The basis of Gogol's "Inspector General" is not a love affair, not a desire to get a profitable place, rank; the dramatic situation of the work is formed "the very horror, the fear of waiting, the thunderstorm of the one walking in front of the law"taking possession of officials. The plot of the play consists in the first phrase of the Governor ("I invited you, gentlemen ..."), and from that moment fear begins to shackle the heroes and grows from action to action. Because of this, many comic situations arise, we see what customs reign in the city, what officials are goats and so on. Moreover, in a comedy no hero-ideologist, like Chatsky, there is no hero who deliberately leads everyone by the nose. Officials, overwhelmed by fear that overshadows the mind, impose on Khlestakov the role of a significant person, take "icicle", "rag" for the auditor. The heroes rush to nowhere, beyond the emptiness, beyond the mirage. That's why Yuri Mann called the intrigue in "The Inspector General" "mirage intrigue".
It begins with the story of Bobchinsky and Dobchinsky about how Khlestakov looked into their tackle and that he was the inspector. The mirage materializes with the appearance of Khlestakov. Without this hero there would be no "mirage intrigue"... After all, it consists in turning him into a state person - that is, filling a complete void with fictional content... This is due not only to the fear of officials, but also to the qualities of Khlestakov: he is absolutely stupid. Words from his mouth fly out "completely unexpectedly", he is "without a king in his head." It does not immediately reach him why he is so welcomed in the city (and he still does not understand that he was mistaken for an auditor, even at the end). Khlestakov simply plays the roles that officials impose on him. At the first meeting with the Gorodnichy, Khlestakov tells the truth about his plight, about the prison, where he does not want to go, only this truth does not want to be perceived by the Governor himself. Later Khlestakov never knowingly and deliberately pretends to be an auditorbut - they do everything for him, even the central scene of lies is not led by him at all, as it might seem at first. In the scene of lies, the mirage grows to incredible proportions. His exaggerations, by the way, characterize the scarcity of nature: they are purely quantitative. Actually, I don’t really want to call everything that Khlestakov says lies, because behind lies there is always a sense of the presence of some goal that I really want to achieve. Khlestakov does not have this goal. It is also impossible in the full sense to call the monetary and in-kind gifts that Khlestakov takes in 4 acts, bribes. Khlestakov simply does not understand that these are bribes, since he already knows his position for sure and cannot even imagine that everything handed to him is given for a specific purpose. What is happening is perceived by him as another manifestation of the lovely manners of this wonderful city, inhabited by extremely pleasant and courteous people. It is characteristic that Gogol himself insistently emphasized that Khlestakov should not be perceived as a traditional comedic rogue, a rascal, since there is no deliberate intent in his behavior; it is no coincidence that he also compared Khlestakov with a splinter caught in a whirlpool.
Behind all the action, all the intrigue, this big zero is felt, placed in the position of one familiar to the heroes and spectators. Gogol deliberately puts in the center of the play a hero who is not aware of the situation in which he has found himself and does not try to take advantage of this situation. It is not the hero who leads the action, but the action leads the hero in this very conditional way, but the main feature of the construction of a comedy can be succinctly defined. This is both the originality of Gogol's development of the current story about an imaginary auditor and the essence of the concept of mirage intrigue.
35. Dead Souls of Nikolai Gogol: Features of the Genre and Composition / vol. 1.2 /
In 1835 Pushkin presented Gogol with the plot "M.D." But that was only a starting point, an idea, nothing more. In the mid-1930s, he wrote to Pogodin: "I am not writing any more novels." When Gogol began work on the work, he said: "This will be my first decent thing." He calls his previous works tests of the pen.
Gogol says that "M.D." - neither a story nor a novel. This is labor for posterity. "Pushkin's time is over, writers have a different task ... the battle for our souls." He wants " show Russia from at least one side".
That is, Gogol is looking for a plot that would make it possible to wide coverage of reality. This opportunity opened up travel plot... Therefore the motive roads, ways turns out to be the leitmotif of the poem. The plot of the trip makes it possible for Gogol to create a gallery of images of landowners.
The composition in the piece is quite clear. The two main locations are the town of NN and the surrounding estates. The chapters about Chichikov's stay in the provincial town were "torn apart" by his trip. But the events of the final chapters, as in a mirror, reflect the events of the first chapter (at the beginning, Chichikov does not make any impression; at the end, he is almost called Napoleon).
In the first volume, only dead souls appear before us. The question of social relations in bureaucratic, landlord Russia. Landowners occupy 5 chapters out of 11. The second social layer is the bureaucracy (especially the 7th chapter), provincial and metropolitan bureaucracy; the story of captain Kopeikin. Moreover, if separate chapters are devoted to the landowners, then among the officials Gogol does not find anyone worthy of dedicating a separate chapter to him.
There are several opinions as to why landlords are presented in this rather than a different order:
1. Herzen believes that they are distributed according to the degree of decreasing humanity in a person.
2. There is an opinion that, on the contrary, the landlords are ranked in ascending order in the work: the lower a person falls, the more chances of being reborn.
3. Chess distribution: a struggle of two types - from the unmanned Nozdryov to the economic Korobochka, from Nozdryov to Sobakevich. Plyushkin's economy at the same time leads to stinginess, vice, mismanagement.
The genre of the work is ambiguous. Can it be considered a novel - that is, a great epic work, to which the narrative is focused on the fate of an individual and his interaction with the world? No, since we are not dealing with a rogue novel, not a story about Chichikov's failures and successes; Chichikov's adventures are just a way to solve Gogol's main task - to show all of Russia in numerous images, situations, and heroes.
"M.D." can rightfully be called poem... It is poetic, musical, it has an expressive language, saturated with images and metaphors. And most importantly, it contains Author and his constant digressions, which helped to raise issues in the work that cannot be resolved at the plot level. (Read the ticket for lyrical digressions). Also in the work are frequent detailed comparisons, the author's comments, minor remarks scattered throughout the poem. All reality passes through the prism of the author's consciousness. In the poem, there are, as it were, two objects of depiction - the outer world, reality and the inner world of the individual (which is characteristic of the lyrics). The author connects his own life path with the fate of Russia.
Volume one
The proposed story, as will become clear from what follows, occurred somewhat shortly after the "glorious expulsion of the French." A collegiate adviser Pavel Ivanovich Chichikov arrives in the provincial town of NN (he is not old and not too young, not fat and not thin, looks rather pleasant and somewhat rounded) and settles in a hotel. He asks a lot of questions to the tavern servant - both regarding the owner and income of the tavern, and denouncing its thoroughness: about city officials, the most significant landowners, he asks about the state of the region and there were no "any diseases in their province, general fever" and other similar misfortunes.
Having gone on visits, the visitor discovers extraordinary activity (having visited everyone, from the governor to the inspector of the medical board) and courtesy, because he knows how to say something pleasant to everyone. He speaks about himself somehow vaguely (that "he experienced a lot in his lifetime, endured in the service for the truth, had many enemies who even attempted on his life," and now he is looking for a place to live). At a house party with the governor, he manages to win general favor and, among other things, make acquaintance with the landowners Manilov and Sobakevich. In the following days, he dines with the chief of police (where he meets the landowner Nozdryov), visits the chairman of the chamber and the vice-governor, the tax farmer and the prosecutor, and goes to the Manilov estate (which, however, is preceded by a fair author's digression, where, justifying himself with love for detail, the author gives a detailed assessment of Petrushka, the visitor's servant: his passion for "the process of reading itself" and his ability to carry with him a special smell, "echoing somewhat of a living calm").
