Features of the dramatic work of the auditor. Plot and compositional features of the comedy N.V.

19. Features of the composition in N. V. Gogol's comedy "The Government Inspector"

N.V. Gogol built his comedy "The Inspector General" on the plot basis of an everyday anecdote, where, due to imposture or an accidental misunderstanding, one person is mistaken for another. This plot was of interest to A. S. Pushkin, but he himself did not use it, losing it to Gogol.

Working diligently and for a long time (from 1834 to 1842) on The Inspector General, reworking and rearranging, inserting some scenes and throwing out others, the writer developed the traditional plot with remarkable skill into an integral 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, in a hurry taken for the expected auditor, and as a result of this - a number of comic situations and incidents; general awe of the imaginary auditor, bribes under the guise of borrowing money when receiving officials, matchmaking for the daughter of the mayor and the “triumph” of the happy Skvoznik-Dmukhanovsky family; the safe departure of the “groom” and, finally, the unexpected revelation of everything that had happened thanks to Khlestakov’s intercepted letter, the disgrace of the “triumph”, the thunderous news of the arrival of the real auditor, which turned everyone into a “petrified group”, - such is plot outline, according to which Gogol embroidered the unfading images of his heroes, gave types-characters, at the same time endowing his comedy-satire with a sense of great social value.

The whole course of events, all the behavior of the characters, strictly motivated and following with full plausibility from the personal qualities of these people and the situations that have developed, 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 accepted as the one who was expected. Gogol thoughtfully fulfilled the task of constructing his play, expressed in his own words: “Comedy must knit by itself, with all its mass, into one big common knot. The tie should embrace all faces, not just one or two, touch the one who excites more or less all the actors. Everyone here is a hero...

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

20. The life of the county town in the comedy by N. V. Gogol "The Government Inspector"

The era reflected by N.V. Gogol in the comedy "The Inspector General" is the 30s. XIX century, during the reign of Nicholas I. The writer later recalled: “In The Inspector General I decided to collect into one measure all the bad things in Russia that I then knew, all the injustices that are done in those places and those cases where it is most required from a man of justice, and at once laugh at everything. N.V. Gogol not only knew reality well, but also studied many documents. And yet the comedy "The Inspector General" is a work of art, and its peculiarity is that the writer does not copy life, but rethinks the facts through fiction. The playwright summarized the facts of reality so deeply that the plot of the comedy went far beyond the limits of a specific place and time. County town of the 30s. 19th century became a symbol of autocratic Russia.

With injustice, in other words, with embezzlement, arbitrariness and lawlessness, perpetrated in the town, we are already faced with the first act of the play. People who are entrusted with all the fullness of power, completely turn out to be swindlers and thieves, least of all caring about the prosperity of their city and the well-being of its inhabitants. Acting on the principle of “grab everything that lies badly,” they do not feel the slightest remorse. some life philosophy These bureaucratic thieves with impudent sincerity are formulated by the mayor: “Yes, and it is strange to say: there is no person who would not have some sins behind him. It is already so arranged by God himself ... ”So Anton Antonovich Skvoznik-Dmukhanovsky easily appropriates state money, as happened, for example, with the amounts allocated for the construction of the church, without disdaining, however, more modest requisitions from merchants. To match the mayor and other "fathers of the city." In the charitable establishments subordinated to Strawberry, patients look like “blacksmiths”, in the public places, which are under the jurisdiction of Judge Tyapkin-Lyapkin, all living creatures dart under their feet, and such a smell spreads from the assessor, as if he had just left the distillery. The upbringing of youth, as you can understand, is carried out stupid people, many of which, to put it mildly, are out of their minds, but the caretaker educational institutions Luka Lukich Khlopov is not particularly worried about this. The postmaster devotes himself from morning to evening to his favorite pastime, opening other people's letters. And on the streets of the city, as the mayor himself admits, “a tavern, sewage”, prisoners are not given provisions, and so on.

The picture of the “ruling elite” is complemented by two city landowners, two talkers, Bobchinsky and Dobchinsky, whose whole life is spent running around the city and retelling news and gossip, for which they receive (in the penultimate scene) a colorful description: “damned rattles”, “magpies short-tailed." And on the lower rung of the administrative ladder there are landlords - Svistunov, who steals silver spoons and "takes bribes out of order"; Derzhimorda, giving free rein to his fists and "for order" "putting lanterns under everyone's eyes - both the right and the guilty."

