past to the future, the road along which the development of each person and Russia as a whole takes place. The work ends with a hymn to the Russian people: “Eh! troika! Bird-three, who invented you? You could have been born to a lively people... “Here, lyrical digressions perform a generalizing function: they serve to expand the artistic space and to create a holistic image of Rus'. They reveal the positive ideal of the author - people's Russia, which is opposed to landowner-bureaucratic Rus'.

But, in addition to lyrical digressions glorifying Russia and its people, the poem also contains reflections of the lyrical hero on philosophical topics, for example, about youth and old age, the vocation and purpose of a true writer, about his fate, which are somehow connected with the image of the road in the work . So, in the sixth chapter, Gogol exclaims: “Take with you on the journey, emerging from the soft youthful years into stern, embittering courage, take with you all human movements, do not leave them on the road, you will not pick them up later! ..” Thus, the author wanted to say that all the best things in life are connected precisely with youth and one should not forget about it, as the landowners described in the novel did, the stasis of “dead souls.” They do not live, but exist. Gogol calls for preserving a living soul, freshness and fullness of feelings and remaining like that for as long as possible.

Sometimes, reflecting on the transience of life, on changing ideals, the author himself appears as a traveler: “Before, long ago, in the summer of my youth... it was fun for me to drive up to an unfamiliar place for the first time... Now I indifferently drive up to any unfamiliar village and look indifferently at her vulgar appearance; It’s unpleasant to my chilled gaze, it’s not funny to me... and my motionless lips keep an indifferent silence. O my youth! Oh my freshness! “To recreate the completeness of the author’s image, it is necessary to talk about lyrical digressions in which Gogol talks about two types of writers. One of them “never once changed the sublime structure of his lyre, did not descend from its top to his poor, insignificant brothers, and the other dared to call out everything that is every minute before the eyes and which indifferent eyes do not see.” The lot of a real writer, who dared to truthfully recreate a reality hidden from the eyes of the people, is such that, unlike a romantic writer, absorbed in his unearthly and sublime images, he is not destined to achieve fame and experience the joyful feelings of being recognized and sung. Gogol comes to the conclusion that the unrecognized realist writer, satirist writer will remain without participation, that “his field is harsh, and he bitterly feels his loneliness.” The author also talks about “connoisseurs of literature” who have their own idea of the purpose of a writer (“It’s better to present to us the beautiful and fascinating”), which confirms his conclusion about the fate of two types of writers.

All this recreates the lyrical image of the author, who will continue to walk hand in hand with the “strange hero for a long time, looking around at the whole enormous rushing life, looking at it through laughter visible to the world and invisible tears unknown to him! »

So, lyrical digressions occupy a significant place in Gogol’s poem “Dead Souls”. They are remarkable from a poetic point of view. In them one can discern the beginnings of a new literary style, which would later find a vibrant life in Turgenev’s prose and especially in the works of Chekhov.

The epic narrative in “Dead Souls” is continually interrupted by lyrical monologues of the author, assessing the character’s behavior or reflecting on life, art, Russia and its people, as well as touching on topics such as youth and old age, the purpose of the writer, which help to learn more about the spiritual world of the writer, about his ideals.

The most important are the lyrical digressions about Russia and the Russian people. Throughout the entire poem, the author’s idea of a positive image of the Russian people is affirmed, which merges with the glorification and celebration of the homeland, which expresses the author’s civic-patriotic position.

Thus, in the fifth chapter, the writer praises the “lively and lively Russian mind”, his extraordinary ability for verbal expressiveness, that “if he rewards a slant with a word, then it will go to his family and posterity, he will take it with him both to the service and to retirement , and to St. Petersburg, and to the ends of the world.” Chichikov was led to such reasoning by his conversation with the peasants, who called Plyushkin “patched” and knew him only because he did not feed his peasants well.

Gogol felt the living soul of the Russian people, their daring, courage, hard work and love for a free life. In this regard, the author’s reasoning, put into Chichikov’s mouth, about serfs in the seventh chapter is of deep significance. What appears here is not a generalized image of Russian men, but specific people with real features, described in detail. This is the carpenter Stepan Probka - “a hero who would be fit for the guard,” who, according to Chichikov’s assumption, walked all over Rus' with an ax in his belt and boots on his shoulders. This is the shoemaker Maxim Telyatnikov, who studied with a German and decided to get rich instantly by making boots from rotten leather, which fell apart in two weeks. At this point, he abandoned his work, started drinking, blaming everything on the Germans, who did not allow Russian people to live.