Having passed, against the promised, not fifteen, but all thirty miles, Chichikov finds himself in Manilovka, in the arms of an affectionate owner. Manilov's house, standing on the Jura, surrounded by several flower beds scattered in English and a gazebo with the inscription "Temple of Solitary Reflection", could characterize the owner who was "neither this nor that", not burdened by any passions, only overly cloying. After Manilov's confessions that Chichikov’s visit is “May Day, the name day of the heart,” and dinner in the company of the hostess and two sons, Themistoclus and Alcides, Chichikov discovers the reason for his arrival: he would like to acquire peasants who have died, but have not yet been declared as such in the revision the certificate, having formalized everything in a legal way, as if on the living ("the law - I am dumb before the law"). The first fear and bewilderment give way to the perfect disposition of the amiable owner, and, having completed the deal, Chichikov leaves for Sobakevich, and Manilov indulges in dreams of Chichikov's life next door across the river, of the construction of a bridge, of a house with such a belvedere that Moscow is visible from there, and oh their friendship, having learned about which the sovereign would have granted them generals. The coachman Chichikova Selifan, who was treated kindly by the courtyard people of Manilov, in conversations with his horses skips the necessary turn and, with the noise of a downpour, knocks the master into the mud. In the dark they find a lodging for the night with Nastasya Petrovna Korobochka, a somewhat fearful landowner, with whom in the morning Chichikov also begins to trade in dead souls. Explaining that he himself would now pay for them, cursing the stupidity of the old woman, promising to buy both hemp and lard, but another time, Chichikov buys souls from her for fifteen rubles, receives a detailed list of them (in which Petr Savelyev is especially amazed. - Trough) and, having eaten an unleavened pie with an egg, pancakes, pies and other things, leaves, leaving the hostess in great anxiety as to whether she is too cheap.
Leaving on the high road to the tavern, Chichikov stops to have a bite, which the author supplies the enterprise with a lengthy discourse on the properties of the appetite of middle-class gentlemen. Here he is met by Nozdryov, returning from the fair in the chaise of his son-in-law Mizuev, for he has lost his horses and even the chain with a watch. Painting the charms of the fair, the drinking qualities of the dragoon officers, a certain Kuvshinnikov, a great lover of "use about strawberries" and, finally, presenting a puppy, a "real face", Nozdryov takes Chichikov (who thinks to make a living here) to himself, taking the restraining son-in-law. Having described Nozdrev, "in some respect a historical person" (for wherever he was, there was history), his possessions, the unpretentiousness of a dinner with an abundance of drinks of dubious quality, the author sends his son-in-law to his wife (Nozdryov admonishes him with abuse and word "Fetyuk"), and Chichikova forces him to turn to her subject; but he can neither beg nor buy a shower: Nozdryov offers to exchange them, take them in addition to a stallion or make a bet in a card game, finally scolds, quarrels, and they part for the night. In the morning, persuasions are renewed, and, agreeing to play checkers, Chichikov notices that Nozdryov is shamelessly cheating. Chichikov, whom the owner and the courtyard is already attempting to beat, manages to escape due to the appearance of the police captain, announcing that Nozdryov is on trial. On the road, Chichikov's carriage collides with a certain crew, and, while the onlookers who have come breeze the confused horses, Chichikov admires the sixteen-year-old young lady, indulges in reasoning about her and dreams of family life. A visit to Sobakevich in his strong, like himself, estate is accompanied by a solid dinner, a discussion of city officials, who, according to the owner, are all swindlers (one prosecutor is a decent person, "and that, if you tell the truth, a pig"), and gets married to the guest of interest deal. Not at all frightened by the strangeness of the subject, Sobakevich bargains, characterizes the advantageous qualities of each serf, supplies Chichikov with a detailed list and forces him to give a deposit.
Chichikov's path to the neighboring landowner Plyushkin, mentioned by Sobakevich, is interrupted by a conversation with a peasant who gave Plyushkin an apt, but not too printed nickname, and by the author's lyrical reflection on his former love for unfamiliar places and now indifference. Plyushkin, this "hole in humanity", Tchichikov at first takes for a housekeeper or a beggar whose place is on the porch. His most important feature is his amazing stinginess, and even the old sole of his boot he carries in a heap piled up in the master's chambers. Having shown the profitability of his proposal (namely, that he will take over the taxes for the dead and fugitive peasants), Chichikov fully succeeds in his enterprise and, having refused tea with crackers, supplied with a letter to the chairman of the chamber, leaves in the most cheerful mood.
While Chichikov sleeps in the hotel, the author reflects with sadness about the baseness of the objects he is painting. Meanwhile, a contented Chichikov, waking up, composes the fortresses of sale, studies the lists of acquired peasants, reflects on their alleged fate and finally goes to the civil chamber in order to conclude the case as soon as possible. Met at the gates of the hotel Manilov accompanies him. Then follows a description of the place of presence, Chichikov's first ordeals and a bribe to a certain pitcher's snout, until he enters the chairman's apartment, where he finds Sobakevich by the way. The chairman agrees to be Plyushkin's attorney, and at the same time speeds up other transactions. The acquisition of Chichikov is being discussed, with the land or for withdrawal he bought the peasants and in what places. Having found out that to the conclusion and to the Kherson province, having discussed the properties of the sold men (here the chairman remembered that the coachman Mikheev seemed to have died, but Sobakevich assured that he was old and "became healthier than before"), they conclude with champagne, go to the police chief, "father and a philanthropist in the city ”(whose habits are immediately stated), where they drink to the health of the new Kherson landowner, become completely agitated, force Chichikov to stay and attempt to marry him.
Chichikov's purchases make a splash in the city, a rumor spreads that he is a millionaire. The ladies are crazy about him. Several times trying to describe the ladies, the author is shy and retreats. On the eve of the ball from the governor, Chichikov even receives a love letter, though not signed. Having consumed, as usual, a lot of time for the toilet and being satisfied with the result, Chichikov goes to the ball, where he passes from one embrace to another. The ladies, among whom he is trying to find the sender of the letter, even quarrel, challenging his attention. But when the governor comes up to him, he forgets everything, for she is accompanied by her daughter ("Schoolgirl, Just Released"), a sixteen-year-old blonde, whose carriage he collided with on the road. He loses favor with the ladies, for he starts a conversation with a fascinating blonde, scandalously neglecting the rest. To top off the trouble, Nozdryov appears and loudly asks how much Chichikov has sold the dead. And although Nozdryov is obviously drunk and the embarrassed society is gradually distracted, Chichikov is not given a whist or subsequent dinner, and he leaves upset.
At this time, a tarantass drives into the city with the landowner Korobochka, whose growing anxiety forced her to come in order to find out at what price the dead souls. In the morning, this news becomes the property of a certain pleasant lady, and she hastens to tell it to another, pleasant in all respects, the story becomes overgrown with amazing details (Chichikov, armed to the teeth, bursts into Korobochka at dead midnight, demands souls that have died, brings terrible fear - " the whole village came running, the children are crying, everyone is screaming ”). Her friend concludes that dead souls are only a cover, and Chichikov wants to take away the governor's daughter. After discussing the details of this enterprise, the undoubted participation of Nozdryov in it and the qualities of the governor's daughter, both ladies ordain the prosecutor to everything and set off to rebel the city.
