What is an imaginary conflict in the auditor. N.V.

The evolution of dramaturgical principles N.V. Gogol

graduate work

2.2 Development of the conflict in the comedy “The Inspector General”

Let us trace the development of the imaginary conflict. First there is a message in the letter that an auditor is going to the city incognito. The mayor tells his strange dream, “a dream in hand”: two huge black rats came, sniffed and left, that is, nothing has changed. Gogol’s characteristic technique, generalization, officials will receive bribes, leave and nothing will change. A company of thieves and bribe-takers is trying to hide their sins, and the mayor tells them to put everything in order. The chatter of Dobchinsky and Bobchinsky fell into fertile soil. “He scolds everyone and pays nothing,” is their conclusion about the new person whom they take for an auditor. This is the beginning of a comedy.

The district environment imagines that the official will behave accordingly, that is, rise above them. Gogol foresaw that they act situationally, both officials and Khlestakov. They have situational behavior. Khlestakov’s recklessness helps him in this, he gets away with everything. Officials immediately fall into respect for their rank and humiliation before it. And Khlestakov is timid at first, and then, seeing that he is being taken for the wrong person, he begins to play along with them. Fear, according to V.G. Belinsky, for his official crimes is internal motor behavior of the mayor and Khlestakov: fear of rank and desire for rank, and the ability to transform (scene at the mayor’s dinner) See: Belinsky V.G. Collected works in 9 volumes - M., 1979. - T. 5. - P. 59..

The internal unity of Khlestakov and the mayor gives rise to the tragicomic grotesque of the play, making natural the unlikely situation when a “trinket” was mistaken for an important government official. Gogol uses the technique of error, the paradoxical nature of the situation - this is the basis of the comic in “The Inspector General”.

Gogol's characters are petty, but they long to ascend, at least in their dreams. After all, what Khlestakov says is the inflamed dream of an unfulfilled rank, but not only of the rank, Gogol believes, but also of a person, for personal qualities have been erased. “I’ve never been received like this anywhere,” Khlestakov exclaims. Khlestakov’s lies correspond to the inner aspirations of the Mayor and officials. They are openly jealous of him. Gogol emphasizes the comedy of the situation by the fact that they combine envy, cowardice, sycophancy and internal unrepentance. This state criminals, Gogol emphasizes, and not people who sinned by chance.

Gogol's realism in the depiction of these characters. Modern sound This comedy is about the crisis of the system, in which some can profit at the expense of others. Gogol uses the technique of self-exposure in comedy: officials expose the system of mutual responsibility, fraud and deception, officials themselves talk about themselves and others. The non-commissioned officer's wife was flogged, the sick are dying, the jailers are not being fed - we learn about this from scenes of people's complaints, this is a breakthrough in the conflict, clearly revealing the contradictions and illusory nature government structure. Everything has been purchased. The unrepentance of the officials and the Governor is revealed in the penultimate scene: Khlestakov leaves after proposing to the Governor’s daughter. And this is what played cruel joke with the Mayor. Khlestakov didn’t even think about it. This allowed the mayor to dream of the rank of general, of the luxurious life of St. Petersburg.

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The evolution of dramaturgical principles N.V. Gogol

Having given the first edition of “Marriage” “for comments” to A. S. Pushkin, N. V. Gogol turns to him with a request for a plot for a new comedy. “The hand trembles to write... a comedy,” writes Gogol on October 7, 1835. See: M.B. Khrapchenko...

The main idea of ​​Gogol’s comedy “The Inspector General” is to expose the vices of Russian bureaucracy. The county town where the events of the work take place is a mirror of the country, a typical, not a special case. The rules of the city N are a consequence of the bureaucratic system contemporary writer Russia, when they served persons and not business, when everyone, or almost everyone, while in the service, tried to deceive the other. Bribes and doing nothing were in the order of things; let us remember, for example, that, currying favor with the false inspector, the mayor cleverly slips Khlestakov four hundred rubles instead of two hundred and rejoices when he takes the money. Gogol himself defined the idea of ​​“The Inspector General” as follows: “In “The Inspector General” I decided to collect in a heap all the bad things in Russia that I knew for sure, all the injustices... and make everyone laugh at one time.”

