Works on Literature: The Public Significance of N. V. Gogol's Comedy The Inspector General"Inspector" belongs to those works that capture readers and viewers instantly and as if by surprise. It seemed that all reading Russia was thinking, talking and arguing about the play. The Inspector General immediately became a fact not only of literary, but also of social life. In the discordance of rumors and disputes about the play, there have been three dominant opinions. Some saw in the comedy a daring slander of the order that existed in Russia, undermining the authority of nobles and officials. Others saw the play as an amusing and unassuming farce. Finally, advanced Russian criticism saw in The Government Inspector, in Herzen's words, "a terrible confession of modern Russia", a protest against injustice and arbitrariness suffered through suffering. The Inspector General broke the usual ideas about comedy and the comic. It seemed that some secret was hidden in Gogol's play.
It was felt by both the audience and the readers of the comedy. Many of them were relentlessly pursued by the question: how to explain the strength of the "Inspector"? It was striking, for example, that Gogol did not have inveterate villains, who were usually brought out by the comedy of the 18th and early 19th centuries. Each of the characters in The Inspector General, in Gogol's words, "is not a bad soul, but simply a rogue." Meanwhile, everything “together seems already something huge, exaggerated, caricatured”, so that, leaving the theater, many involuntarily asked: “Do such people really exist?” Or one more "contradiction" of the "Auditor". Gogol's comedy is hilariously funny: it really came out "funnier than the devil," as the playwright promised Pushkin (who, as you know, suggested to him the plot of the comedy). But, like an undercurrent, a sad, languorously dreary feeling arises in The Inspector General; it rises the higher, the more carefree and lighter the comedy's laughter seems. Finally, in the last "silent scene" it breaks out, falling on both the actors and the audience in a powerful wave.
The famous "silent scene" is another mystery of The Inspector General. It fundamentally contradicted all the poetic norms that existed at that time. Could it be expected that the play, which began as a comedy - the mayor's story about two rats of "unnatural size", the fussy preparations of officials for the reception of the auditor, etc., etc., would end tragically - a terrible stupor of "the whole group"?
Of course, Gogol had a "special intention" - both in relation to the last scene, and to the whole comedy as a whole. But this "intention" cannot be revealed outside the play, having acquired the so-called key to it. You can see the "intention" of the playwright only in the comedy itself, in the development of its action in the features of its construction. Subsequently, revealing the history of its "authorship". Gogol wrote - "I decided to collect all the bad things that I knew, and at one time they would laugh at him - this is the origin of The Inspector General. It is worth paying attention to the breadth of the task set by the playwright: they will laugh at everything at once ... The artist always generalizes, he always attaches a broader meaning to the particular fact captured in the work.
But the generalization in The Examiner reaches a particularly high degree. Some of Gogol's contemporaries believed that the playwright, for censorship reasons, wrote an allegory that, under the guise of a county town, he depicted the capital of the Russian Empire, Petersburg. This is hardly true: Gogol according to the warehouse of his creative manner. allegory was alien.
The strength of the play is not in allegorical hints, but in the special principle of selecting life phenomena. The writer once called his county town “the prefabricated city of the entire Dark Side.” In particular, he paid attention to its structure. This city has everything like in a small state. represented by the trustee of charitable institutions) and, of course, the police.
Gogol largely departed from the real structure of the then county town: he transferred a number of similar functions to one person, introduced new "POSITIONS", which even gave reason to reproach the writer for anachronisms and "ignorance" of Russian life. But Gogol took advantage of this right of the artist for the sake of the breadth and universality of the task. Gogolevsky the city is consistently hierarchical and, so to speak, pyramidal: on top of it, a kik little king, sits - the mayor There is a beau monde in the city; And its ladies' society, in which again the family of the mayor excels; and its public opinion; and its news providers in the linden of foolish landowners Bobchinsky and Dobchinsky. And below, under the heel of officials And policemen, the life of ordinary people flows. We feel this life behind the scenes more than we see it. But in the fourth act, those whom the mayor somewhat generically calls "merchants and citizenship" break through on the stage Following the merchants who can still get off with bribes, defenseless against the authorities, a locksmith and a non-commissioned officer go, and there, as the remark says, “some figure in a frieze overcoat, with an unshaven beard, a swollen lip and a bandaged cheek, appears behind her several others are shown in perspective." If it were not for the resistance of Khlestakov, tired of the "reception", we would have seen many more of those. to whom the authorities fall "solono".
