Dead Souls, Satire in N. Gogol's poem “Dead Souls. Satirical techniques for depicting landowners in N.V. Gogol's poem "Dead Souls"

1. The meaning of the poem " Dead Souls».
2. Irony and satire in the work.
3. Image of landowners.
4. Satire in the image of officials.
5. Irony in the image of the common people.

"Dead Souls" is a case history written by the hand of a master.
A. I. Herzen

"Dead Souls" by N.V. Gogol is an immortal satirical work of Russian literature. However, this sharp and funny poem does not lead to joyful and cheerful thoughts. A feature of Gogol's talent is that he easily, harmoniously and subtly combined the tragic and comic beginnings in his works. That is why the comedic and satirical moments of the work only set off the general tragedy of the picture of life in Russia at the beginning of the 19th century. Satire dominates the text of the poem, and for the reason that the author considered it the most in an efficient way fight against social vices and shortcomings. How much this satire helped in the framework of the restructuring of Russia is not up to us to decide.

The general picture of the life of Russians, full of irony and light mockery, begins already with a description of the city in which Pavel Ivanovich Chichikov arrives. Here are houses, lost against the backdrop of vast expanses of streets, and half-erased, half-washed away by rain signs with ridiculous boots and bagels, with the only surviving inscription: "Foreigner Vasily Fedorov." The description of the city is detailed and full of subtle but important details. It gives an idea of ​​the life and customs of its inhabitants. For example, it turns out that non-residents are alien to lies. So, after the scene in which Chichikov is walking through the garden, where the trees have just been planted and they are no taller than a cane, the hero comes across a note in the local newspaper, where there is a message about the appearance of a garden consisting of "shady broad-leaved trees." The pathos and pathos of these lines only emphasize the squalor of the real picture of what is happening in the city, where a traveler for just a couple of rubles a day can get “a quiet room with cockroaches peeking out like prunes from all corners” or have a bite to eat in the dining room with a two-week-old dish.

In the same spirit of rather evil irony, landowners and bureaucrats are depicted. So Manilov is called “very courteous and courteous, and these are his favorite words, the very characteristics that he so lacks. By the sweetness of his eyes, his eyes are compared to sugar, causing the reader to associate with nasty cloying. Sobakevich's appearance is not accidentally correlated with a bear - through this image, the author brings the character closer to an animal devoid of aesthetic and spiritual principles. And the interior of Sobakevich's office is described in such a way as to set off the main characteristics of the owner: "Table, armchairs, chairs - everything was of the most difficult and restless quality." Nozdryov becomes ridiculous in the eyes of the reader after the phrase calling people like him good comrades is followed by the following line: "... for all that, they are very painfully beaten."

In addition to irony, rather angry and sharp, the text of the work is also full of comedic situations where laughter becomes softer and less evil. Many readers must have remembered the scene of how Manilov and Chichikov could not enter the room for several minutes, persistently giving each other the right to be the first to cross the threshold of the room. The scene of Chichikov's visit to Korobochka is also interesting for consideration, where in the dialogue between the cudgel-headed Nastasya and the cunning businessman Korobochka's confusion, her stupidity and stupidity, and amazing housekeeping are alternately manifested.

However, not only landlords and officials are satirically depicted in the work. The depiction of peasant life is also associated with satire. The situation connected with the coachman Selifan and the yard girl Pelageya, who explains the way, but does not distinguish between right and left, is amusing. This laconic passage will tell the reader a lot about general level illiteracy among the common people, about darkness and underdevelopment - the natural consequences of a long stay in a state of serfdom. The same motifs are visible in the episode with Uncle Mityai and Uncle Minyay, who, having rushed to sort out the horses, got tangled in the lines. Even the serf Chichikov Petrushka, a man who is considered educated, looks like a living laughingstock, since all his learning lies only in the ability to put words out of letters, without thinking too much about their meaning.

