What social vices does Gogol's comedy The Inspector General ridicule. What does Gogol expose in the comedy “The Inspector General”? (School essays)

Vladimir Vladimirovich Mayakovsky (1893 - 1930) - famous Soviet poet of the 20th century, publicist, playwright, artist. Besides - talented actor cinema, director and screenwriter.

Parents

Vladimir Vladimirovich Mayakovsky was born in Georgia on July 7 (19), 1893 in the village of Baghdadi, Kutaisi province.

His father, forester Vladimir Konstantinovich Mayakovsky (1857–1906) came from Zaporozhye Cossacks. He knew countless cases and anecdotes and conveyed them in Russian, Georgian, Armenian, Tatar, which he knew perfectly.
The poet’s mother Alexandra Alekseevna Mayakovskaya (1867–1954) is the daughter of captain of the Kuban infantry regiment Alexei Ivanovich Pavlenko, participant Russian-Turkish war 1877-1878, holder of the St. George Medal “For Service and Bravery”, as well as other military awards.
My father's great-grandfather Kirill Mayakovsky was a regimental captain of the Black Sea troops, which gave him the right to receive the title of nobleman. Subsequently, the poet wrote in the poem “To Our Youth”: “Stolbovoy’s father is my nobleman.”
On the paternal side, grandmother Efrosinya Osipovna was cousin famous writer and historian G.P. Danilevsky.

Children of Mayakovsky

While working at Windows of ROST (1920), Vladimir Mayakovsky met the artist Lilia (Elizaveta) Lavinskaya. And although at that time she was a married young lady, this did not stop her from being carried away by the stately and charismatic poet. The fruit of this relationship was their son, who received double name Gleb-Nikita. He was born on August 21, 1921 and was recorded in documents under the name of Anton Lavinsky, official husband mother. The boy Gleb-Nikita himself always knew who his biological father. Moreover, despite the lack of fatherly attention (Vladimir Mayakovsky’s children did not interest him; he was even afraid of them), he deeply loved the poet and youth I read his poems.

Mayakovsky's son received a double name due to parental disagreements in choosing a name for the boy. He received the first part - Gleb - from his stepfather, the second part - Nikita - from his mother. Mayakovsky himself did not take part in raising his son, although he was a frequent guest of the family in the first few years.

Nikita-Gleb's life was not easy. With living parents, the boy grew up in an orphanage until he was three years old. According to those social views, this was the most appropriate place for raising children and accustoming them to the team. Gleb-Nikita has few memories of his own father. Much later he will tell his youngest daughter Elizabeth about one special meeting of theirs, when Mayakovsky took him on his shoulders, went out onto the balcony and read his poems to him.

Mayakovsky's son had a subtle artistic taste and absolute musical ear. At the age of 20, Gleb-Nikita was called up to the front. All Great Patriotic War he passed as an ordinary soldier. Then he got married for the first time.

American daughter

In the mid-1920s, a radical change occurred in the relationship between Mayakovsky and Liliya Brik, and the political situation in Russia at that time was difficult for the revolutionary poet. This became the reason for his trip to the USA, where he actively toured and visited his friend David Burliuk. There he met Russian emigrant Ellie Jones (real name Elizaveta Siebert). She was a reliable comrade, a charming companion and translator for him in a foreign country.

This novel became very significant for the poet. He even seriously wanted to get married and create a calm family haven. However old love(Lily Brik) did not let him go, all impulses quickly cooled down. And on June 15, 1926, Ellie Jones gave birth to a daughter from the poet - Patricia Thompson.

At birth, the girl received the name Helen-Patricia Jones. The surname came from the emigrant mother's husband, George Jones. This was necessary so that the child could be considered legitimate and remain in the United States. In addition, the secret of birth saved the girl. Possible children of Mayakovsky could then come under persecution by the NKVD and Liliya Brik herself.

Childhood

From the age of four, Volodya loved to be read to, especially poetry. And his mother read to him Krylov, Pushkin, Lermontov, Nekrasov. And when she could not respond to his request, he cried. He easily remembered what he liked and then recited it expressively from memory. When he grew up, he began to climb into empty churi (large clay jugs for wine) and read poetry from there. The jugs resonated and the voice sounded loud and booming.