Gogol leaves an open "perspective" into the depths of urban life Until the last lines of the comedy. At least according to the mayor’s remark: “What are you laughing at” “- You are laughing at yourself” “and until the very “dumb” scene in the play there is nothing that would indicate its symbolic meaning. Gogol is emphatically “local” everywhere, he seems to be completely captured only the events taking place in the city. But the depth of the perspective of these events gradually leads to a generalization. An image arises that is more terrible than the broadest allegory. Due to its integrity and organicity, Gogol's city seemed to take on an independent life. It became the minimum necessary "model", correlated with others, sometimes larger events.
The time when N. V. Gogol lived and worked was marked by great social and historical events. The childhood years of the writer coincided with the defeat of Napoleon in the Patriotic War of 1812, Russia's entry into the broad international arena. The youthful years of Nikolai Gogol belong to the period when the Decembrists made plans for the revolutionary restructuring of Russia, and then openly opposed autocracy and serfdom. In the literary field, N.V. Gogol entered the time of cruel political reaction. His creative activity develops in the 30s and 40s of the 19th century, when the ruling circles of Nicholas I sought to eradicate any free thought, social independence
The appearance in 1836 of the comedy "The Inspector General" acquired social importance not only because the author criticized and ridiculed the vices and shortcomings of tsarist Russia, but also because with his comedy the writer called on viewers and readers to look into their souls, to think about universal values. Gogol did not share the ideas of the revolutionary reorganization of society, but he sacredly believed in strength, purifies, laughter, believed in the triumph of justice, which would certainly win as soon as people realize all the fatality of evil. So, in his play, N.V. Gogol sets himself the goal of “laughing hard at everything that is“ worthy of ridicule in general. In the comedy The Inspector General, the author chooses a small provincial town as the scene of action, from which “if you ride for three years, you won’t reach any state”. N. V. Gogol makes city officials and the “phantasmagoric face”, Khlestakov, the heroes of the play.
The genius of the author allowed him, using the example of a small island of life, to reveal those features and conflicts that characterized the social development of an entire historical era. He managed to create artistic images of a huge social and moral range. The small town in the play remembered all the characteristic features of social relations of that time. The main conflict on which the comedy is built lies in the deep contradiction between what city officials do and ideas about the public good, the interests of the city's residents. Lawlessness, embezzlement, bribery - all this is depicted in the “Inspector General” not as individual vices of individual officials, but as generally recognized “norms of life”, outside of which those in power cannot imagine their existence. Readers and viewers do not doubt for a minute that somewhere life goes according to other laws.
All the norms of relations ‘between people in the city of the “Inspector General” look in the play as universal. Where, for example, do officials have such confidence that the inspector who came from St. Petersburg will agree to take part in a dinner at the mayor's office, will not refuse to take obvious bribes? Yes, because they know this from the experience of their city, but is it really so different from the capital?
Gogol is occupied not only with the social vices of society, but also with its moral and spiritual state. In The Inspector General, the author painted a terrible picture of the internal disunity of people who are able to unite only for a while under the influence of a feeling of fear common to all. In life, people are led by arrogance, arrogance, servility, the desire to take a more advantageous place, to get better. People have lost the idea of the true meaning of life
You can sin, it is enough just, like a mayor, to regularly attend church every week. To hide the true essence of their actions, the officials are also helped by a fantastic untruth, which is in many ways akin to Khlestakov's. Lyapkin-tyapkin swindles with greyhound puppies and calls it “a completely different matter.” In the city's hospitals, people are "recovering like flies."