Next, Chichikov reflects on the fate of many peasants bought from Plyushkin, Sobakevich, Manilov and Korobochka. But the idea of “the revelry of people’s life” did not coincide so much with the image of Chichikov that the author himself takes the floor and, on his own behalf, continues the story, the story of how Abakum Fyrov walks on the grain pier with barge haulers and merchants, having worked “under one, like Rus', a song.” The image of Abakum Fyrov indicates the love of the Russian people for a free, wild life, festivities and fun, despite the hard life of serfdom, the oppression of landowners and officials.

The love for the Russian people, for the homeland, the patriotic and sublime feelings of the writer were expressed in the image of the troika created by Gogol, rushing forward, personifying the mighty and inexhaustible forces of Russia. Here the author thinks about the future of the country: “Rus, where are you rushing?” He looks into the future and does not see it, but as a true patriot he believes that in the future there will be no Manilovs, Sobakeviches, Nozdrevs, Plyushkins, that Russia will rise to greatness and glory.

The image of the road in the lyrical digressions is symbolic. This is the road from the past to the future, the road along which the development of each person and Russia as a whole takes place.

The work ends with a hymn to the Russian people: “Eh! troika! Bird-three, who invented you? You could have been born among a lively people...” Here, lyrical digressions perform a generalizing function: they serve to expand the artistic space and to create a holistic image of Rus'. They reveal the positive ideal of the author - people's Russia, which is opposed to landowner-bureaucratic Rus'.

But, in addition to lyrical digressions glorifying Russia and its people, the poem also contains reflections of the lyrical hero on philosophical topics, for example, about youth and old age, the vocation and purpose of a true writer, about his fate, which are somehow connected with the image of the road in the work . So, in the sixth chapter, Gogol exclaims: “Take with you on the journey, emerging from the soft youthful years into stern, embittering courage, take with you all human movements, do not leave them on the road, you will not pick them up later!..” Thus, the author wanted to say that all the best things in life are connected precisely with youth and one should not forget about it, as the landowners described in the novel did when they became “dead souls.” They do not live, but exist. Gogol calls for preserving a living soul, freshness and fullness of feelings and remaining like that for as long as possible.

To recreate the completeness of the author’s image, it is necessary to talk about lyrical digressions in which Gogol talks about two types of writers. One of them “never once changed the sublime structure of his lyre, did not descend from its top to his poor, insignificant brothers, and the other dared to call out everything that is every minute before the eyes and which indifferent eyes do not see.” The lot of a real writer, who dared to truthfully recreate a reality hidden from the eyes of the people, is such that, unlike a romantic writer, absorbed in his unearthly and sublime images, he is not destined to achieve fame and experience the joyful feelings of being recognized and sung. Gogol comes to the conclusion that the unrecognized realist writer, satirist writer will remain without participation, that “his field is harsh, and he bitterly feels his loneliness.”

The author also talks about “connoisseurs of literature” who have their own idea of the purpose of a writer (“It’s better to present to us the beautiful and fascinating”), which confirms his conclusion about the fate of two types of writers.

from Shurikov and a textbook for applicants to universities, written by Krasovsky

With the help of lyrical digressions, the image of the author is created. By introducing the image of the author into the poem, Gogol had the opportunity to expand the subject of the image, to bring to the reader’s attention a whole series of problems that could not be posed and solved at the plot level. This explains the richness of the problematic of lyrical digressions in the poem. They touch upon philosophical questions of the path of life, and the problem of spiritual losses that a person suffers (lyrical digression about the fate of a young man in Chapter 6); problems of true and false patriotism; create the image of Rus' - a bird of three.