In a short time, the city is seething, to which is added the news about the appointment of a new governor-general, as well as information about the papers received: about the distributor of counterfeit banknotes who appeared in the province, and about a robber who escaped from legal prosecution. Trying to understand who Chichikov is, they remember that he was certified very vaguely and even talked about those who attempted his life. The postmaster's statement that Chichikov, in his opinion, is Captain Kopeikin, who has taken up arms against the injustices of the world and has become a robber, is rejected, since it follows from the contemptuous postmaster's story that the captain lacks an arm and a leg, and Chichikov is whole. An assumption arises whether Chichikov is Napoleon in disguise, and many begin to find a certain similarity, especially in profile. Interrogations of Korobochka, Manilov and Sobakevich do not yield results, and Nozdryov only multiplies the confusion by announcing that Chichikov was exactly a spy, a counterfeiter and had an undoubted intention to take away the governor's daughter, in which Nozdryov undertook to help him (each version was accompanied by detailed details, including the name the priest who took up the wedding). All these rumors have a tremendous effect on the prosecutor, a blow happens to him, and he dies.
Chichikov himself, sitting in the hotel with a slight cold, is surprised that none of the officials visit him. Finally, having gone on visits, he discovers that they do not receive him from the governor, and in other places they fearfully avoid him. Nozdryov, having visited him at the hotel, partly clarifies the situation amid the general noise he made, announcing that he agreed to expedite the abduction of the governor's daughter. The next day, Chichikov hastily leaves, but is stopped by the funeral procession and is forced to contemplate the whole world of bureaucracy, flowing behind the coffin of the prosecutor Brichka leaves the city, and the open spaces on both sides of the city evoke sad and gratifying thoughts about Russia, the road, and then only sad his chosen hero. Concluding that it is time for the virtuous hero to give rest, and, on the contrary, to hide the scoundrel, the author sets out the life story of Pavel Ivanovich, his childhood, training in classes where he had already shown a practical mind, his relationship with his comrades and the teacher, his service later in the state ward, some kind of commission for the construction of a government building, where for the first time he gave vent to some of his weaknesses, his subsequent departure to other, less lucrative places, the transition to the customs service, where, showing honesty and incorruptibility almost unnatural, he made a lot of money in collusion with smugglers, went bankrupt, but dodged the criminal court, although he was forced to resign. He became an attorney and, during the trouble of pledging the peasants, laid down a plan in his head, began to travel around the territories of Russia in order to buy dead souls and put them in the treasury as living ones, get money, buy, perhaps, a village and provide for future offspring.
Once again complaining about the nature of his hero and partly justifying him by looking for the name of "owner, acquirer", the author is distracted by the prodded race of horses, by the similarity of a flying troika with rushing Russia and the ringing of a bell.
Volume two
It opens with a description of the nature that makes up the estate of Andrei Ivanovich Tentetnikov, whom the author calls "the smoker of the sky." The story of the stupidity of his pastime is followed by the story of a life inspired by hopes at the very beginning, overshadowed by the pettiness of the service and troubles afterwards; he retires, intending to improve his estate, reads books, takes care of the peasant, but without experience, sometimes just human, this does not give the expected results, the peasant is idle, Tentetnikov gives up. He breaks off his acquaintances with his neighbors, offended by the appeal of General Betrishchev, stops going to him, although he cannot forget his daughter Ulinka. In a word, not having someone who would say to him an invigorating "forward!", He completely turns sour.
Chichikov comes to him, apologizing for a breakdown in the carriage, curiosity and a desire to show respect. Having won the owner's favor with his amazing ability to adapt to anyone, Chichikov, having lived with him for a little while, goes to the general, to whom he weaves a story about a foolish uncle and, as usual, begs the dead. On the laughing general, the poem fails, and we find Chichikov heading for Colonel Koshkarev. Against expectation, he gets to Peter Petrovich Petukh, whom he finds at first completely naked, carried away by the hunt for sturgeon. Rooster, having nothing to get hold of, for the estate is mortgaged, he only gorges terribly, gets to know the bored landowner Platonov and, having incited him on a joint journey across Russia, goes to Konstantin Fedorovich Kostanzhoglo, who is married to Plato's sister. He talks about the ways of managing, by which he increased the income from the estate tenfold, and Chichikov is terribly inspired.
Very quickly, he visits Colonel Koshkarev, who divided his village into committees, expeditions and departments and arranged perfect paperwork on the estate, as it turns out, pledged. Returning, he listens to the curses of the bile Kostanzhoglo to factories and manufactories corrupting the peasant, to the peasant's absurd desire to educate his neighbor Khlobuyev, who has neglected a hefty estate and is now letting him down for next to nothing. Having experienced affection and even a craving for honest work, having listened to the story about the tax farmer Murazov, who immaculately made forty million, Chichikov the next day, accompanied by Kostanzhoglo and Platonov, goes to Khlobuev, observes the unrest and disorder of his household in the neighborhood with the children, dressed for the governess. wife and other traces of absurd luxury. Having borrowed money from Kostanzhoglo and Platonov, he gives a deposit for the estate, intending to buy it, and goes to Platonov's estate, where he meets his brother Vasily, who is the real estate manager. Then he suddenly appears at their neighbor Lenitsyn, clearly a rogue, wins his sympathy with his skillfully tickling a child and receives dead souls.
After many seizures in the manuscript, Chichikov is found already in the city at the fair, where he buys fabric of such a lovely lingonberry color with a spark. He collides with Khlobuev, whom, apparently, he spoiled, either by depriving him, or almost by depriving him of his inheritance by some kind of forgery. Khlobuev, who missed him, is taken away by Murazov, who convinces Khlobuev of the need to work and instructs him to collect funds for the church. Meanwhile, denunciations of Chichikov are revealed both about forgery and about dead souls. The tailor brings a new coat. Suddenly a gendarme appears, dragging the well-dressed Chichikov to the Governor-General, "as angry as anger itself." Here all his atrocities become apparent, and he, kissing the general's boot, is thrown into a prison. In a dark closet, tearing his hair and coat tails, mourning the loss of the box with papers, he finds Chichikov Murazov, with simple virtuous words awakens in him the desire to live honestly and goes to soften the Governor-General. At that time, officials who want to play a trick on their wise superiors and receive a bribe from Chichikov, deliver him a box, kidnap an important witness and write many denunciations in order to completely confuse the case. In the province itself, riots open, which greatly worries the Governor-General. However, Murazov knows how to grope the sensitive strings of his soul and give him the right advice, which the Governor-General, having released Chichikov, is about to take advantage of as "the manuscript ends."