The postmaster opens other people's letters only because "death loves to know what's new in the world." It is not by chance that N. V. Gogol completely reverses the traditional stage plot and development of the plot in his play, saying that “don’t they now have more electricity, money capital, a profitable marriage than love?”. The true values of human nature for city officials are replaced by ideas of rank. The superintendent of the schools, Khlopov, a modest titular adviser, frankly admits that if someone speaks to him in a higher way, then he doesn’t have a soul, and his speech is stuck in the mud. It is the reverent fear of a “significant person” that leads to the fact that officials, who perfectly understand all the emptiness and stupidity of Khlestakov, portray complete respect, and not only portray, but really experience it. Describing his play “The Inspector General” as a public comedy, N.V. Gogol repeatedly emphasized the deep generalizing meaning of its images.
The unpunished arbitrariness of the mayor, the stupid diligence of Derzhimorda, the vicious innocence of the postmaster - all these are deep social generalizations. Each of the characters in the comedy symbolizes a certain range of human qualities, allowing the author to show how crushed modern man is, how much ideas of heroism and nobility remain in him. The image of allsoch can also be considered a huge creative success of the writer.
ru 2001-2005 Khlestakov, whom the author did not accidentally consider the main character of the work. It was Khlestakov who most fully expressed the essence of the era in which there is no normal human logic, in which a person is judged not by his spiritual qualities, but by his social position. And in order to take a high position, just a case is enough that will take you “from rags to riches”, you do not need to make any efforts, take care of the public good. Thus, it can be argued that, having brought out generalized types of people and relations between them in a comedy, N.V. Gogol was able with great force to beat off the life of contemporary Russia in his work
Inspired by the ideas of the high vocation of man, the writer spoke out against everything low, vicious and unspiritual, against the fall of social norms and human morality. The enormous social significance of the play lies in the power of its impact on the audience, who must realize that everything they see on the stage is happening around them and in real life.
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The time when N.V. Gogol lived and worked was marked by major social and historical events. The childhood years of the writer coincided with the defeat of Napoleon in the Patriotic War of 1812, Russia's entry into the broad international arena. The youthful years of Nikolai Gogol belong to the period when the Decembrists made plans for the revolutionary reorganization of Russia, and then openly opposed autocracy and serfdom. In the literary field, N.V. Gogol entered the time of cruel political reaction. His creative activity develops in the 30-40s of the 19th century, when the ruling circles of Nicholas I sought to eradicate any free-thinking, social independence.
The appearance in 1836 of the comedy The Inspector General acquired social importance not only because the author criticized and ridiculed the vices and shortcomings of Tsarist Russia, but also because with his comedy the writer called on viewers and readers to look into their souls, to think about universal values. Gogol did not share the ideas of the revolutionary reorganization of society, but he firmly believed in the purifying power of laughter, believed in the triumph of justice, which will certainly win as soon as people realize the whole fatality of evil. So, in his play, N.V. Gogol sets himself the goal of “laughing hard” at everything that is “worthy of the ridicule of the universal”.
In the comedy The Inspector General, the author chooses a small provincial town as the scene of action, from which “if you ride for three years, you won’t reach any state.” N.V. Gogol makes city officials and “a phantasmagoric face”, Khlestakov, the heroes of the play. The genius of the author allowed him, using the example of a small island of life, to reveal those features and conflicts that characterized the social development of an entire historical era. He managed to create artistic images of a huge social and moral range. The small town in the play captured all the characteristic features of social relations of that time.
The main conflict on which the comedy is built lies in the deep contradiction between what city officials are doing and ideas about the public good, the interests of city residents. Lawlessness, embezzlement, bribery - all this is depicted in the "Inspector" not as individual vices of individual officials, but as generally recognized "norms of life", outside of which those in power cannot imagine their existence. Readers and viewers do not doubt for a minute that somewhere life goes according to other laws. All the norms of relations between people in the city of the “Inspector General” look like universal in the play. Where, for example, do officials have such confidence that an inspector who has come from St. Petersburg will agree to take part in a dinner at the mayor's, will not refuse to take obvious bribes? Yes, because they know this from the experience of their city, but is it really so different from the capital?