In lire In his digressions, G. poses and solves literary questions. In lire In a digression on two possible paths of a creative personality (beginning of Chapter 7), he affirms a new ethical system proclaimed by the natural school - the ethics of love-hate: love for the bright side of national life, for living souls, presupposes hatred for the negative sides of existence, for dead souls. The author understands perfectly well what he is dooming himself to by taking the path of “exposing the crowd, its passions and errors” - to persecution and persecution from false patriots, to rejection by his compatriots - but he courageously chooses this path.

Claiming in lire. In his digressions on the new concept of the creative personality, G. defends his right to choose the subject of the image: the vices of society and the individual are in the center of his attention.

There are also extra-plot elements - in chapter 11 there is a parable about Kif Mokievich and Mokiya Kifovich. Also about patriotism.

In the author's digressions, Gogol looks at Russia with the gaze of an epic writer who understands the illusory, ephemeral nature of the vulgar life of the people he depicts. Behind the emptiness and immobility of the “sky-smokers”, the author is able to consider “all the enormously rushing life”, the future vortex movement of Russia.

In lire The digressions express the widest range of the author’s moods. Admiration for the accuracy of the Russian word and the liveliness of the Russian mind (end of chapter 5) is replaced by a sad and elegiac reflection on youth and maturity, on the loss of “living movement” (beginning of chapter 6). Beginning of chapter 7: comparing the fates of two writers, the author writes with bitterness about the moral and aesthetic deafness of the “modern court”, which does not recognize that “glasses that look at the suns and convey the movements of unnoticed insects are equally wonderful”, that “high enthusiastic laughter is worthy of standing next to with high lyrical movement." The author considers himself to be a type of writer that is not recognized by the “modern court”: “His field is harsh, and he will bitterly feel his loneliness.” But in the finale there is a lyre. retreat, the author’s mood changes: he becomes an exalted prophet, his gaze reveals the future “formidable blizzard of inspiration”, which “will rise from the chapter clothed in holy horror and brilliance” and then his readers “will sense in embarrassed trepidation the majestic thunder of other speeches.”

In chapter 11, a lyrical and philosophical reflection on Russia and the vocation of the writer, whose “head was overshadowed by a menacing cloud, heavy with the coming rains” (“Rus! Rus'! I see you, from my wonderful, beautiful distance I see you ...”), is replaced by a panegyric for the road, a hymn movement - the source of “wonderful ideas, poetic dreams”, “wonderful impressions” (“How strange, and alluring, and carrying, and wonderful in the word: road!..”). The 2 most important themes of the author’s thoughts – the theme of Russia and the theme of the road – merge in a lyrical digression that concludes the first volume. “Rus-troika,” “all inspired by God,” appears in it as a vision of the author, who seeks to understand the meaning of its movement: “Rus, where are you rushing? Give an answer. Doesn't give an answer." The image of Russia echoes Pushkin’s image of Russia - a “proud horse” (in “The Bronze Horseman”). Both P. and G. passionately desired to understand the meaning and purpose of the historical movement of Russia. The artistic result of the writers' thoughts was the image of an uncontrollably rushing country.

from my notebooks for preparing for admission

In lire The digressions reflected Gogol's high aesthetic ideals, love for the homeland, pain for the country, for the people, tears invisible to the world.

Chapter I: a digression about fat and thin officials (not about their figure, but about the peculiarities of their social status).

Chapter II:

· Everyone has their own “enthusiasm.” Manilov did not have such “enthusiasm” - he was dead.

· Words about good upbringing.

Chapter III: about the shades of Russian treatment of people of different social status. Ridiculing veneration.

Chapter IV: When characterizing a landowner, the author always gives him a generalized description, as if showing this type of people.

Chapter V: Chichikov's meeting with the blonde (the governor's daughter). Constructed using the technique of contrasts. Gogol: “The true effect lies in sharp contrast; beauty is never as bright and visible as in contrast.”

· the meaning of a dream, a brilliant joy that appears at least once in life.

· contrast: dream and everyday life; possible perception of a 20-year-old boy (how Chichikov perceives the governor’s daughter => not at all the same as a 20-year-old boy).

Gogol: “The originality of the Russian mind is especially heard among the peasants,” and this mind is precisely glorified by Gogol at the end of Chapter 5.

Chapter VI: a digression on youth and the cooling that comes in mature years ( impotence is called).