Related to this is the unusual social conflict“The Inspector General”, which is expressed in the disclosure of internal inconsistency, inconsistency and absurdity social order. The originality of the comedy conflict lies in the fact that there is no positive hero in the play. Positive ideal The author’s opinion is formed on the basis of the negative: denial of the reality of Russian life, denunciation and ridicule of vices.

The main action of the play unfolds around one event - an auditor from St. Petersburg is traveling to the district town, and he is traveling incognito. This news excites officials: “How is the auditor? There was no concern, so give it up!”, and they begin to fuss, hiding their “sins” for the arrival of the inspector. The mayor is especially trying - he is in a hurry to cover up especially large “holes and gaps” in his activities.

A petty official from St. Petersburg, Ivan Aleksandrovich Khlestakov, is mistaken for an auditor. Khlestakov is flighty, frivolous, “somewhat stupid and, as they say, without a king in his head,” and the very possibility of taking him for an auditor is absurd. This is precisely where the originality of the intrigue of the comedy “The Inspector General” lies.

At first, Khlestakov does not even understand that he is being mistaken for a high-ranking civil servant. He does nothing to deceive provincial officials, they are deceiving themselves (“they flogged themselves”). All that matters to officials is that their “sins” are not discovered. The episodes are comical where each of the city officials comes to Khlestakov and focuses on the sins of the other, trying to hide his own.

The imaginary auditor has no choice but to behave in accordance with the conditions set. In the company of the mayor and officials, he feels more and more free: he easily dines with the mayor, looks after his wife and daughter, “borrows” from officials, accepts “offerings” from “ordinary” petitioners. Gradually, Khlestakov gets the hang of it: if at first he timidly begs for lunch, then from Bobchinsky and Dobchinsky he demands “don’t you have money?”, inventing a fantastic career and life for himself.

The concept of “Khlestakovism” is associated with the image of Khlestakov. This is the embodiment of the desire to play a role higher than the one intended for you. In addition, it is also the embodiment of the emptiness of existence, insignificance raised to the nth degree, as Gogol said: “arising before highest degree emptiness".

^

The concrete historical and eternal in the problems of the poem by A.A. Akhmatova "Requiem". The originality of the composition of the poem.

The main part of A. Akhmatova’s poem “Requiem” was created in 1935-1940. This work is dedicated to the time of the “Great Terror”, the suffering of the repressed people. The word “requiem” (Latin) means “funeral mass” - a Catholic service for the dead, as well as a mournful piece of music.

The poem consists of ten poems, a prose Preface, called “Instead of a Preface” by Akhmatova, a Dedication, an Introduction and a two-part epilogue. In addition, the poem is preceded by an epigraph from the poem “So it was not in vain that we suffered together...”.

The plot center of the poem is chapters 5 and 6. Both of them are dedicated to their son and the movement of Time - the time of his imprisonment. These two central chapters are preceded by four short chapters that feature different voices. The first is women from Russian history, maybe from the Peter the Great era; the second is women from the Russian (Cossack) folk song; the third - women from a tragedy close in style to Shakespeare's; the fourth is a certain voice addressing Akhmatova in the tens and Akhmatova in the thirties of the 20th century.

Each of the ten poems that make up the poem is lyrical. Almost every chapter of the poem is characterized by fragmentation. This could be an excerpt from a folk-historical story, a song without beginning or end, or fragments from the Gospel.

After the extensive “Dedication”, which reveals the recipients of the poem, comes the “Introduction”. It, unlike the “Dedication”, which talks about women separated from those arrested, is addressed directly to those whom they are mourning, that is, to those who are going to camps or to be executed.