The place of the "Inspector General" in his work and the level of artistic generalization to which he strove while working on a comedy, Gogol revealed in "The Author's Confession" (1847). The "thought" of the comedy, he stressed, belongs to Pushkin. Following Pushkin's advice, the writer "decided to collect everything bad in Russia<...> and at one time laugh at everything. "Gogol defined a new quality of laughter: in" The Inspector General "it is a" high "laugh, conditioned by the height of the spiritual and practical task facing the author. The comedy was a test of strength before working on a grandiose epic about modern Russia. After the creation of "The Inspector General" the writer felt "the need for a complete essay, where there would be more than one thing to laugh at. Thus, The Inspector General is a turning point in Gogol's creative development.
In "Theatrical passing" Gogol draws attention to the fact that the playwright must find a situation that would affect all the heroes, would include in his orbit the most important life concerns of all the actors - otherwise the characters simply will not be able to realize themselves in a few hours of stage action, to reveal their character ... Therefore, a calm, "flat" course of life in drama is impossible - a conflict, an explosion, an acute clash of interests is necessary. In addition, there can be no "extra" heroes not included in the conflict. But what, then, is the situation that the playwright has to find in order to include all the heroes in its orbit and show their characters? In other words, what could be the basis of a dramatic conflict? Love affair? “But it seems that it’s time to stop relying so far on this eternal tie,” says the second art lover, and with him Gogol. “It is worth looking closely around. Everything has changed long ago in the world. Now the desire to get a profitable place is tying up the drama. , to shine and overshadow at all costs another, to avenge neglect, for ridicule. Do not now have electricity more rank, money capital, a profitable marriage than love? " But, leaving at the heart of the conflict of the "Inspector General" and rank, and a profitable marriage, and money capital, Gogol still finds a different plot, which has much more "electricity": "But everything can tie up," the second art lover sums up, the fear of waiting, the thunderstorm of the law walking in the distance ... "
It is this - "the very horror, the fear of anticipation, the thunderstorm of the law that is going far away", which seizes the officials, - and forms the dramatic situation of the "Inspector General". The play is tied up with the first phrase of the Governor: "I have invited you, gentlemen, in order to tell you the unpleasant news: an auditor is coming to us." From this moment, fear begins to shackle the heroes and grows from remark to remark, from action to action. The ever-growing fear that seizes the officials in The Inspector General creates many comic situations. The governor, giving orders, confuses the words; going to the imaginary auditor, instead of a hat, he wants to put on a paper case. The comedy of the first meeting of the Governor with Khlestakov is determined by the situation of mutual fright, which makes both of them bear already complete nonsense: "Do not ruin! Wife, little children ... do not make a person unhappy", - Skvoznik-Dmukhanovsky prays, sincerely forgetting that little then he has no children. Not knowing what to justify, he sincerely, downright like a frightened child, confesses his own uncleanliness: "Out of inexperience, by God, out of inexperience. Insufficiency of state ... If you please judge for yourself: the state salary is not even enough for tea and sugar ".
Fear unites the heroes immediately. Having tied the action of the comedy with just one phrase, Gogol resorts to the method of compositional inversion: the exposition and the setting have changed places. The preparation of officials for the inspector's arrival, their conversations about what and to whom needs to be done, become an exposition from which we learn about the state of affairs in the city. But the exposition reveals not only the shortcomings in the city (tell us in detail which ones). It shows the most important contradiction that exists in the minds of officials: between dirty hands and an absolutely clear conscience. All of them are sincerely convinced that for every smart person "sins are found", because he does not like to "let what floats into his hands". They hope to meet exactly the same "smart person" in the auditor. Therefore, all their aspirations are directed not at a hasty correction of "sins", but at the adoption of only cosmetic measures that could enable the auditor to close their eyes to the true state of affairs in the city - of course, for a certain reward. The city manager sincerely believes that "there is no man, who would not have any sins behind him. This is already arranged by God himself, and the Volterians in vain speak against it. " Everyone agrees with this, and the only objection he meets comes from Ammos Fedorovich Lyapkin-Tyapkin: "What do you think, Anton Antonovich, are sins? Sins are sinners. I tell everyone openly that I take bribes, but why bribes?" Borzoi puppies. It's a whole different matter. " The objection concerns only the form, not the essence. It is in this openness and sincerity that this contradiction is manifested - between the understanding of one's "sins" and an absolutely clear conscience. “He’s not even a lover of lying,” Gogol writes about him, “but there is a great passion for hunting for dogs ...” Going to Khlestakov, the Governor reminds the officials: the sum was allocated for five years, then do not forget to say that construction began, but it burned down. I presented a report about this. Otherwise, perhaps, someone, forgetting, will foolishly say that it did not begin. "
As the Governor does not feel guilty and does not act out of malicious intent, but because it is so customary, so do the other heroes of The Inspector General. Postmaster Ivan Kuzmich Shpekin opens other people's letters solely out of curiosity: "... I love to know death what is new in the world. I will tell you that this is an interesting reading. You will read another letter with pleasure - this is how different passages are described ... and what edifying ... better than in Moskovskiye Vedomosti! "
The judge tries to instruct him: "Look, you will get it someday for this." Shpekin is sincerely perplexed: "Oh, priests!" He didn't think he was wrong. Gogol comments on this image in the following way: "The postmaster is a simple-minded person to the point of naivety, who looks at life as a collection of interesting stories to pass the time that he reads in printed letters. There is nothing left for the actor to do, how to be as simple as possible."
Gogol, creating a portrait of society and showing the imperfection of a person devoid of moral law, finds a new type of dramatic conflict. It would be natural to expect that the playwright would go by introducing into the conflict a hero-ideologist, say, a true auditor who serves "the cause, not the persons", professing true ideas about the appointment of a person and capable of exposing the officials of the district town. So, for example, A.S. Griboyedov, showing the failure of Famus society, confronting it with the hero-ideologist, Chatsky, expressing a true understanding of duty and honor. Gogol's innovation lies in the fact that he refuses the genre of comedy with a tall hero, relatively speaking, removes Chatsky from the play.
This determined a fundamentally new character of the dramatic conflict. In the comedy, there is neither an ideological hero, nor a conscious deceiver who leads everyone by the nose. The officials deceive themselves, literally imposing the role of a significant person on Khlestakov, forcing him to play it. The heroes, courting Khlestakov in every possible way, rush into nowhere, in pursuit of emptiness, a mirage. It is this circumstance that makes Yu. Mann talk about the "mirage intrigue" that turns into the situation of delusion in "The Inspector General".
A mirage intrigue ensues when Bobchinsky and Dobchinsky appear with the news of the auditor.
