Comedy NV Gogol "" is thoroughly saturated with funny scenes and episodes that the author created, looking at the life around him. In it, he laughed not at serfdom, not at the monarchy. He ridiculed a person, but rather, his insignificance and baseness, his lack of spirituality and immorality.
In the comedy "The Government Inspector" we do not meet positive and good heroes. Perhaps the author tried to create them, but he did not succeed, because people like the main characters of the work simply flooded the earth and Russia.
The scene of Khlestakov's "lies" simply amazes the reader. The protagonist composes such fables that they reach the point of absurdity. says that he is well acquainted and friendly with Pushkin, that actors and writers are "on you with him." He boasts that he almost became commander in chief. His house was the first to be built in St. Petersburg, and now he arranges chic balls in it, which attract princes and ministers. He feeds them delicacies, soups from Paris, exotic fruits and berries.
In addition to the characters that we meet in the text of the comedy, the author's laughter plays a special role. He is present everywhere and everywhere. We meet with ridiculous situations, with funny mistakes persons of the county town, with ironic moments. And the demeanor of officials who were the main swindlers of the city. They consider those around them fools and cleverly deceived, although they themselves fall for Khlestakov's ridiculous trick.
Satirical techniques help N.V. Gogol is much brighter and more colorful to describe the realities Russian life. Analyzing the actions of Shpekin, who, out of curiosity, opened and read other people's letters, and then exposed their meaning to general ridicule, the reader cannot help but notice the baseness and immorality of such actions.
The very image of the protagonist consists of a total lie. He composes tales about chic holiday dinners, although he himself goes half-starved. He is so forgetful that he puts his name in the ranks famous writers. And none of the inhabitants of the city notices the mistakes in the spoken words. After all, they are so uneducated and culturally destroyed!
Almost all comedy characters resort to fiction and lies. So, their life becomes much more colorful and interesting. in a funny, satirical form, he tries to open the eyes of the world around him to the harsh and rather sad reality. After all, there is a lie all around.
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 towards 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 will he go his speech. 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 dizzying career: from a petty official (“You may think that I am only copying ...”) to a field marshal (“I myself state council fears"). 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, spurs on the fear experienced by the audience, the expectation of stories about the scale of life unusual for provincials and service relations. 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 a difficult situation: “As you run up the stairs to your fourth floor, you only say to the cook:“ On, Mavrushka, overcoat ... “Well, I'm lying - I and 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 state person. “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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25. Analysis of the scene of giving a bribe in N. V. Gogol's comedy "The Inspector General" (act IV, phenomena III-IV)
By the beginning of the fourth act of the comedy The Inspector General, the mayor and all the officials were finally convinced that the auditor sent to them was a significant state person. By the power of fear and reverence for him, the “wick”, “dummy”, Khlestakov became the one whom they saw in him. Now you need to protect, protect your department from revisions and protect yourself. Officials are convinced that the inspector should be given a bribe, "slipped off" in the way it is done in a "comfortable society", that is, "between four eyes, so that even ears do not hear," Artemy Filippovich believes. The "fathers of the city" are "in full dress and uniforms", "to officially introduce themselves to the auditor."
To depict the internal state of officials, Gogol uses the author's remarks, which indicate fear, servility, helpfulness: "stretching out and holding a sword with his hand"; “getting lost and dropping banknotes on the floor”; "trembling all over"; "hastily", etc.
Khlestakov, at the beginning of the reception, is still far from guessing why everyone is so attentive to him and helpful, he continues to think that it's all about his personal outstanding qualities, plays the role of an amiable, enlightened guest, however, sincerely grateful for the warm welcome.
Now Khlestakov offers topics for conversation with visitors. They betray the paucity, the squalor of the interests of a young man: cigars - “this is my weakness. Here's more about female sex, I can’t be indifferent”, “I ... love good food”, “And I like Vladimir (order). But Anna of the third degree is no longer so. Ridiculous are Khlestakov's pestering Luka Lukich with questions about who he likes more, brunettes or blondes, or the statement that "there is definitely something in my eyes that inspires timidity."
Having spoken out about what he loves, and this topic is very poor, Ivan Aleksandrovich does not know what else to talk about, therefore he tries to formulate at least some phrases, as in a conversation with Strawberry:
"- What's your last name? I will forget everything.
