IMAGE OF THE ROAD IN THE POEM BY N.V. GOGOL "DEAD SOULS"
The roads are difficult, but worse without roads ...
The motive of the road in the poem is very multifaceted.
The image of the road is embodied in a direct, non-transferable meaning - this is a flat road along which Chichikov's spring chaise is gently riding ("The horses stirred and carried a light chaise like fluff"), then bumpy country roads, or even impassable mud, in which Chichikov falls out , getting to Korobochka ("The dust lying on the road quickly mixed into mud, and every minute it became harder for the horses to drag the chaise"). The road promises the traveler a variety of surprises: heading towards Sobakevich, Chichikov finds himself at Korobochka, and in front of the coachman Selifan “the roads spread in all directions, like caught crayfish ...”.
This motive gets a completely different meaning in the famous lyrical digression of the eleventh chapter: the road with the rushing chaise turns into the path along which Russia flies, "and, looking sideways, other peoples and states look back and give it a path."
In this motive - and the unknown paths of Russian national development: “Russia, where are you rushing, give an answer? Does not give an answer ", representing the opposition to the paths of other peoples:" What curved, deaf, narrow, impassable, leading far to the side of the road mankind chose ... "But it cannot be said that these are the very roads on which Chichikov got lost: those roads lead to to the Russian people, maybe in the backwoods, maybe into a hole where there are no moral principles, but nevertheless these roads make up Russia, Russia itself - and there is a great road leading a person into a huge space, absorbing a person, eating him all. Turning off one road, you find yourself on another, you cannot keep track of all the paths of Russia, just as you cannot collect the caught crayfish back into a bag. It is symbolic that the illiterate girl Pelageya, who does not know where is right or left, points the way to Chichikov from the backwaters of Korobochka. But, getting out of Korobochka, Chichikov gets to Nozdrev - the road leads Chichikov not to where he wants, but he cannot resist her, although he makes some plans of his own about the future path.
The image of the road embodies both the everyday path of the hero ("but for all that, his road was difficult ..."), and the creative path of the author: "And for a long time it has been determined for me by the wonderful power to go arm in arm with my strange heroes ..."
The road is also an assistant to Gogol in creating the composition of the poem, which then looks very rational: the exposition of the travel plot is given in the first chapter (Chichikov gets acquainted with officials and some landowners, receives invitations from them), then five chapters in which the landowners sit, and Chichikov goes from chapter to chapter in his chaise, buying up dead souls.
The main character's chaise is very important. Chichikov is the hero of the journey, and the chaise is his home. This subject detail, being undoubtedly one of the means of creating the image of Chichikov, plays a large plot role: there are many episodes and plot twists of the poem, which are motivated precisely by the chaise. Not only does Chichikov travels in it, that is, thanks to her, the plot of the journey becomes possible; the chaise also motivates the appearance of the characters of Selifan and the three horses; thanks to her, he manages to escape from Nozdryov (that is, the chaise helps Chichikov out); the chaise collides with the carriage of the governor's daughter and thus a lyrical motive is introduced, and at the end of the poem Chichikov even appears as the kidnapper of the governor's daughter. The chaise is a living character: she is endowed with her own will and sometimes disobeys Chichikov and Selifan, goes her own way and, at the end, dumps the rider into impassable mud - so the hero, against his will, gets to Korobochka, who meets him with gentle words: “Oh, father my, yes you have something like a hog, all back and side in the mud! Where did you get so greasy? In addition, the chaise seems to define the ring composition of the first volume: the poem opens with a conversation between two men about how strong the wheel of the chaise is, and ends with the breakage of that very wheel, which is why Chichikov has to stay in the city.
In creating the image of the road, not only the road itself plays a role, but also heroes, things and events. The road is the main canvas of the poem. Only on it all side plots are already sewn on top. As long as the road goes, life goes on; while life goes on, there is a story about this life.
With the publication of Gogol's satirical works, a critical trend in Russian realistic literature was strengthened. Gogol's realism is more saturated with accusatory, scourging force - this distinguishes him from his predecessors and contemporaries. Gogol's artistic method was called critical realism. New for Gogol is the sharpening of the main character traits of the hero; hyperbole - an exaggerated exaggeration that strengthens the impression - becomes a favorite technique of the writer. Gogol found that the plot of Dead Souls, suggested by Pushkin, is good because it gives him complete freedom to travel with the hero all over Russia and create a multitude of very diverse characters.