By means of sarcasm, such features characteristic of the landowners of that time as bribery, embezzlement of public funds, dishonesty, squalor of interests are distinguished through sarcasm. Hence the thought for reflection: will such people benefit the state by occupying high positions in the bureaucracy?

In the image of perhaps the most disgusting character in the work, Plyushkin, the grotesque is widely used. Plyushkin is the last degree of degradation, which consists in the complete necrosis of the soul. Even appearance begins to succumb to the spiritual crisis of the hero, because his belonging to a certain gender becomes more and more difficult. The fate of children and grandchildren is indifferent to him. And he himself abstracted from the surrounding world behind the high wall of his own egoism. All emotions and feelings were forever wiped out of his soul, leaving only boundless, impossible stinginess. And this hero is the most terrible example of the crime of an official against his people and state.

The many-sided evil, picturesquely depicted by Gogol in the poem Dead Souls, convinces the reader that the main problem and the main disease that infected the body of Russia was serfdom, which acted equally mercilessly both against those in power and against ordinary peasants.

Indicate the main techniques of satirical depiction that N.V. Gogol uses in Dead Souls, and who among the Russian writers of the 19th-20th centuries is the successor of his traditions.

Read the text fragment below and complete tasks B1-B7; C1-C2.

It would be necessary to describe the office rooms through which our heroes passed, but the author has a strong timidity towards all public places. If he happened to pass them even in a brilliant and ennobled form, with varnished floors and tables, he tried to run as quickly as possible, humbly lowering and lowering his eyes to the ground, and therefore he does not know at all how everything prospers and flourishes there. Our heroes saw a lot of paper, both rough and white, bent heads, wide necks, tailcoats, coats of provincial cut, and even just some kind of light gray jacket, which came off very abruptly, which, turning its head to one side and laying it almost on the very paper, briskly and boldly wrote out some kind of protocol on the withdrawal of land or a typo of an estate seized by some peaceful landowner, peacefully living out his life under the court, having made himself and children and grandchildren under his protection, but short expressions were heard in fits and starts, uttered in a hoarse voice: Lend me Fedosey Fedoseevich, little business No. 368!” - “You always drag a cork from a state-owned inkwell somewhere!” Sometimes a more majestic voice, no doubt one of the bosses, was heard imperatively: “Here, rewrite! otherwise they will take off their boots and you will sit with me for six days without eating. The noise from the feathers was great and looked like several wagons with brushwood were passing through a forest littered a quarter of an arshin with withered leaves.

Chichikov and Manilov went up to the first table, where two young officials were sitting, and asked:

May I know where the affairs of the fortresses are here?

What do you need? - said both officials, turning around.

And I need to apply.

And what did you buy?

I would like to know first where the fortress table is, here or somewhere else?

Yes, tell me first what you bought and at what price, then we will tell you where, otherwise you can’t know.

Chichikov immediately saw that the officials were simply curious, like all young officials, and wanted to give more weight and significance to themselves and their occupations.

Listen, my dears, - he said, - I know very well that all the affairs of the fortresses, no matter the price, are in one place, and therefore I ask you to show us the table, and if you do not know what is being done so we ask others.

The officials did not answer this, one of them only pointed his finger at the corner of the room, where an old man was sitting at the table, rewriting some papers. Chichikov and Manilov walked between the tables straight to him. The old man was very attentive.

Allow me to inquire, - said Chichikov with a bow, - is there business on the fortresses here?

The old man raised his eyes and said in a slow voice:

There are no cases of fortresses here.

Where is it?

This is in the fortress expedition.

And where is the fortress expedition?

This is Ivan Antonovich's.

And where is Ivan Antonovich?

The old man pointed to another corner of the room. Chichikov and Manilov went to Ivan Antonovich.

Chichikov, taking a piece of paper out of his pocket, placed it in front of Ivan Antonovich, which he did not notice at all and immediately covered it with a book. Chichikov was about to point it out to him, but Ivan Antonovich indicated with a movement of his head that it was not necessary to show it.