- Strawberries.
- Oh, yes! Strawberry. And so, tell me, please, do you have children?
- How about, five; two are already adults.
- Tell me, adults! How are they…how are they?”
Of all the officials, Artemy Filippovich Strawberry stands out in particular. In a short time of admission, he manages to “lay down” many of his friends and relatives in order to be promoted: “Here is the superintendent of the local school. I don’t know how the authorities could entrust him with such a position ... ”But the most interesting thing in this situation is Khlestakov’s reaction to the proposal to write a denunciation on paper:“ I will be pleased. You know, I like to read something funny in a boring time ... "
A visit to each official ends with the handing over of money, "allegedly on loan." If this happened to the judge as if by accident for Khlestakov, then then he gets a taste, as he begins to guess that he is taken for an important, “state person”. This not only does not begin to embarrass him, but also encourages more decisive action: he listens to everyone no worse than anyone. important official. A new manner for Khlestakov arises as a result of that servilely servile atmosphere that is created by everyone entering for the performance.
But Khlestakov still does not understand that everything handed over to him is a bribe given for a specific purpose, he continues to believe that this is how the lovely customs of a wonderful city populated by pleasant and courteous people are manifested. And intrigue, the game, he is also unable to lead. This means that it is not the hero who leads the action, but the action of the hero. This is the originality of Gogol's development of the plot about the imaginary auditor.
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26. The meaning of the silent scene in N. V. Gogol's comedy "The Government Inspector"
The silent scene in N.V. Gogol's comedy "The Inspector General" is preceded by the denouement of the plot, Khlestakov's letter is read, and the officials' self-deception becomes clear. At this moment, the thing that connected the heroes throughout the entire stage action- fear, and the unity of people is disintegrating before our eyes. The terrible shock that the news of the arrival of the real auditor produced on everyone again unites people with horror, but this is no longer the unity of living people, but the unity of lifeless fossils. Their muteness and frozen poses show the exhaustion of the heroes in their fruitless pursuit of a mirage. The pose of each character in the silent scene plastically conveys the degree of shock, the force of the blow received. There are many shades here - from the mayor frozen "in the form of a pillar with outstretched arms and his head thrown back" to other guests who "remain just pillars." It is important that the nature of the character and behavior during the actions were also reflected in his posture, for example, Bobchinsky and Dobchinsky froze with "rushing movements of the hands towards each other, gaping mouths and bulging eyes at each other."
On the theatrical stage, the city of spiritual poverty, baseness, stupidity and human pity froze, a picture of poverty, senselessness and ugliness, generated by the police-bureaucratic regime of the Nikolaev era, froze.
It is unlikely that by a real auditor Gogol meant some kind of honest and decent official who would restore justice and legality in the city, punish embezzlement and bribery. This scene is wide symbolic meaning, she reminds all viewers and readers of the work of their personal responsibility for what is happening to them and around them, speaks of the inevitable retribution that sooner or later overtakes everyone who lives out of conscience, who does not value the high rank of a person.
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27. “Laughter is a noble face” in N. V. Gogol’s comedy “The Inspector General”
Explaining the meaning of The Inspector General, N.V. Gogol pointed out the role of laughter: “I’m sorry that no one noticed honest face, which was in my play. Yes, there was one honest, noble face that acted in it throughout its entire duration. That honest, noble face was laughter.
A close friend of N.V. Gogol, wrote that modern Russian life does not provide material for comedy. To which Gogol replied: “Comedy lies everywhere ... Living among it, we do not see it ... but if the artist transfers it to art, to the stage, then we ourselves will wallow with laughter.”
The object of satire by N.V. Gogol is modern life itself in its comically ugly manifestations. Already at the heart of the plot itself is a comedic discrepancy: a person is taken not for who he really is. But the author solves this situation in a new way: Khlestakov does not pretend to be anyone. The unintentionality of Khlestakov's actions confused everyone, and his sincerity deceived the officials and the mayor, who himself "deceived scammers from scammers." happening and revealed the truly ugly and funny Face people, made them laugh. It was laughter through tears—angry laughter through tears of bitterness and indignation. The author laughs not at specific individuals, but at the vices of Russian reality, not without reason at the end he is thrown into a laughing hall: “You are laughing at yourself.”