And the wife and daughter of the mayor, Anna Andreevna and Marya Antonovna, provincial coquettes, are the embodiment of that mental emptiness and moral vulgarity that Gogol characterizes women's society in county life. Ordinary residents of the city are no better, starting with merchants heading to Khlestakov with rich gifts to appease the high-ranking guest of the capital, and ending with a non-commissioned officer's widow, mistakenly flogged by the police. Although she is the face of the victim, she does not arouse the slightest sympathy for herself. After all, this “victim of arbitrariness” comes with a complaint against the mayor not at all in order to restore justice or protect his own human dignity. No, she asks for material compensation for the damage caused, while declaring: “I have nothing to give up on my happiness, and the money would be very useful to me now.”

Speaking of The Inspector General, it is pointless to look for prototypes of certain actors. As the author himself noted in the introductory "remarks for the gentlemen of the actors", "their originals are almost always in front of your eyes."

After appearing on the St. Petersburg and Moscow stages, the bureaucratic public was indignant. N.V. Gogol was accused of a malicious distortion of reality, of a desire to denigrate Russian life. Then an epigraph appears before the text of the comedy: "There is nothing to blame on the mirror, if the face is crooked." The writer understood that it was not “slander” that aroused indignation, but the truth of life that he wanted to convey to the audience.

21. Images of officials in N. V. Gogol's comedy "The Government Inspector"

N. V. Gogol wrote about the concept of his comedy: “In The Inspector General I decided to collect into one measure all the bad things in Russia that I knew then, all the injustices that are done in those places and those cases where the most is required from a person justice, and at once laugh at everything. This determined the genre of the work ─ socio-political comedy. It does not deal with love affairs, events privacy, but the phenomena of social order. The plot of the work is based on a commotion among officials waiting for the auditor, and their desire to hide their “sins” from him. Thus, such compositional feature as the absence in it central hero. Such a hero in The Inspector General was, in the words of Belinsky, "a corporation of various official thieves of robbers," a mass of bureaucrats. genius writer, depicting this picture, he knew how to draw each image included in it in such a way that he did not lose his individual originality, at the same time representing a typical phenomenon of the life of that period.

How is it depicted chief representative bureaucratic little world Russian province- mayor?

This is a dodgy, intelligent, rude person who has earned himself a long hard service, who is used to grabbing everything that “floats into his hands”. In a moment of malicious frankness, he admits that not a single merchant, not a single contractor could trick him, that he deceived scammers over scammers, even deceived three governors. With ease, Anton Antonovich appropriates state money, as happened, for example, with the amounts allocated for the construction of the church, without disdaining, however, more modest requisitions from merchants. The head of the city is perfectly aware of all the riots, lawlessness that is happening both on the streets and in institutions. But he has his own philosophy: “There is no person who does not have some sins behind him. This is already so arranged by God himself ... "Therefore, before the auditor arrives, he gives his subordinates to cover up the blatant outrages in the institutions under their jurisdiction, while stipulating:" Yes, I just noticed to you, "I just mentioned the county court, but to tell the truth, hardly anyone will ever look there”, “I wanted to tell you about this for a long time, but I was probably entertained by something.” He knows perfectly well that the streets are unclean, that the prisoners are not given provisions. But all this does not bother the owner of the city. If only it didn’t reach the authorities, and he knows how to dodge in difficult situations. What is only one of his decisions under the guise of a caring mayor to visit the alleged auditor in the hotel! But the dreams of this “serious” person do not extend beyond the fantasies of the “stupid” Khlestakov: to become a “high-flying bird”, “get into the generals”, have a general’s red ribbon over his shoulder and feast on “two fish”: vendace and smelt, living in St. Petersburg .

To match the mayor and other "fathers of the city." Judge Lyapkin-Tyapkin is a lover of dog hunting, taking bribes only with greyhound puppies and is considered a “freethinker” in the city, since he “read five or six books”; obliging and fussy sly, scammer and rogue, fat Strawberry, trustee of charitable institutions, arguing about healing: “Khristian Ivanovich and I took our measures: the closer to nature, the better, we don’t use expensive medicines. A simple man: if he dies, he will die anyway; if he recovers, then he will recover. Yes, and it was difficult for Khristian Ivanovich to communicate with them: he does not know a word of Russian.

And here is Khlopov, superintendent of schools, who lives in eternal fear of any revisions and complains about the burden of "serving in the scientific department." And the ingenuously naive postmaster Shpekin is engaged in “interesting” reading of opened letters at his post office in order to find out what is new in the world.

