THE ACADEMY OF PUBLIC ADMINISTRATION UNDER THE

PRESIDENT OF THE KYRGYZ REPUBLIC named after

ZH.ABDRAHMANOV

A student individual work

Theme:“ Dead souls” N.V. Gogol

Student: Talipov.B.T.
Group: MEN-2-23
Professor: Mamyrbaeva A. J.
 Plan:
Introduction

1. Artistic originality of Gogol's poem "Dead Souls"

1.1 History of the creation of Gogol's poem

1.2 Characteristics of the historicism of Gogol's poem

2. The image of the author in the poem by N.V. Gogol's "Dead Souls"

Conclusion

List of literature

Introduction
Gogol's "Dead Souls" is a creation so deep in content and great in creative
concept and artistic perfection of form that it alone would replenish the lack of
books in ten years and be lonely among the abundance in good literary works"1.

Such a high assessment of "Dead Souls" was given by Belinsky at the end of
1843. Almost a century and a half has passed since this statement. But to this
day, Gogol's phenomenon strikes with no less force. What's the reason? It's easy
to answer: in the genius of the creator of Dead Souls. But such an explanation
will be too vague, general. After all, every great artist has his own, special
origins and impulses of creativity. Gogol also had them.

The extraordinary story of writing "Dead Souls" already has a lot of amazing
things. Gogol worked with deep satisfaction on the poem for 17 years: it was
the original design (1835) to the last fragments and strokes before his death
(1852). Having finally completed Dead Souls, he burned their second volume.
At first, I wanted to depict "all Russia" "from one side." And he gave a picture
of an unprecedented multifaceted coverage of phenomena. He took "Dead
Souls" as a "prelimate novel." And he called it a poem. We can give other
examples of strange discrepancies. But only to emphasize the originality of
Gogol's human and creative individuality.

The writer has always been "close" in one field of activity, in one direction of
creativity, in one genre of literature. Gogol's soul longed for an alliance between
self-deepening and broad social activity, penetration into the contradictions of
existence and elevation to harmonious forms of life, strict objectivity of
conclusions and the image of his own, intimate reflections. These aspirations
were quite met by the powerful capabilities of the artist..

1. Artistic originality of Gogol's poem "Dead Souls"

1.1 History of the creation of Gogol's poem

Almost a hundred and a half years ago, in the summer of 1842, Ogarev sent
Herzen a gift in his Novgorod exile. It was a book novelty - the first volume of
"Dead Souls" just released in Moscow. Herzen immediately wrote in his diary:
"An amazing book, a bitter reproach of modern Russia, but not hopeless. Where
the gaze can penetrate through the fog of manure fumes, he sees a dare, full of
strength nationality... It's sad in the world of the Chichikovs, as sad we really
are, and there is only one consolation in faith and reliance in the future"3.

That's how the immortality of an amazing book began. In the minds of many
reading generations, both impressions are different and feelings are opposite.

"The bitter reproach of modern Russia" opposed "a remote, full of the forces of
nationality." Both formulations belong to Herzen, but they were repeated in
different versions, in different shades, starting with the dispute over the book
between Slavophiles, who saw mostly only a full nationality, and Westerners
who defended the bitter reproach.

These contradictions are inherent in the "Dead Souls" themselves. For a long
time, they did not lose their sharpness and strength inside the poem.

If you imagine the history of Russian culture and self-consciousness stretched in

space, projected like a geographical map, then "Dead Souls" will be on it
something like a crowded hub station, not far from the fair, in the intersection of
many railway and other tracks connected with both the past and future of
Russian culture. The past is Radishchev's great book, the future is "U! What a
sparkling, wonderful, unfamiliar distance! Russia!"

That's why the force field of "Dead Souls" far exceeds a few hundred pages of
book text. It permeates the entire Russian nineteenth century with high-voltage
currents.