It becomes both funny and bitter when we read about the order in a county town: “geese with goslings” dart in government places, and the assessor always smells of vodka; what demoniac teachers teach at the school; the healer Khristian Ivanovich does not know a single word of Russian; letters are opened at the post office to satisfy the curiosity of the postmaster, and the police "for order" put everyone in a row, and so on.
It was such a satirical image that allowed N.V. Gogol to clearly express his indignation at administrative arbitrariness and predation, petty self-serving characters of people in power.
But there are quite a few simply funny comic situations in the play. For example, the hasty orders of the mayor: “Let everyone take it in their hands along the street ...”, or the remark “Instead of a hat, puts on a paper case”, etc. Khlestakov is absurd and ridiculous, screaming in fear and banging his fist on the table: “Yes, what right do you have ?... I'm going straight to the minister! And how “magnificent” he is in the scene of lies, having made a dizzying career in a few minutes from a copyist of papers to a field marshal.
All this makes the play lively, authentic and helps the reader and viewer to cleanse their souls with the help of laughter, because, denouncing all the evil, the writer believes in the triumph of justice, which will win.
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28. The hero of the story by I. S. Turgenev "Asya". How has his attitude towards life changed?
I. S. Turgenev’s story “Asya” tells how the acquaintance of the protagonist, Mr. N. N., with the Gagins develops into a love story, which turned out to be a source for the hero of both sweet romantic languor and bitter torment, which later, over the years, lost their sharpness, but doomed the hero to the fate of a bean.
Interesting is the fact that the author refused the name of the hero, and there is no portrait of him. There are different explanations for this, but one thing is certain: I. S. Turgenev transfers the emphasis from the external to the internal, immersing us in the emotional experiences of the hero. From the very beginning of the story, the writer evokes sympathy among readers and trust in the hero of the narrator. We learn that this is a cheerful, healthy, rich young man who loves to travel, observe life, people. He recently experienced a love failure, but with the help of subtle irony, we understand that love was not real love but just entertainment.
And here is the meeting with Gagin, in which he felt a kindred spirit, the proximity of interests to music, painting, literature. Communication with him and his sister Asya immediately set the hero in a sublime romantic mood.
On the second day of their acquaintance, he carefully observes Asya, who both attracts and causes him a feeling of annoyance and even hostility with inexplicable, free actions. The hero is not aware of what is happening to him. He feels some kind of vague anxiety, which grows into an incomprehensible anxiety; then a jealous suspicion that the Gagins are not relatives.
Two weeks of daily meetings have passed. N. N. is more and more upset by jealous suspicions, and although he was not fully aware of his love for Asa, she gradually took possession of his heart. He is overwhelmed during this period with persistent curiosity, some annoyance at the mysterious, inexplicable behavior of the girl, the desire to understand her inner world.
But the conversation between Asya and Ganin, overheard in the gazebo, makes N. N. finally realize that he has already been captured by a deep and disturbing feeling of love. It is from him that he leaves for the mountains, and when he returns, he goes to the Ganins, after reading a note from brother Asya. Having learned the truth about these people, he instantly regains his lost balance and thus defines his emotional condition: “I felt some kind of sweetness - it was sweetness in my heart: it was as if they secretly poured me honey there ...” landscape sketch chapter 10 helps to understand psychological condition hero on this significant day, becoming the "landscape" of the soul. It is at this moment of merging with nature in inner world hero is committed new turn: what was vague, disturbing, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with the personality of Asya. But the hero prefers to give himself thoughtlessly to incoming impressions: “I am not only about the future, I am about tomorrow I didn’t think I was very good.” This indicates that at that moment N.N. was ready only to enjoy romantic contemplation, he did not feel in himself that it removes prudence and caution, while Asya had already “grown wings”, a deep feeling came to her and irresistible. Therefore, in the meeting scene, N.N. seems to be trying to hide behind reproaches and loud exclamations his unpreparedness for a reciprocal feeling, his inability to surrender to love, which so slowly matures in his contemplative nature.