If there are any differences between the “fathers of the city”, then they are imaginary, purely external. All of them take bribes, all of them are indifferent to the people they are assigned to manage, they all consider themselves sovereign masters of life, free to manage affairs at their own discretion, regardless of any laws. Naturally, the news of the arrival of the inspector incognito in the city did not bring great joy to any of them, but what is noteworthy, it did not cause much fear either. Knowing a lot of “sins” behind them and knowing full well that at least some of them will definitely open, city administration officials are absolutely sure that this time they will be able to get away with it, because this is not the first time they have dealt with the auditor! Apparently, they are reassured by a simple calculation based on many years of experience: you need not only to take bribes, but also, if necessary, be able to give them, which they do when they go to an appointment with the “auditor”, where they humiliate, lie down, get out.

From the stories of the characters, as if involuntarily blurting out about their black deeds, about various incidents from city life, a terrible picture is formed. provincial life, in which all district Rus' was reflected, all disenfranchised life its population, the gross arbitrariness of the administration, embezzlement, bribery, ignorance, gossip, stupidity, vulgarity, the insignificance of all interests - a vivid denunciation of the entire bureaucratic police of Nikolaev Russia. Such is the “crooked face” of Russian life, shown by N.V. Gogol in the mirror of comedy.

22. Khlestakov - the main character of N. V. Gogol's comedy "The Government Inspector"

N. V. Gogol's comedy "The Government Inspector" has a peculiar character dramatic conflict. There is neither a hero-ideologist in it, nor a conscious deceiver who leads everyone by the nose. The officials themselves are deceiving themselves, imposing on Khlestakov the role of a significant person, forcing him to play it. Khlestakov is in the center of events, but does not lead the action, but, as it were, involuntarily gets involved in it and surrenders to its movement. group negative characters, satirically depicted by Gogol, is opposed not by a positive hero, but by the flesh of the flesh of the same bureaucratic caste - a lightweight, but pretentious empty man who has an unusual ability to apply himself to others without spending any effort on it, absolutely incapable of any independent decisions and conscious intentions. “He is like water that takes the form of any vessel,” notes Yu. Mann.

According to his official position, Khlestakov occupies the most modest rung on the ladder of ranks: he is a collegiate registrar, an official of the lowest class. He won nothing, he squandered everything, and now his father demands him home, to the Saratov province. He had to stop in a county town: all the money was lost, but even a difficult situation could not make Khlestakov seriously think about anything. He does not understand anything during a meeting with the mayor: he defends himself with complaints about the innkeeper, gets excited, absurdly and ridiculously angry, covering up his fear and confusion. And after receiving the money and an invitation to come to the mayor’s house, he begins to play the role of an amiable and enlightened guest, who is finally appreciated.

Having visited a charitable institution where Khlestakov had a great breakfast, he was at the height of bliss. “Cut off and cut off hitherto in everything ... he started talking, not knowing at all at the beginning of the conversation, where will he go his speech." .

Through the efforts of others, excellent conditions have been created so that everything that was hidden in the soul of this “empty” little man, that was drawn in his ridiculous dreams, was revealed with complete frankness. Life, which is revealed to the stunned listeners of Khlestakov's chatter, is not only the ideal realization of Khlestakov's life principle: “After all, you live for that, in order to pick flowers of pleasure,” this is also the limit of all the aspirations of the ruling circle of this province: all benefits are acquired already because you exist and you want it.

Khlestakov mobilizes all his meager stock of information about the life of the Petersburg nobility, about events and literature, and makes himself the central character. Overwhelmed by an irresistible desire to play a role at least a little higher than the one prepared for him by fate, in this "best and most poetic moment in his life" Khlestakov longs to appear not only as a secular man, but also as a "state" man. N.V. Gogol wanted to present in this character “a person who tells fables with fervor, with enthusiasm, who himself does not know how words fly out of his mouth ...”

Neither the mayor nor the officials question what Khlestakov is talking about. His words, on the contrary, strengthen their faith that the inspector sent to them is significant person, "statesman", nobleman.

In the scenes of the official presentation of local officials, Ivan Alexandrovich is already beginning to vaguely guess that he is taken for a "bossy person". This not only does not embarrass him, but also encourages him to take more decisive action: requests for money become like demands, and, listening to visitors, promising and allowing, he behaves no worse than any really important official.

It is interesting how in the end Khlestakov explains to himself the reason for the delusion of the townspeople in a letter to Tryapichkin, he writes: “Suddenly, in my Petersburg physiognomy and in my suit, the whole city mistook me for the governor-general.” By his habit, he greatly exaggerated the possible position and rank of the person for whom he was accepted (this flatters his vanity), and at the same time very comically motivates the mistake of officials. After all, it was Khlestakov’s appearance (“like a fly with cut wings”) that caused bewilderment of the mayor with its discrepancy with the importance and significance of the rank and position of the auditor.

