Features of the compositional structure of Gogol's comedy The Inspector General. Plot and compositional features of N.V.’s comedy

UMK ed. V. Ya. Korovina; Literature 8th grade.

Goal: to develop skills in text analysis, highlighting compositional elements; summarize the material from previous lessons; develop independent work skills; cultivate sensitivity to words.

Equipment: textbooks, cards, dictionary.

Transcript.

I. Organizational moment and goal setting.

U.:. Today we will talk about the compositional features of N.V. Gogol’s comedy “The Inspector General”. The plot of the work is based on the commotion among officials awaiting the auditor, and their desire to hide their “sins” from him. Thus it was determined compositional feature, as the absence of a central character. Do you agree with this opinion? We have to think about this question and answer others. We work with multi-level cards. The first level A involves answering questions with a grade of “3”, level B - “4”, level C - “5”. Place the mark you want in the margins. We'll compare at the end of the lesson. I wish you all success!

II. Working with cards.

Level A.

1.How is the genre of a work determined?

2.Name and comment on the epigraph to the comedy.

3.Who owns these words: “Why are you laughing? Are you laughing at yourself!”? How do you understand them?

Level B.

1.What is the premise of a comedy? (Critics believe that there are two connections in the first act: Chmykhov’s letter and the appearance of Dobchinsky and Bobchinsky with the news of the arrival of the imaginary auditor.)

2.Where and when does the climax occur?

3.What do you think is the ending of the comedy?

4. Is it possible to determine the main character of the work? Explain your opinion.

Level C.

1. How could you finish the work? Explain the role of the "silent stage".

III. Conversation on issues.

IV. Reflection.

U.: Look at the table of achievements. Are you satisfied with the result?

V. Individual homework.

U.: I offer the following task to those who wish: try to put yourself in the place of the heroes (Khlestakov and the mayor) in this difficult situation. What would you do?

Municipal educational institution "Tatar gymnasium No. 2 named after. Sh. Marjani" Kazan

Sharipova Zilya Nurgalievna

Essay plan
1. Introduction. Originality artistic structure comedies.
2. Main part. The plot and compositional originality of The Inspector General.
— Exposition in the plot of a comedy.
- The beginning.
- Hero-messengers. Development of action.
— Gorodnichy’s first acquaintance with Khlestakov. Development of action.
— The third and fourth acts of the comedy. Development of action in a real conflict and climax episodes in a “mirage” intrigue.
- Fifth act. The climax and denouement of the play/
3. Conclusion. Gogol's innovation.