And only after the “Introduction” does the specific theme of the “Requiem” begin to sound - the cry of the Mother for the Son. A. Akhmatova gives the farewell scene broad meaning. Saying goodbye to her son, she means not only herself, but also those with whom her prison line will soon bring her together. Speaking of "streltsy wives" howling under Kremlin towers, she thereby shows the bloody road that stretches from the depths of time to the present. This bloody road never stopped. And at that time it became even wider.

Then, in Requiem, a melody resembling a lullaby suddenly appears. The motive of the lullaby, associated with the Don, prepares another, even more terrible motive - madness, delirium, complete readiness for death or suicide:

The very tragic situation of the Mother and the executed Son, which arose in the Requiem, inevitably correlated in the minds of A. Akhmatova with gospel story. She expanded the scope of the poem to a universal, universal scale. From this point of view, the poem “The Crucifixion” can be considered the philosophical center of the work. Each of the mothers who have lost a son is like the Mother of God. The poet hears the speech of Jesus (and his son), but does not hear the voice of the Mother. There are no words that can convey her condition, the feeling of guilt, her powerlessness at the sight of the suffering and death of her son. All the mothers of the world whose children are killed merge into the image of the Mother of God. And if Jesus has death, she has suffering: old age, fear, prayer.

For many centuries, the Mother of God has been mourning every innocent child who dies, and any mother who loses her son, in the degree of her pain, seems to draw closer to her. Gradually, towards the “Epilogue,” the voices merge: the voices of the mother and the poet begin to sound inseparable.

The epilogue, consisting of two parts, first returns the reader to the melody and general sense"Dedications" and "Prefaces". Here we again see the image of a prison queue, but already generalized, symbolic:

I learned how faces fall,

How fear peeks out from under your eyelids.

Like cuneiform hard pages

Suffering appears on the cheeks.

The second, final part of the “Epilogue” develops the theme of the monument, well known in Russian literature. But A.A. Akhmatova takes on a completely unusual, deeply tragic appearance. Never before in Russian and world literature has such unusual image Monument to the Poet, standing at his request, at the Prison Wall. This is a monument to all victims of repression who were tortured in the terrible 30s:

And here, where I stood for three hundred hours,

And where they didn’t open the bolt for me.

Then, even in the blessed death I am afraid

Forget the thunder of the black marus.
^

“The test of love” as a means of characterizing the hero in the works of Russian classics of the 19th century.

The theme of love is one of the favorite themes of Russian and world literature. According to Russian writers, all the happiness in a person’s life stems from love; The world's secret lies in love. Love is philosopher's Stone, which has the property of turning everything into gold, into good. But very often many people are afraid of this feeling and reject it. One of these heroes is Evgeny Onegin - a man who spent his life in restaurants, theaters, at balls, and in fleeting romances with women. This way of life was familiar to him. She could not change his views and the love of young Tatyana Larina. Onegin, having received a letter of confession from the girl, gives her a “rebuke.” The turning point in the hero's life is the duel with Lensky. The murder of a young friend turns Onegin's entire worldview upside down. He goes on a journey, as a result of which his nature is largely “reborn.” Having met the already married Tatiana again, Evgeniy suddenly falls in love with her. Now he writes a letter to the heroine, dreams of “seeing you every minute, // following you everywhere...”. But Tatiana, still loving, rejects Onegin. She considers it unworthy to cheat on her husband, to whom she swore fidelity before God. That's why he refuses Onegin.

The ending of the novel remains open. We don't know what will happen next to the heroes. But we can say that the “test of love” revealed how much Onegin has changed. Circumstances revealed the true qualities of his nature, showed that the hero no longer depends on the opinion of the world, that he has become strong, independent, whole person capable of deep, sincere thoughts and feelings.

Another hero who went through the “test of love” is Lermontov’s Pechorin (“Hero of Our Time”). This hero only realized while saying goodbye to Mary that he not only could fall in love, but also loves this girl. However, he is afraid that he will not be able to love for a long time, will not be able to give Mary what she deserves and thereby cause the girl even more pain. But he remembers saying goodbye to her while in the fortress.