“Here, he will lead you into the presence!” said Ivan Antonovich, nodding his head, and one of the priests, who were right there, made sacrifices to Themis with such zeal that both sleeves burst at the elbows and the lining had long climbed out, for which in his time received a collegiate registrar, served our friends as Virgil once served Dante, and led them into the presence room, where there were only wide chairs, and in them, in front of the table behind a mirror and two thick books, sat alone, like the sun, the chairman. At this point, the new Virgil felt such reverence that he did not dare to put his foot there and turned back, showing his back, worn out like a matting, with a chicken feather stuck somewhere. Entering the hall of presence, they saw that the chairman was not alone; Sobakevich was sitting next to him, completely eclipsed by the mirror. The arrival of the guests made an exclamation, government chairs were pushed back noisily. Sobakevich also got up from his chair and became visible from all sides with his long sleeves. The chairman took Chichikov into his arms, and the room of presence resounded with kisses; asked each other about health; it turned out that both had lower back pain, which was immediately attributed to a sedentary life.

H. B. Gogol "Dead Souls"

Explanation.

To depict bureaucracy in his poem, N.V. Gogol uses satire. In Dead Souls, none of the officials has a last name, but only a rank, first name and patronymic. Gogol, using the techniques of the grotesque, ironically over the heroes, shows that officials are, in fact, useless, stupid, envious, and sometimes cowardly people who are ready to even betray their colleagues if we are talking about a career, sometimes they don’t even look like people. “Our heroes saw ... even just a light gray jacket ... which, turning its head to one side and resting its elbows on the very paper, wrote out some protocol smartly and sweepingly.” This is one of the techniques of the satirical image - the grotesque. Gogol also resorts to the use of hyperbole to reveal the full depth of ignorance, historical limitations, inexpressiveness of the bureaucratic world. So, officials compare Chichikov with Napoleon; the prosecutor in "Dead Souls" dies from the first strain, and his death is an important key link in the portrayal of officials.

Dostoevsky and Chekhov continued Gogol's traditions in portraying bureaucracy. In Chekhov's stories and Dostoevsky's stories, the meager inner world of Russian bureaucracy is exposed with new force. Chekhov's story "The Death of an Official" shows an insignificant creature, completely devoid of feeling dignity, pathetic.

In Dostoevsky's Poor Folk, the petty official Devushkin in the service is afraid of the looks of his colleagues and does not dare to take his eyes off the table. The hero is always afraid that he is being watched and hunted down, he sees enemies everywhere. He is painfully afraid of people, imagines himself a victim, and therefore is not able to communicate with others on an equal footing.

So, gradually, from the impersonal officials of Gogol, new images grow in the work of his followers.

Satire is a special way of depicting the negative phenomena of life, the vices and shortcomings of people. The negative can be depicted not only in satirical works - it is enough to recall, for example, “Journey from St. Petersburg to Moscow” by A. N. Radishchev, “The Village” by A. S. Pushkin, “Duma” by M. Yu. Lermont and many others. But in a satirical work, vices are not only depicted and condemned, but also angrily, sharply ridiculed. Laughter is the main weapon of satire, a sharp and powerful weapon. “Laughter,” wrote A. V. Lunacharsky, “delivers painful blows to the enemy, makes him lose confidence in his own strength and, in any case, makes the opponent’s impotence obvious in the eyes of witnesses. Sharply ridiculing, scourging evil, the satirist, thereby makes the reader feel his positive ideal, awakens a craving for this ideal. “Satire,” wrote V. G. Belinsky, “should be understood not as the innocent scoffing of cheerful wits, but as a thunder of indignation, a thunderstorm of the spirit, offended by the shame of society.”

But in life there are also such phenomena that cause a kind smile, friendly banter. We both laugh and sympathize with those we are joking with. This is humor, a kind, good-natured smile. It should be canceled that traditionally, humor is achieved by a calm, objective narration, a certain selection of facts, figurative means - epithet, metaphors, comparisons, and so on.