In the composition of the poem, it is necessary to emphasize the image of the road that runs through the entire poem, with the help of which the writer expresses his hatred of stagnation and striving forward. This image enhances the emotionality and dynamism of the entire poem.
The landscape helps the writer to tell about the place and time of the depicted events. The role of the road in the work is different: the landscape has a compositional meaning, it is the background against which events take place, it helps to understand and feel the feelings, state of mind and thoughts of the heroes. Through the theme of the road, the author expresses his point of view on events, as well as his attitude to nature and heroes.
Gogol captured the world of Russian nature in his work. His landscapes are distinguished by their artless beauty, vitality, and amaze with their amazing poetic vigilance and observation.
"Dead Souls" begins with a depiction of city life, with pictures of the city and bureaucratic society. Then there are five chapters describing Chichikov's trips to the landowners, and the action again moves to the city. Thus, five chapters of the poem are assigned to officials, five to landowners and one almost entirely to Chichikov's biography. All together, it presents a general picture of all of Russia with a huge number of characters of different positions and conditions, which Gogol snatches from the general mass and, showing some new side of life, disappear again.
The road in Dead Souls is of great importance. The author draws peasant fields, bad forests, poor pastures, neglected ponds, ruined huts. Painting a rural landscape, the writer speaks of peasant ruin more clearly and vividly than long descriptions and arguments could do.
In the novel, landscape sketches are also given, which have independent meaning, but are compositionally subordinate to the main idea of \u200b\u200bthe novel. In some cases, the landscape helps the writer to highlight the moods and experiences of his characters. In all these paintings, distinguished by realistic concreteness and poetry, one can feel the love of the writer for his native Russian nature and his ability to find the most suitable and accurate words for its depiction.
“As soon as the city went back, as they went to write, according to our custom, nonsense and game on both sides of the road: hummocks, spruce, low liquid bushes of young pines, burnt trunks of old ones, wild heather and similar nonsense ...” Gogol N V. Collected works: In 9 volumes / Comp. text and comments by V.A. Voropaev and V.V. Vinogradov. - M .: Russian book, 1994.
Pictures of Russian nature are often found in Dead Souls. Gogol, like Pushkin, loved Russian fields, forests, and steppes. Belinsky wrote about Pushkin's landscapes: “Wonderful nature was at his fingertips here, in Russia, on its flat and monotonous steppes, under its eternally gray sky, in its sad villages and its rich and poor cities. What was low for the former poets was noble for Pushkin: what was prose for them was poetry for him. Belinsky Look at Russian Literature in 1847. / History of Russian Literature. - M .: Education, 1984 ..
Gogol describes both sad villages, naked, dull, and the landowner's forest along the road, which "darkened with a kind of dull bluish color," and the lordly park on the Manilov estate, where "five or six birches in small kupami, in some places raised their small-leaved thin tops ". But the main landscape for Gogol is the views on the sides of the road, flashing before the traveler.
Nature is shown in the same tone with the depiction of folk life, evokes melancholy and sadness, surprises with immeasurable expanse; she lives with the people, as if sharing their plight.
“... the day was not that clear, not that gloomy, but some kind of light gray color, which happens only on the old uniforms of garrison soldiers, this, however, a peaceful army, but partly drunk on Sundays Gogol N.V. Collected works: In 9 volumes / Comp. text and comments by V.A. Voropaev and V.V. Vinogradov. - M .: Russian book, 1994.
“Gogol develops Pushkin’s principle of the connecting combination of words and phrases that are distant in their meaning, but with an unexpected convergence they form a contradictory and - at the same time - a single, complex, generalized and at the same time quite concrete image of a person, event,“ piece of reality ” , - writes about the language of "Dead Souls" VV Vinogradov. This connecting linkage of words is achieved by unmotivated and, as it were, ironically overturned, or alogical, by the use of connective particles and conjunctions. This is the addition of the words "partly drunk and peaceful army" to the main phrase about the weather; or in the description of officials: “their faces were full and round, some even had warts” Aksakov S. T. The story of my acquaintance with Gogol. // Gogol in the memoirs of his contemporaries. M .: Education, 1962 .-- p. 87 - 209.
"What twisted, deaf, narrow, impassable, leading far to the side of the road mankind chose, striving to achieve the eternal truth ..."