Having parted with Asya after an unsuccessful explanation, N.N. still does not know what awaits him in the future "the loneliness of a familyless bean", he hopes for "tomorrow's happiness", not knowing that "happiness has no tomorrow ... he has the present is not a day, but a moment. N.N.'s love for Asya, obeying a whimsical game of chance or a fatal predetermination of fate, will flare up later, when nothing can be corrected. The hero will be punished for not knowing love, for doubting it. “And happiness was so close, so possible…”
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29. “Russian man on rendez vous” (The hero of the story “Asya” by I. S. Turgenev in the assessment of N. G. Chernyshevsky)
N. G. Chernyshevsky begins his article “Russian Man on Rendez Vous” with a description of the impression made on him by I. S. Turgenev’s story “Asya”. He says that against the backdrop of the stories of a businesslike, revealing kind that prevailed at that time, leaving a heavy impression on the reader, this story is the only a good thing. “The action is abroad, away from all the bad atmosphere of our home life. All the characters in the story are among the best people among us, very educated, extremely humane, imbued with the noblest way of thinking. The story has a purely poetic, ideal direction ... But last pages stories are not like the first ones, and after reading the story, the impression from it remains even more bleak than from stories about nasty bribe-takers with their cynical robbery. The whole point, N. G. Chernyshevsky notes, is in the character of the protagonist (he gives the name Romeo), who is a pure and noble person, but commits shameful act at the decisive moment of explanation with the heroine. The critic argues with the opinion of some readers who claim that the whole story is spoiled by "this outrageous scene", that the character of the main person could not stand it. But the author of the article even gives examples from other works by I. S. Turgenev, as well as N. A. Nekrasov, to show that the situation in the story "Asya" turns out to be typical of Russian life, when the hero talks a lot and beautifully about high aspirations, captivating enthusiastic girls capable of deep feelings and decisive actions, but as soon as “it comes to expressing your feelings and desires directly and accurately, most of the heroes are already beginning to hesitate and feel slowness in the language.
"Such are our" the best people“- they all look like our Romeo,” concludes N. G. Chernyshevsky. But then he takes the hero of the story under his protection, saying that such behavior is not the fault of these people, but a misfortune. This is how society brought them up: “their life was too shallow, soulless, all the relationships and affairs to which he was accustomed were shallow and soulless,” “life taught them only to pale pettiness in everything.” Thus, N. G. Chernyshevsky shifts the emphasis from the guilt of the hero to the guilt of the society that excommunicated such noble people from civil interests.
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30. Asya - one of the Turgenev girls (according to the story of I. S. Turgenev "Asya")
Turgenev's girls are heroines whose minds, richly gifted natures are not spoiled by the light, they retained the purity of feelings, simplicity and sincerity of the heart; these are dreamy, spontaneous natures without any falsehood, hypocrisy, strong-willed and capable of difficult accomplishments.
T. Vinynikova
I. S. Turgenev calls his story by the name of the heroine. However, the real name of the girl is Anna. Let's think about the meanings of the names: Anna - "grace, good looks", and Anastasia (Asya) - "born again". Why does the author stubbornly call the pretty, graceful Anna Asya? When does rebirth take place? Let's look at the text of the story.
Outwardly, the girl is not a beauty, although it seems to the narrator very "pretty". This is typical of Turgenev's heroines: personal charm, grace, and human originality are important to the author in their appearance. That’s exactly what Asya is like: “There was something of her own, special, in the warehouse of her swarthy big face, with a small thin nose, almost childish cheeks and black, light eyes. She was gracefully built…” What an interesting detail of the portrait: black, bright eyes. This is not just an external observation, but the penetration of the word “bright” into the depths of the heroine’s soul with just one word.
At first, Asya makes a strange impression on the main character, Mr. N.N., because he behaves in a completely different way than the well-bred secular ladies familiar to him. In the presence of a guest, "she did not sit still for a single movement, she got up, ran into the house and ran again, sang in an undertone, often laughed." Speed, movement are the main features of the appearance of Turgenev's heroine.
Watching Asya, seeing her fearless and self-willed girl, the narrator admires her, and gets annoyed with her, and feels that she plays different roles in life. Now she is a soldier marching with a gun, shocking the stiff English; then at the table she played the role of a well-bred young lady; then the next day she introduced herself as a simple Russian girl, almost a maid. "What a chameleon this girl is!" - exclaims the narrator, more and more fond of Asya. Communication with this “life-filled girl” makes the hero take a fresh look at himself, and for the first time in his youth, he feels regret that his life forces are so senselessly wasted in wanderings in a foreign land.
