Nikolai Vasilyevich Gogol the Inspector the main characters. Inspector main characters list and brief description

The image of the mayor in the comedy "The Inspector General" plays one of the key roles. To understand it better, you can read this article.

Actor groups

Before we begin to analyze the image of the Mayor in the comedy "The Inspector General", it should be noted that all the heroes of the work are divided into groups according to their social status.

The leading role in this hierarchy is occupied by officials. The mayor is one of them. Behind them come the non-service nobles, who Lately turn into ordinary gossips. A striking example- Dobchinsky and Bobchinsky. The third group consists of burghers, merchants and serf servants, who are treated as people of the lowest class.

A separate place in the social structure of society county town Gogol pays attention to the police. As a result, the writer manages to depict the whole of Russia using the example of one city, showing all existing classes and groups.

Gogol is especially interested in depicting social mores and the characters of domestic bureaucrats and officials.

The image of the mayor in the comedy "The Inspector General"

In the mayor, Gogol summarized the most worst traits which he was able to identify in the major civil servants of his time. Often the fate of many people depended on their mercy or arbitrariness, which they took advantage of. Hence the sycophancy, bribes and veneration.

The comedy begins with the news that an auditor is to come to the district town. As soon as he learned about this, the mayor gathers his subordinates to organize everything in at its best so that the inspector does not have any suspicions.

Their conversation is very frank. He is demanding and picky about everyone, he knows who is stealing and from where.

Character of the mayor

But, in addition to the impression that the rest of the officials will make, Anton Antonovich Skvoznik-Dmukhanovsky, that’s the mayor’s name, worries him even more own destiny. He, like no one else, knows what he can be held accountable for. In the image of the mayor in the comedy “The Inspector General” (you can write an essay on this topic if you read this article), his great anxiety is revealed.

The hero begins to be filled with fear and anxiety. Especially when it turns out that the auditor has been living in the city for several days. In the image of the mayor in the comedy "The Inspector General" one of his main talents is revealed - the ability to establish contacts with higher authorities.

Caring for others

In Gogol's comedy "The Inspector General", the image of the mayor changes radically in the second and third acts. Before Khlestakov, he appears as a man who only does what he cares about the public good. Skvoznik-Dmukhanovsky creates the impression among the capital’s guest that he brings great public benefit. He tries to appear to the auditor as a person who cares for the well-being of those around him.

What looks especially funny is that the mayor constantly hints to Khlestakov that such a virtue should be valued, meaning that it deserves some kind of reward.

Act without a mayor

It is interesting that throughout almost the entire fourth act the mayor does not appear on stage, appearing only at the very end. But at the same time, he remains one of the main characters, about whom everyone around him talks.

Leaving Skvoznik-Dmukhanovsky off stage, Gogol vividly paints the image of the mayor in the comedy “The Inspector General.” Briefly, he can be described as a rude, greedy and cynical person. The author gives this assessment through the words of other characters who were influenced by such management.

A string of petitioners come to Khlestakov with complaints, complaining about the outrages that the mayor is committing. Appears before the false auditor a large number of representatives of various segments of the population. This is a merchant, a non-commissioned officer's widow. Through their stories, a real image of the mayor is drawn. In the scene in which Khlestakov accepts all these appeals, the viewer can independently form a picture of the life of the county town, based on trickery, selfishness, bribery and self-interest.

Switching principle

Gogol uses the principle of sudden switches in the fifth act to complete the formation of the image of the mayor. He moves from the hero's defeat to triumph, and then straight to his debunking.

At first, Skvoznik-Dmukhanovsky, feeling on the verge of death, not only understands that he can get away with it, but also believes that he is becoming a relative of a high-ranking St. Petersburg official, for whom he mistook Khlestakov. In general, it is worth noting that the images of the mayor and Khlestakov in the comedy “The Inspector General” are in many ways similar. They are both characterized by greed and insincerity.