Regarding "Dead Souls" it is known that Pushkin (for the second time, after the
"Inspector") played an important, decisive role in Gogol's life. The first time he
told Gogol a simple and fascinating plot for a satirist. The second time it was
more complicated. The outer tie was just as simple in Pushkin's mouth.
However, according to Gogol, Pushkin gave him the example of Cervantes and
Don Quixote, in other words, set the younger friend the task of an extensive
narrative: an epic that accommodates a picture of an entire era.

More than once, the Knight of the Sad Image and its author stood before the
novelists of the nineteenth century. Dickens at the beginning of his first big
novel, conceiving the figure of Mr. Pickwick, recalled the funny and sorry
adventures of the hero of the great book. Dostoevsky put Prince Myshkin in
direct connection with the Knight of the Poor, with a stunning impact on the
readers of the servantes hero.

Gogol later confessed: "This time I've already thought seriously myself." What
did his serious thought mean? She was associated again with Pushkin, with how
Pushkin defined the property of Gogol's talent: "He always told me that no
writer has ever had this gift to expose the vulgarity of life so brightly; to be able
to outline in such a force the vulgarity of a vulgar person so that all the little
thing that escapes from the eyes would flash large in the eyes of everyone"4.

This is how the opposition of the petty to the large one is emphasized.
Gradually, during the long work, the idea of "Dead Souls" was enlarged in
Gogol's eyes. The unpretentious history of fraud in the purchase of serf slaves
acquired a meaning in the eyes of the author, generalizing the entire social
system of Nikolaev Russia. This meaning remained implicit, implied in the
subtext and behind the text, and at the same time it came out with unexpected
force, shined through in lyrical digressions.

Gogol called his work a poem. That was his innovative courage. Attracting his
own thoughts about literary genres, you can understand what Gogol was guided
by. According to Gogol, "the novel does not take a lifetime, but a significant
incident in life." The novel comes closer to the drama, where "the phenomena
flying by" do not find a place where all the actors are necessarily involved in a
common conflict for them and, therefore, are associated with the main character.
Gogol's idea is an epic. It "embraces not some features, but the entire era of
time, among which the hero acted with the image of thoughts, beliefs and even
confessions that humanity did at that time." Gogol adds: "Such phenomena have
appeared in many nations from time to time. Many of them, although written in
prose, can nevertheless be counted as poetic creations.

This thought was expressed by Gogol in relation to such works, which he

defines as "lesser genera of epics".

Thus, the concept of "poetic" in "Dead Souls" is not limited to direct lyricism
and the author's intervention in the narrative. Gogol points to more - the
vastness and volume of the plan as a whole, its universalism.

1.2 Characteristics of the historicism of Gogol's

poem

Analyzing the history of the creation of the poem "Dead Souls", we are faced
with one important feature of the poem, which in the modern, fresh reading of
"Dead Souls" amazes the reader!

Gogol conceived "Dead Souls" as a historical poem.

With great succession, he attributed the time of the first volume, at least twenty
years ago, to the middle of the reign of Alexander the Great, to the era after the
Patriotic War of 1812.

Gogol directly states: "However, we need to remember that all this happened
shortly after the glorious expulsion of the French." That is why in the ideas of
officials and inhabitants of the provincial city, Napoleon is still alive (he died in
1821) and may threaten to land from the island of St. Eden. That's why the story
or the fairy tale of the unfortunate one-armed and one-leged veteran of the
victorious Russian army, which took Paris in 1814, acts so vividly on the
listeners of the postmaster. That's why one of the heroes of the second volume
(on which Gogol, as already mentioned, worked much later), General
Betrishchev, completely came out of the epic of the twelfth year and is full of
memories of it. And if Chichikov invented some mythical story of the generals
of the twelfth year for Tentennikov, then this circumstance pours water on
Gogol's historical mill.
There are other indicators of Gogol's historicism. He scrupulously outlines the
reading circle of provincial officials. "The chairman of the chamber knew by
heart "Lyudmila" Zhukovsky, who was still not the news at that time." But
"Lyudmila" was written and printed in 1808!

Gogol surrounded his story so carefully and diversely with the signs of a
different era.