Much in the behavior, character of the heroine becomes clear from the history of her childhood. This story is also unusual. The girl early learned the orphanhood and duality of her position; a person with such a pedigree, as already, was constantly humiliated and insulted, neither the peasant environment nor secular society. Both the brother and then Mr. N.N. understood her " kind heart"and" trouble head ", her bashfulness and joy," inexperienced pride ", saw how" she deeply feels and what incredible strength She has those feelings."
Asya is magnificent in the chapters, where her soul, which felt happiness, is revealed. Previously, she was mysterious, she was tormented by uncertainty, she went to her idol, now he paid attention to her, but in a different way, “the thirst for happiness was kindled” in him. Between them begin endless, difficult transferred conversations lovers ... And how uniquely rich Asya's soul is against the backdrop of the fabulous beauty of nature! No wonder the author recalls the German folk legend about Lorelei.
Asya reveals herself to us deeper and more beautifully, she is characterized by an idealistic faith in the unlimited possibilities of man. Romantic distances beckon her, she longs for activity and is sure that “not to live in vain, to leave a trace behind herself”, and also to accomplish a “difficult feat” is within the power of every person. When a girl talks about the wings that she has grown, she means, first of all, the wings of love. In relation to Asya, this means the ability of a person to soar above the ordinary. “Yes, there is nowhere to fly,” the heroine, who has matured under the influence of a great feeling, realizes. These words contain not only an understanding of the futility of one's love for a young aristocrat, but a premonition of one's own difficult fate - the fate of a heavy "winged" nature in the close, closed world of "wingless" beings.
This psychological contradiction between Mr. N. N. and Asya is most clearly expressed in the meeting scene. The fullness of the feeling experienced by Asya, her timidity, bashfulness and resignation to fate are embodied in her laconic remarks, barely audible in the silence of a cramped room. But N.N. is not ready for a responsible feeling, unable to surrender to love, which so slowly matures in his contemplative nature.
Turgenev punishes his hero with a lonely familyless life because he did not recognize love, doubted it. And love cannot be postponed until tomorrow, this is a moment that has never happened again in the life of the hero: "Not a single eye can replace those eyes." She will forever remain in his memory, the Turgenev girl, strange and sweet, with a slight laugh or tearful eyes, a girl who can give happiness ...
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31. Pictures of nature in the story of I. S. Turgenev "Asya"
The story of I. S. Turgenev "Asya" is sometimes called the elegy of an unfulfilled, missed, but such a close happiness. The plot of the work is simple, because the author is not interested in external events, but in the spiritual world of the characters, each of which has its own secret. In revealing the depths spiritual states loving person the author is also helped by the landscape, which in the story becomes the “landscape of the soul”.
Here we have the first picture of nature, introducing us to the scene, a German town on the banks of the Rhine, given through the perception of the protagonist. ABOUT young man who loves walks, especially at night and in the evening, peering into the clear sky with a fixed moon pouring a serene and exciting light, observing the slightest changes in the world around him, we can say that he is a romantic, with deep, sublime feelings.
This is further confirmed by the fact that he immediately felt sympathy for the new acquaintances of the Gagins, although before that he did not like to meet Russians abroad. The spiritual intimacy of these young people is also revealed with the help of the landscape: the Gagins' dwelling was located in a wonderful place that Asya liked first of all. The girl immediately attracts the attention of the narrator, her presence, as it were, illuminates everything around.
“You drove into the moon pillar, you broke it,” Asya shouted to me. This detail in Turgenev becomes a symbol, because a broken moon pillar can be compared with Asya's broken life, the broken dreams of a girl about a hero, love, flight.