Dobchinsky's words ("He doesn't pay money and does not go. Who would be, if not him? And the road trip is registered in Saratov"), supported by Bobchinsky's remarks ("He, he, by God he is ... So observant: I saw that Pyotr Ivanovich and I were eating salmon ... so he looked into our plates. I was filled with fear "), for a completely incomprehensible reason, they convince the officials that Ivan Aleksandrovich Khlestakov is hiding behind "cursed incognito". When Khlestakov appears, the mirage seems to materialize. In the scene of the Governor's first meeting with him, the comic of which is based on a situation of mutual fright, the Governor vanishes all doubts about this. And why? After all, everything does not speak in favor of Khlestakov, and even the Gorodnichy notices this: "But what a nondescript, short one, it seems, would have pinned him down with a fingernail." But he does not attach any importance to his observations, and only reading the letter to "Tryapichkin's soul" will reveal the truth to him. Mirage intrigue consists in the transformation of Khlestakov into a significant person, into a statesman, that is, in filling the complete emptiness with fictional content. Its development is conditioned not only by fear and illogical thinking of officials, but by certain qualities of Khlestakov himself. Khlestakov is not just stupid, but "ideally" stupid. After all, it does not immediately occur to him why he is so accepted in this city. “I love hospitality,” he says, having slept after the Governor’s reception, “and, I confess, I like it better if they please me from a pure heart, and not just out of interest.” If the melting fear, overshadowing the mind, is forced to take the "icicle, rag", "helipad" for the auditor. If it were not for Osip, who immediately asks about another way out in the mayor's house, and then strongly advises the master to leave ("By God, it's time"), believing that they still please "out of interest", he simply could not understand that staying longer is dangerous. He could not understand for whom he was mistaken: in a letter to Tryapichkin, he assures that he was mistaken for the governor-general (and by no means for the auditor) "by his Petersburg physiognomy and suit". Such innocence and unintentionality allow him not to deceive anyone: he simply plays the roles that are imposed on him by officials. In a few minutes in the scene of Khlestakov's lies (act three, phenomenon VI), the mirage grows to incredible proportions. In a few minutes, in front of officials, Khlestakov makes a dizzying career. His exaggerations are purely quantitative: "seven hundred rubles a watermelon", "thirty-five thousand couriers alone." Having received an imaginary opportunity to order himself something from Paris, Khlestakov receives only ... soup in a saucepan, which arrived by steamer directly from Paris. Such requests clearly characterize the poverty of nature. Being "with Pushkin on a friendly footing", he cannot think of a topic for conversation with him ("Well, brother Pushkin?" - "Yes, brother," he replies, "because somehow everything ..."). Due to Khlestakov's unintentionalness, it is difficult to catch him in a lie - he, lying, easily gets out of a predicament: "As you run up the stairs to your fourth floor, you will only tell the cook:" On, Mavrushka, greatcoat ... " - I forgot that I live in the dress-room. In "Remarks for Messrs. Actors" Gogol writes that Khlestakov's speech is "abrupt, and words fly out of his mouth completely unexpectedly" - even for himself. That is why he so easily corrects his lies - just not thinking about credibility.
Building a comedy on the situation of fear and self-deception of officials, Gogol nevertheless does not abandon the love affair, or rather, parodies it. But still, the ideological and compositional role of a love intrigue is different. With her, one more mirage, as it were, materializes, comes close to the officials - the image of Petersburg, longed for, alluring. He becomes, thanks to imaginary matchmaking, almost
reality: the Skvoznik-Dmukhanovsky family almost moves to St. Petersburg, Anna Andreevna dreams of a special "amber" in her room, the Governor tries on an order ribbon over his shoulder. The materialized mirage of Petersburg is concretized in the heroes' naive reflections.
The image of St. Petersburg is introduced into comedy in different ways. Khlestakov tells about his position in the city, lying around, the image of the capital appears in his letter to "Tryapichkin's soul", officials dream of him, Osip shares his memories of the city. In either case, it is a city based on fear, a "fearful" city, only in one case Khlestakov is afraid of the State Council, a department, where, when he appears, "just an earthquake, everything trembles and shakes like a leaf," On another occasion, he himself is afraid of the pastry chef, who might drag him by the collar "because of the eaten pies at the expense of the English king's income." Petersburg and the Gorodnichy think in exactly the same way. The only hero who does not feel fear at the mention of Petersburg is Osip: he stands outside the bureaucratic hierarchy based on fear, and he has nothing to fear.
And when both mirages, on the materialization of which the mirage intrigue is built, acquire an almost material embodiment (a thunderstorm with the inspector turns into an incredible gain, the matchmaking took place, and the Governor is about to receive a new, St. Petersburg appointment), the whole building begins to fall apart: two imaginary solutions follow (departure Khlestakov and reading the letter) and then - the true denouement, the "silent scene", which presents the meaning of the comedy in a completely different light. The importance that Gogol attached to the "silent scene" is also evidenced by the fact that he defines its duration in one and a half minutes, and in "An excerpt from a letter ... to one writer" even speaks of two or three minutes of "petrification" of the characters ... According to the laws of the stage, one and a half, and even more so three minutes of immobility is an eternity. What is the ideological and compositional role of the "silent stage"?
One of the most important ideas of the "Inspector General" is the idea of \u200b\u200binevitable spiritual retribution, the judgment of which no one can escape. Therefore, the "silent scene" acquires a broad symbolic meaning, and therefore does not lend itself to any unambiguous interpretation. That is why the interpretation of the "silent scene" is so varied. It is interpreted as an artistically embodied image of the Last Judgment, before which a person will not be able to justify himself by referring to the fact that behind every intelligent person "there are sins"; draw analogies between the "silent scene" and the painting by Karl Bryullov "The Last Day of Pompeii", the meaning of which Gogol himself saw in the fact that the artist uses historical material to address the situation of a strong "crisis, felt by the whole mass." A similar crisis is experienced at the moment of upheaval and the characters of "The Inspector General", like the heroes of Bryullov's painting, when "the whole group that stopped at the moment of the blow and expressed thousands of different feelings" is captured by the artist at the last moment of earthly life. Later, in 1846, in dramatic excerpts from The Inspector General's Decoupling, Gogol proposed a completely different interpretation of the "silent" scene. “Look closely at this city, which is shown in the play!” Says the First Comic Actor. “Everyone agrees that there is no such city in all of Russia ... Well, what if this is our spiritual city and he is sitting all of us? .. Say what you like, but the inspector who waits for us at the door of the fob is terrible. As if you don't know who this inspector is? What to pretend? This inspector is our awakened conscience, which will make us suddenly and at once look at everything Nothing will hide before this auditor, because according to the Named Supreme Command, he was sent and announced about him when it is already impossible to take a step back. Suddenly, before you, in you, such a horror will open up that hair will rise. It is better to revise everything that is in us, at the beginning of life, and not at the end of it. "
One way or another, but the appearance of the gendarme, announcing the arrival from St. Petersburg "at the personal command" of the present inspector, "strikes everyone with a thunderbolt," the author's remark says. "The sound of amazement unanimously escapes from the ladies' lips; the whole group, suddenly changing the situation, remains petrified. "
Gogol believed that the power of laughter can change the world and people in this world for the better. That is why laughter in "The Inspector General" is predominantly satirical, aimed at denying the ridiculed vice. Satire, according to Gogol, is designed to correct human vices, and this is its high social significance. This understanding of the role of laughter determines its focus not on a specific person, an official, not on a specific county town, but on the vice itself. Gogol shows how terrible the fate of a person struck by him is. This predetermines another feature of the funny in the play: the combination of the comic with the drama, which lies in the discrepancy between the original high destiny of a person and his unfulfilled, exhausted in pursuit of life's mirages. The Gorodnichy's final monologue and Khlestakov's imaginary matchmaking are also full of drama, but the culmination of the tragic, when the comic completely fades into the background, becomes a "silent scene." Gogol's artistic world is characterized by grotesque. Refine your ideas about grotesque. Grotesque, exaggeration, sharply violating the real features, which turns out to be akin to the fantastic. At the same time, it is not the phenomenon as a whole that is often exaggerated, but some of its facets, which even more violates the actual proportions, distorts the object. In "The Inspector General" much is built on exaggeration: fantastically exaggerated, brought to "ideal" not only Khlestakov's stupidity, but the universal human desire to seem at least a little higher than you really are. The situation of delusion is comically exaggerated. But the main thing in which Gogol's grotesque was realized is a mirage intrigue, which highlighted in a fantastic reflection the absurdity of human life in its pursuit of numerous mirages, when the best human forces are wasted in an effort to overtake the emptiness so brilliantly embodied by Khlestakov. The petrification of the "silent scene" emphasizes, grotesquely highlights the illusory, mirage of goals, on the achievement of which sometimes the whole life is devoted.