Khlestakov “still wants to live here ...” And only a reminder of his father’s anger and the tempting prospect of getting good horses, and so that the coachmen “rolled like courier! and sang songs! makes him agree to leave.

Having made the decision to leave, he plays with even greater confidence the role of a government official exposed by the authorities and importantly accepts the complaints of the merchants and the bourgeoisie against the arbitrariness of the mayor. However, Khlestakov’s exclamations (“Oh, what a swindler he is! .. Yes, he’s just a robber! .. Yes, just to Siberia for that”) does not at all mean any indignation at the arbitrariness of the mayor: Khlestakov admires himself, trying on the role of governor general, - but only.

But he cannot withstand the onslaught of complainers and petitions for a long time, it bothers him, especially since there is an opportunity to show off his secularism and metropolitan manners in front of the ladies. And here is Khlestakov in new role as a mad lover. But to whom: to a mother or daughter - it doesn’t matter, after all, you need to think about it, but there are no thoughts in your head.

Therefore, Khlestakov managed to deceive the mayor, that he did not deliberately deceive, but acted sincerely and frankly. And he did everything that the “fathers of the city” fearfully expected from a real auditor: he caught up with fear, collected bribes and disappeared as suddenly as he appeared. However, his appearance is very significant. It reveals the fictitiousness, the inner emptiness of Russian reality, in which the place and significance of a person is determined not by his talents and virtues, but by some kind of ridiculous game of “important” and “unimportant” persons.

23. Khlestakov and Khlestakovism in N. V. Gogol's comedy "The Government Inspector"

The great artistic merit of N. V. Gogol's comedy "The Inspector General" lies in the typicality of its images. He himself expressed the idea that the "originals" of most of the characters in his comedy "are almost always in front of my eyes." And about Khlestakov, the writer says that this is “a type of much scattered in different Russian characters ... Everyone, even for a minute ... was or is being made by Khlestakov. And a dexterous officer of the Guards will sometimes turn out to be Khlestakov, and a statesman will sometimes turn out to be Khlestakov, and our sinful brother, a writer, will sometimes turn out to be Khlestakov.

In this hero, both mental insignificance, and the squalor of spiritual life, and the absence of moral convictions, and swagger, the ability to special vulgarity, and the desire to "play a role higher than one's own" were combined. Through the efforts of others, conditions have been created for revealing with complete frankness everything that lurked in the soul of this “emptiest” little man, that was drawn in his ridiculous dreams. Officials believe the stories of Ivan Alexandrovich because in his chatter not only the Khlestakov principle is realized: “After all, you live for that, to pluck flowers of pleasure,” but also their ultimate dream: to have power, acquaintances, fame, money, without making any effort, without wasting mind and heart, without having any daily duties. Therefore, the mayor becomes similar to Khlestakov, who believes that “he gives out his daughter not only for some common man but for something that hasn’t even been in the world yet, that can do everything, everything, everything, everything!” In his and Anna Andreevna's dreams, a house appears, which should be the first in the capital, just like Khlestakov's, delicious fish, a red general's ribbon over his shoulder, horses on which you ride for dinner. N.V. Gogol specifically makes these repetitions in the speech of his heroes, showing how the mayor becomes Khlestakov.

Khlestakovism, i.e. bragging, not supported by opportunities, deeds, the desire to seem not what you really are, inner emptiness, irresponsibility, vanity; the phenomenon is very persistent. In our time, unfortunately, there are also people with similar qualities. Thanks to the comedy of N.V. Gogol, we understand the price of such whiplash and try to stay away from them.

24. Analysis of the scene of lies in N. V. Gogol's comedy "The Government Inspector" ( act III, event VI)

feature Gogol comedy The “inspector” is that it has a “mirage intrigue”, that is, officials are fighting against a ghost created by their bad conscience and fear of retribution. Anyone who is mistaken for an auditor does not even make any deliberate attempts to deceive, to fool the officials who have fallen into error.