In 1898, for his birthday, which coincided with his father’s birthday, he learned Lermontov’s poem “Dispute” and spoke to numerous guests. His first impromptu statement related to the purchase of a camera dates back to this time: “Mom is glad, dad is glad that we bought the camera.”

At the age of six, Mayakovsky learned to read on his own, without the help of adults. I didn’t like the first book “Agafya the Birdkeeper” by children’s writer Klavdia Lukashevich. “Fortunately, the second one is Don Quixote.” What a book! He made a wooden sword and armor, smashed the surroundings” (V. Mayakovsky. “I Myself”). Usually the boy took a book, filled his pockets with fruit, grabbed something for his dog friends and went into the garden. There he lay down on his stomach under a tree, and two or three dogs lovingly guarded him. And I read it for so long.

Volodya Mayakovsky - 1st grade student

Fun games and wide open space Children's imagination was facilitated by the fact that Ananov's house, into which the Mayakovsky family moved in the fall of 1899, was located on the site of an ancient Georgian fortress. The poet’s first artistic and visual impressions also date back to the Baghdad period. In the summer, many guests came to the Mayakovskys, including young people. Among those who came was a student of St. Petersburg University B.P. Glushkovsky, the son of Yulia Feliksovna Glushkovskaya, a Kutaisi acquaintance of the Mayakovskys, who also studied at the school for “encouragement of the arts.” The future poet watched as he sketched the figure of the main character of Pushkin’s “Eugene Onegin” into an album. In 1900, when Volodya was seven years old, Alexandra Alekseevna took him to the city of Kutais to prepare him for entering the gymnasium. Mother and son settled in the house of Yulia Feliksovna Glushkovskaya, who began to give Volodya lessons.

And already in 1902, Mayakovsky passed the exams for the senior preparatory class of the Kutaisi classical gymnasium, and began studying there in the fall. At this time, the older sister was preparing to enter the Moscow Stroganov School and took drawing lessons from the artist S.P. Rubella, graduated Petersburg Academy arts She showed him her brother’s drawings, and he began to study with Mayakovsky for free.

In 1906, after the death of his father, the family moved to Moscow. Mayakovsky studied at the Moscow gymnasium. He communicated with Bolshevik students, joined the party, and was co-opted into the Moscow Committee of the RSDLP(b) (1908). He was arrested three times. And in 1909 he was imprisoned in solitary confinement in the Butyrka prison. After leaving prison, where he began to write poetry, Mayakovsky decides to “make socialist art”: “I interrupted party work. I sat down to study."

The beginning of a creative journey

In 1911, after several attempts to enter any artistic educational institution, Mayakovsky becomes a student at the School of Painting, Sculpture and Architecture in Moscow. Through David Burliuk, one of the leaders of the futurist group Gileya, who studied there, Mayakovsky became acquainted with the world of the Moscow literary and artistic avant-garde. Burliuk, whom Mayakovsky introduced to his poems, highly appreciated them and recommended continuing his studies in poetry. From the end of 1912 to the beginning of 1923, Mayakovsky took part in art exhibitions contemporary art, performs reading his poems, participates in public speaking together with Burliuk and other members of the Gileya group. Mayakovsky’s first publications (poems Night, Morning) appeared at the end of 1912 in the publication “Gilea”.

Mayakovsky also participated in the writing of the manifesto of the same name, from which the statement, often quoted by the artistic opponents of the Futurists, was taken - “throw Tolstoy, Dostoevsky, Pushkin off the Steamboat of modernity.” The authors of numerous memoirs emphasize Mayakovsky’s love for the classics, brilliant knowledge of Pushkin’s poetry, etc., trying to balance declarations of this kind. They were typical of many leftist movements in art at the beginning of the 20th century. In May 1913, 300 copies of Mayakovsky's first collection with illustrations by the author and his comrades in the School of Painting were printed by lithographic method in the amount of 300 copies.