Pushing the events of "Dead Souls" back in time, Gogol was consistent and
principled.

It would be naive to assume that the author needed historicism to avoid

quibitting from censorship, especially since it was a clear sign of a past era -
"The Tale of Captain Kopeykin", only one and caused the quirk of censors. To
some extent, this could have been foreseen: in 1842, the thirtyth anniversary of
the Patriotic War was celebrated and the round date was reflected in the official
propaganda.

It is also naive to assume that proximity to the twelfth year was needed only to
strengthen the plausibility of the Napoleon version.

The foundations of Gogol's historicism are deeper. You have to guess about
them5.

Having conceived a wide epic canvas that should cover an entire era, Gogol
assumed that he would need two or three volumes. Just as in a small
comparative story, in "Portrait", he took the time of the second part even further
back, at the end of the eighteenth century, to show the duration of the existence
of the portrait itself, which led to a tragic outcome, and in "Dead Souls" he
attributed the plot of the action twenty years ago to bring the heroes closer to
the current modernity in the next volumes.

But Gogol was also guided by another feeling peculiar to him to the highest
degree. He constantly sought to see his homeland from the outside, from a
foreign country, from a "beautiful far away." He wrote the first volume in Rome,
The same remoteness was necessary for him in time, not only in space. Gogol's
instinct of the historian has affected here.
For many Russian writers of the first half of the nineteenth century, the
Napoleonic era, its lessons and its historical significance remained a starting
point that coincided for some with their childhood, for others with their youth.
Writers turned to the recent past in search of an explanation of their present to
determine its origins and roots.

Gogol's response to the recent era was both unexpected and peculiar. Both the
war of the twelfth year and Napoleon are woven into the fabric of the plot of
"Dead Souls" as an unconditional "implausibility", as an oral rumor, which
passed first into folklore, and then into philistine and official gossip.

Gogol picked up one of the leading themes of Russian history - the theme of
impostorism. Pavel Ivanovich Chichikov inadvertently found himself
somewhere in the company of both Dmitry Samozvets and Yemelyan Pugachev
himself.

Gogol remained faithful to the crown properties of his genius, prone to

hyperbole, to the merging of real, low truth - with a monstrous phantasmagoria.

But too deeply and organically the idea of "Dead Souls" was rooted in the living
modernity, densely and inevitably surrounded Gogol! That's why the epic still
didn't become historical.

2. The image of the author in the poem by N.V.

Gogol's "Dead Souls"
Since the genre of the poem assumes the equality of lyrical and epic principles,
it is impossible to do without the author's word in this work. The lyrical
beginning in the poem "Dead Souls" is realized in the author's retreats.

Not being a hero of the poem, the author of "Dead Souls" acts as a lyrical hero
in it. The reader receives an idea of the lyrical hero by analyzing Gogol's
literary views and reflections on the choice of the writer, about two types of
writers, about two types of portraits, about the language of the work of art,
about the choice of the main character.
The author shares his creative ideas with the reader: "And this is how this
strange plot was formed in the head of our hero, for which, I do not know
whether the readers will be grateful to him, and as the author is grateful, it is
difficult to express. For no matter what you say, this thought would not have
come to Chichikov's mind, this poem would not have been born." The author
talks to the reader about his positive ideal, talks about his attitude to Chichikov..

The author constantly communicates with the reader, and in relation to the
reader often there is irony, hidden under the desire to please. This is how Gogol
addresses the ladies-readers: "The ladies will not like him [Chichikov], this can
be said in the affirmative, because the ladies demand that the hero be decisive
perfection..." The author of the poem tries to predict the reader's attitude to the
main character, to present the possible reaction of the reader.

The author appears in his lyric-epic work and as a narrator. Some of his
statements connect individual episodes of the poem, play an important
compositional role: "...It's time for me to return to our heroes, who have been
standing for several minutes in front of the door of the living room, mutually
begging each other to move forward." Other statements of the author associate
individual episodes or lyrical digressions with the main narrative.

The ratio of lyrical and epic beginnings in the poem is a means of expressing
the author's position.