Pechorin asks himself: “Why didn’t I want to take this path, opened to me by fate, where quiet joys and peace of mind awaited me?” Contrary to his heart, the real state of emotions, Pechorin “runs” from Mary. However, violence against one’s feelings is not in vain, because it is a challenge to life, a “rebellion” against it. In such cases, life avenges itself: in the fortress, Pechorin tries to drown out the melancholy of his heart with love for the “savage” Bela, but very soon he becomes convinced of the futility of his efforts. Pechorin is not able to love, he is afraid of true feelings, afraid to trust another person, so he remains unhappy and dies unhappy on the way to Persia. We can say that this hero did not pass the “test of love.”

Love became the biggest test in the life of the main character of Turgenev’s novel “Fathers and Sons.” Bazarov, who denied this feeling and despised the people who experienced it, fell in love himself. He fell in love deeply, passionately, with all the power of which his nature was capable. Love for Odintsova forced Evgeny Vasilyevich to reconsider his views, first of all, on himself. So does that mean love exists? Furthermore, are all people susceptible to it, even such outstanding ones as Bazarov?

The hero considered himself among the capable and strong people, in some ways even unusual. He thought that he would be able to control the situation and subordinate everything to the arguments of reason. But it was not there. The meeting with Anna Sergeevna Odintsova instantly turned everything upside down.

The hero has mixed feelings towards her. On the one hand, this strong love, and on the other – anger and even hatred: “Bazarov rested his forehead against the glass of the window. He was out of breath; his whole body was apparently trembling. But it was not the trembling of youthful timidity, it was not the sweet horror of the first confession that took possession of him: it was passion that beat within him, strong and heavy - a passion similar to anger and, perhaps, akin to it...”

From this moment on, nihilistic theories in the hero’s life faded into the background. He began to engage in medicine and natural experiments. Soon, having injured his finger, Bazarov becomes infected with typhus and dies. The last person he wanted to see was Odintsova. Only to her does Evgeny Bazarov open up completely and only to her asks: “Blow on the dying lamp and let it go out...”

“Test of love” is one of the most common techniques in Russian literature. It allows you to deeper reveal the character of the heroes, reveal their strengths and weak sides, show their transformation or degradation, trace their development. In addition, the “love test” helps to identify author's attitude to the hero, the author's view of the world.

CONFLICT external and internal. External: between Khlestakov as an auditor and city officials. The relationships between the characters are based on misunderstandings, and not on deep contradictions between them. This side of the conflict is very important for the overall construction of the work. Internal: between the authorities and the people. Gogol strives to show that all abuses and extremes do not correspond to the ideal of man and society. The author’s most important artistic task was to tear off the mask from “well-intentioned persons.” IMAGE SYSTEM Character traits officialdom: .Bribery: a) Lyapkin-Tyapkin takes bribes with greyhound puppies, b) Letter from a friend of the mayor: “Since I know that you, like everyone else, have sins, because you are a smart person and don’t like to let things go, what floats into your hands.” c) The scene of giving bribes to Khlestakov. Embezzlement: a) Strawberries: “The closer to nature, the better, we don’t use expensive medicines. The man is simple: if he dies, he will die anyway; if he gets well, then he’ll get well too,” b) The church, which was torn apart piece by piece. Gross arbitrariness: a) The attitude of the mayor towards the merchants. “He’ll come to the shop and, whatever he gets, he’ll take everything... But if you try to contradict him, he’ll send a whole regiment to your house to billet,” b) Attitude towards the locksmith and the non-commissioned officer, c) The postmaster opens letters. “I do this not so much out of precaution, but more out of curiosity: I love to know what’s new in the world.” The only positive hero of comedy is laughter.

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“International Conflicts” - Project characteristics. "Psychology of international conflict: national models of conflict behavior." Tasks. Scientific and practical significance. Behavior is expressive (reflects individuality and has no purpose) and functional (goal-oriented). Practical use at the current stage. Genealogy research.