This lyrical digression about the "world chronicle of mankind", about delusions and the search for a road to truth, belongs to the few manifestations of conservative Christian thinking that had mastered Gogol by the time the last edition of Dead Souls was created. It first appeared in a manuscript, begun in 1840 and completed in early 1841, and stylistically revised several times, and Gogol did not change the main idea, seeking only its better expression and poetry of the language.
But the high pathetics of tone, the solemn vocabulary of biblical and Slavicisms ("khramina", "palaces", "meaning descending from heaven", "piercing finger", etc.) together with the artistic imagery of the picture "illuminated by the sun and illuminated by lights all night long" a wide and luxurious path and "twisted, deaf, narrow ... roads" along which erring mankind wandered, made it possible for the broadest generalization in understanding the whole world history, the "chronicle of humanity" Yu.M. Lotman, At the school of poetic word: Pushkin, Lermontov , Gogol. - M .: Education, 1988 ..
“Rus! Russia! I see you, from my wonderful beautiful far away I see you ... "
Gogol wrote almost the entire first volume of Dead Souls abroad, in the midst of the beautiful nature of Switzerland and Italy, in the midst of the noisy life of Paris. From there he saw Russia even more clearly with its hard and sad life.
Thoughts about Russia aroused Gogol's emotional excitement and poured out into lyrical digressions.
Gogol highly appreciated the writer's ability to lyricism, seeing in him a necessary quality of poetic talent. Gogol saw the spring of lyricism not in “tender”, but in “thick and strong strings ... of Russian nature” and defined “the highest state of lyricism” as “a firm rise in the light of reason, the supreme triumph of spiritual sobriety”. Thus, for Gogol, in the lyrical digression, it was primarily thought, idea, and not feeling, as was accepted by the poetics of past trends, which defined lyricism as an expression of feelings reaching delight.
Written by the beginning of 1841, a lyrical appeal to Russia reveals the idea of \u200b\u200bthe writer's civic duty to his homeland. In order to create a special language for the concluding pages of the first volume, Gogol struggled for a long time, carried out complex work that shows that changes in vocabulary and grammatical structure were associated with changes in the ideological content of the digression.
The first edition of the appeal to Russia: “Rus! Russia! I see you ... "- was this:
“Eh, you, my Rus ... my dull, riotous, free-spirited, wonderful, God kiss you, holy land! How not to be born in you of boundless thought, when you yourself endlessly? Can't you turn around on your wide open space? Can't there be a hero here when there is a place where he can walk? Where did so much of God's light unfold? My bottomless, depth and breadth you are mine! What moves, what speaks in me in unheard-of speeches, when I thrust my eyes into these immovable, unshakable seas, into these steppes that have lost their end?
Wow! ... how formidable and powerfully the stately space embraces me! what a vast strength and manners lie within me! How mighty thoughts carry me! Holy forces! into what distance, into what sparkling, unfamiliar land? What am I? - Eh, Russia! " Smirnova-Chikina E.S. Poem by N.V. Gogol "Dead Souls". - L: Education, 1974 .-- pp. 174-175.
This uncoordinated language did not satisfy Gogol. He removed the vernacular, part of the song sayings, added a description of the song as an expression of the strength and poetry of the people, as the voice of Russia. The number of Slavicisms and ancient words increased, there appeared "crowned with daring divas of art", "... a formidable cloud, heavy with the coming rains", "nothing will seduce and enchant the gaze" ". Gogol associated space not only with the enormous size of the territory of Russia, but also with the endless roads that “dotted” this space.
"What a strange and alluring, and carrying, and wonderful in the word: road!"
Gogol loved the road, long trips, fast driving, changing impressions. One of the enchanting lyrical digressions was dedicated by Gogol to the road. Gogol traveled a lot on steamships, trains, horses, "on the check-boxes", Yamskaya troikas and in stagecoaches. He saw Western Europe, Asia Minor, was passing through Greece and Turkey, traveled a lot in Russia.
The road had a soothing effect on Gogol, awakened his creative powers, was the artist's need, giving him the necessary impressions, setting him in a highly poetic mood. “My head and thoughts are better on the road ... My heart hears that God will help me to accomplish on the road all that for which the tools and forces in me have ripened until now,” Gogol wrote about the importance of the road for his work. by: Smirnova-Chikina E.S. Poem "Dead Souls" by NV Gogol. - L: Education, 1974 .-- p.-178.