Mirage intrigue "in Gogol's comedy" The Inspector General "" The Inspector General "is a whole sea of \u200b\u200bfear. J. Mann The main character of a dramatic creation is the center of the play. All other persons turn around him, like planets near the Sun I. Kroneberg (quoted from Y. Mann's book The Poetics of Gogol) I. Organizational moment II. Work on the topic of the lesson 1. Explanation of the goals and objectives of the lesson 2. Work in notebooks. Writing the topic of the lesson and epigraphs. 3. Word of the teacher: What is the character of Gogol's play? Can you say that the comedy is fantastic? 4. Vocabulary work No. 1 1. Fantasy (For example, he composes a brilliant destiny, fantastic changes in the external conditions of life) Hyperbole (the scene of lies - a watermelon 700 rubles, 35 thousand couriers + poverty Grotesque imagination in this very fantastic change). Mirage Intrigue 5.
Lecture: inspector "Gogol: the concept of" mirage "intrigue. Khlestakov and Khlestakovism.
He lives in the moment of the present and acts as he was taught: one must respect the rank - he respects; he is asked about the delights of the luxurious life in Petersburg - he answers, becoming a minister and more important than a minister; offer him bribes - he takes. Gogol himself, in his "Notes for Messrs. Actors", gives this advice to the artist performing Khlestakov: "The more the actor performing this role shows candor and simplicity, the more he will gain." The county town is an absurd world, a world of hypocrisy that clashes with the sincerity and simplicity of a Petersburg official.
Attention
Thus, Khlestakov, against his will, becomes the center of intrigue. But why was Ivan mistaken for an auditor? “I was so filled with fear” - this is the first commentary describing Khlestakov. It was the fear that gripped the city before the visit of the auditor that paved the way for deception.
Khlestakov - the concept of "mirage intrigue"
The basis of Gogol's "The Inspector General" is not a love affair, not a desire to get a profitable place, rank; the dramatic situation of the work is formed by “the very horror, the fear of anticipation, the thunderstorm of the law that is ahead of us”, which takes possession of the officials. The plot of the play consists in the first phrase of the Governor (“I invited you, gentlemen ...”), and from that moment the fear begins to shackle the heroes and grows from action to action. Because of this, a lot of comic situations arise, we see what customs reign in the city, what officials are goats and so on.
At the same time, in the comedy there is no ideological hero, such as Chatsky, and there is no hero consciously leading everyone by the nose. Officials, overwhelmed by fear, overshadowing the mind, impose on Khlestakov the role of a significant person, take the "icicle", "rag" for an auditor. Heroes rush into nowhere, beyond the void, beyond the mirage.
That is why Yuri Mann called the intrigue in "The Inspector General" "a mirage intrigue."
Mirage intrigue and the image of Khlestakov in the play "Inspector" (gogol n. V.)
In the scene of the Governor's first meeting with him, the latter vanishes all doubts about this. And why? After all, everything does not speak in favor of Khlestakov, and even the Gorodnichy notices this: "But what a nondescript, short one, it seems, would have pinned him down with a fingernail." But Anton Antonovich does not attach any importance to his observations, and only reading the letter to "Tryapichka's soul," will reveal the truth to him.
Mirage intrigue consists in the transformation of Khlestakov into a significant person, into a statesman, that is, in filling the complete emptiness with fictional content. Its development is due not only to the fear and illogical thinking of officials, but to certain qualities of Khlestakov himself. Gogol reveals the very moment of "mistakes". The fact that Khlestakov looked into the plate of Bobchinsky and Dobchinsky served as a basis for the mayor to take him for an auditor.
Vi. general conclusion on the topic of the lesson
Info
He said aside, ”“ grabs his head, ”“ with disdain, ”“ teases him, ”“ out loud ”... But the surprising thing is that least of all the author's remarks refer to Khlestakov, who simply does not need them: he has what is on his mind, then in the language. But then by what means does Gogol portray his favorite grotesque character? The main role here is played by Osip, Khlestakov's servant, who, lying on the master's bed, reveals to us the whole truth about his master, a card player and a rake who needs to show himself in every city and be sure to squander all the money. An important role is also played by the speech of the St. Petersburg official, fast and abrupt: “What is it really? I am! I won't look at anyone ...
I tell everyone: “I know myself, myself. I am everywhere, everywhere ... "". After all, Khlestakov speaks and acts without any consideration: he is not able to stop constant attention on any thought.
Gogol's inspector: the peculiarity of intrigue. Khlestakov's image
But the fact is that it is here that X innocently expresses the whole truth about himself. In the future, Khlestakov never consciously and deliberately pretends to be an auditor - everything is done for him, even the central scene of lies is not led by him at all, as it may seem at first. In the scene of lies, the mirage grows to incredible proportions.
Important
His exaggerations, by the way, characterize the paucity of nature: they are purely quantitative. Actually, I don't really want to call everything Khlestakov says a lie, because behind a lie there is always the presence of some goal that I really want to achieve. Khlestakov does not have this goal. It is also impossible in the full sense to call the monetary and in-kind gifts that Khlestakov takes in 4 acts, bribes.
What is a mirage intrigue in the auditor
To do this, let us return again to the first phrase of the Governor, uttered in the first phenomenon of I action. The ingenious playwright managed to find such a phrase that is in the full sense of the key, starting. Therefore, this phrase instills fear in all officials, because things in the city where the play takes place are going very badly.
- Explain why the Governor, who “has been living in the service for thirty years”, whom “not a single merchant, not a single contractor could have done,” who “cheated swindlers on swindlers, rascals and rogues such that they are ready to rob the whole world” he deceived three governors, "he himself was deceived about Khlestakov, in which" there was simply not a half-little-bit like "an auditor? Guys, we saw that from the beginning of the comedy, fear becomes a full participant in the play, which increases from action to action and will find its maximum expression in a silent scene.
Once, poet and critic Apollon Aleksandrovich Grigoriev spoke about the plot of Nikolai Vasilyevich Gogol's play "The Inspector General": "This is a mirage intrigue." But what is a "mirage intrigue" and what does it consist of in a play about a district town? In order to answer this question, we need to turn to the definitions of the words "mirage" and "intrigue". A mirage is an illusion, a phantom, a ghost created by the play of the imagination.
Intrigue (from Lat. "I confuse") - covert actions using various unseemly means to achieve a goal. It turns out that the intriguer himself does not want to deceive anyone and may not even guess that he became the culprit of the general deception? Exactly. The same thing happens with Ivan Aleksandrovich Khlestakov, the hero of the play "The Inspector General", a young official who was traveling to the Saratov province to visit his father.