The development of the action culminates in Act III. The comic fight continues. The mayor deliberately goes to his goal: to force Khlestakov to “let slip”, “tell more” in order to “find out what he is and to what extent he should be feared.” After visiting a charitable institution where a magnificent breakfast was offered to the guest, Khlestakov was at the height of bliss. “Cut off and cut off hitherto in everything, even in the manner of walking a trump card along Nevsky Prospekt, he felt spaciousness and suddenly turned around unexpectedly for himself, he started talking, not knowing at the beginning of the conversation where his speech would go. Topics for conversations are given to him by the investigators. They seem to put everything in his mouth and create a conversation, ”N.V. Gogol writes in Forewarning. In a few minutes in the scene of lies, Khlestakov makes a dizzying career: from a petty official (“You may think that I am only copying ...”) to a field marshal (“The State Council itself is afraid of me”). The action in this scene develops with ever-increasing energy. On the one hand, these are the stories of Ivan Alexandrovich, gradually losing all credibility and reaching their climax at the end of the phenomenon. On the other hand, this is the behavior of the listeners, who become more and more frightened by the speeches of the guest. Their experiences are expressively conveyed by remarks: at the beginning of the conversation, “the mayor and everyone sit down” at the gracious invitation of Khlestakov, however, at the mention that in his hallway one can supposedly meet counts and princes, even the minister, “the mayor and others get up from their chairs with timidity”. The words: “And for sure, it happened, as I pass through the department - just an earthquake, everything trembles and shakes like a leaf” - are accompanied by a remark: “the mayor and others are lost in fear.” At the end of the scene, the mayor, “approaching and shaking with his whole body, tries to utter” something, but with fright he cannot utter a word.

During his speech, Khlestakov, as it were, instinctively captures the nature of the impression he makes, spurring the fear experienced by the audience, the expectation of stories about the scale of life and service relations unusual for provincials. His exaggerations are purely quantitative: "seven hundred rubles a watermelon", "thirty-five thousand one couriers." Showing off in front of the ladies, he mobilizes all his meager supply of information about the life of the St. Petersburg nobility, about events and literature. “Khlestakov doesn’t lie about everything at all, he sometimes just reports sensational metropolitan news - about the magnificence of the balls, about the soup that arrived on the ship from Paris, that Baron Brambeus corrects other people’s articles, that Smirdin pays him a lot of money, that that the “Nadezhda” Frigate is a huge success, and finally, that Pushkin, with whom he is “on a friendly footing”, is a “great original”, writes A. G. Gukasova in the article “The Inspector General Comedy”.

However, all these real facts displaced and redirected, the narrator himself becomes the central person in all events.

Due to Khlestakov's unintentionality, it is difficult to catch him in a lie - he, lying, easily gets out of predicament: “As you run up the stairs to your fourth floor, you will only say to the cook:“ On, Mavrushka, overcoat ... “Well, I’m lying - I forgot that I live in the mezzanine.”

Seized by an irresistible desire to play a role a little higher than the one that fate foresaw for him, in this "best and most poetic moment in his life," Khlestakov longs to appear not only as a secular man, but also as a "state" man.

Neither the mayor nor the officials question what Khlestakov is talking about, on the contrary, they are strengthened in the belief that the auditor sent to them is a significant government official. “A strange thing is happening. The wick, the match, the boy Khlestakov, by the power of fear and reverence for him, grows into a person, becomes a dignitary, becomes what they see in him, ”G. A. Gukovsky concludes from this scene in the article “Gogol's Realism”.

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Essay plan
1. Introduction. originality artistic structure comedy.
2. The main part. Plot-compositional originality of "Inspector".
— Exposition in the plot of a comedy.
- Tie.
- Herald Heroes. Action development.
- The first acquaintance of the Governor with Khlestakov. Action development.
— The third and fourth acts of the comedy. Development of action in a real conflict and climactic episodes in a "mirage" intrigue.
— Fifth act. The climax and denouement of the play /
3. Conclusion. Gogol's innovation.

