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Dead Souls

Nikolai Vasilevich Gogol

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Dead Souls | Nikolai Vasilevich Gogol

Dead Souls

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Dead Souls by Nikolai Gogol, Russian writer, is one of the most prominent works of 19th-century Russian literature. Gogol himself saw it as an “epic poem in prose”, and within the book as a “novel in verse”. Despite supposedly completing the trilogy’s second part, Gogol destroyed it shortly before his death. Although the novel ends in mid-sentence (like Sterne’s Sentimental Journey), it is usually regarded as complete in the extant form.

In Russia before the emancipation of the serfs in 1861, landowners were entitled to own serfs to farm their land. Serfs were for most purposes considered the property of the landowner, and could be bought, sold, or mortgaged against, as any other chattel. To count serfs (and people in general), the measure word “soul” was used: e.g., “six souls of serfs”. The plot of the novel relies on “dead souls” (i.e., “dead serfs”) which are still accounted for in property registers. On another level, the title refers to the “dead souls” of Gogol’s characters, all of which visualize different aspects of poshlost (an untranslatable Russian word which is perhaps best rendered as “self-satisfied inferiority”, moral and spiritual, with overtones of middle-class pretentiousness, fake significance, and philistinism). (Summary from Wikipedia.)
hue of the walls, and consorted well with the flowered pitchers painted on the shutters.

Ascending the narrow wooden staircase to the upper floor, and arriving upon a broad landing, Chichikov found himself confronted with a creaking door and a stout old woman in a striped print gown. "This way, if you please," she said. Within the apartment designated Chichikov encountered the old friends which one invariably finds in such roadside hostelries—to wit, a heavy samovar, four smooth, bescratched walls of white pine, a three-cornered press with cups and teapots, egg-cups of gilded china standing in front of ikons suspended by blue and red ribands, a cat lately delivered of a family, a mirror which gives one four eyes instead of two and a pancake for a face, and, beside the ikons, some bunches of herbs and carnations of such faded dustiness that, should one attempt to smell them, one is bound to burst out sneezing.

"Have you a sucking-pig?" Chichikov inquired of the landlady as she stood expectantly before him.

"Yes."

"And some horse-radish and sour cream?"

"Yes."

"Then serve them."

The landlady departed for the purpose, and returned with a plate, a napkin (the latter starched to the consistency of dried bark), a knife with a bone handle beginning to turn yellow, a two-pronged fork as thin as a wafer, and a salt-cellar incapable of being made to stand upright.

Following the accepted custom, our hero entered into conversation with the woman, and inquired whether she herself or a landlord kept the tavern; how much income the tavern brought in; whether her sons lived with her; whether the oldest was a bachelor or married; whom the eldest had taken to wife; whether the dowry had been large; whether the father-in-law had been satisfied, and whether the said father-in-law had not complained of receiving too small a present at the wedding. In short, Chic

Jon 11/01/2022
Another 'classic bucket list' book. As he buys dead souls in an attempt to help increase his social standing Pavel Ivanovich Chichikov represents the all too common association that is made between power, ethics and the law. The dead on the list are treated (by the law) better than they ever were wh

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