Features of poetry

In the first poems, Mayakovsky’s imagery is quite traditional compared to other futurists, and in them the anti-aestheticism common to the group of cubo-futurists, an appeal to shocking themes and, along with them, features of originality gradually appear: urban imagery; dynamism and sudden changes in intonation; widespread use of motifs, the source of which was art, first of all – modernist painting. Somewhat later, features appeared that were preserved in Mayakovsky’s poetry into the 1920s: the use of occasionalisms (words associated with a specific occasion, occasion, and not registered as a linguistic norm) and the use of compound rhyme, common to most futurists.

Several examples of Mayakovsky’s occasionalisms:

Yellow-eyed (from yellow-eyed)

Capital (from capital)

Sun-faced (sun, face)

See you (had a chance to see)

Sozvenenny (from link)

Sklyan (from glass)

Winged (from wing)

Mayakovsky, together with Burliuk, V. Kamensky and other members of the Cubo-Futurist group, actively participates in “futurist tours” around Russia - collective performances with lectures and poetry readings. The performances had strong elements of theatricality and shocking (provocative behavior, unusual clothes, makeup). In the subsequently appeared positive reviews Mayakovsky was considered outside the context of the futurist group.

In 1914 St. Petersburg theater"Luna Park" was staged, with the participation of the author, Mayakovsky's tragedy "Vladimir Mayakovsky", in which the poet performed main role- poet Vladimir Mayakovsky. According to Chukovsky’s memoirs, “the play was supposed to have a different title, but the censor, to whom Mayakovsky handed over the play, without having yet come up with the title, mistook the author’s name for it and subsequently did not allow it to be changed, but this only made the poet happy.” Original titles tragedy - Railway, The Rise of Things; the motif of the rebellion of things connects it with the poetics of other Russian futurists (Khlebnikov). The allegorical characters of the play (Old Man with Dry Black Cats, Man without an Eye and Leg, Man without a Head, etc.) are also comparable to the characters in Khlebnikov's plays. The play in verse is not well suited for stage production. Its first edition develops the traditions of the futuristic book in the field of playing with fonts of various styles and sizes.

Travel and social activities

In 1915, Mayakovsky’s famous poem “A Cloud in Pants” was completed. Further poetry of Mayakovsky, in addition to anti-war themes, also contains satirical ones. Film scripts occupy a due place in Mayakovsky's work. He starred in three of his films in 1918.

The great poet met the October Revolution at the headquarters of the uprising in Smolny. He immediately began to cooperate with the new government and participated in the first meetings of cultural figures. Let us note that Mayakovsky led a detachment of soldiers who arrested General P. Sekretev, who ran the automobile school, although he had previously received the medal “For Diligence” from his hands. The years 1917–1918 were marked by the release of several works by Mayakovsky dedicated to revolutionary events(for example, “Ode to the Revolution”, “Our March”). On the first anniversary of the revolution, the play “Mystery-bouffe” was presented.

Mayakovsky was also interested in filmmaking. In 1919, three films were released, in which Vladimir acted as an actor, screenwriter and director. At the same time, the poet began collaborating with ROSTA and worked on propaganda and satirical posters. At the same time, Mayakovsky worked for the newspaper “Art of the Commune”.

At this time, several bright and memorable works of the brilliant poet were created: “About This” (1923), “Sevastopol - Yalta” (1924), “Vladimir Ilyich Lenin” (1924). Let us emphasize that while reading the last poem in Bolshoi Theater I. Stalin himself was present. No less important and eventful was the period of frequent travel for Mayakovsky. During 1922 - 1924 he visited France, Latvia and Germany, to which he dedicated several works. In 1925, Vladimir went to America, visiting Mexico City, Havana and many US cities. The beginning of the 20s was marked by heated controversy between Vladimir Mayakovsky and Sergei Yesenin. The latter at that time joined the Imagists - irreconcilable opponents of the Futurists. In addition, Mayakovsky was a poet of the revolution and the city, and Yesenin extolled the countryside in his work.