In comedy N.V. Gogol acts as an innovative playwright. He overcomes the traditional techniques of classical poetics, vaudeville techniques, departs from the traditional love affair, turning to satirical image society, a city growing into a grandiose symbol Russian state. “I wanted to put together everything bad in Russia and at one time ... laugh at everything,” wrote N.V. Gogol. Let's try to analyze the plot-compositional structure of the work.
The originality of the author was already in the fact that the exposition in the comedy follows after the plot. The plot of the play is the first phrase of Gorodnichiy: "... the auditor is coming to us." And only after that we plunge into the atmosphere of life in the county town, find out what orders are established there, what local officials do. We will also learn some details here: about how the guests of charitable institutions are kept, what procedures the judge has established “in government places”, what is happening in educational institutions ..
The plot of the real intrigue of the comedy, as we have already noted above, is the first line of Gorodnichiy. IN AND. Nemirovich-Danchenko in the article "Secrets of Gogol's stage charm" noted Gogol's extraordinary courage and innovation in creating the plot. “The most remarkable masters of the theater,” he says, “could not start a play except in the first few scenes. In The Government Inspector, there is one sentence, one first sentence: “I have invited you, gentlemen, in order to tell you unpleasant news: the auditor is coming to visit 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 in the play is distinguished by comedy, satire, and psychologism. The arrival of the auditor is certainly unpleasant news, but the situation is traditional. Gorodnichiy has extensive experience in such cases (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 is already set in motion. The mayor vigorously distributes instructions to officials. Gogol showed himself as a talented playwright, having come up with such a plot, thanks to which everyone immediately set in motion. characters comedy. Each of them acts according to his character and his crimes. We also note that the protagonist himself is not present either in the exposition or in the plot of the play.
Further, Bobchinsky and Dobchinsky appear in the comedy and bring news of the mysterious guest of the tavern. Here Gogol uses the image of messenger-heroes, traditional for comedies. Only the news they bring is unconventional. From nothing they create the image of the auditor. The arrival of a stranger seems unexpected to them, his behavior is mysterious (he lives, observes, does not declare himself). And this is where confusion begins among the officials, fear arises. The scene depicting the heroes-heralds 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 plot of a "mirage" intrigue. It seems that we can consider this scene as a development of the action after the plot (Gorodnichiy's message) in the real conflict of the play.
The scene of Gorodnichiy's first acquaintance with Khlestakov is built on a very complex comedy. This scene is also a development of the action both in a real and in a "mirage" conflict. Khlestakov feels fear, believing that they are going to send him into a debt hole. The mayor believes that his interlocutor is distinguished by cunning and deceit: “what a fog he let in!”. The characters do not understand each other, being on different wavelengths, as it were. But the Governor regards all Khlestakov's behavior as some kind of subtle game, the conditions 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 Gorodnichiy's behavior. He overcomes shyness and feels more confident. The situation is certainly familiar to him and familiar. Then he invites you to live in his house, visit charitable establishments, county school, jail. In a word, it is active. We note here the comedy in the development of the conflict. “From the point of view of common sense, the hero who leads 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 a check, and Khlestakov does not attack anyone, since he is not an auditor. He turns out to be the object 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 is the Mayor. At the heart of all his actions is one desire: to deceive the auditor, to create the appearance of well-being, not to allow a single person in the city to tell the auditor about malfeasance.<…>All this "on the contrary" will pass through all the most important points in the development of the conflict.
The events of the third act also represent a very stage in the development of the conflict. Khlestakov probably begins to guess that he is being mistaken for an important state 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 lies is the culmination of the hero's self-exposure. However, the Governor and other officials take the hero's lie for granted. What is the reason for such behaviour? As the researchers note, “fear set the stage for deception. But Khlestakov's sincerity deceived him. An experienced rogue would hardly have led Gorodnichiy, but the unintentionality of Khlestakov's actions confused him.<…>... In all cases - even at the moment of the most incredible lies - Khlestakov is sincere. Khlestakov invents with the same sincerity with which he previously spoke the truth, and this again deceives the officials. This is followed by the scene of the visit of the imaginary auditor by local officials - he takes money from everyone. The scene of bribes contains a crudely comic move. The first visitor, the judge, is still embarrassed to offer Khlestakov money: he does it clumsily, 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 courtship of Khlestakov for the daughter and wife of Gorodnichiy. He is wooing 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 contains two explanations, a misunderstanding with rivalry, an offer and an engagement within a half-act and a few minutes, in order to laugh at this “phantom” in the last act. Thus, the scenes of lies, bribes and matchmaking are the development of the 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 climax 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 intermarried with him (this scene is also the climax in 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 denouement in the real conflict of the play. Thus, the plot action returns to where it began. Gogol has acquired various interpretations of critics. One of her interpretations: arrived at last real auditor and the city is waiting for a real fair punishment. Another version: the arrived official is associated with heavenly punishment, which all the actors of the comedy are afraid of.
Thus, N.V. Gogol is an innovator in the development of dramatic techniques, in the depiction of the conflict. In his comedy, he almost completely abandoned the love affair. Love triangle Marya Antonovna - Khlestakov - Anna Andreevna is defiantly parody. The plot is based on an unusual case, an “anecdote”, which, however, allows you 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 absent both in the plot and in the denouement. The climax in the development of the real conflict also occurs without Khlestakov. The dynamics of the "Inspector" follows a certain rule - "already wants to reach, grab it with his hand, when suddenly insanity" . This equally applies to Gorodnichiy, to his ambitious hopes, and to Marya Antonovna, to her love aspirations. The basis of the action of the play is not personal clashes, but a general, social principle. Gogol does not have in the play goodies. The ideal leaves the writer in the subtext. 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 aspect of comedy. These are the main features of the poetics of Gogol the playwright.