Irony is one of the types of humor. It's a subtle, underhand mockery. An ironic meaning is achieved, for example, by an exaggeratedly enthusiastic definition of such qualities, or phenomena, or actions, which in fact are worthy of only censure; irony also sounds in the praise of precisely those qualities that the one who is praised does not actually have. One of clear examples irony - the author's characterization of Uncle Onegin: "The old man, having many things to do, did not look at other books" (and all his affairs - "for forty years he scolded the housekeeper, looked out the window and crushed flies").

A caustic, caustic mockery, which contains a feeling of anger, hatred, is called sarcasm. “Satire,” Lunacharsky wrote, “can be brought to an extreme degree of viciousness, which makes laughter poisonous, biting.” Sarcastic laughter can be heard, for example, in Chatsky's monologues. Poems, stories, poems, novels can be satirical, but there are also special types satirical works - fable, parody, epigram, feuilleton

There are many funny situations in the poem, in which the characters fall not due to the production of the author, but according to the properties of their character.

The comical nature of situations, based on life's certainty, is a feature of a satirical work.

Portrait of Manilov accompanied by the author's ironic assessments: "he was a prominent person" - but only "at a glance"; pleasant facial features - but "too much transferred to sugar"; smiled temptingly. blonde hair and Blue eyes complete the impression of sugary to disgust sweetness. The speech of the characters of a satirical work frankly comically expresses their character. Belinsky wrote that Gogol's heroes “are not his invention, they are not funny at his whim; the poet is strictly faithful to reality in them. And every person speaks and acts to him in the environment of his life, his character and the circumstances under the influence of which he is.

Funny, when Manilov speaks of city officials as the most beautiful and worthy people, and Sobakevich calls the same people swindlers and Christ-sellers. It is funny when Chichikov, trying to get into the tone of Sobakevich, dodges, wants to please the landowner, but he does not succeed in this. It is funny when, as proof of the mind and erudition of the chief of police, Chichikov unexpectedly says: “We lost at his whist together with the prosecutor and the chairman of the chamber until the very last cocks. A very, very worthy person!” And at the same time, everything is organic for this particular character.

It was in satire that hyperbole (exaggeration) received the greatest distribution. Gogol makes extensive use of the ϶ᴛόᴛ method so that the disgusting features of the "masters of life" appear more clearly and prominently.

So, the techniques for creating a satirical canvas are the same as in a non-satiric work: the lifeblood of the plot, portrait, descriptions, dialogues (speech actors); the same figurative and expressive means: epithets, metaphors, comparisons, etc. But there is a significant difference - in order to use these techniques and means, in the pronounced comic of a satirical work.

While doing the work, pay attention to these features of Gogol's humor and satire. How do you determine the typicality of landowners - Korobochka, Nozdryov, Sobakevich, Plyushkin?

Page 1 from 1

Features of Twain's satire (According to the story "How I edited an agricultural newspaper") America and its people in the mirror of M. Twain's satire. Features of Twain's satire (According to the story "How I edited an agricultural newspaper") 1. The comical nature of the situation described in the story. 2. A satirical image of the characters in the story ....

The poem "Village" refers to the early works of Pushkin and is an example of the freedom-loving lyrics of the poet. After graduating from the lyceum, young Pushkin moved in with his parents in a house on the Fontanka and plunged headlong into the bustling metropolitan life. Everything was interesting to the young poet: balls, friendly gatherings, theater and, of course, poetry. In Pushkin's poems of that time - youth, love, friendship and ideas of freedom. He is the author of the ode "Liberty", the author of accusatory epigrams. Already in the first years, Pushkin established himself as a singer of freedom and an opponent of autocracy. ...

Works on Literature: Techniques and Means of Satire in the Tales of M. E. Saltykov-Shchedrin The fairy tales of M. E. Saltykov-Shchedrin served him as a roundabout way with which he could deceive censorship. Expressing his ideas in an allegorical, allegorical form, the author could freely speak about what he thinks without fear that his works would be considered sedition. Words in fairy tales are veiled so that any more or less literate reader will be able to read what is written between the lines. And fairy tales were just intended for "children of a fair age." Ordinary child simply will not penetrate the meaning of Saltykov's fairy tales and is unlikely to be interested in them ....

