Features of the composition of Gogol's comedy by the auditor. Subject: H

UMK ed. V. Ya. Korovina; Literature Grade 8.

Purpose: to develop the skills of text analysis, selection of compositional elements; summarize the material of previous lessons; develop independent work skills; cultivate sensitivity to the word.

Equipment: textbooks, cards, dictionary.

Transcript.

I. Organizational moment and goal setting.

W.:. Today we will talk about the compositional features of N.V. Gogol's comedy "The Government Inspector". 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. 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 answers to questions for a grade of "3", level B - "4", level C - "5". Put in the margins the mark you want to receive. Compare at the end of the lesson. I wish you all success!

II. Card work.

Level A

1. How is the genre of a work determined?

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

3. To whom do these words belong: “What are you laughing at? You're laughing at yourself!" How do you understand them?

Level B.

1. What is the beginning of a comedy? (Critics believe that there are two plots 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, in your opinion, is the denouement of a comedy?

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

Level C.

1. How could the work be completed? Explain the role of the "silent scene".

III. Questions session.

IV. Reflection.

DW: Look at the scoreboard. Are you satisfied with the result?

V. Individual homework.

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

MOU "Tatar Gymnasium No. 2 named after. Sh. Marjani, Kazan

Sharipova Zilya Nurgalievna

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, referring 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 Inspector General, there is one phrase, one first phrase: “I invited you, gentlemen, in order to inform you bad 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 as talented playwright, having come up with such a plot, thanks to which all 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 crucial moment in the behavior of the Governor. 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 point of view 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 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 metropolitan life 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 visit of the imaginary auditor 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 climactic episodes in a "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 opens true position 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 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 collisions, but the general, social origin. Gogol does not have in the play goodies. The ideal leaves the writer in the subtext. It's an idea 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.

Preview:

Topic: “Features of the composition of the comedy by N.V. Gogol's "Inspector". Work on the first and second act "

Goals: consider the features of the composition of the comedy, work out the first and second acts in detail.

Educational and methodological support:

1. Literature. Initial course. 8th grade. Textbook - reader for educational institutions. Authors: Korovina V.Ya., Zhuravlev V.P., Korovin V.I. M.: Enlightenment, 2013.
2. Korovina V.Ya. "Methodological advice for the textbook-reader for grade 8", M .: Education, 2012.
3. Journal "Russian language and literature in the schools of the USSR", Kyiv, 1985.
4. Zolotareva I.V., Krysova T.A. "Lesson developments in literature", M.: Wako, 2015.
5. Maymin E.A., Slinina E.V. "Theory and practice literary analysis”, M.: Enlightenment, 1984

Equipment: textbook, workbooks, explanatory dictionary S.I. Ozhegov, a portrait of the writer, illustrations for the first and second acts, cards with the main actors of the comedy.

During the classes:

1. Organizing time.
2. Two students work individually on cards, answering a question about the content of the first two acts of the comedy.

Teacher's word:

Today we are working on the content of 1 and 2 actions. In criticism, it is customary to assert that there are two plots in comedy.

Let's think about what can be attributed in the first action to the plot? (Reading Chmykhov's letter and the appearance of Bobchinsky and Dobchinsky).

What is the purpose of the link? (A conflict begins with the plot, the action is tied up and begins to develop).

Gogol strives to ensure that the plot touches all the characters. Let's now return to the poster. (Cards with the main characters are hung out on the board in a circle).

Which words are the link itself? (“The auditor is coming to us”) (This phrase is placed in the center of the circle with cards of the main characters).

Does it really affect everyone?

Gogol wanted "the wheel to turn".

What drives everyone?

Therefore, I chose the epigraph for today's lesson:Fear has big eyes, but they see nothing. (Proverb)

First action.

In the process of reading the letter and in the process of instructions given by the mayor, the “physiognomy” of the city N opens before us. It is no coincidence that here evaluative word- physiognomy.

Table "Physiognomy of the city N"

Here is the picture from the first act.

What is causing the tension? (The mayor in a hurry gives instructions, but he is constantly distracted, then the judge - Ammos Fedorovich, then the postmaster, which exacerbates the tension).

Scheme

Everything is like a spring, the tighter you squeeze the spring, the more it decompresses and the tension grows. The plot develops not only "in length, but also in depth." One is in a hurry, the rest are slowing down, due to this we learn more about these people. Everyone is driven by fear. But there are other actors who are driven by something else (curiosity, secret hope, perhaps love) - this is a daughter and a mother. Here comes the comic situation. While men are shaking, women have other interests.

Second action.

We see Osip, who collapsed while the master is gone.

Scheme

Osip Khlestakov

impudently leads cowardly, rude fawns with

himself, while he is hypocritical with the mayor's servant,

no one is lord of shyness,

deceit.

Compare their behavior (It is the same). These qualities: arrogance towards the lower, cowardice and lies in front of the higher - an attribute of morality and the behavior of small and large bosses, their subordinates and servants.

And this is typical only for the county town? (No, Khlestakov is not a local, he is from St. Petersburg, so it's the same there).

How does Khlestakov behave when the mayor comes?

What does it say?

Reading by roles of the eighth phenomenon of the second act.