1. Lion P.E., Lokhova N.M. Literature: For high school students and university applicants: 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. A guide to literature. 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.

Gogol's idea found a brilliant implementation in his comedy, defining its genre as socio-political comedy. The driving spring in The Inspector General is not a love affair, not private life events, but social order phenomena. The plot of the comedy is based on a commotion among the officials who are waiting for the auditor, and their desire to hide their "sins" from him. Thus, such a compositional feature of the comedy was determined as the absence of a central character in it; such a hero in the "Inspector" was, in the words of Belinsky, "a corporation of various service thieves and robbers", bureaucratic masses. This bureaucracy is given first of all in its official activity, which, of course, led to the inclusion of images of the merchant class and bourgeoisie in the play.

The Inspector General is a broad picture of the bureaucratic bureaucratic rule of feudal Russia in the 1930s. The ingenious writer, Gogol, drawing this picture, managed to write each image included in it in such a way that he. without losing its individual identity, at the same time it is a typical phenomenon of the life of that time.

The mayor is a convinced bribe-taker: “This is already arranged by God himself, and the Voltairians speak against it in vain. He is an embezzler: he constantly embezzles state money.

The goal of his aspirations is "over time ... to get into the generals." Why does he need it? “According to the concept of our mayor,” says Belinsky. - to be a general means to see humiliation and meanness from the lower ones in front of you. In dealing with subordinates, in relation to the population of the city, he is self-confident, rude and despotic: "L who will be dissatisfied, then after the ladies of such displeasure ..."; “Here I am them, canals ...”; "What samovars, arshinniks ..." Such rude shouts and abuse are characteristic of the mayor.

But otherwise he keeps himself in front of his superiors. In a conversation with Khlestakov, whom he mistook for an auditor, the mayor tries to show himself as an executive official, he says, filling his speech with expressions accepted in the official circle: “In other cities, I dare to tell you, city governors and officials are more concerned about their own, that is, good, except in order to earn the attention of the authorities with deanery and vigilance.

The second person in the city is Judge Lyapkin-Tyapkin. Unlike other officials, he is a representative of the elected government: he was elected a judge by the will of the nobility. Therefore, he keeps freer with the mayor, allows himself to challenge a hundred. He is considered a "freethinker" in the city and an educated person since I read five or six books.

The Inspector General is a truly folk comedy. The images of the comedy are typical, the behavior of each character is vitally motivated, their words and actions reveal their characters. And although Gogol painted the world of provincial officials in The Inspector General, the depth of the writer's penetration into reality was so amazing that viewers and readers of the comedy immediately saw in it an image of all of Russia - its bureaucratic system.

That is why the production of The Inspector General caused a whole storm of indignation and indignation on the part of bureaucratic circles, feudal lords and the reactionary press. The progressive public highly appreciated Gogol's comedy.

In the comedy "The Government Inspector" N.V. Gogol acts as an innovative playwright. He overcomes the traditional techniques of classicism poetics, vaudeville techniques, departs from the traditional love affair, turning to a satirical depiction of society, a city that grows into a grandiose symbol of the Russian state. “I wanted to put together everything bad in Russia and at one time ... laugh at everything,” wrote N.V. Gogol. Let's try to analyze the plot-compositional structure of the work.

The originality of the author was already in the fact that the exposition in the comedy follows after the plot. The plot of the play is the first phrase of Gorodnichiy: "... the auditor is coming to us." And only after that we plunge into the atmosphere of life in the county town, find out what orders are established there, what local officials do. We will also learn some details here: about how the guests of charitable institutions are kept, what procedures the judge has established “in government places”, what is happening in educational institutions ..

The plot of the real intrigue of the comedy, as we have already noted above, is the first line of Gorodnichiy. IN AND. Nemirovich-Danchenko in the article "Secrets of Gogol's stage charm" noted Gogol's extraordinary courage and innovation in creating the plot. “The most remarkable masters of the theater,” he says, “could not start a 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 unpleasant news: the 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 in the play is distinguished by comedy, satire, and psychologism. The arrival of the auditor is certainly unpleasant news, but the situation is traditional. Gorodnichiy has extensive experience in such cases (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 is already set in motion. The mayor vigorously distributes instructions to officials. Gogol showed himself to be a talented playwright, inventing such a plot, thanks to which all the actors of the comedy immediately set in motion. Each of them acts according to his character and his crimes. We also note that the protagonist himself is not present either in the exposition or in the plot of the play.