“The problem of conflict” - Causes of conflicts. Needs. Conflict Management. Compromise, participation, deal. Differences and discrepancies Needs Perception Power Values ​​and principles Feelings and emotions. Are my expectations realistic? Look to the future and learn from the past. Problems of the evasive approach. Problems of the settling approach.

“Conflicts in society” - 20th century. Max Weber (1864–1920). History of conflictology. New time. Thomas Hobbes (1588–1679). Sigmund Freud (1856–1939). Conflictology is developing as an independent science. Conflicts are common at all levels social life– politics, economics, culture. XXI Century. Ralf Dahrendorf (b. 1929). (Conflictology as a scientific direction).

“Conflict Management” - Department of “State, Municipal and corporate governance" Causes of conflicts. Consequences of conflicts. Personal methods of conflict management. Sources of conflicts. Structural methods conflict management. Lecture questions: Own interests. Levels of conflict. Diagnosis of conflicts.

Essay plan
1. Introduction. Originality artistic structure comedies.
2. Main part. The plot and compositional originality of The Inspector General.
— Exposition in the plot of a comedy.
- The beginning.
- Hero-messengers. Development of action.
— Gorodnichy’s first acquaintance with Khlestakov. Development of action.
— The third and fourth acts of the comedy. Development of action in a real conflict and climax episodes in a “mirage” intrigue.
- Fifth act. The climax and denouement of the play/
3. Conclusion. Gogol's innovation.