Here Gogol speaks in the first person, i.e. as if from myself. Here is an example of a partial discrepancy between the author and the narrator. Gogol himself retained an interest in life. But the main thing is not this, but the fact that with the help of a first-person narration the author creates the same significant image as with the help of a third-person narration. “I” at the beginning of Chapter VI is also a unique character, and in it it is also important for Gogol to outline a certain psychological appearance.

The change of a person on the “road of life” is what is highlighted in this character. Such a change, which did not occur without his participation, for which he is also to blame. All this is connected with the internal theme of this chapter. The chapter is about Plyushkin, about the amazing changes that he had to endure. And, having described these changes, G. again resorts to the image of the road: “Take it with you on the road, emerging from the soft youthful years into stern, embittering courage, take with you all human movements, do not leave them on the road: you will not pick them up later!”

Again the familiar metaphor of the “road of life”, the contrast of beginning and end.

Chapter VII:

· About a traveler (contrast between road and home, home and homelessness).

· About two types of writers:

1. pure art (writes only about the pleasant and good)

· Chichikov’s long discussion about the peasants he bought (a digression, but not lyrical or the author’s, but Chichikov’s, which the author picks up at the end). The author emphasizes that his thoughts are close to Chichikov’s thoughts.

Chapter VIII:

· about writers and readers in secular society

· continuation of the discussion about fat and thin officials

Chapter X:

· the story of Captain Kopeikin (a war hero of '12, the cat lost an arm and a leg), the government renounces its defenders, thereby showing its anti-national essence. This is the completion and generalization of the theme of dead souls.

There have been many misconceptions in the world

Chapter XI:

· reasoning about the Motherland (patriotic), thought about the hero

· goes into a digression about the road (Gogol spent a lot of time on the road, and that’s where a large number of ideas were born).

· discussion about the hero (Chichikov is openly called a scoundrel)

· inserted parable about Kif Mokievich and Mokiya Kifovich (a hero is born in Rus', but his wealth is not aimed at that purpose)

· bird-troika (where the bird-troika rushes: Gogol’s ideal is high, but abstract. He loved his homeland, the people and believed in a bright future. Russia will find a way to move its poor, homeless life). A naive hope that there should be a person who will open the eyes of all Russian people to the vulgarity of their lives, anti-human morals and customs. Gogol takes on the role of such a person. “Who else but the author should tell the truth.” He did not open his eyes to officials and landowners, but subsequent revolutionaries honored him)