In the comedy N.V. Gogol acts as an innovative playwright. He overcomes the traditional techniques of the poetics of classicism, the techniques of vaudeville, and moves away from the traditional love affair, referring to satirical image society, a city growing into a grandiose symbol Russian state. “I wanted to collect everything bad in Russia in one pile and at one time... laugh at everyone,” wrote N.V. Gogol. Let's try to analyze the plot and compositional structure of the work.
The author's originality lay in the fact that the exposition in the comedy follows the plot. The plot of the play is the first phrase of the Governor: “... an auditor is coming to us.” And only after that we plunge into the atmosphere of life in the county town, find out what kind of order there is, what local officials do. We will learn here some details: how the residents of charitable institutions are kept, what rules are established by the judge “in public places,” what happens in educational institutions..
The beginning of the real intrigue of the comedy, as we noted above, is the first remark of the Governor. IN AND. Nemirovich-Danchenko, in his article “The Secrets of Gogol’s Stage Charm,” noted Gogol’s extraordinary courage and innovation in creating the plot. “The most wonderful theater masters,” he says, “could not begin the play except in the first few scenes. In “The Inspector General” there is one phrase, one first phrase: “I invited you, gentlemen, in order to tell you the most unpleasant news: an auditor is coming to us,” and the play has already begun. The plot is given, and its main impulse is given - fear." However, it is worth noting that there is no fear here yet. The plot of the play is distinguished by its comedy, satire, and psychologism. The arrival of an auditor is certainly unpleasant news, but the situation is traditional. The mayor has extensive experience in such matters (he deceived two governors). The inspector is coming, but they are not afraid of him yet. The city still holds the initiative in its hands. However, the city has already been set in motion. The mayor energetically gives instructions to officials. Gogol proved himself to be a talented playwright, having come up with such a premise, thanks to which all the characters in the comedy were immediately set in motion. Each of them acts in accordance with his character and his crimes. We also note that the main character himself is not present either in the exposition or in the plot of the play.
Later in the comedy, Bobchinsky and Dobchinsky appear and bring news about the mysterious guest of the tavern. Here Gogol uses the traditional comedic image of herald heroes. Only the news they bring is unconventional. Out of nothing they create the image of an auditor. The arrival of a stranger seems unexpected to them, his behavior is mysterious (he lives, observes, does not announce himself). And this is where confusion begins among officials, fear arises. The scene depicting the messenger heroes is extremely important in the artistic fabric of the play. Some researchers believe that it is a kind of completion of the plot in the real conflict of the play. Other critics (who indicated the presence of two intrigues in the plot - real and “mirage”) see in it the beginning of a “mirage” intrigue. It seems that we can consider this scene as a development of action after the beginning (the Governor’s message) in the real conflict of the play.
The scene of Gorodnichy’s first acquaintance with Khlestakov is built on a very complex comic. This scene is also a development of action in both real and “mirage” conflict. Khlestakov feels fear, believing that he is going to be taken to a debt hole. The mayor believes that his interlocutor is distinguished by cunning and cunning: “What a fog he let in!” The characters do not understand each other, being, as it were, on different wavelengths. But the Governor regards Khlestakov’s entire behavior as some kind of subtle game, the terms of which he quickly accepts. And the seduction of the imaginary auditor begins. To begin with, Anton Antonovich gives him a bribe. This is a turning point in the behavior of the Governor. He overcomes his shyness and feels more confident. The situation is undoubtedly familiar and familiar to him. Then he invites you to live in his house and visit charitable institutions, district school, prison. In a word, it is active. Let us note here the comedy in the development of the conflict. “From the point of view of common sense, the hero leading the action, the attacker, the attacker, should be the auditor, since he is a government official who came to the city with an audit, with an inspection, and Khlestakov does not attack anyone, since he is not an auditor. He turns out to be the target of an attack; by an absurd coincidence, he was mistaken for an auditor, and he repels this attack as best he can. The hero leading the action turns out to be the Mayor. All his actions are based on one desire: to deceive the auditor, create the appearance of prosperity, and not give a single person in the city the opportunity to tell the auditor about malfeasance.<…>All this “on the contrary” will go through all the most important points in the development of the conflict."
The events of the third act also represent a very important stage in the development of the conflict. Khlestakov probably begins to realize that he is being taken for an important government person, and begins to play this role, very naturally. He talks about his life in the capital and lies to such an extent that he completely exposes himself. The scene of lying is the culmination of the hero's self-exposure. However, the Mayor and other officials take the hero’s lies for granted. What is the reason for this behavior? As the researchers note, “fear sets the stage for deception. But Khlestakov’s sincerity deceived him. An experienced rogue would hardly have fooled the Governor, but the unintentionality of Khlestakov’s actions confused him.<…>...In all cases - even in the moment of the most incredible lies - Khlestakov is sincere. Khlestakov is inventing things with the same sincerity with which he previously told the truth, and this again deceives the officials.” What follows is a scene where the imaginary auditor visits local officials - he takes money from everyone. The bribe scene contains a crudely comic turn. The first visitor, the judge, is still embarrassed to offer Khlestakov money: he does it ineptly, with fear. However, Khlestakov resolves the tense situation by asking for a loan. And then he borrows from each of the officials, and the amounts increase from visit to visit. Then follows the scene of Khlestakov’s courtship of the mayor’s daughter and wife. He wooes Marya Antonovna. This scene contains a parody of a love affair. As V. Gippius notes, “the unity of time required a fast pace, but still gave scope within five acts and twenty-four real hours. As if mocking this rule, Gogol fits two explanations, a misunderstanding with rivalry, a proposal and an engagement within the limits of half an act and a few minutes, so that in the last act he can laugh at this “phantom”. Thus, the scenes of lies, bribes and matchmaking are the development of action in the real conflict of the play and at the same time the culminating episodes in the “mirage” conflict.
In the fifth act we have a culmination in the development of real intrigue - this is the scene of Khlestakov's exposure. The mayor triumphs: he not only managed to hide his affairs from the auditor, but also almost became related to him (this scene is also the culmination of the development of the “mirage” intrigue). However, his triumph is overshadowed by the arrival of the Postmaster with a letter that reveals the true state of affairs. The scene of reading Khlestakov’s letter is the culmination of a real conflict and at the same time the denouement of a “mirage” intrigue. However, the comedy does not end with this episode. This is followed by the appearance of a gendarme, who announces the arrival of a real auditor. This scene represents the resolution to the real conflict of the play. Thus, the plot action returns to where it began. Gogol has received various interpretations from critics. One of its interpretations: arrived at last a real auditor and the city will face real just punishment. Another version: the arriving official is associated with heavenly punishment, which all the characters in the comedy fear.
Thus, N.V. Gogol is an innovator in the development of dramatic techniques and in depicting the conflict. In his comedy, he almost completely abandoned the love affair. Love triangle Marya Antonovna - Khlestakov - Anna Andreevna is defiantly parodic. The plot is based on an unusual incident, an “anecdote”, but it allows one to deeply reveal public relations and connections. Main character is not present in either the first or the last act of “The Inspector General”: it is not present in both the beginning and the denouement. The climax in the development of the real conflict also occurs without Khlestakov. The dynamics of “The Inspector General” follow a certain rule - “he already wants to reach, to grab with his hand, when suddenly he goes crazy.” This applies equally to the Governor, to his ambitious hopes, and to Marya Antonovna, to her love aspirations. The basis of the play’s action is not personal clashes, but a general, social principle. Gogol has no positive characters in the play. The ideal disappears into the subtext of the writer. This is an idea, a moral criterion from the standpoint of which the author evaluates social vices. According to Gogol, laughter is the only positive face of comedy. These are the main features of the poetics of Gogol the playwright.