The image of the "road", including the autobiographical features reflected in this digression, was closely related to the general idea of \u200b\u200bthe poem and served as a symbol of movement, a symbol of human life, moral improvement, a symbol of the life of a person who is "while on the road and at the station, and not at home. ".
In the X chapter of Dead Souls, Gogol showed the "worldwide chronicle of mankind", constant deviations from the "straight path", the search for it, "illuminated by the sun and illuminated all night with lights", accompanied by the invariable question: "Where is the exit? where is the road? "
The digression about the road is also associated with the image of Chichikov being on the road, wandering through the back streets of life in pursuit of the base goal of enrichment. According to Gogol's plan, Chichikov, unaware of this, is already moving along the path to the straight path of life. Therefore, the image of the road, movement ("horses are racing") is preceded by the biography of Chichikov, the hero of the poem, the awakening of each individual person and the whole of great Russia to a new wonderful life, which Gogol constantly dreamed of.
The text of the digression is a complex linguistic fusion. In it, along with Church Slavicisms ("heavenly forces", "god", "perishing", "cross of the village church", etc.) there are words of foreign origin: "appetite", "figure", "poetic dreams", and next there are also everyday, colloquial expressions: "you will snuggle closer and more comfortable", "glanders", "snoring", "alone", "a light is dawning", etc.
Concreteness, realism and accuracy in the description of the road continue Pushkin's traditions of purity and artlessness. Such are the poetically simple expressions: "clear day", "autumn leaves", "cold air" ... "Horses are racing" ... "Five stations ran back, the moon; unknown city "... This simple speech is complicated by enthusiastic lyrical exclamations that convey the author's personal feelings: after all, it is he who tells the reader about his love for the road:
“What a glorious cold! What a wonderful dream embracing you again! "
The inclusion of these exclamations gives a character of originality and novelty to the way of speech of the digression about the road.
A peculiar feature is the introduction of measured speech, representing the contamination of poetic dimensions. For example, “what a strange and alluring and bearing road in the word” - a combination of iambs and dactyls; or the lines “God! How good you are, sometimes a distant, distant road! How many times, like a perishing and drowning person, have I grabbed hold of you, and each time you generously endured and saved me ”- they represent almost correct choreic prose. This harmonization of the text enhances the artistic and emotional impact of the digression.
“Eh, three! bird three, who invented you? "
The symphony of lyrical digressions, "appeals", "angry praises" of Chapter XI ends with a solemn chord-appeal to the soul of the Russian people, who love fast forward movement, riding a flying bird-troika.
The symbol of the road and movement forward, familiar to Gogol, now addressed to the entire people, to all of Russia, evoked in the writer's soul a lyrical delight of love for the motherland, a sense of pride in her and confidence in the greatness of her future destinies.
The lyrical ending of Dead Souls with the likeness of Russia to the bird-three, written for the second edition (1841), was very slightly revised. The corrections concerned clarification of the meaning of sentences, grammatical and intonational structure. A question has been introduced - "whether not to love her", emphasizing a new meaning: "whether his soul ... not to love (fast driving)" - emphasis on the special character of the Russian person; “Whether not to love her” - the emphasis on the word “her”, which defines fast driving, an enthusiastic and wonderful forward movement. The three at the end of the poem is the logical conclusion of its entire content.
The motive of the road, path, movement appears more than once in the pages of the poem. This image is multi-layered and highly symbolic. The movement of the protagonist in space, his journey along the roads of Russia, meetings with landowners, officials, peasants and urban inhabitants form in front of us into a broad picture of the life of Russia.
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1 THE ROAD IN THE POEM BY NV GOGOL "DEAD SOULS" The presentation was made by the teacher of Russian language and literature MAOU "Secondary School No. 8" Nazarovo, Krasnoyarsk Territory Ovchinnikova OV
2 The motive of the road is central in creating the image of Russia. This image is multi-layered and highly symbolic. The poem was conceived by N. V. Gogol by analogy with the "Divine Comedy" by Dante A. "On the road! on the road! .. ”How does Gogol end one of the most heartfelt and philosophical lyrical digressions in the poem?