In the comedy N.V. Gogol acts as an innovative playwright. He overcomes traditional techniques poetics of classicism, vaudeville techniques, departures from traditional love affair, referring to satirical image society, a city growing into a grandiose symbol Russian state. “I wanted to collect everything bad in Russia in one pile and at one time... laugh at everyone,” wrote N.V. Gogol. Let's try to analyze the plot and compositional structure of the work.
The author's originality lay in the fact that the exposition in the comedy follows the plot. The plot of the play is the first phrase of the Governor: “... an auditor is coming to us.” And only after that we plunge into the atmosphere of life county town, we’ll find out what the rules are there and what local officials do. We will learn here some details: how the residents of charitable institutions are kept, what rules are established by the judge “in public places,” what happens in educational institutions..
The beginning of the real intrigue of the comedy, as we noted above, is the first remark of the Governor. IN AND. Nemirovich-Danchenko, in his article “The Secrets of Gogol’s Stage Charm,” noted Gogol’s extraordinary courage and innovation in creating the plot. “The most wonderful theater masters,” he says, “could not begin the play except in the first few scenes. In “The Inspector General” there is one phrase, one first phrase: “I invited you, gentlemen, in order to tell you the most unpleasant news: an auditor is coming to us,” and the play has already begun. The plot is given, and its main impulse is given - fear." However, it is worth noting that there is no fear here yet. The plot of the play is distinguished by its comedy, satire, and psychologism. The arrival of an auditor is certainly unpleasant news, but the situation is traditional. The mayor has extensive experience in such matters (he deceived two governors). The inspector is coming, but they are not afraid of him yet. The city still holds the initiative in its hands. However, the city has already been set in motion. The mayor energetically gives instructions to officials. Gogol proved himself to be a talented playwright, having come up with such a premise, thanks to which everything was set in motion at once characters comedies. Each of them acts in accordance with his character and his crimes. We also note that the main character himself is not present either in the exposition or in the plot of the play.
Later in the comedy, Bobchinsky and Dobchinsky appear and bring news about the mysterious guest of the tavern. Here Gogol uses the traditional comedic image of herald heroes. Only the news they bring is unconventional. Out of nothing they create the image of an auditor. The arrival of a stranger seems unexpected to them, his behavior is mysterious (he lives, observes, does not announce himself). And this is where confusion begins among officials, fear arises. The scene depicting the messenger heroes is extremely important in the artistic fabric of the play. Some researchers believe that it is a kind of completion of the plot in the real conflict of the play. Other critics (who indicated the presence of two intrigues in the plot - real and “mirage”) see in it the beginning of a “mirage” intrigue. It seems that we can consider this scene as a development of action after the beginning (the Governor’s message) in the real conflict of the play.
The scene of Gorodnichy’s first acquaintance with Khlestakov is built on a very complex comic. This scene is also a development of action in both real and “mirage” conflict. Khlestakov feels fear, believing that he is going to be taken to a debt hole. The mayor believes that his interlocutor is distinguished by cunning and cunning: “What a fog he let in!” The characters do not understand each other, being, as it were, on different wavelengths. But the Governor regards Khlestakov’s entire behavior as some kind of subtle game, the terms of which he quickly accepts. And the seduction of the imaginary auditor begins. To begin with, Anton Antonovich gives him a bribe. This crucial moment in the behavior of the Governor. He overcomes his shyness and feels more confident. The situation is undoubtedly familiar and familiar to him. Then he invites you to live in his house, visit charitable institutions, a district school, and a prison. In a word, it is active. Let us note here the comedy in the development of the conflict. "From point of view common sense the hero leading the action, the attacker, the attacker, should be the auditor, since he is a government official who came to the city with an audit, with an inspection, and Khlestakov does not attack anyone, since he is not an auditor. He turns out to be the target of an attack; by an absurd coincidence, he was mistaken for an auditor, and he repels this attack as best he can. The hero leading the action turns out to be the Mayor. All his actions are based on one desire: to deceive the auditor, create the appearance of prosperity, and not give a single person in the city the opportunity to tell the auditor about malfeasance.<…>All this “on the contrary” will go through all the most important points in the development of the conflict."
The events of the third act also represent a very important stage in the development of the conflict. Khlestakov probably begins to realize that he is being taken for an important government person, and begins to play this role, very naturally. He talks about his life in the capital and lies to such an extent that he completely exposes himself. The scene of lying is the culmination of the hero's self-exposure. However, the Mayor and other officials take the hero’s lies for granted. What is the reason for this behavior? As the researchers note, “fear sets the stage for deception. But Khlestakov’s sincerity deceived him. An experienced rogue would hardly have fooled the Governor, but the unintentionality of Khlestakov’s actions confused him.<…>...In all cases - even in the moment of the most incredible lies - Khlestakov is sincere. Khlestakov is inventing things with the same sincerity with which he previously told the truth, and this again deceives the officials.” What follows is a scene where the imaginary auditor visits local officials - he takes money from everyone. The bribe scene contains a crudely comic twist. The first visitor, the judge, is still embarrassed to offer Khlestakov money: he does it ineptly, with fear. However, Khlestakov resolves the tense situation by asking for a loan. And then he borrows from each of the officials, and the amounts increase from visit to visit. Then follows the scene of Khlestakov’s courtship of the mayor’s daughter and wife. He wooes Marya Antonovna. This scene contains a parody of a love affair. As V. Gippius notes, “the unity of time required fast pace, but still gave scope within five acts and twenty-four real hours. As if mocking this rule, Gogol fits two explanations, a misunderstanding with rivalry, a proposal and an engagement within the limits of half an act and a few minutes, so that in the last act he can laugh at this “phantom”. Thus, the scenes of lies, bribes and matchmaking are the development of action in the real conflict of the play and at the same time the culminating episodes in the “mirage” conflict.
In the fifth act we have a culmination in the development of real intrigue - this is the scene of Khlestakov's exposure. The mayor triumphs: he not only managed to hide his affairs from the auditor, but also almost became related to him (this scene is also the culmination of the development of the “mirage” intrigue). However, his triumph is overshadowed by the arrival of the Postmaster with a letter that opens true position business The scene of reading Khlestakov’s letter is the culmination of a real conflict and at the same time the denouement of a “mirage” intrigue. However, the comedy does not end with this episode. This is followed by the appearance of a gendarme, who announces the arrival of a real auditor. This scene represents the resolution to the real conflict of the play. Thus, the plot action returns to where it began. Gogol has received various interpretations from critics. One of its interpretations: a real auditor has finally arrived and the city will face a real, fair punishment. Another version: the arriving official is associated with heavenly punishment, which all the characters in the comedy fear.
Thus, N.V. Gogol is an innovator in the development of dramatic techniques and in depicting the conflict. In his comedy, he almost completely abandoned the love affair. Love triangle Marya Antonovna - Khlestakov - Anna Andreevna is defiantly parodic. The plot is based on an unusual incident, an “anecdote”, but one that allows one to deeply reveal social relations and connections. Main character is not present in either the first or the last act of “The Inspector General”: it is not present in both the beginning and the denouement. The climax in the development of the real conflict also occurs without Khlestakov. The dynamics of “The Inspector General” follow a certain rule - “he already wants to reach, to grab with his hand, when suddenly he goes crazy.” This applies equally to the Governor, to his ambitious hopes, and to Marya Antonovna, to her love aspirations. The basis of the play’s action is not personal clashes, but a general, social principle. Gogol is not in the play goodies. The ideal disappears into the subtext of the writer. This is an idea, a moral criterion from the standpoint of which the author evaluates social vices. According to Gogol, laughter is the only positive face of comedy. These are the main features of the poetics of Gogol the playwright.