During 1926-1927, Mayakovsky created 9 film scripts. In addition, in 1927, the poet resumed the activities of the LEF magazine. But a year later he left the magazine and the corresponding organization, completely disillusioned with them. In 1929, Vladimir founded the REF group, but the following year he left it and became a member of RAPP. At the end of the 20s, Mayakovsky again turned to drama. He is preparing two plays: “The Bedbug” (1928) and “Bathhouse” (1929), intended specifically for theater stage Meyerhold. They thoughtfully combine a satirical presentation of the reality of the 20s with a look into the future.

Meyerhold compared Mayakovsky's talent with the genius of Moliere, but critics greeted his new works with devastating comments. In “The Bedbug” they found only artistic shortcomings, but even accusations of an ideological nature were brought against “Bath”. Many newspapers carried extremely offensive articles, and some of them had the headlines “Down with Mayakovism!”

Lilia Brik

Brik was two years older than Mayakovsky, and this, albeit formal, difference was noticeably felt: in their relationship it was she who led, while the poet played the role of a follower, a subordinate. Brik and Mayakovsky met in the summer of 1915, future muse The poet had already been married to Osip Brik for three years at that time. Lilya “stole” Mayakovsky from her sister Elsa, with whom he was dating at the time. Actually, it was Elsa who brought Mayakovsky to the Brikovs’ St. Petersburg apartment on Zhukovsky Street. The poet read the latest poem “A Cloud in Pants”, received an enthusiastic reception, was charmed by the hostess, the feeling turned out to be mutual. Osip helped publish “The Cloud,” all three became friends, and Mayakovsky, not wanting to part with his new hobby, stayed in Petrograd. Gradually, the Briks' house turned into a fashionable literary salon, and soon a romance began between the poet and the new muse, which was calmly accepted by Lily's husband.

“Elzochka, don’t make such scary eyes. I told Osya that my feelings for Volodya were verified, strong, and that I was now his wife. And Osya agrees,” these words, which struck Elsa to the core, turned out to be true. In 1918, Briki and Mayakovsky began to live together, in the spring next year moved to Moscow, where they did not hide their progressive relations at all. Lilya worked with the poet at Windows of ROSTA, Osip worked at the Cheka.

Mayakovsky's love for Brik (to whom he dedicated all his poems) was emotional; his character required constant shocks, which increasingly tired Lilya. Regular scenes, departures and returns - the relationship in the couple was not cloudless. Brik allowed herself to speak disparagingly about Mayakovsky, calling him boring, and eventually stopped being faithful to him. This, however, did not stop Lila from keeping the poet on a short leash, making sure that Mayakovsky did not leave her anywhere. In his will, he indicated Brik as one of the heirs, and she received half of the rights to his works.

Veronica Polonskaya

Mayakovsky's last strong passion, the Moscow Art Theater actress Veronika Polonskaya, was 15 years younger than the poet. Polonskaya, married woman(her husband was the actor Mikhail Yanshin), she could hardly bear the scenes that Mayakovsky arranged for her. He demanded that Veronica leave her husband and became furious when he did not get what he wanted. The relationship was constantly in a state of rupture, and in the end it all ended on April 14, 1930, when the poet committed suicide.

Death and legacy

The fateful year of 1930 began for greatest poet with numerous accusations from colleagues. Mayakovsky was told that he was not true " proletarian writer”, but just a “fellow traveler”. But, despite the criticism, in the spring of that year Vladimir decided to take stock of his activities, for which he organized an exhibition called “20 years of work.” The exhibition reflected all of Mayakovsky's many-sided achievements, but brought complete disappointment. Neither the poet’s former colleagues at LEF nor the top party leadership visited her. It was a cruel blow, after which a deep wound remained in the poet’s soul.

IN literary circles There were rumors that Mayakovsky had written himself off. The poet was denied a visa to travel abroad. Two days before his suicide, on April 12, Mayakovsky had a meeting with readers at the Polytechnic Institute, which was attended mainly by Komsomol members; There were a lot of boorish shouts from the seats. The poet was haunted by quarrels and scandals everywhere. His state of mind became more and more alarming and depressing.

Since the spring of 1919, Mayakovsky, despite the fact that he constantly lived with the Briks, had a small boat-like room on the fourth floor in communal apartment on Lubyanka. The suicide took place in this room.