Gogol is occupied not only with the social vices of society, but also with its moral and spiritual state. In The Inspector General, the author painted a terrible picture of the internal disunity of people who are able to unite only for a while under the influence of a common feeling of fear for all. In life, people are led by arrogance, arrogance, servility, the desire to take a more advantageous place, to get better. People have lost the idea of the true meaning of life. One can sin, it is enough just, like a mayor, to regularly attend church every Sunday. To hide the true essence of their actions, officials are also helped by a fantastic lie, which is in many ways akin to Khlestakov's. Lyapkin-Tyapkin takes bribes with greyhound puppies and calls it "a completely different matter." In the city's hospitals, people are "recovering like flies." The postmaster opens other people's letters only because "death loves to know what's new in the world."
It is no coincidence that N.V. Gogol completely alters the traditional stage plot and plot development in his play, saying that “do they not now have more electricity, money capital, a profitable marriage than love?” The true values of human nature for city officials have been replaced by ideas of rank. Khlopov, the superintendent of the schools, a modest titular adviser, frankly admits that if someone of a higher rank speaks to him, he “has no soul, and his tongue is stuck in the mud.” It is the reverent fear of a “significant person” that leads to the fact that officials, who perfectly understand all the emptiness and stupidity of Khlestakov, portray the utmost respect, and not only portray, but really experience it.
Describing his play "The Inspector General" as a public comedy, N.V. Gogol repeatedly emphasized the deep generalizing content of its images. The unpunished arbitrariness of the mayor, the dull diligence of Derzhimorda, the caustic innocence of the postmaster - all these are deep social generalizations. Each of the characters in the comedy symbolizes a certain range of human qualities, allowing the author to show how small modern man is, how much ideas of heroism and nobility remain in him. Thus, the author prepares us to understand one of the main ideas of the poem "Dead Souls", in which he will show that there is nothing more terrible than ordinary, crushing evil.
The image of Khlestakov, whom the author did not accidentally consider the main character of the work, can also be considered a huge creative success of the writer. It was Khlestakov who most fully expressed the essence of the era in which there is no normal human logic, in which a person is judged not by his spiritual qualities, but by his social position. And in order to take a high position, just a case is enough that will take you “from rags to riches”, you do not need to make any efforts, take care of the public good.
Thus, it can be argued that, having brought out generalized types of people and relations between them in comedy, N.V. Gogol was able to reflect the life of contemporary Russia in his work with great power. Inspired by the ideas of the high vocation of man, the writer spoke out against everything low, vicious and unspiritual, against the fall of social norms and human morality. The enormous social significance of the play lies in the power of its impact on the audience, who must realize that everything they see on the stage takes place around them and in real life.
The childhood years of the writer coincided with the defeat of Napoleon in the Patriotic War of 1812, Russia's entry into the broad international arena. The youthful years of Nikolai Gogol belong to the period when the Decembrists made plans for the revolutionary reorganization of Russia, and then openly opposed autocracy and serfdom. In the literary field, N.V. Gogol entered the time of cruel political reaction. His creative activity develops in the 30-40s of the 19th century, when the ruling circles of Nicholas I sought to eradicate any free-thinking, social independence.
The appearance in 1836 of the comedy "The Inspector General" acquired social importance not only because the author criticized and ridiculed the vices and shortcomings of tsarist Russia, but also because with his comedy the writer called on viewers and readers to look into their souls, to think about universal values. Gogol did not share the ideas of the revolutionary reorganization of society, but he firmly believed in the purifying power of laughter, believed in the triumph of justice, which will certainly win as soon as people realize the whole fatality of evil. So, in his play, N.V. Gogol sets himself the goal of “laughing hard” at everything that is “worthy of the ridicule of the universal”.