The poem “Dead Souls” cannot be imagined without “lyrical digressions.” They entered the structure of the work so organically that we can no longer imagine it without these magnificent author’s monologues. Thanks to “lyrical digressions,” we constantly feel the presence of the author, who shares with us his thoughts and experiences about a particular event described in the poem. He becomes not just a guide leading us through the pages of his work, but rather a close friend with whom we want to share the emotions that overwhelm us. Often we wait for these “digressions” in the hope that he, with his inimitable humor, will help us cope with indignation or sadness, and sometimes we just want to know his opinion about everything that is happening. Moreover, these “digressions” have incredible artistic power: we enjoy every word, every image and admire their precision and beauty.
What did Gogol’s famous contemporaries say about the “lyrical digressions” in the poem? A. I. Herzen wrote: “Here the transition from the Sobakeviches to the Plyushkins is filled with horror; With every step you get stuck, you sink deeper, the lyrical place suddenly revives, illuminates and is now replaced again by a picture that reminds even more clearly what kind of pit of hell we are in.” V. G. Belinsky also highly appreciated the lyrical beginning of “Dead Souls,” pointing to “that deep, comprehensive and humane subjectivity that in the artist reveals a person with a warm heart and a sympathetic soul.”
With the help of “lyrical digressions,” the writer expresses his attitude not only to the people and events he describes. These “digressions” carry within them a statement of a person’s high calling, the significance of great social ideas and interests. Whether the author expresses his bitterness and anger about the insignificance of the heroes he shows, whether he speaks about the writer’s place in modern society, whether he writes about the living, lively Russian mind - the source of his lyricism is thoughts about serving his native country, about its destinies, sorrows and hidden gigantic strength.
The author includes lyrical passages in the work with great artistic tact. At first, they contain his statements only about the heroes of the work, but as the plot develops, their themes become more and more versatile.
Having talked about Manilov and Korobochka, the author briefly interrupts the story, as if he wants to step aside a little so that the picture of life painted becomes clearer to the reader. The author's digression, which interrupts the story about Korobochka, contains a comparison of her with a “sister” from an aristocratic society, who, despite her different appearance, is no different from the local mistress.
After visiting Nozdryov, Chichikov meets a beautiful blonde on the road. The description of this meeting ends with the author’s remarkable digression: “Wherever in life, whether among the callous, rough-poor and unkempt and moldy low-lying ranks, or among the monotonously cold and boringly neat upper classes, everywhere at least once you will meet on a person’s path is a phenomenon unlike anything he has ever seen before, which will at least once awaken in him a feeling not similar to those he is destined to feel throughout his life.” But all this is completely alien to Chichikov: his cold caution is here compared with the direct manifestation of human feelings.
At the end of the fifth chapter, the “lyrical digression” is of a completely different nature. Here the author is no longer talking about the hero, not about the attitude towards him, but about the mighty Russian man, about the talent of the Russian people. Outwardly, this “lyrical digression” seems to have little connection with the entire previous development of the action, but it is very important for revealing the main idea of the poem: true Russia is not the Sobakevichs, Nozdryovs and Korobochki, but the people, the element of the people.
Closely connected with lyrical statements about the Russian word and national character is the artist’s inspired confession about his youth, about his perception of life, which opens the sixth chapter.
The story about Plyushkin, who most powerfully embodied base aspirations and feelings, is interrupted by the author’s angry words, which have a deep, generalizing meaning: “And a person could condescend to such insignificance, pettiness, and disgusting!”
Gogol begins the seventh chapter with his thoughts about the creative and life fate of the writer in his contemporary society, about two different destinies awaiting the writer who creates “exalted images” and the realist writer, satirist. This “lyrical digression” reflected not only the writer’s views on art, but also his attitude towards the ruling elite of society and the people. “Lyrical digression”: “Happy is the traveler who, after a long and boring road...” is an important stage in the development of the narrative: it seems to separate one narrative link from another. Gogol's statements illuminate the essence and meaning of both previous and subsequent paintings of the poem. This “lyrical digression” is directly related to the folk scenes shown in the seventh chapter, and plays a very important role in the composition of the poem.
In the chapters devoted to the depiction of the city, we come across the author’s statements about ranks and classes: “... now all ranks and classes are so irritated with us that everything that is in a printed book already seems to them to be a person: that’s how it is, apparently, location in the air."
Gogol ends his description of the general confusion with reflections on human delusions, on the false paths that humanity has often followed in its history: but the current generation laughs and arrogantly, proudly begins a series of new delusions, which posterity will also laugh at later.”
The writer’s civic pathos reaches particular strength in the “lyrical digression”: “Rus, Rus'! I see you from my wonderful, beautiful distance.” Like the lyrical monologue at the beginning of the seventh chapter, this “lyrical digression” forms a clear line between two parts of the narrative - the city scenes and the story about the origin of Chichikov. The theme of Russia, in which it is “poor, scattered and uncomfortable,” but where heroes cannot but be born, has already been widely developed here. Following this, the author shares with the reader the thoughts that the distant road and the rushing troika evoke in him: “How strange, and alluring, and carrying, and wonderful in the word: road! and how wonderful this road itself is.” Gogol sketches here one after another pictures of Russian nature that appear before the gaze of a traveler racing on fast horses along an autumn road. And despite the fact that the image of the three-bird is left behind, in this “lyrical digression” we feel it again.
The story about the main character of the poem is completed by the author’s statements, presenting sharp objections to those who may be shocked by both the main character and the entire poem, depicting the “bad” and “despicable”.
“Lyrical digressions” reflect the author’s high sense of patriotism. The image of Russia that concludes the novel-poem is filled with deep love, an image that embodies the ideal that illuminated the artist’s path when depicting petty, vulgar life.
But the most important question for Gogol remains unanswered: “Rus, where are you rushing?” What awaited this “God-inspired” country at the end of the road, then only God could know.