An epithet is a figurative definition that gives an artistic description of a phenomenon or object. An epithet is a comparison and can be expressed as an adjective, as well as a noun, a verb or an adverb. An epithet is a vivid figurative definition, for example: Golden autumn, blue sea, snow-white winter, velvet skin, crystal ringing....

Arrow. An arrow fired from a bow can fly straight, or it can evade, depending on the accuracy of the archer. How strange that if the arrow hits the target, it is due to the accuracy of the arrow, but if it flies past the target, curses fall on the Arrow. El Ghazali. Beggar. The beggar knocked on the door and asked for alms. A voice from behind the door replied, "I'm sorry, but no one is home." “But I don’t need anyone,” said the beggar, “I ask for bread.”

Aug 20 2010

Gogol created his works in those historical conditions that developed in Russia after the failure of the first revolutionary uprising - the Decembrist uprising of 1825. The new socio-political situation posed new tasks for the figures of Russian social thought and literature, which were deeply reflected in Gogol. Turning to the most important public issues of his time, went further along the path of realism, which was discovered by Pushkin and Griboyedov. Developing the principles of critical realism, Gogol became one of the greatest representatives of this trend in Russian. As Belinsky notes, "Gogol was the first to look boldly and directly at Russian reality."

One of the main themes in Gogol's work is the Russian landlord class, the Russian nobility as the ruling class, its fate and role in public life. It is characteristic that Gogol's main way of depicting landowners is satire. The images of the landlords reflect the process of gradual degradation of this class, revealing all its vices and shortcomings. Gogol's satire is colored with irony and "hit right on the forehead." Irony helped the writer talk about what it was impossible to talk about under censorship conditions. Gogol's laughter seems good-natured, but he spares no one, each phrase has a deep, hidden meaning, subtext. Irony is a characteristic element of Gogol's satire. It is present not only in the author's speech, but also in the speech of the characters. Irony - one of the essential features of Gogol's poetics - gives the narrative greater realism, becoming artistic medium critical analysis reality.

In the largest work of Gogol - the poem "Dead Souls" the images of the landowners are given in the most complete and multifaceted way. The poem is built as the adventures of Chichikov, an official who buys up "dead souls". The composition of the poem allowed the author to tell about different landowners and their villages. Characteristics various types Almost half of the first volume of the poem is devoted to Russian landowners (five chapters out of eleven). Gogol creates five characters, five portraits that are so different from each other, and at the same time, typical features of a Russian landowner appear in each of them.

Our acquaintance begins with Manilov and ends with Plyushkin. This sequence has its own logic: from one landowner to another, the process of impoverishment deepens. human personality, an ever more terrible picture of the disintegration of feudal society is unfolding.

Opens the portrait gallery of the Manilov landowners. Already in the name itself, his character is manifested. The description begins with a picture of the village of Manilovka, which "could not lure many with its location." With irony he describes the master's courtyard, with a claim to "an English garden with an overgrown pond", thin bushes and with a pale inscription: "Temple of solitary reflection." Speaking of Manilov, the author exclaims: "God alone could tell what Manilov's character was." He is kind by nature, polite, courteous, but all this has taken ugly forms with him. Manilov is beautiful-hearted and sentimental to the point of cloying. Relations between people seem to him idyllic and festive. Manilov does not know life at all, reality is replaced by his empty fantasy. He likes to think and dream, sometimes even about things that are useful for the peasants. But his projecting is far from the demands of life. He does not know about the real needs of the peasants and never thinks about it. Manilov fancies himself a bearer of spiritual culture. Once in the army, he was considered the most educated person. Ironically, the author speaks about the atmosphere of Manilov's house, in which "something was always missing", about his sugary relationship with his wife. At the moment of talking about dead souls, Manilov is compared with a too smart minister. Here, Gogol's irony, as it were, inadvertently intrudes into a forbidden area. Comparing Manilov with a minister means that the latter is not so different from this landowner, and "Manilovism" is a typical phenomenon of this vulgar world.