In the comedy "The Government Inspector", the author chooses a small provincial town as the scene of action, from which "if you ride for three years, you won't reach any state." N.V. Gogol makes city officials and "a phantasmagoric face", Khlestakov, the heroes of the play. The genius of the author allowed him, using the example of a small island of life, to reveal those features and conflicts that characterized the social development of an entire historical era. He managed to create artistic images of a huge social and moral range. The small town in the play captured all the characteristic features of the social relations of that time. The main conflict on which the comedy is built lies in the deep contradiction between what city officials are doing and ideas about the public good, the interests of the city's inhabitants. Lawlessness, embezzlement, bribery - all this is depicted in The Inspector General not as individual vices of individual officials, but as generally recognized "norms of life", outside of which those in power cannot imagine their existence. Readers and viewers do not doubt for a minute that somewhere life goes according to other laws. All the norms of relations "between people in the town of the Inspector General" look like universal in the play. How, for example, do officials have such confidence that the auditor who came from St. Petersburg will agree to take part in a dinner with the mayor, will not refuse to take obvious bribes? that they know this from the experience of their city, but is it really so different from the capital?
Gogol is occupied not only with the social vices of society, but also with its moral and spiritual state. In The Inspector General, the author painted a terrible picture of the internal disunity of people who are able to unite only for a while under the influence of a feeling of fear common to all. In life, people are led by arrogance, arrogance, servility, the desire to take a more advantageous place, to get better. People have lost the idea of the true meaning of life. One can sin, it is enough just, like a mayor, to regularly attend church every Sunday. To hide the true essence of their actions, officials are also helped by a fantastic lie, which is in many ways akin to Khlestakov's. Lyapkin-Tyapkin takes bribes with greyhound puppies and calls it "a completely different matter." In the city's hospitals, people are "recovering like flies." The postmaster opens other people's letters only because "death loves to know what's new in the world."
It is no coincidence that N.V. Gogol completely alters the traditional stage plot and plot development in his play, saying that "do they not now have more electricity, money capital, a profitable marriage than love?" The true values of human nature for city officials have been replaced by ideas of rank. The overseer of the schools, Khlopov, a modest titular adviser, frankly admits that if someone of a higher rank speaks to him, he "has no soul, and his tongue is stuck in the mud." It is the reverent fear of a "significant person" that leads to the fact that officials, who are well aware of all the emptiness and stupidity of Khlestakov, portray complete respect, and not only portray, but really experience it.
Describing his play "The Inspector General" as a public comedy, N.V. Gogol repeatedly emphasized the deep generalizing content of its images. The unpunished arbitrariness of the mayor, the dull diligence of Derzhimorda, the caustic innocence of the postmaster - all these are profound social generalizations. Each of the characters in the comedy symbolizes a certain range of human qualities, allowing the author to show how small modern man is, how much ideas of heroism and nobility remain in him.
The image of Khlestakov, whom the author did not accidentally consider the main character of the work, can also be considered a huge creative success of the writer. It was Khlestakov who most fully expressed the essence of the era in which there is no normal human logic, in which a person is judged not by his spiritual qualities, but by his social position. And in order to occupy a high position, just a case is enough that will take you "from rags to riches", you do not need to make any efforts, take care of the public good.
Thus, it can be argued that, having brought out generalized types of people and relations between them in a comedy, N.V. Gogol was able to reflect the life of contemporary Russia in his work with great power. Inspired by the ideas of the high vocation of man, the writer spoke out against everything low, vicious and unspiritual, against the fall of social norms and human morality. The enormous social significance of the play lies in the power of its impact on the audience, who must realize that everything they see on the stage takes place around them and in real life.
The time when N.V. Gogol lived and worked was marked by major social and historical events. The childhood years of the writer coincided with the defeat of Napoleon in the Patriotic War of 1812, Russia's entry into the broad international arena. The youthful years of Nikolai Gogol belong to the period when the Decembrists made plans for the revolutionary reorganization of Russia, and then openly opposed autocracy and serfdom. In the literary field, N.V. Gogol entered the time of cruel political reaction. His creative activity develops in the 30-40s
years of the 19th century, when the ruling circles of Nicholas I sought to eradicate any free-thinking, social independence.
The appearance in 1836 of the comedy The Inspector General acquired social importance not only because the author criticized and ridiculed the vices and shortcomings of Tsarist Russia, but also because with his comedy the writer called on viewers and readers to look into their souls, to think about universal values. Gogol did not share the ideas of the revolutionary reorganization of society, but he firmly believed in the purifying power of laughter, believed in the triumph of justice, which would certainly win as soon as
people are aware of the fatality of evil. So, in his play, N.V. Gogol sets himself the goal of “laughing hard” at everything that is “worthy of the ridicule of the universal”.