Attempts to start the feverish dance again cause the mountain king's terrible rage, the blows of the staff literally shake the entire underground kingdom, and silence ensues. IV The originality of the composition of the I and V action comedy. “The Inspector General” begins with such a blow from the Gorodnichy’s phrase; after a minute of petrification, everything starts to move in a convulsive and feverish motion. Fear accelerates this movement, multiplies tenfold: "To be in time, to be in time, to be in time!" - but then the next blow: Bobchinsky and Dobchinsky's message that the auditor was already here! Again momentary numbness and confusion - again the energy of action, unprecedented in strength. Nothing can be done in time - and at the same time you need to do a lot. Only now the point of application of forces has changed: not to tidy up the city, but to “hire an auditor”.
What is a mirage intrigue in a comedy auditor
It begins with the story of Bobchinsky and Dobchinsky about how Khlestakov looked into their tackle and that he was the inspector. The mirage materializes with the appearance of Khlestakov. Without this hero, there would be no "mirage intrigue". After all, it consists in transforming him into a state person - that is, filling the complete emptiness with imaginary content.
Behind all the action, all the intrigue, this big zero is felt, placed in the habitual position of one for heroes and spectators. Gogol deliberately places in the center of the play a hero who is not aware of the situation in which he has found himself and does not try to take advantage of this situation. It is not the hero who leads the action, but the action leads the hero - this is very conditional, but you can capaciously outline the main feature of the construction of a comedy.
This is both the originality of Gogol's development of a popular plot about an imaginary auditor and the essence of the concept of "mirage intrigue."
"Mirage intrigue" in Gogol's comedy "The Inspector General"
The "Inspector General" is a whole sea of \u200b\u200bfear.
J.Mann
The main character of the dramatic creation
is the center of the play. They turn around him
all other persons, like planets near the sun
I.Kroneberg (quoted from the book
Y. Mann "Poetics of Gogol")
I. Organizational moment
II. Work on the topic of the lesson
1.Explanation of the goals and objectives of the lesson2. Work in notebooks. Writing the topic of the lesson and epigraphs.
3. Teacher's word:
What is the character of Gogol's play?
Can you say that the comedy is fantastic in nature?
Fiction (For example, he composes a brilliant destiny for himself, fantastic changes in
Hyperbola (scene of lies - watermelon 700 rubles, 35 thousand couriers + poverty
Grotesque imagination in this very fantastic change).
Mirage
Intrigue
5. Teacher's word
In The Inspector General, much is built on exaggeration:
fantastically exaggerated, brought to the "ideal" not only Khlestakov's stupidity, but the universal human desire to seem at least a little better, higher than it really is.
The situation of delusion is comically exaggerated.
But the main thing in which the "Gogol grotesque" was realized is the "mirage intrigue", which highlighted in a fantastic reflection the absurdity of human life in its pursuit of numerous mirages, when the best forces are wasted in an effort to overtake the emptiness so brilliantly embodied in Khlestakov.
Thus, we can confidently speak of "mirage intrigue" as a "situation of delusion."
^
III.Detailed consideration of the first sentence of the Governor
Conversation with game elements.
Let us reveal the "ground" that made it possible for the "mirage intrigue" to unfold.
B) What makes this phrase so magical? Let's think together.
Role-playing game "situation of the auditor"
Since we are talking about an auditor, let us imagine ourselves in the role of an “auditor” and “audited”, i.e. Let's create an "auditor situation". The task of the auditor is “to find and punish”, the task of the audited person is to “hide and evade responsibility”. At the same time, the goal and tactics of the "enemy" are not a secret for either side, but the rules of the game are such that this knowledge is not shown. The emergence of fear is due to the fact that all kinds of surprises can arise, but the worst thing is the result of revision, in which the "extreme" is almost always found. This means that any audited person can be punished. Thus, revision is a dangerous and unpredictable process.
D) Explain the reasons for the fear of officials according to the table.
^ Table work
Gogol City Model
Gradually, the image of the City emerges from small details. First, all administrative and territorial units are represented (except for the army and the church). Secondly, it is quite obvious that things are not going well in all areas of city life. Third, the population is represented by all segments of society.
Teacher's word.
So this is the kind of "soil" that arises before the readers. It also gives the opportunity to unfold "mirage intrigue", tk. Everyone is afraid of punishment.
Pay attention to the epigraph: “The inspector is a whole sea of \u200b\u200bfear” J. Mann. We can say that it is precisely fear that is, if not the main character of the play, then at least its internal driving force of the plot.
^ Recording by Grieg "Peer Gynt" ("In the Cave of the Mountain King")
Listen to the symphonic picture "Peer Gynt" by E. Grieg, known as "In the Cave of the Mountain King".
^ IV The originality of the composition of the I and V action comedy.
"The Inspector General" begins with such a blow from the Gorodnichy's phrase, after a minute of petrification, everything comes into some kind of convulsive and feverish movement. Fear accelerates this movement, multiplies tenfold: "To be in time, to be in time, to be in time!" - but then there was the next blow: Bobchinsky and Dobchinsky's message that the auditor was already here! Again momentary numbness and confusion - again the energy of action, unprecedented in strength. Nothing can be done in time - and at the same time you need to do a lot. Only now the point of application of forces has changed: not to tidy up the city, but to “hire an auditor”.
Looking ahead, I will tell you that we will find a symmetrical structure in the last act of the comedy, where the first blow will be Pochmeister's message about the intercepted Khlestakov's letter, and the second, final, phrase is the Gendarme's blow about the auditor, after which the final petrification begins.
We have come close to the concept of "mirage intrigue". But now the most important thing is to talk about its bearer - Khlestakov.
^
V. The image of Khlestakov - the main carrier of the "mirage intrigue"
1). Student-prepared presentation
2). Teacher's word
A) When Khlestakov appears, the mirage materializes.
B) Gogol has repeatedly insisted that Khlestakov is the main character.
C) Placing this character in the center of the comedy gives the whole play a fantastic, even phantasmagoric character. I am a director. I am a general. I am the commander in chief. I am everywhere, everywhere, everywhere, etc.
D) But why is he in charge?
^ 3). Vocabulary work No. 2- "phantasmogory"
4). Conversation on the epigraph to the lesson.
Writing on the blackboard, and the guys in their notebooks: “ The main face of the dramatic creation is the center of the play. All other persons revolve around him, like planets near the Sun»
Is it applicable to Khlestakov as the main character? Can we say that the interests of most of the other heroes are directed precisely towards him?
Yes. Students prove
Governor
Earthling
Bobchinsky, Dobchinsky
Merchants
Yes, he is the center of the universe - but not real, illusory, imaginary. He is the emptiness taken as the center. The concept of "mirage intrigue" consists in the transformation of Khlestakov into a significant person, i.e. in filling the void with fictional content.
6). Vocabulary work No. 3 - "intriguer"
^
Vi. General conclusion on the topic of the lesson
Teacher's word
Behind the whole action, all the intrigue, there is a big "zero", placed in the position of "one", which is familiar to the characters and spectators.
It is in this production that the "mirage intrigue" is manifested. He is deliberately placed in the center of the play, he is not aware of the position in which he finds himself, and therefore does not try to benefit.