The continuing acquaintance with the Gagins sharpened the feelings of the narrator: he is attracted to the girl, he finds her strange, incomprehensible and surprising. The jealous suspicion that Gagina is not a brother and sister makes the hero seek solace in nature: “The mood of my thoughts had to match the calm nature of that region. I gave myself up to the quiet play of chance, the accumulating impressions ... "The following is a description of what the young man saw in these three days:" a modest corner of German land, with unpretentious contentment, with widespread traces of applied hands, patient, although unhurried work ... "But the most important thing here is the remark that the hero "given himself entirely to a quiet game of chance." This phrase explains the contemplative nature of the narrator, his habit of mentally not straining, but going with the flow, as depicted in Chapter X, where the hero actually sails home in a boat, returning after a conversation with Asya that excited him, who opened her soul to him. It is at this moment that the merging with nature in the inner world of the hero takes a new turn: what was vague, disturbing, suddenly turns into an undoubted and passionate thirst for happiness, which is associated with the personality of Asya. But the hero prefers to give himself thoughtlessly to incoming impressions: "I'm not only about the future, I didn't think about tomorrow, I felt very good." Everything goes on rapidly: Asya’s excitement, her realization of the futility of her love for the young aristocrat (“I have grown wings, but there is nowhere to fly”), a difficult conversation with Gagin, a dramatic meeting of the heroes, which showed the complete “winglessness” of the narrator, Asya’s hasty flight, sudden departure of brother and sister. For that a short time the hero begins to see clearly, a reciprocal feeling flares up, but it's too late, when nothing can be corrected.
Having lived for many years as a familyless bean, the narrator keeps the girl's notes and the dried geranium flower, which she once threw to him from the window, as a shrine.
Asya's feeling for Mr. N.N. is deep and irresistible, it is "unexpected and as irresistible as a thunderstorm," according to Gagin. The detailed descriptions of the mountains, the powerful flow of the rivers symbolize the free development of the feelings of the heroine.
Only this "insignificant grass" and its slight smell remained to the hero from that beautiful, integral world of nature and the world of Asya's soul, merged into one in the brightest, important days the life of Mr. N.N., who lost his happiness.
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32. satirical image reality in the "History of one city" by M.E. Saltykov Shchedrin (chapter "On the root of the origin of the Foolovites")
"The History of a City" is the greatest satirical canvas of the novel. This is a merciless denunciation of the entire control system tsarist Russia. The History of a City, completed in 1870, shows that the people in the post-reform period remained as disenfranchised as the officials were petty tyrants of the 70s. differed from the pre-reform ones only in that they robbed in more modern, capitalist ways.
The city of Foolov is the personification of autocratic Russia, the Russian people. Its rulers embody the specific features of historically reliable, living rulers, but these features are brought to their "logical end", exaggerated. All the inhabitants of Glupovo - both the mayors and the people - live in some kind of nightmare, where the appearance of a ruler with an organ instead of a head, cruel tin soldiers instead of living ones, an idiot who dreams of destroying everything on earth, a bungler who went "to catch a mosquito eight miles away" is quite understandable ”, etc. These images are built in the same way as the images of folk fantasy, but they are scarier, because they are more real. The monsters of Foolov's world are generated by this same world, nourished by its rotten soil. Therefore, the satirist does not confine himself in the "History of a City" to one ridicule of the rulers of the city, he bitterly laughs at the slavish patience of the people.
The chapter “On the Root of the Origin of the Foolovites” was supposed to show, according to the writer’s intention, the tradition of the emergence of the favorite pastime of the mayors – cutting and collecting arrears.
Initially, the Foolovites were called bunglers, because “they had the habit of banging their heads against everything that they met on the way. The wall comes across ─ they sting against the wall; They start praying to God - they rub the floor. This “grabbing” already speaks enough about the spiritual, innate qualities of the bunglers, who developed in them independently of the princes. With a bitter laugh, M.E. Saltykov Shchedrin writes that “having gathered together the Kurales, the Gushcheeds and other tribes, the bunglers began to settle down inside, with the obvious goal of achieving some sort of order.” “It started with the fact that Kolga was kneaded with a thick one, then they dragged the zhelemka to the bathhouse, then they boiled kosha in a purse” and performed other senseless deeds, because of which even two stupid found princes did not want to “volunteer” bunglers, calling them Foolovites. But the people could not arrange themselves in any way. We certainly needed a prince, "who will make soldiers with us, and build the prison, which follows, will build!" Here, the “historical people”, “carrying the Wartkins, Burcheevs, etc. on their shoulders”, with whom the writer, as he himself admitted, could not sympathize, are subjected to satirical ridicule.
The bunglers voluntarily surrendered to bondage, "sighed unrelentingly, cried out loudly," but "the drama had already taken place irrevocably." And the oppression and robbing of the Foolovites began, bringing them to revolts that were beneficial to the rulers. A " historical times” for Glupov began with a cry: “I’ll screw up!” But despite the sharply critical attitude towards people's passivity, humility and long-suffering, the author in the "History of a City" in other chapters paints the image of the people with penetrating colors, this is especially evident in the scenes of national disasters.