The fear that had just raged in the official is replaced by exuberant joy and happiness. He feels triumphant, which is why he begins to behave more and more impudently. All this happens after Khlestakov asks his daughter for his hand in marriage. The prospect of moving to the capital is clearly beginning to loom before him. The mayor already sees himself as a general.

The greatest pleasure comes to him from fantasies about how people adore him and envy him in everything. At these moments he formulates his life philosophy. This is the suppression of all those who are below you on the social ladder.

The collapse of dreams

Already imagining that he has become related to a high-ranking official, the mayor begins to prematurely feel like a particularly important person. Even his tone in communicating with others changes. He turns into an important, arrogant and contemptuous person.

Having raised the hero to such a height, Gogol destroys all his hopes in one fell swoop. The final monologue of Skvoznik-Dmukhanovsky, which he pronounces when he learns that a real auditor has arrived in the city, expresses his condition. The mayor is shocked, first of all, by the fact that he, a noble swindler, was deceived. He himself begins to admit how many people he has deceived during his career. Among them are governors, merchants and other leaders.

His true essence and the scale of his actions become clear. This monologue finally puts the finishing touches on everything, the audience is convinced that in front of them is a fraudster, and a very serious one at that.

Pathos of comedy

The famous words of the mayor, which he utters at the end of the comedy, reflect the internal pathos of “The Inspector General”. Addressing auditorium with the question, what are you laughing at, the author sums up all the meanings and images that he sought to develop in his work.

The mayor is crushed that he was so brazenly deceived, and also so petty and insignificant person. But in reality this nonentity is the best part himself. Khlestakov became a kind of auditor social order, giving rise to such self-confident and dishonest officials.

At the end of the comedy, the mayor appears funny and pathetic person, in his image he emphasizes the typicality of this type of official, arguing that this type of civil servant is widespread throughout the country.

Appearance of the mayor

The image of the mayor in the comedy "The Inspector General" is completed by the hero's appearance. Gogol describes him as a man with hard and rough features who went through the hard way to bosses from the lowest ranks.

During this time, he masterfully mastered the instant transition from joy to fear, and from arrogance to baseness. All this shaped him as a person with a rough soul.

The writer describes Skvoznik-Dmukhanovsky as thick-nosed full man, who has spent at least thirty years in service. His hair is gray and cropped.

At the beginning of 1936, the play premiered in Moscow and St. Petersburg. However, Gogol continued to make adjustments to the text of the work until 1842, when the final edition was completed.

“The Inspector General” is a completely innovative play. Gogol first created social comedy without love line. Khlestakov's courtship of Anna Andreevna and Maria Antonovna is rather a parody of high feelings. There is also no one in comedy positive character. When the writer was reproached for this, he replied that the main positive hero“Inspector” - laughter.

Unusual and composition play because it lacks traditional exposition. From the very first phrase of the Mayor it begins plot plot. The final silent scene also surprised theater critics a lot. No one had used such a technique in drama before.

The classic confusion with the main character takes on a completely different meaning in Gogol. Khlestakov did not intend to impersonate an auditor; for some time he himself could not understand what was happening. I just thought: the district authorities were ingratiating themselves with him only because he was from the capital and fashionably dressed. Osip finally opens the dandy’s eyes, persuading the master to leave before it’s too late. Khlestakov does not seek to deceive anyone. Officials are deceiving themselves and dragging imaginary auditor into this action.

Plot The comedy is built on a closed principle: the play begins with the news about the arrival of the auditor and ends with the same message. Gogol's innovation was also manifested in the fact that in comedy there are no secondary storylines. All characters tied up in one dynamic conflict.

An undoubted innovation was the main character . For the first time he became a stupid, empty and insignificant person. The writer characterizes Khlestakov as follows: "without a king in my head". Character of the hero manifests itself most fully in scenes of lying. Khlestakov is so strongly inspired by his own imagination that he cannot stop. He piles up one absurdity after another, and does not even doubt the “truthfulness” of his lies. A gambler, a spendthrift, a lover of hitting on women and showing off, a “dummy” - this is the main character of the work.