On the morning of April 14, Mayakovsky had an appointment with Veronica (Nora) Polonskaya. The poet had been dating Polonskaya for the second year, insisted on her divorce and even signed up for a writers’ cooperative in the passage Art Theater, where he was going to move to live with Nora. In 1990, 82-year-old Polonskaya recalled in an interview with Soviet Screen magazine:

“I couldn’t be late, it angered Vladimir Vladimirovich. He locked the doors, hid the key in his pocket, began to demand that I not go to the theater, and generally left there. I cried... I asked if he would accompany me. “No,” he said, but promised to call. And he also asked if I had money for a taxi. I didn’t have any money, he gave me twenty rubles... I managed to get to the front door and heard a shot. I rushed about, afraid to return. Then she walked in and saw the smoke from the shot that had not yet cleared. There was a small bloody stain on Mayakovsky's chest. I rushed to him, I repeated: “What did you do?..” He tried to raise his head. Then his head fell, and he began to turn terribly pale... People appeared, someone said to me: “Run, meet the ambulance... I ran out and met him. I returned, and on the stairs someone said to me: “It’s late. Died…"

The suicide letter, prepared two days earlier, is clear and detailed (which, according to researchers, excludes the version of the spontaneity of the shot), begins with the words: “Don’t blame anyone for the fact that I’m dying, and please don’t gossip, the dead man doesn’t do that terribly.” I loved…". The poet calls Lilya Brik (as well as Veronica Polonskaya), mother and sisters members of his family and asks to transfer all the poems and archives to the Briks. The Briks managed to arrive at the funeral, urgently interrupting their European tour; Polonskaya, on the contrary, did not dare to attend, since Mayakovsky’s mother and sisters considered her to be the culprit in the death of the poet. For three days, with an endless stream of people, farewell took place in the House of Writers. Tens of thousands of admirers of his talent escorted the poet to the Donskoye Cemetery in an iron coffin while the Internationale was sung.

The poet was cremated in the first Moscow crematorium opened three years earlier near the Donskoy Monastery. The brain was removed for research by the Brain Institute. Initially, the ashes were located there, in the columbarium of the New Donskoye Cemetery, but as a result of the persistent actions of Lilia Brik and the poet’s elder sister Lyudmila, the urn with Mayakovsky’s ashes was moved on May 22, 1952 and buried at the Novodevichy Cemetery.

Most great love in the poet's life and his muse was Lilya Yuryevna Brik. Mayakovsky became friends with her and her husband, Osip, and then moved to live in their apartment. Lily and Vladimir started whirlwind romance, and her husband actually gave in to her friend.
Mayakovsky was popular with women. However, the poet did not officially register any of his relationships. It is known that in addition to his daughter Patricia, Mayakovsky also has a son from his relationship with the artist Lilya Lavinskaya - Gleb-Nikita, a Soviet sculptor.
After his father’s death from blood poisoning (he injected himself while stitching papers), Mayakovsky was haunted throughout his life by the phobia of dying from infection.
Invented by Mayakovsky and becoming his business card the poetic “ladder” caused indignation among his colleagues. After all, editors at that time paid not for the number of characters in a work, but for the number of lines.
After Mayakovsky read a poem about Lenin at the Bolshoi Theater, the audience applauded for 20 minutes; Stalin was present at this performance.
Mayakovsky stood at the origins of Soviet advertising; the poet was criticized by some of his contemporaries for his advertising activities.

Video

Sources

https://ru.wikipedia.org/wiki/Mayakovsky,_Vladimir_Vladimirovich http://v-mayakovsky.com/biography.html

Essays on literature: Exposing the vices of bureaucracy in N. V. Gogol’s comedy “The Inspector General”

In the comedy “The Inspector General” N.V. Gogol with great accusatory force exposes the vices of the society of the times Tsarist Russia. The focus of his attention is on representatives of the bureaucracy, and the author embodies their images in typical characters a small county town where the main events take place. Let's take a closer look at them.

The main person in the city is the mayor, an elderly man with rough and tough features. “Although he is a bribe-taker, he behaves very respectably.” However, Anton Antonovich allows such behavior only in relation to the bourgeoisie; in front of his superiors, he acts as a diligent servant, benefactor, sycophant and sycophant.