But in his work, the author does not limit himself to showing pictures of the arbitrariness of the rulers and the long-suffering of the people, he also reveals the process of growing anger of the oppressed, convincing readers that it cannot continue like this: either Russia will cease to exist, or there will come a turning point that will sweep away the Russian land from the face of the earth. the existing state system.
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33. Folklore traditions in the "History of one city" by M. E. Saltykov Shchedrin (chapter "On the root of the origin of the Foolovites")
The “History of a City” by M.E. Saltykov Shchedrin was written in the form of a narration by an archivist chronicler about the past of the city of Glupov, but the writer was not interested in historical theme he wrote about real Russia, about what worried him as an artist and a citizen of his country. Having stylized the events of a hundred years ago, giving them features epoch XVIII century, Saltykov Shchedrin acts in different capacities: first, he narrates on behalf of the archivists, the compilers of the Foolovsky Chronicler, then from the author, who acts as a publisher and commentator of archival materials.
Approaching the presentation inventively, Saltykov Shchedrin managed to combine the plot and motifs of legends, fairy tales, and other folklore works and simply, accessible to convey to readers anti-monarchist ideas in the pictures of folk life and everyday concerns of Russians.
The novel opens with the chapter “Appeal to the reader”, stylized as an old style, with which the writer acquaints his readers with his goal: “to depict successively the mayors, to the city of Foolov from the Russian government different time staging."
The chapter "On the root of the origin of the Foolovites" is written as a retelling of the chronicle. The beginning is an imitation of the "Tale of Igor's Campaign", a listing of famous historians of the 19th century who have directly opposite views on historical process. prehistoric times Foolov seem absurd and unrealistic, the actions of the peoples who lived in ancient times are far from conscious acts. That is why the Foolovites were called bunglers in the past, which in itself declares their innate essence.
Speaking about the attempts of the bunglers, having gathered together the tricksters, guinedes and other tribes, to settle down inside and achieve some kind of order, the writer cites many tales: “The Volga was kneaded with oatmeal, then they dragged the calf to the bath, bell ringing they met, then they drove the pike from the eggs, ”etc.
Just like their actions, the desire of bunglers to get a prince is ridiculous. If in folk tales the heroes go in search of happiness, then these tribes need a ruler to “make a soldier and build a prison, as it should be.” Continuing to sneer at the bunglers, Saltykov Shchedrin again resorts to folklore traditions: lexical repetitions, proverbs: “They searched, they searched for princes and a little bit did not get lost in three pines, but thanks to that there happened to be a pedestrian blind beard who knew these three pines like the back of his hand” .
in the spirit folk tales“good fellows” walk around in search of the prince for three years and three days and find it only on the third attempt, passing “by a spruce forest and a berunichka, then more densely, then a carrier.” All these folk traditions, combined with satire, create a unique style of the work, help the author to emphasize the absurdity, meaninglessness of Foolov's life.
But even in this chapter, M. E. Saltykov Shchedrin finds an opportunity to pity the stupid people who voluntarily put a prince on their neck. He brings the full two verses of the famous folk song“Don’t make noise, mother green oak forest,” accompanying her with sad comments: “The longer the song flowed, the lower the heads of the bunglers drooped.”
The author resorts to the proverb genre when he speaks about the candidates for the role of the landowner to the Foolovites: “Which of the two candidates should be given the advantage: whether the Orlovets, on the grounds that“ Orel and Kromy are the first thieves ”, or Shuyashen, on the grounds that he "was in St. Petersburg, drove on the ass, and immediately fell." Yes, government begins with thieves and fools and will be continued by them, but it is no coincidence that from the very beginning of their characterization, healthy folk wit sounds, which, but the author’s thoughts, will defeat the headless monsters of the Foolov world.
The idea that the long-suffering people will wake up and overcome difficulties, because they have not forgotten how to believe, love and hope, runs through the entire “History of a City”.
Reading the second act, let's focus our attention on the following questions: What does Osip tell about Khlestakov? Which scene is the most comical and why? Why are the Gorodnichiy and Khlestakov behaving so ridiculously? How to explain the difference in the behavior of the Governor at the very beginning of his meeting with Khlestakov and later, when he makes new decisions and gives new orders? The turning point in the behavior of the Governor, when he overcame his fear and realized that it was not difficult to deceive the auditor, that is, to hide all his crimes from him, means that a comedic conflict ensued. Fighting forces: on the one hand - the Governor and his entourage, on the other - Khlestakov.