The third chapter of the poem is devoted to the image of the Box, which Gogol refers to those "small landowners who complain about crop failures, losses and keep their heads somewhat to one side, and meanwhile they collect a little money in colorful bags placed on chest of drawers." This money is obtained from the sale of a wide variety of subsistence products. Korobochka understood the benefits of trading and after much persuasion agrees to sell such an unusual product as dead souls. The author is ironic in describing the dialogue between Chichikov and Korobochka. The "cudgel-headed" landowner for a long time cannot understand what they want from her, infuriates Chichikov, and then bargains for a long time, afraid "just not to miscalculate." Korobochka's horizons and interests do not go beyond the boundaries of her estate. The economy and all its life are patriarchal in nature.

Gogol draws a completely different form of decomposition of the nobility in the image of Nozdryov (Chapter IV). This is a typical "jack of all trades". There was something open, direct, daring in his face. It is characterized by a kind of "breadth of nature." As the author ironically notes, "Nozdryov was in some respects a historical person." Not a single meeting he attended was without stories! Nozdryov, with a light heart, loses a lot of money at cards, beats a simpleton at the fair and immediately “squanders” all the money. Nozdrev is a master of "pouring bullets", he is a reckless braggart and an utter liar. Nozdryov behaves defiantly everywhere, even aggressively. Speech is saturated swear words, while he has a passion "to spoil his neighbor." In the image of Nozdrev, Gogol created a new socio-psychological type of “nozdrevshchina” in Russian literature.

When describing Sobakevich, the author's satire becomes more accusatory (Chapter V of the poem). He bears little resemblance to the previous landowners: he is a “landowner-fist”, a cunning, tight-fisted merchant. He is alien to the dreamy complacency of Manilov, the violent extravagance of Nozdryov, the hoarding of Korobochka. He is taciturn, has an iron grip, has a mind of his own, and there are few people who would be able to deceive him. Everything is solid and strong. Gogol finds a reflection of the character of a person in all the surrounding things of his life. Everything in Sobakevich's house was surprisingly reminiscent of himself. Each thing seemed to say: "And I, too, Sobakevich." Gogol draws a figure striking in its rudeness. To Chichikov, he seemed very similar "to a medium-sized bear." Sobakevich is a cynic who is not ashamed of moral deformity either in himself or in others. This is a man who is far from enlightenment, a die-hard feudal lord who cares about the peasants only as labor force. It is characteristic that, except for Sobakevich, no one understood the essence of the “scoundrel” Chichikov, and he perfectly understood the essence of the proposal, which reflects the spirit of the times: everything is subject to sale and purchase, one should benefit from everything.

Chapter VI of the poem is dedicated to Plyushkin, whose name has become a household name to denote stinginess and moral degradation. This becomes the last step in the degeneration of the landlord class. The reader's acquaintance with the character Gogol begins, as usual, with a description of the village and the estate of the landowner. On all the buildings, “some special dilapidation” was noticeable. The writer paints a picture of the complete ruin of the once rich landlord economy. The reason for this is not the extravagance and idleness of the landowner, but painful stinginess. This is an evil satire on the landowner, who has become "a hole in humanity." - The owner himself is a sexless creature resembling a housekeeper. This hero does not cause laughter, but only bitter regret.

So, the five characters created by Gogol in "Dead Souls" depict the state of the noble-serf class in many ways. Manilov, Korobochka, Nozdrev, Soba-kevich, Plushkin - all this various forms one phenomenon - economic, social, spiritual decline class of landowners.

Satirical methods of depicting landlords in N.V. Gogol's poem "Dead Souls". Verification work on the work of Gogol N . V. in the 9th grade.