The trustee of charitable institutions, Zemlyanika, is no less colorful. He not only robs his unfortunate charges, but also understands the essence of medical care in a very unique way: “A simple man: if he dies, he will die anyway; if he recovers, then he will recover.” It is characteristic that the doctor in the district is a German, Gibner, who absolutely does not understand the Russian language, and therefore is simply not able to treat people.

Gogol awards the local judge “Lyapkin-Tyapkin” with a wonderful “speaking” surname. It immediately becomes clear that he is doing things poorly. Ammos Fedorovich is only interested in hunting and, taking bribes with greyhound puppies, considers himself a highly moral person. His indifference to official affairs and duties is so great that the district court is gradually turning into a kind of farm - right in the front hall the guards keep domestic geese.

The private bailiff, called upon to maintain order, rather commits outrages himself. For him, punishing an innocent person without understanding is a common thing.

Postmaster Shpekin is not only a fool, but also a scoundrel. He openly opens and reads other people's letters, and keeps the most interesting ones for his collection.

Thus, the author clearly shows that local officials are mired in bribery and arbitrariness. The moral of these people is this: “There is no person who does not have some sins behind him. This is already arranged this way by God himself...” The ability not to miss something that floats into their hands is, in their opinion, a manifestation of intelligence and enterprise.

The work of N.V. Gogol, in my opinion, is not so much comical as it is filled with tragedy, because, reading it, you begin to understand: a society in which there are so many degenerate leaders, corrupted by idleness and impunity, has no future.

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Exposing the vices of officialdom in N. V. Gogol’s comedy “The Inspector General”

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What does N.V. Gogol expose in the comedy “The Inspector General”?

What does N.V. Gogol expose in the comedy “The Inspector General”? Almost the entire comedy can be considered the answer to this question, because in almost every action, in every replica of any character, we see either the pathetic and immoral, or the illegal and unlawful, in a word, unworthy of a decent and wise person, for whom the main characters strive to pass themselves off. . However, first things first.

So, the negligence of officials is the first thing that Gogol exposes. I'll try to prove this. In the very first act of the work we see officials, frightened and annoyed by the imminent arrival of the auditor, and their fears are not groundless. Each department has its own sins. We immediately understand that the mayor knows perfectly well about everything that is happening in the city, but he has no desire to correct it. His behavior is not just indifference, but real negligence, which cannot be one of the qualities of a high-ranking official.

In the same action, we observe many comments made by the mayor to his subordinates, exposing the lack of any sense of social and moral duty.

For example, inappropriate conditions of detention and treatment of patients in charitable institutions or, in general, their ever-growing number.

The atmosphere in the courthouse is terrible, where we see corruption, drunkenness and an irresponsible attitude towards service. In the judge’s office, there is a hunting rifle hanging on the wall as a symbol of cruelty and inevitable punishment, and about unfair court decisions, where the advantage is on the side of the one who gives the bribe bigger size. In short, a few more points that Gogol exposes.

Inadequacy also finds its place in this comedy. Oddly enough, it becomes an educational institution. Inadequacy here is manifested in the excessive emotionality of teachers, which scares off not only inspection officials, but also students.

However, everything that may interest the auditor lies on the surface.

In fact, there are many more problems that need to be exposed, and not only with the law. In turn, the writer draws our attention to ordinary human stupidity, which is reflected in all officials, as well as in the wife and daughter of the mayor and Khlestakov. There is cowardice in Dobchinsky and Bobchinsky, who tell all the ins and outs of their colleagues to the “auditor”. The curiosity of a postmaster who lovingly kept and read other people's letters. The injustice of serfdom, recklessness. The rights of residents are also infringed, for example, a non-commissioned officer’s wife was flogged, and the mayor demands from merchants expensive gifts. Vanity is exposed in Khlestakov when, using gradation, he speaks about his position in St. Petersburg, clearly showing off in front of the mayor’s wife and daughter.