Further, Bobchinsky and Dobchinsky appear in the comedy and bring news of the mysterious guest of the tavern. Here Gogol uses the image of messenger-heroes, traditional for comedies. Only the news they bring is unconventional. From nothing they create the image of the auditor. The arrival of a stranger seems unexpected to them, his behavior is mysterious (he lives, observes, does not declare himself). And this is where confusion begins among the officials, fear arises. The scene depicting the heroes-heralds 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 plot of a "mirage" intrigue. It seems that we can consider this scene as a development of the action after the plot (Gorodnichiy's message) in the real conflict of the play.

The scene of Gorodnichiy's first acquaintance with Khlestakov is built on a very complex comedy. This scene is also a development of the action both in a real and in a "mirage" conflict. Khlestakov feels fear, believing that they are going to send him into a debt hole. The mayor believes that his interlocutor is distinguished by cunning and deceit: “what a fog he let in!”. The characters do not understand each other, being on different wavelengths, as it were. But the Governor regards all Khlestakov's behavior as some kind of subtle game, the conditions 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 Gorodnichiy's behavior. He overcomes shyness and feels more confident. The situation is certainly familiar to him and familiar. Then he invites him to live in his house, visit charitable institutions, a district school, a prison. In a word, it is active. We note here the comedy in the development of the conflict. “From the point of view of common sense, the hero who leads 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 a check, and Khlestakov does not attack anyone, since he is not an auditor. He turns out to be the object 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 is the Mayor. At the heart of all his actions is one desire: to deceive the auditor, to create the appearance of well-being, not to allow a single person in the city to tell the auditor about malfeasance.<…>All this “on the contrary” will go through all the most important moments in the development of the conflict.”

The events of the third act also represent a very stage in the development of the conflict. Khlestakov probably begins to guess that he is being mistaken for an important state 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 lies is the culmination of the hero's self-exposure. However, the Governor and other officials take the hero's lie for granted. What is the reason for such behaviour? As the researchers note, “fear set the stage for deception. But Khlestakov's sincerity deceived him. An experienced rogue would hardly have led Gorodnichiy, but the unintentionality of Khlestakov's actions confused him.<…>... In all cases - even at the moment of the most incredible lies - Khlestakov is sincere. Khlestakov invents with the same sincerity with which he previously spoke the truth, and this again deceives the officials. This is followed by the scene of the visit of the imaginary auditor by local officials - he takes money from everyone. The scene of bribes contains a crudely comic move. The first visitor, the judge, is still embarrassed to offer Khlestakov money: he does it clumsily, 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 courtship of Khlestakov for the daughter and wife of Gorodnichiy. He is wooing 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 contains two explanations, a misunderstanding with rivalry, an offer and an engagement within a half-act and a few minutes, in order to laugh at this “phantom” in the last act. Thus, the scenes of lies, bribes and matchmaking are the development of the 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 climax 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 intermarried with him (this scene is also the climax in 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 denouement in the real conflict of the play. Thus, the plot action returns to where it began. Gogol's Silent Scene has received various interpretations by critics. One of its interpretations: the real auditor has finally arrived and the city is waiting for a real fair punishment. Another version: the arrived official is associated with heavenly punishment, which all the actors of the comedy are afraid of.

Thus, N.V. Gogol is an innovator in the development of dramatic techniques, in the depiction of the conflict. In his comedy, he almost completely abandoned the love affair. The love triangle Marya Antonovna - Khlestakov - Anna Andreevna is defiantly parody. The plot is based on an unusual case, an “anecdote”, which, however, allows you to deeply reveal social relations and ties. The protagonist is not present in either the first or the last act of The Inspector General: he is absent both in the plot and in the denouement. The climax in the development of the real conflict also occurs without Khlestakov. The dynamics of the "Inspector" follows a certain rule - "already wants to reach, grab it with his hand, when suddenly insanity." This equally applies to Gorodnichiy, to his ambitious hopes, and to Marya Antonovna, to her love aspirations. The basis of the action of the play is not personal clashes, but a general, social principle. Gogol has no positive characters in the play. The ideal leaves the writer in the subtext. 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 aspect of comedy. These are the main features of the poetics of Gogol the playwright.