3 The movement of the protagonist of the poem along the roads of Russia forms a broad picture of the life of Russia. Almost all phenomena of Russian society pass before the eyes of Chichikov and the reader. The image of a tangled road, running in the wilderness, leading nowhere, only circling the traveler, is a symbol of a deceiving path, the unrighteous goals of the protagonist.
4 Next to Chichikov there is another traveler - the writer himself. Here are his remarks: "The hotel was ... of a certain kind ...", "the city was in no way inferior to other provincial cities" ... With these words, Gogol not only emphasizes the typicality of the depicted phenomena, but also makes us understand that the invisible hero, the author, too familiar with them.
5 The poor furnishings of the hotel, the receptions of city officials, and lucrative deals with the landlords are quite satisfactory for Chichikov, while the author is quite ironic. The flip side of Gogol's satire is the lyrical beginning, the desire to see a person as perfect, and the homeland as powerful and prosperous. Different heroes perceive the road differently.
6 Chichikov enjoys driving fast. “And what Russian doesn’t like to drive fast?”… Can admire a beautiful stranger… But more often he notes the “boosting power” of the pavement, enjoys a soft ride on a dirt road, or dozes. The magnificent landscapes that sweep before his eyes do not cause him special thoughts.
7 The author is also not deluded by what he sees: “Rus! Russia! I see you, from my wonderful, beautiful far away I see you: poor, scattered and uncomfortable in you ... nothing will seduce and enchant the eye. " But at the same time for him there is "something strange, and alluring, and carrying, and wonderful in the word: road!" For N. V. Gogol, the road is something more. The poem contains lyrical digressions expressing the author's poetry. Read them out. What is the road for N. V. Gogol?
8 For N. V. Gogol, the whole Russian soul, all its scope and fullness of life, is on the way "enthusiastic - wonderful". No matter how the slave nets bound the Russian soul, it still remains spiritually free. Thus, the road for Gogol is Russia. Where does the road lead, along which it rushes so that it can no longer be stopped: "Rus, where are you rushing?"
9 The real road along which Chichikov travels turns into the path of life for the author. "As for the author, in no case should he quarrel with his hero: there is still a lot of path and road they will have to walk together hand in hand ..." By this Gogol points to the symbolic unity of the two approaches to the road, their mutual complementarity and interconversion ...
10 Chichikov's road, passing through different corners and nooks of the N-province, as if emphasizes his vain and false life path. While the path of the author, which he takes together with Chichikov, symbolizes the harsh and thorny, but glorious path of the writer, preaching "love with the hostile word of negation." The real road in Dead Souls, with its bumps, bumps, mud, barriers, unrepaired bridges, grows to a symbol of "immensely rushing life", a symbol of Russia's historical path.
11 And now, instead of the Chichikov troika, a generalized image of the bird-troika arises, which is replaced by the image of rushing, "inspired by God" Russia. This time she is on her true path, which is why the filthy Chichikovsky crew was transformed into a bird-three - a symbol of the free Russia, which has acquired a living soul.
The theme of Russia and its future has always worried writers and poets. Many of them tried to predict the fate of Russia and explain the situation in the country. So N. V. Gogol reflected in his works the most important features of the era contemporary to the writer - the era of the crisis of serfdom.
The poem by N. V. Gogol "Dead Souls" is a work not only about the present and future of Russia, contemporary to the writer, but about the fate of Russia in general, about its place in the world. The author tries to analyze the life of our country in the thirties of the nineteenth century and concludes that the people who are responsible for the fate of Russia are dead souls. This is one of the meanings that the author put into the title of the poem.
Initially, the author's idea was to "show at least from one side all of Russia", but later the idea changed and Gogol wrote: "All Russia will be reflected in him (in the work)." An important role for understanding the concept of the poem is played by the image of the road, which is associated, first of all, with the composition of "Dead Souls". The poem begins with the image of the road: the main character Chichikov arrives in the city of NN - and ends with him: Pavel Ivanovich is forced to leave the provincial town. While in the city, Chichikov makes two circles: first he goes around the officials to pay their respects to them, and then the landlords in order to directly carry out the scam that he conceived - to buy up dead souls. Thus, the road helps Gogol to show the entire panorama of Russia, and bureaucratic, and landlord, and peasant, and draw the attention of readers to the state of affairs in the country.