In the play, Gogol touched upon a large-scale layer of Russian reality: government, medicine, court, education, postal department, police, merchants. The writer raises and ridicules many unsightly features in The Inspector General modern life. There is widespread bribery and neglect of one's duties, embezzlement and veneration of rank, vanity and passion for gossip, envy and gossip, boasting and stupidity, petty vindictiveness and stupidity... There is so much more! “The Inspector General” is a real mirror of Russian society.

The strength of the plot and its spring are also unusual for the play. This is fear. IN Russia XIX century, the audit was carried out by high-ranking officials. That is why the arrival of the “auditor” caused such panic in the district town. Important person from the capital, and even with "secret order", horrified local officials. Khlestakov, who in no way resembles the inspector, is easily mistaken for important person. Anyone traveling from St. Petersburg is suspicious. And this one lives for two weeks and does not pay - this is exactly how, according to ordinary people, a high-ranking person should behave.

The first act discusses "sins" to all those present and orders are given for "cosmetic" measures. It becomes clear that none of the officials consider themselves to blame and are not going to change anything. Only for a while will clean caps be given to the sick and the streets will be swept.

In comedy Gogol created collective image officials. Civil servants of all ranks are perceived as a single organism, since they are close in their desire for money-grubbing, confident in impunity and the correctness of their actions. But each character leads his own party.

The main one here, of course, is the mayor. Anton Antonovich Skvoznik-Dmukhanovsky in service for thirty years. As a tenacious person, he does not miss the benefit that floats into his hands. But the city is in complete chaos. The streets are dirty, prisoners and the sick are fed disgustingly, the police are always drunk and lethargic. The mayor pulls the beards of merchants and celebrates name days twice a year in order to receive more gifts. The money allocated for the construction of the church disappeared.

The appearance of the auditor greatly frightens Anton Antonovich. What if the inspector doesn’t take bribes? Seeing that Khlestakov is taking the money, the mayor calms down and tries to please the important person by all means. The second time Skvoznik-Dmukhanovsky gets scared is when Khlestakov boasts of his high position. Here he becomes afraid of falling out of favor. How much money should I give?

Funny image of judge Lyapkin-Tyapkin, who passionately loves hound hunting, takes bribes with greyhound puppies, sincerely believing that this "that's a completely different matter". There is complete chaos going on in the court reception area: the guards have brought in geese, there are hangings on the walls. "all sorts of rubbish", the assessor is constantly drunk. And Lyapkin-Tyapkin himself cannot understand a simple memo. In the city the judge is considered "freethinker", since he has read several books and always speaks pompously, although he speaks completely nonsense.

Postmaster I am sincerely perplexed as to why I can’t read other people’s letters. For him, his whole life is interesting stories from letters. The postmaster even keeps the correspondence he particularly likes and re-reads it.

The hospital of the trustee of Zemlyanika charitable institutions is also in chaos. The patients' underwear is not changed, and the German doctor does not understand anything in Russian. Strawberry is a sycophant and an informer, not averse to throwing mud at his comrades.

Comical couple of city gossips attracts attention Bobchinsky And Dobchinsky. To enhance the effect, Gogol makes them look similar in appearance and gives the same names; even the characters’ surnames differ by just one letter. These are completely empty and useless people. Bobchinsky and Dobchinsky are busy only collecting gossip. Thus, they manage to be the center of attention and feel important.

Having started writing The Inspector General, Gogol promised Pushkin: “I swear, it will be funnier than the devil.” Nikolai Vasilyevich kept his promise. Nicholas I, after watching the comedy, remarked: “Everyone got it. And most of all for me.”