As you can see, we should summarize the list of vices exposed by N.V. Gogol: bribery, negligence, injustice, alcoholism, inadequacy, curiosity, vanity, stupidity, cowardice, recklessness, infringement of rights. So what did the writer expose? He exposed “everything bad in Russia,” all the shortcomings in government and in the life of district towns, which, unfortunately, exist to this day.

Updated: 2018-04-05

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The evils of bureaucracy are not invented by the author. They were taken by Gogol from life itself. It is known that in the role Gogol's postmaster Emperor Nicholas I himself spoke and read Pushkin’s letters to his wife. Scandalous story with the theft of the commission for the construction of the Cathedral of Christ the Savior is very reminiscent of the act of the mayor, who embezzled government money allocated for the construction of the church. These facts, taken from real life, emphasize the typicality of the negative phenomena that the satirist exposes in his comedy. Gogol's play highlighted all the typical vices of Russian bureaucracy, which were embodied in individual images mayor and his entourage.

An unknown provincial town appears in the comedy as a state in miniature, in which, like a drop of water, all the abuses and vices of bureaucratic Russia are reflected. The traits that characterize city officials are also typical of representatives of other classes. All of them are distinguished by dishonesty, vulgarity, poverty of mental interests, extremely low cultural level. After all, in comedy there is not one honest hero not from any class. There is a social stratification of people here, some of whom occupy important government positions and use their power to improve their own well-being. At the top of this social pyramid is the bureaucracy.

Theft, bribery, embezzlement - these typical vices of bureaucracy are castigated by Gogol with his merciless laughter. The city's elite are disgusting. But the people under their control do not inspire sympathy either. The merchants oppressed by the mayor, hating him, try to appease him with gifts, and at the first opportunity they write a complaint against him to Khlestakov, whom everyone takes for an important St. Petersburg dignitary. Provincial landowners Bobchinsky and Dobchinsky are slackers and gossips, insignificant and vulgar people. At first glance, the innocently flogged non-commissioned officer evokes sympathy. But the fact that she only wants to receive monetary compensation for the insult she suffered makes her ridiculous and pathetic.

Worship of rank, embezzlement (the money allocated for the construction of the church was spent on their own needs),

permissiveness (scene with the non-commissioned officer's widow, complaints of merchants),

impunity (the capital is far away, and the auditor is not real),

desire for a profitable marriage (Governor’s daughter),

ignorance (the doctor is German, doesn’t understand Russian, and the patients look like blacksmiths; the teacher is mentally ill - throws chairs),

desire to live beyond one’s means, reluctance to work, but to live on parents’ money (Khlestakov),

bribery (bribery) - everyone gives bribes to Khlestakov...

Ticket No. 18

Theme, idea, problems of N.V.’s comedy Gogol "The Inspector General".

The theme is the depiction in the comedy of the entire bureaucratic Russia with all its vices, ridicule of the harmful vices of man, injustice, arbitrariness, fraud, pretense, hypocrisy and self-interest...

Of course, it's not just government officials who act in comedy. We meet in the comedy all the many faces of Russia: and landed nobility, and the merchants, and the petty bourgeoisie, and the peasantry. But Special attention The author pays attention to the characteristics of city officials, since the upcoming arrival of the auditor disturbs their peace of mind.

Idea comedy “The Inspector General” in the epigraph preceding the comedy: “ There’s no point in blaming the mirror if your face is crooked.”- the main idea of the play is laid down. Gogol’s idea is not only to laugh at what is happening, but to point out future retribution.

The environment, order, foundations are ridiculed. This is not “a mockery of Russia,” but “a picture and a mirror of social... life.” In the article “The St. Petersburg Scene in 1835-36,” Gogol wrote: “In The Inspector General, I decided to collect in one pile all the bad things in Russia that I knew then, all the injustices... and laugh at everything at once. But this, as we know, had a stunning effect.” The silent scene that ends the action is clear evidence of this. Officials county town awaits retribution. The exposure of negative heroes is given in comedy not through a positive hero (there is none in the play), but through action, deeds, and dialogues. Negative heroes Gogol themselves expose themselves in the eyes of the viewer. They are exposed not through morality and teachings, but through ridicule. “Vice is struck here only by laughter,” wrote N.V. Gogol.