The comedy of the conflict lies in the fact that everything turns out to be the opposite in it. From point of view common sense the hero leading the action, the attacker, must be the auditor, since he is a government official who came to the city 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 officials are subordinate to the Governor in this, since they also have their sins. This "on the contrary" will go through all the most important points in the development of the conflict.
Let's name the main events of the third act. Let's read Khlestakov's characterization again, given by Gogol in "Remarks to Messrs. Actors". How is this characterization justified in the scene of Khlestakov's lies? What are the features of Khlestakov's speech? How do these features characterize him? Why do officials believe Khlestakov's chatter? What can be said about the wife and daughter of the Governor? In what scenes of the third act did Gogol's humor manifest itself with particular force?
The events depicted in the third act are very important in the development of the conflict. And here the struggle between the participants in the conflict (Gorodnichiy - Khlestakov) is waged "on the contrary", contrary to common sense: Khlestakov realized that he was being mistaken for some important person, and the story of his metropolitan life trying to make himself more important. He lies to such an extent that he completely exposes himself. From the very first meeting with Gorodnichiy, Khlestakov behaves stupidly, like a man "without a king in his head", and in the scene of lies, this quality of his is revealed with the greatest force. And it would seem that now the officials, or at least the Governor, as the smartest of them, should have understood their mistake, but they did not understand anything: their fear of punishment for their sins is so great. The mayor, who is always trying to penetrate the essence of Khlestakov’s character, understands that he lied a lot in his youth, but continues to believe that the auditor is in front of him, and therefore gives new orders: do not let those who come with a complaint against him or will at least would be like someone who can complain, and the development of the ridiculous conflict continues, the tension of the comedic action grows.
Let us recall all the actions of the Governor from the beginning of the conflict to the scene of Khlestakov's courtship for Marya Antonovna. What purpose determines all the actions of the Governor and his subordinates? What is the result of their activities? The courtship scene (act 4, yavl. 12 - 16) and the scene of the triumph of the Governor (act 5, yavl. 1-7) is the culmination of the conflict: The governor, as a hero leading the action, achieved more than he wanted, he not only managed to hide from inspector of his crimes, but even "married" with him.
Let's re-read the final scenes of the comedy. What's funny about the letter reading scene? What feelings of the Governor are expressed in his final monologue? To whom are the words of Gorodnichiy addressed: “Oh, clickers, damned liberals!”?
The scene of reading Khlestakov's letter to Mr. Tryapichkin ended the comedy action, a conflict broke out. What should the Governor and other officials do now from the point of view of common sense? They would have to remember what rides real auditor, which was reported in a letter to Gorodnichiy by his relative. And they didn't remember. That's why latest phenomenon- the message of the gendarmerie officer about the arrival of the auditor is a disaster: Gorodnichiy and his subordinates were completely unprepared for the arrival of the real auditor.
The theme of the city is one of the main themes in Gogol's work. In his works we meet different types cities: capital - Petersburg - in the "Overcoat", " Dead souls”, “Evenings on a farm near Dikanka”; county in the "Inspector", provincial in the "Dead ...
In the comedy The Inspector General, N.V. Gogol, with great accusatory power, exposes the vices of society during the times of Tsarist Russia. In the center of his attention are representatives of the bureaucracy, and the author embodies their images in the characteristic characters of a small county...
In 1839, in an article about "Woe from Wit", condemning Griboyedov's comedy "from an artistic point of view" (which, as he wrote in a letter to V.P. greeted the Inspector. His...
Imagine a small county town of the 30s of the 19th century, which is located in the center of Russia, but far from the capital: “if you ride for three years, you won’t reach any state.” Gogol deliberately does not indicate the exact location of this town....
A feature of Gogol's comedy "The Government 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 reaches its climax in act III. The comic fight continues. The mayor deliberately goes towards 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 are 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 a difficult situation: “As you run up the stairs to your fourth floor, you only say to the cook:“ On, Mavrushka, overcoat ... “Well, I'm lying - I and 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 state person. “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”.