Why are there so many remarks? (“The work of the mind” of the mayor, the goal: to find out more about the unexpected guest and understand whether Khlestakov managed to notice what should not have been noticed). The replicas began to play in other senses (the apartment is a prison). Khlestakov begins to settle down.

Let's recap. What can be said about the city, about the inhabitants? (the city is terrible, the mayor does everything so that all the sins of management are invisible)

Who is Khlestakov? (Khlestakov is empty, he lies just like that, that it comes into his head, he is not a skillful liar, everything is from stupidity).

Does fear really have big eyes?

The mayor, out of fear, does not see the obvious.

Why do they take Khlestakov for an auditor (Arguments: his “not bad appearance”, “particular dress”, “in the face of a sort of reasoning ... physiognomy ... actions”, and most importantly, that he has been living in the city for another week, he does not go from the tavern. He takes everything to the bill and does not want to pay a penny, and even looks into other people's plates. " The latter is the most significant, and all the characters agree that Khlestakov is the auditor.

Let's look at the dictionary definition of the word "particular"? (Work with explanatory dictionary S.I. Ozhegov: PARTICULAR, -th, -th (outdated). Non-military, civilian, private. Particular costume).

Summing up the lesson, grading for the work in the lesson and on individual cards.

The famous and most interesting Gogol comedy "The Inspector General" has an unusual for that time literary composition. The main difference is that it does not give a detailed history of all those actions that lead to the main event, which is reflected in the comedy and underlies everything. artistic narrative. In literature, the absence of prehistory is called exposition. Some researchers believe that as such an exposure for Gogol comedy"The Government Inspector" can take a small digression in the comedy of the author himself - "Remarks for gentlemen of the actors." But this fact is not confirmed by anything, so all this remains at the level of speculation and conjecture.

What can you learn from this author's digression even before you start reading the entire Gogol comedy? In this short story, the author describes the characters of his characters in more detail, allowing the actors to understand them to the end and correctly and competently play them later on stage. There is one more distinguishing feature Gogol's comedy: the whole action of the work begins immediately with the plot, and it is already contained in the phrase of the Governor, who informs the city officials about the purpose for which he gathered them. And then the Governor says that soon the auditor should come to the city, and this news, both for him and for all city officials, is unpleasant. One sentence, but already much becomes clear from it, and the reader can only wait to see what the outcome of this whole action will be.

Main driving force Gogol's comedy, which helps the action to develop rapidly, replacing them, is the fear of city officials. It is so strong with them that it is easy for them to see an auditor in a passing petty official. But Khlestakov has long proved himself in the city, living in the most seedy tavern in the city. By the way, in the course of the story, the reader learns that he has been living there for the second week, but he has nothing to pay. Therefore, he cannot move further, since he does not have enough funds for this. But no one even thinks about it, the fear of the mayor and his assistant officials is much stronger. It is he who has such a strong effect on the officials of the county town that everyone is trying to serve the imaginary auditor, not even seeing that he is of a completely different level. Officials are afraid of exposure, and this fear pushes them to rash acts that look stupid and ridiculous in the course of Gogol's narrative.

And the main character is so stupid and ignorant that he does not immediately understand why the attitude towards him suddenly changes and everyone shows great zeal to serve him. Even his servant begins to understand this faster than the master himself. But the highest point in the development of all actions in Gogol's narrative is the scene when Khlestakov begins to lie and it is already impossible to stop. Gogol shows this as the culmination of his work. The author ironically describes how a man from the low class of officials is trying to prove to everyone that he occupies a high place. And with each phrase of the protagonist, it becomes higher and higher, and there are more lies. The imaginary auditor sees how city officials are listening to him and is ready to lie even more, just to remain in the spotlight.

Finally, he also achieves his fame, stands at its peak, and does not see it at all, and does not want to notice that his own words are different, that it is impossible to line them up in some kind of logical chain. And the more Khlestakov drinks, the higher his pedestal becomes. He triumphs and enjoys the fact that I finally listen to him and, the strangest thing, they believe him. But in comedy, the denouement is the moment when everyone: both the mayor and his officials read a letter written by Khlestakov themselves. He writes to his friend a certain Tryapichkin and tells how interesting adventure happened to him. This is how the truth is revealed and this is the outcome of the entire Gogol event.

Everyone will learn that Khlestakov is not an inspector, and the way he describes in his letter the society of the county town, where he spent some time, amuse even the officials themselves. Only not those about whom they begin to read the characteristic. And here everyone clearly realizes that they, people who consider themselves smart, mistook himself for the auditor insignificant person. Are they surprised at how everyone could take him for an auditor? But Gogol's skill is emphasized by the fact that at the end of his play he also inserts a "silent scene", which gives the work a certain peculiarity in the composition.

And when all the heroes are fascinated by the revealed truth, a gendarme appears who informs the mayor and city officials that a real auditor has arrived in their dirty county town. So the action ends, as if creating a circle. After all, now the urban society, which is in power, is returning to its former state again, and they are overcome by fear. And this is a kind of Gogol's hint that now all the inhabitants of the county town, who did not do their job, will face retribution. That is why the dramatic skill of Nikolai Gogol was so highly valued, who wrote the most original work Russian literature, which has become a treasure of the Russian theater.

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. The development of action in a real conflict and culminating 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 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 has acquired various interpretations of 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.

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.