Gogol creates the image of a provincial town, displaying a whole line of officials in the text of the work. Chichikov considers it his duty to visit all the "powerful of this world." Thus, he makes a small circle around the city, the author once again emphasizes the importance of the image of the road for understanding the meaning of the work. The writer wants to say that Pavel Ivanovich feels like a fish in water among officials. It is no coincidence that those in power take him for their own and immediately invite him to visit. So Chichikov gets to the ball to the governor.
Describing officials, Gogol draws the attention of readers that none of them fulfills their direct mission, that is, they do not care about the fate of Russia. For example, the governor, the main person in the city, arranges balls, cares about his social status, because he is proud of having Anna around his neck, and even embroiders on tulle. However, nowhere is it said that he is doing something for the well-being of his city. The same can be said about the rest of the authorities. The effect is enhanced by the fact that there are a great many officials in the city.
Of all the types of landowners created by Gogol, there is not one behind whom one could see the future. The heroes presented in the poem are not alike, and at the same time, individual typical features of the Russian landowner appear in each of them: stinginess, idleness and spiritual emptiness. The most prominent representatives are Sobakevich and Plyushkin. The landowner Sobakevich symbolizes the gloomy serf lifestyle, he is a cynical and rude person. Everything around him looks like him: a rich village, an interior and even a thrush sitting in a cage. Sobakevich is hostile to everything new, he hates the very idea of \u200b\u200b"enlightenment". The author compares him to a "medium-sized bear", while Chichikov calls Sobakevich a "fist."
Another landowner, Plyushkin, is not so much a comic figure as a tragic one. In the description of his village, the key word is "neglect".
The poem "Dead Souls" is a brilliant satire on feudal Russia. But fate has no mercy for the One whose noble genius Became the denouncer of the crowd, Her passions and delusions. Creativity N.V., Gogol is multifaceted and diverse. The writer has a talent ...
Chichikov is the main character of the poem, he is found in all chapters. It is he who owns the idea of \u200b\u200ba scam with dead souls, it is he who travels around Russia, meeting with a variety of characters and getting into a variety of situations. Characteristic of Chichikov ...
Each time has its own heroes. They determine his face, character, principles, ethical guidelines. With the advent of Dead Souls, a new hero entered Russian literature, unlike his predecessors. Elusive, slippery is felt in the description of his appearance ...
The poem "Dead Souls" cannot be imagined without "lyrical digressions". They so organically entered the structure of the work that we can no longer imagine it without these magnificent author's monologues. Thanks to "lyrical digressions" we constantly feel ...
\u003e Compositions based on Dead Souls
Road image
Nikolai Gogol's poem "Dead Souls" is considered one of the author's best works and occupies a worthy place in Russian literature of the 19th century. This work has a deep meaning and reveals several pressing topics at once. The author was able to masterfully show Russia of that period and the last days of serfdom. The theme of the road occupies a special place in the work. The main character, Pavel Ivanovich Chichikov, travels from city to city in search of "sellers" of dead souls. It is through the movement of the protagonist on the roads that a broad picture of life in Russia is formed.
The poem begins and ends with the road. However, if at first Chichikov enters the city with the hopes of getting rich soon, then in the end he runs away from it in order to save his reputation. The theme of the road is extremely important in the work. For the author, the road is the personification of life, movement and inner development. The road along which the main character rides smoothly turns into the road of life. When he wanders along tangled roads that run in the wilderness, sometimes leading nowhere, it symbolizes the deceptive path that he has chosen to enrich himself.
The work contains a remarkable phrase that the landowner Korobochka drops and that reveals the essence of the road. When Chichikov asks her how to get to the main road, she replies that it is not surprising to explain, but there are many turns. These phrases have a symbolic meaning. The reader, together with the author, is invited to think about how to get to the "high road" of life. And then the answer sounds that you can get there, only there will be many obstacles and difficulties on the way. Thus, during the following chapters, the author acts as a guide and leads his hero along the tangled roads from one estate to another.
The final chapter is followed by a lyrical digression about the roads of Russia. This is a kind of hymn to the movement, in which Russia is compared with a rushing troika. In this digression, the author intertwines his two favorite themes: the theme of the road and the theme of Russia. It reveals the meaning of the country's historical movement. For the author, it is in the road that the entire Russian soul, its scope and fullness of life, lies. Thus, the road in the work is Russia itself. It should lead the country to a better, brighter future. Moreover, it must revive a society entangled in the contradictions of life.