1. Lyon P.E., Lokhova N.M. Literature: For high school students and those entering universities: Tutorial. M., 2002, p.210.

2. Mann Yu.V., Samorodnitskaya E.I. Gogol at school. M., 2008, p. 97.

3. Bogomolova E.I., Zharov T.K., Kedrova M.M. Literature manual. M., 1951, p. 151., p. 152.

4. Mann Yu.V., Samorodnitskaya E.I. Gogol at school. M., 2008, pp. 118–119.

5. Gippius V. Gogol. L., 1924, p. 99.

N.V. Gogol based his comedy “The Inspector General” on the plot of an everyday joke, where, through imposture or an accidental misunderstanding, one person is mistaken for another. This plot interested A.S. Pushkin, but he himself did not use it, giving it to Gogol.

Working diligently and for a long time (from 1834 to 1842) on “The Inspector General,” reworking and rewriting, inserting some scenes and throwing out others, the writer developed the traditional plot with remarkable skill into a coherent and coherent, psychologically convincing and logically consistent interweaving of events. “Unpleasant news” about the arrival of the auditor; commotion among officials; an accidental coincidence - the arrival of Khlestakov, who was hastily mistaken for the expected auditor, and as a result of this - a series of comic situations and incidents; general awe of the imaginary auditor, bribes under the guise of borrowing money when receiving officials, matchmaking for the mayor’s daughter and the “triumph” of the happy Skvoznik-Dmukhanovsky family; the safe departure of the “groom” and, finally, the unexpected revelation of everything that happened thanks to Khlestakov’s intercepted letter, the disgrace of the “triumph”, the thunderous news of the arrival of a real auditor, which turned everyone into a “petrified group” - this is plot outline, on which Gogol embroidered the unfading images of his heroes, gave types and characters, at the same time endowing his comedy-satire with the meaning of enormous social value.