In the comedy The Inspector General, the author chooses a small provincial town as the scene of action, from which “if you ride for three years, you won’t reach any state.” N.V. Gogol makes city officials and “a phantasmagoric face”, Khlestakov, the heroes of the play. The genius of the author allowed him, using the example of a small island of life, to reveal those features and conflicts that characterized the social development of an entire historical era. He managed to create artistic images of a huge social and moral range. The small town in the play captured all the characteristic features of social relations of that time.
The main conflict on which the comedy is built lies in the deep contradiction between what city officials are doing and ideas about the public good, the interests of city residents. Lawlessness, embezzlement, bribery - all this is depicted in The Inspector General not as individual vices of individual officials, but as generally recognized "norms of life", outside of which those in power cannot imagine their existence. Readers and viewers do not doubt for a minute that somewhere life goes according to other laws. All the norms of relations between people in the city of the “Inspector General” look like universal in the play. Where, for example, do officials have such confidence that an inspector who has come from St. Petersburg will agree to take part in a dinner at the mayor's, will not refuse to take obvious bribes? Yes, because they know this from the experience of their city, but is it really so different from the capital?
Gogol is occupied not only with the social vices of society, but also with its moral and spiritual state. In The Inspector General, the author painted a terrible picture of the internal disunity of people who are able to unite only for a while under the influence of a common feeling of fear for all. In life, people are led by arrogance, arrogance, servility, the desire to take a more advantageous place, to get better. People have lost the idea of the true meaning of life. One can sin, it is enough just, like a mayor, to regularly attend church every Sunday. To hide the true essence of their actions, officials are also helped by a fantastic lie, which is in many ways akin to Khlestakov's. Lyapkin-Tyapkin takes bribes with greyhound puppies and calls it "a completely different matter." In the city's hospitals, people are "recovering like flies." The postmaster opens other people's letters only because "death loves to know what's new in the world."
It is no coincidence that N.V. Gogol completely alters the traditional stage plot and plot development in his play, saying that “do they not now have more electricity, money capital, a profitable marriage than love?” The true values of human nature for city officials have been replaced by ideas of rank. Khlopov, the superintendent of the schools, a modest titular adviser, frankly admits that if someone of a higher rank speaks to him, he “has no soul, and his tongue is stuck in the mud.” It is the reverent fear of a “significant person” that leads to the fact that officials, who perfectly understand all the emptiness and stupidity of Khlestakov, portray the utmost respect, and not only portray, but really experience it.
Describing his play "The Inspector General" as a public comedy, N.V. Gogol repeatedly emphasized the deep generalizing content of its images. The unpunished arbitrariness of the mayor, the dull diligence of Derzhimorda, the caustic innocence of the postmaster - all these are deep social generalizations. Each of the characters in the comedy symbolizes a certain range of human qualities, allowing the author to show how small modern man is, how much ideas of heroism and nobility remain in him. Thus, the author prepares us to understand one of the main ideas of the poem "Dead Souls", in which he will show that there is nothing more terrible than ordinary, crushing evil.
The image of Khlestakov, whom the author did not accidentally consider the main character of the work, can also be considered a huge creative success of the writer. It was Khlestakov who most fully expressed the essence of the era in which there is no normal human logic, in which a person is judged not by his spiritual qualities, but by his social position. And in order to take a high position, just a case is enough that will take you “from rags to riches”, you do not need to make any efforts, take care of the public good.
Thus, it can be argued that, having brought out generalized types of people and relations between them in comedy, N.V. Gogol was able to reflect the life of contemporary Russia in his work with great power. Inspired by the ideas of the high vocation of man, the writer spoke out against everything low, vicious and unspiritual, against the fall of social norms and human morality. The enormous social significance of the play lies in the power of its impact on the audience, who must realize that everything they see on the stage takes place around them and in real life.