1. Lyon P.E., Lokhova N.M. Literature: For high school students and those entering universities: Tutorial. M., 2002, p.210.

2. Mann Yu.V., Samorodnitskaya E.I. Gogol at school. M., 2008, p. 97.

3. Bogomolova E.I., Zharov T.K., Kedrova M.M. Literature manual. M., 1951, p. 151., p. 152.

4. Mann Yu.V., Samorodnitskaya E.I. Gogol at school. M., 2008, pp. 118–119.

5. Gippius V. Gogol. L., 1924, p. 99.

The originality of Gogol's dramatic solutions lies in the fact that the place of the ideal in the conflict of The Inspector General remains vacant. At first glance, the exclusion of the personified image of virtue from the plot should relieve the dramatic tension of the action, but this does not happen; the main ideological and thematic emphasis is transferred from the opposition of antagonistic forces to the revelation of the discrepancy between the ideal of behavior declared by society, rationally organized, meaningful, and the vulgarity, vulgarity of life characters, the content of which is reduced exclusively to selfish needs. The classic tendency to contrast the negative with the positive is revised by the author. Gogol does not simply change the component antitheses. The subjects of artistic development are officials, considered not only as valuable characters in their own right, but also as figures that generalize social types by the very fact of their existence, exposing the bureaucratic system and so far from ideal that laughter turns out to be the most effective form of perception. The life of the city is immersed in a state of arbitrariness and lawlessness. Confront this world with a concrete, actual position positive character would mean creating another classic drama, in the denouement of which someone’s blood would necessarily be shed - so deeply rooted is the vice in the consciousness and existence of the characters. The author understands that a possible ethical antagonist-accuser will be little different from the already known to culture personifications of the ideal and the loud polemics it initiates can be resolved exclusively in a tragic manner. Gogol makes a thematically bold decision, contrasting the image of fictitious retribution with the emblems of criminal everyday life. The result is a spectacular self-exposure of grotesque characters. Fear prompts officials to seek salvation by revealing both the secrets of others and their own, thereby exposing depravity social practice. The viewer and reader become witnesses to farcical scenes of self-justification, bribery, and hypocrisy. The little things of everyday life, in particular social life, so reminiscent of Russian Empire generally. One of central places In the conflict, the image of Khlestakov occupies, involuntarily, perhaps not fully understanding who he is mistaken for. There are known theatrical and literary versions, according to which Khlestakov guesses about his “auditor” status. But they contradict Gogol’s given characters; This is where the comic lies - the emptiest man, the personification of stupidity triumphs over social wisdom. The highly experienced mayor Skvoznik-Dmukhanovsky was punished not by Khlestakov, but by the relapses of social relations that reigned in Russia.