“I was going to create something that no one had ever created before. "Dead Souls" will become the great work that Pushkin bequeathed to me to write. A work about people without a soul and about death human souls”, - admitted N.V. Gogol.

“My heroes follow one after another, one more vulgar than the other,” wrote Gogol. In critical literature, it is believed that the writer arranged the chapters from the poem according to the principle of growth negative traits heroes. From this point of view, Plyushkin is the completion of the gallery of "dead souls" portrayed by Gogol.

Literary critic V. Zenkovsky wrote: “Reading the poem, you saw how Gogol characterizes his heroes through appearance, through things, objects of the world around him, emphasizing their lack of spirituality, primitive feelings and thoughts. But the writer wants to get to the image of the human type - and on this path, Gogol's work approaches the highest creations of literature.

1. To which of the heroes of the poem do the given characteristics correspond?

a) "The landowner is still not quite an elderly person, who had eyes as sweet as sugar"

b) “Little by little they collect money in colorful bags placed in the drawers of chests of drawers. All the clerks are taken into one bag, fifty dollars into another, and quarters into the third.

c) “He was of medium height, very well-built fellow, with full ruddy cheeks, teeth white as snow, sideburns black as pitch”

d) “This time he seemed to him like a medium-sized bear ... to complete the resemblance, the tailcoat on him was completely bearish in color, the sleeves were long, the pantaloons were long. With his feet he stepped at random and stepped incessantly on other people's feet.

e) “For a long time he could not see what gender the figure was. The dress on her was completely indefinite, similar to a woman's hood, a cap on her head ... "

2. Determine the landowner by interior details.

a) “The manor’s house stood alone in the south, open to all the winds. The slope of the mountain was dressed in trimmed turf. Two or three flower beds were scattered on it .. A gazebo with blue columns and the inscription: “Temple of Solitary Reflection” was visible.

b) “The room was hung with old striped wallpaper; pictures with some birds, mirrors with dark frames ... behind every mirror there was either a letter, or an old deck of cards, or a stocking"

c) “I saw ahead wooden house with a mezzanine, a red roof ... and wild walls - a house among those that we are building for military settlements and German colonists.

d) “He stepped into the dark wide walls, from which a cold blew, like from a cellar. 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.

e) “Only sabers and guns hung in the office.”

3. Which of the heroes-landlords characterizes:

a) Dreaminess, projectionism, spinelessness, sentimentality.

b) Cudgel-headedness, petty troublesomeness, ignorance.

c) Kulaks, misanthropy, obscurantism, rudeness.

d) Carelessness, boasting, fair heroism.

e) Unreasonable hoarding, heartlessness, stinginess.

4. By speech characteristic identify the hero of the story.

a) “Is it necessary to rub your back”, “scratch your heels for the night”, “my inexperienced business”, “what kind of zabranka you are trying to do”.

b) “Blowed to ashes”, “lost everything”, “squandered”, “did it”, “provincial misers”, “zhidomor”, “fituk”.

c) “Fool, what light did not produce”, “the first robber in the world”, “swindler”, “sloppy cook”, “slop tub”.

d) “The most beautiful person”, “a pleasant person”, “name day of the heart”.

e) “They started an unpleasant custom to visit each other”,

"glorious liquor".

« historical man» "Cudgelhead" heroine

Satirical methods of depicting landowners in the poem

N.V. Gogol "Dead Souls"

Checklist

"Historical Man"

Nozdryov "Cudgel-headed" heroine

1 c, 2 a, 3 a, 4 b

1 b, 2 b, 3 b, 4 a

Satirical techniques for depicting landowners in N.V. Gogol's poem "Dead Souls"

Neither in the city of Bogdan, nor in the village of Selifan

Manilov

1 a, 2 a, 3 a, 4 d

Who is a fist, he will not straighten into the palm of the tear on humanity

Sobakevich

1 g, in, 3 in, 4 in Plushkin

1 d, 2 g, 3 d, 4 d