The generalizing digressions associated with the epic part reveal the author's
attitude to the heroes. The author's position is also expressed through
Chichikov's perception. Sometimes it is difficult to separate Chichikov's
thoughts from lyrical retreats.

Belinsky was twofold to Gogol's "pathos of subjectivity." He praised many

lyrical digressions. Let's say, about the sad share of the realist, who causes the
hatred of secular "black" with his works about the difficult situation of the
country. Or - retreats, remarks, remarks (like: "Eh, Russian people! He doesn't
like to die his own death!") In defense of the people. The critic called this kind
of author's reflections "humane subjectivity." At the same time, he rightly
doubted the possibility (stated already in the first volume of the poem) to find
real prototypes of "a man gifted with divine valor" and an equally ideal "girl":
"so much is promised that there is nowhere to take what to fulfill the promise."

We can't disagree with this judgment. Nevertheless, it is impossible not to take

into account the logic of the writer's creative search. After writing Volume I, he
felt the need to express his ideals in their entirety. Author's experiences at the
sight of social vices required a balanced depiction of harmonic relations. For
this purpose, the II volume of the poem is created7.
 Conclusion
So, the excited thought of his homeland led Gogol to abandon the original plan
of "Dead Souls" - the narrative of the "yabednik" and two or three "rogues". The
world recreated by the artist has greatly enlarged, his understanding has
deepened. Gogol couldn't be an indifferent "chronicler." He actively counteracts
evil. First of all, in your premonitions of the bright future. The thirst for
goodness, justice, beauty "hurries" the writer. This is the urge to combine an
objective image of the world with the author's search for the Beautiful.

The poem differs from lyrical works by a special, subjectively interested

attitude of the author to events and heroes, i.e. the lyricism of the image. More
often it is a poetic work of a large volume. About the poem as a genre of V. City
Belinsky wrote: "...there is a special kind of epic that does not allow the prose
of life, which covers only poetic, ideal moments of life and the content of which
is the deepest worldviews and moral issues of modern humanity. This kind of
epic alone kept the name of the "poem." These are all Byron's poems, some of
Pushkin's poems, as well as Lermontov's Demon, Mtsyri and Boyarin Orsha8.

Creativity of N. C Gogol marked a new stage in the development of realism.

The interpreter and theorist of this direction was the ideologist of revolutionary
democracy V. City Belinsky. He put forward the principle of nationality as the
leading requirement for realistic art. Belinsky found the people of literature not
in the description of "men's shoes and village sundresses", but in the reflection
of the fundamental interests of the people. Belinsky demanded that writers
criticize social phenomena that hindered the progressive development of the
country.

Working on the poem "Dead Souls," N. C Gogol sought to create a sharply

denouncing work and used satire for this purpose. Satire is a sharply negative
attitude of the author to the depicted characters, evil ridicule primarily of social
types. In the poem, social satire is combined with the "high lyrical movement"
of the author's thought.
 List of literature

1. Belinsky V.G. The com. in 9 vol. Vol 6. - Moscow: Thought, 1981. S. 273.

2.Obernikhina G.A. Literature of the first half of the XIX century.

Methodological recommendations. - Moscow: Publishing House of the Alta
Scientific and Pedagogical Society, 1996. S. 27.

3.Razumikhin A. "Dead Souls": Experience of modern reading // Literature. -

№8. - 2003.

4. Gogol N.V. Dead Souls / Author of the introductory article Antakolsky P. -

M.: Fiction, 1980. S. 2.

5. Gogol N.V. Dead Souls / Author of the introductory article Antakolsky P. -

M.: Fiction, 1980. S. 3.

6. Topic № 61. The image of the author in the poem by N.V. Gogol's "Dead
Souls": Preparing for the essay / Literature. - №7. - 2001.

7. Russian literature. Soviet literature. Reference materials. - Moscow: Thought,

1989. S. 63-65.

8. Belinsky V.G. The com. in 9 vol. Vol 6. - Moscow: Thought, 1981. S. 415