Issues. The breadth of artistic generalization allows us to see in the comedy a satire on the entire state bureaucratic system of Tsarist Russia. The author castigates in it bribe-takers, embezzlers, swindlers, liars holding responsible positions, with merciless, punishing laughter, which he called the only honest face of comedy.

In The Inspector General, Gogol made his contemporaries laugh at what they were accustomed to and what they no longer noticed. But most importantly, they are accustomed to carelessness in spiritual life. Spectators laugh at heroes who die spiritually. Let us turn to examples from the play that show such death.

The mayor sincerely believes that “there is no person who does not have some sins behind him. This is already arranged by God himself, and the Voltairians are in vain speaking against this.” To which Judge Ammos Fedorovich Lyapkin-Tyapkin objects: “What do you think, Anton Antonovich, are sins? Sins and sins are different. I tell everyone openly that I take bribes, but with what bribes? Greyhound puppies. This is a completely different matter.”

The judge is sure that bribes with greyhound puppies cannot be considered bribes, “but, for example, if someone’s fur coat costs five hundred rubles, and his wife’s shawl...”

The main character of the comedy N.V. Gogol's "The Inspector General" began to laugh. Gogol began work on his work in 1835. A little later, two premieres of the comedy took place in Moscow and St. Petersburg. And work on the text of the comedy continued until 1842.

By creating the comedy “The Inspector General,” Gogol wanted not only to expose the bureaucracy with the help of laughter. He dreamed that “The Inspector General” would force officials to change. It was for this purpose that Gogol depicted all officials in comic form. The writer believed that ridiculing negative traits characters should have a positive impact on the reader and viewer of The Inspector General. A person, having discovered these vices in himself, had to strive to correct them.

Analyzing contemporary literature, Gogol came to the conclusion that a new type of comedy was needed. He was convinced that a comedy built on love conflict, has outlived its usefulness. In the 30s of the 19th century, a social comedy was needed that would raise important social issues. Therefore, in The Inspector General there is almost no love line. And that’s why there is no positive hero in The Inspector General. Gogol believed that a positive hero would distract attention from the main thing and attract attention to himself. And therefore the writer called the only positive hero laughter from his work. He believed that laughter and the funny have a cleansing function.

Almost everything in The Inspector General is comical. The very situation of the work is comical: the officials of the county town are terribly afraid of the auditor and mistake another person for him - Khlestakov. At the same time, they are trying to present their city in at its best, hide the crimes and abuses committed. All these negative phenomena are revealed already in the first scenes of the comedy. Mayor Anton Antonovich Skvoznik-Dmukhanovsky gives orders to officials. We read about uncollected garbage, about an unfinished church, about a district police officer hastily putting things in order in the city, about Judge Tyapkin-Lyapkin taking bribes with greyhound puppies, about drunken assessors. The postmaster reads other people's letters, there is not enough medicine in hospitals, the reception is conducted by a German who does not know the Russian language at all, etc. Therefore, fearing reprisals, all officials show miracles of ingenuity in comedy.

Gogol took a new approach to developing the plot of his comedy. Special meaning in the work he gave a plot that at once, in a single knot, was supposed to connect all the events. The comedy also ends unusually - with a silent scene. This scene helps us understand ideological meaning works. For Gogol, the denouement does not end the comedy, but is at the same time a new beginning. This means that the action returns to normal, the triumph of law in Russia is impossible. Although at the end of the comedy a real auditor appears on stage.

Gogol’s innovation in “The Inspector General” was also the fact that “Notes for Gentlemen Actors” were written for it, which helped to understand the meaning of the heroes of the comedy.

Gogol believed that comedy should be folk, touching on the problems of our time. The meaning of “The Inspector General” is clarified by its epigraph: “There is no point in blaming the mirror if your face is crooked.” Gogol himself explains the idea of the comedy this way: “I wanted to collect all the bad things in one pile and laugh at everything at once.” In his work, the writer managed, with the help of laughter, to expose bureaucratic arbitrariness and raise problems state power, legal proceedings, education, medicine. No wonder Nicholas I, after watching his comedy, said: “Everyone got it. And most of all for me.”