It is not the hero who leads the action, but the hero leads the action - this is very conditional, but it is possible to concisely outline the main feature of constructing a comedy. This is the originality of Gogol's development of a plot about an imaginary auditor, which immediately removes the question of various kinds of borrowings, and the essence of the concept of "mirage intrigue".
3.Quiz
Vii. Homework
Abstract of a literature lesson in grade 8.
Theme: Khlestakov. The concept of "mirage intrigue".
The purpose of the lesson: to form students' notion about the "mirage intrigue" in the work of N. V. Gogol "The Inspector General" and the methods of its disclosure.
Tasks:
- to systematize the knowledge of students about the image of Khlestakov - the main carrier of the "mirage intrigue";
- continue the formation of the ability to analyze text based on the speech characteristics of the characters;
- enrich the literary vocabulary of students.
Vocabulary work: mirage, intrigue, fantasy, hyperbole, grotesque.
Equipment: videos: "Gogol" The Inspector General. Beginning "," Gogol. Khlestakov's lies " (materials taken from the site of teacher Inessa Perova)
During the classes:
Khlestakov plays the main role in the action, all other faces turn around him, like planets around the sun.
Yu Mann.
- Organizing time.
- Announcement of the goal and objectives of the lesson.
- Updating basic knowledge.
NV Gogol, creating a portrait of society and showing the imperfection of a person devoid of moral law, finds a new type of dramatic conflict. It would be natural to expect that the playwright would go by introducing into the conflict a hero-ideologist, say, a true auditor, serving “the cause, not the persons,” professing true ideas about the appointment of a person and capable of exposing the officials of the county town. So, for example, AS Griboyedov built the conflict "Woe from Wit", showing the failure of the Famus society, confronting it with the hero-ideologist, Chatsky, expressing a true understanding of duty and honor. Gogol's innovation lies in the fact that he refuses the genre of comedy with a tall hero, relatively speaking, removes Chatsky from the play.
This determined a fundamentally new character of the dramatic conflict. In the comedy there is neither an ideological hero, nor a conscious deceiver who leads everyone by the nose. Officials deceive themselves, literally imposing the role of a significant person on Khlestakov, forcing him to play it. The alogy of their thinking and the ever-increasing fear that overshadows the mind, make them take "an icicle, a rag," a "whirligig" for an auditor. The heroes, courting Khlestakov in every possible way, rush into nowhere, in pursuit of emptiness, a mirage. It is this circumstance that makes us talk about the "mirage intrigue" that turns into the situation of delusion in "The Inspector General".
- Dictionary work.
Explain the meaning of the words on the board:
mirage, intrigue, fantasy, phantasmagoria, hyperbole, grotesque.
- Watching a video “Gogol. Khlestakov's lies " followed by discussion.
Give examples confirming the use of the above-named means by the author.
Indeed, in The Inspector General, a lot is built on exaggeration:
- fantastically exaggerated, brought to "ideal" not only Khlestakov's stupidity, but also the universal human desire to seem at least a little better, higher than it really is;
- the situation of delusion is comically exaggerated;
- the main thing in which the "Gogol grotesque" was realized is the "mirage intrigue", which illuminated in a fantastic reflection the absurdity of human life in its pursuit of numerous mirages, when the best forces are wasted in an effort to overtake the emptiness so brilliantly embodied in Khlestakov.
The action in the episode of Khlestakov's lies (action 3, phenomenon 6) develops with ever-growing energy. On the one hand, Ivan Alexandrovich's tales are gradually losing all credibility; on the other hand, the audience becomes increasingly frightened by the hero's speech. Their experiences expressively convey directions (students give examples).
Khlestakov is not just stupid, but "ideally" stupid. After all, it does not immediately occur to him why he is so accepted in this city. “I love hospitality,” he says, having slept after the Governor’s reception, “and, I confess, I like it better if they please me from a pure heart, and not just out of interest.
In a few minutes in the scene of Khlestakov's lies, the mirage grows to incredible proportions. Before the eyes of officials, Khlestakov is making a dizzying career.
- Work on the topic. Formation of the concept of "mirage intrigue".
Let us reveal the "ground" that made it possible for the "mirage intrigue" to unfold.
What phrase does the comedy begin with? (Contemporaries noted the extreme swiftness and capacity of the phrase)
What makes this phrase so magical? Let's think together.
- Role-playing game "The situation of the auditor."
Since we are talking about the auditor, we will imagine ourselves in this role and in the role of the “audited”, that is, we will create a “situation of the auditor”. The task of the auditor is “to find and punish”, the task of the audited person is to “hide and evade responsibility”. At the same time, the goal and tactics of the "enemy" are not a secret for either side, but the rules of the game are such that this knowledge is not shown. The emergence of fear is due to the fact that all kinds of surprises can arise, but the worst thing is the result of revision, in which the "extreme" is almost always found. This means that any audited person can be punished. Thus, revision is a dangerous and unpredictable process.
What kind of reaction does this phrase evoke? It is also called key.
- Watching a video "Gogol" The Inspector General. Start"
Explain the reasons for the fear of officials using the table below:
Gradually the image of the City emerges from small details.
First, all administrative-territorial units are represented (except for the army and the church)
Secondly, it is clear that things are not going well in all areas of city life.
Third, the population is represented by all segments of society.
So, this is the kind of "soil" that appears before the eyes of the reader. It is she who gives the opportunity to unfold "mirage intrigue", as punishment is afraid of everything. It is fear that is the inner engine of the plot of the play.
The main bearer of this intrigue is Khlestakov.
- Characteristics of Khlestakov (messages prepared by students).
So, when Khlestakov appears, the mirage materializes. Gogol has repeatedly insisted that Khlestakov is the main character. Placing this character in the center of the comedy gives the whole play a fantastic, phantasmagoric character. I am the director, I am the general, I am the commander-in-chief, I am everywhere, everywhere, everywhere ... But why is he in charge?
- Analysis of 3 actions.
What is the comedy of the scenes of Khlestakov's reception by city officials?
Through the efforts of those around him, conditions have been created so that everything that was hidden in the soul of this "empty" little man, that was drawn in his ridiculous dreams, that was the essence of his existence, was revealed with complete frankness.
The life that unfolds before the stunned listeners of Khlestakov's chatter is not only the ideal realization of Khlestakov's life principle: "After all, this is what you live to pick flowers of pleasure," but also the "desired limit" of all the aspirations of the governor and officials: to have power, acquaintances, fame, money without making any effort, without spending mind and heart, without having any daily responsibilities.
That is why, trembling with fear of the unexpectedly revealed before them the significance of the position and rank of Khlestakov, they admire him.
Note in the notebook:
The main face of the dramatic creation is the center of the play. All other persons revolve around him, like planets near the sun.
Is this phrase applicable to Khlestakov as the main character?
Can we say that the interests of most other heroes are directed specifically towards him? Prove.
Conclusion: Yes, he is the center of the universe - but not real, illusory, imaginary. He is the emptiness taken as the center. The concept of "mirage intrigue" consists in the transformation of Khlestakov into a significant person, that is, in filling the void with fictional content.
So, at the center of the comedy is the person who is least able to play an active game. Gogol laughs not only at the fact that the little girl was mistaken for a field marshal, but at the fact that a dummy was mistaken for an ideal person.
- Summing up the lesson.
- Grading student responses.
- Homework.