The whole course of events, all the behavior characters, strictly motivated and resulting with complete plausibility from the personal qualities of these people and the current situations, are connected in “The Inspector General” by the unity of the plot. The plot is the expected arrival of the auditor and the “mistake” due to which Khlestakov is mistaken for the one who was expected. Gogol deeply thoughtfully fulfilled the task of constructing his play, expressed in his own words: “Comedy must knit itself, with its entire mass, into one large common knot. The plot should embrace all faces, not just one or two, touch the one who worries more or less all the actors. Everyone here is a hero..."

Gogol’s innovation as an author of comedy was that in “The Inspector General” there is no obligatory love affair, there are no traditional virtuous persons and reasoners, and a vice is unusually shown, which, according to the requirements of old literary laws, must certainly be punished: the frivolous “dummy” Khlestakov escaped all punishment, and Although the rogue officials are “petrified,” the viewer knows what awaits them with the arrival of the real auditor. The author himself differentiated his heroes with the truth of their portrayal, deeply faithfully showing their beings with that same humor and laughter, which, according to Gogol himself, is the only “honest”, “noble face” in “The Government Inspector”.

N.V. Gogol based his comedy “The Inspector General” on the plot of an everyday joke, where, through imposture or an accidental misunderstanding, one person is mistaken for another. This plot interested A.S. Pushkin, but he himself did not use it, giving it to Gogol.

Working diligently and for a long time (from 1834 to 1842) on “The Inspector General,” reworking and rewriting, inserting some scenes and throwing out others, the writer developed the traditional plot with remarkable skill into a coherent and coherent, psychologically convincing and logically consistent interweaving of events. “Unpleasant news” about the arrival of the auditor; commotion among officials; an accidental coincidence - the arrival of Khlestakov, who was hastily mistaken for the expected auditor, and as a result of this - a series of comic situations and incidents; general awe of the imaginary auditor, bribes under the guise of borrowing money when receiving officials, matchmaking for the mayor’s daughter and the “triumph” of the happy Skvoznik Dmukhanovsky family; the safe departure of the “groom” and, finally, the unexpected revelation of everything that happened thanks to Khlestakov’s intercepted letter, the disgrace of the “triumph”, the thunderous news of the arrival of a real inspector, which turned everyone into a “petrified group” - this is the plot outline on which Gogol embroidered the unfading images of his heroes, gave types of characters, at the same time endowing his comedy and satire with the meaning of enormous social value.

The entire course of events, all the behavior of the characters, strictly motivated and arising with complete plausibility from the personal qualities of these people and the current situations, are connected in “The Inspector General” by the unity of the plot. The plot is the expected arrival of the auditor and the “mistake” due to which Khlestakov is mistaken for the one who was expected. Gogol deeply thoughtfully fulfilled the task of constructing his play, expressed in his own words: “Comedy must knit itself, with its entire mass, into one large common knot. The plot should embrace all faces, not just one or two, touch the one who worries more or less all the actors. Everyone here is a hero..."

Gogol’s innovation as an author of comedy was that in “The Inspector General” there is no obligatory love affair, there are no traditional virtuous persons and reasoners, and a vice is unusually shown, which, according to the requirements of old literary laws, must certainly be punished: the frivolous “dummy” Khlestakov escaped all punishment, and The rogue officials, although “petrified,” but the viewer knows what awaits them with the arrival of the real auditor. The author himself differentiated his heroes with the truth of their portrayal, deeply faithfully showing their beings with that same humor and laughter, which, according to Gogol himself, is the only “honest”, “noble face” in “The Government Inspector”.