Let's consider famous play, which Nikolai Vasilyevich created in 1836, let’s analyze it. (the work) was assessed as an accumulation of all the injustices that were constantly happening in places, especially at a time when justice was extremely necessary. The author described everything bad that he observed in society (in the bureaucratic sphere) and laughed at it. In addition to laughter, however, the reader also sees that Gogol (“The Inspector General”) describes the events with bitterness.

We begin our analysis of the play by indicating the main conflict.

Conflict in the play

The construction of the conflict in this work is based on a funny coincidence. It is accompanied by panic among officials who are afraid that their scams may be exposed. An auditor will soon visit the city, so the best option for them is to identify and bribe this person. The action of the work revolves around deception, which is so common among officials, as analysis shows.

Gogol created The Inspector General in order to expose the vices of those in power, typical of that time. The main conflict in the work is between the bureaucratic world, which embodies the autocratic system, and the people oppressed by it. Officials' hostility towards the masses is felt already from the first lines. The people are subjected to violence and oppressed, although this conflict was not directly shown in the comedy by Gogol ("The Inspector General"). His analysis develops latently. In the play, this conflict is complicated by another one - between the “auditor” and the bureaucracy. The disclosure of this conflict allowed Gogol to acutely expose and vividly describe both representatives of the local district government and a minor metropolitan official who came to the city, and also show at the same time their anti-people essence.

Bribery and corruption in the work

All the heroes of the comedy have their sins, as its analysis makes clear. Gogol (“The Inspector General”) notes that each of them, due to dishonest performance of their official duties, fears the upcoming arrival of the auditor. Officials are unable to reason sensibly out of fear. They believe that it is the self-confident and arrogant Khlestakov who is the auditor. A progressive dangerous disease - a lie - is demonstrated by Gogol ("The Inspector General"). cannot be carried out without focusing on this characteristic feature.

The author ironically and accurately exposes the issue of bribes. The blame for bribery and corruption, in his opinion, lies with both sides. However, this is so familiar to society that officials, when the imaginary auditor mentions money, breathe a sigh of relief: he can be bribed, which means everything will be settled. Bribery is thus taken for granted and natural. The absence of positive officials in the play is very familiar to readers of any time. After all, the “auditorship” in Russia has not yet stopped, despite all the coups.

Many visitors rush to Khlestakov with requests. There are so many of them that they have to break through the windows. Requests and complaints are doomed to remain unanswered. Officials, in turn, are not embarrassed by the need to humiliate themselves. They are ready to fawn over their superiors, because the reckoning will begin with his departure - they can take it out on their subordinates, humiliating them. Society is destroyed by low morality, says Gogol (“The Inspector General”). Analysis of the work allows us to note that in the play she accompanies anyone who has achieved at least some kind of power.

Stupidity and ignorance of officials

Khlestakov understands that the officials who met him are uneducated and stupid. This allows the main character of the play to not even bother remembering the lies he told. Officials always echo him, presenting Khlestakov’s deception in a truthful form. This benefits everyone; no one is embarrassed by lies. The main thing is that Khlestakov can get money, and officials can take a breath.

Breadth of generalizations of characters, off-stage images

The play created by N.V. Gogol (“The Inspector General”) begins with a letter notifying about the upcoming inspection. Analyzing it, we can note that it ends with him. The ending of the work becomes laconic - Khlestakov’s letter reveals the truth. All that remains is to wait for the real auditor. There is no doubt that officials will once again repeat the flattering bribery. Changing characters will not affect the outcome - the immorality has reached that extent. Officials will be replaced over time by their own kind, since the corruption of a person comes from personal uncontrollability, and not from power.

Carrying out an analysis of Gogol's comedy "The Inspector General", we note that the breadth of generalization of the characters in the play is expressed in the fine finishing of the characters acting in the comedy. In addition, the introduction of off-stage images expands the gallery of characters. It's bright life characters, which help deepen the characteristics of the persons shown on stage. For example, this is Khlestakov’s father, his St. Petersburg friend Tryapichkin, housekeeper Avdotya, Dobchinsky’s son and wife, innkeeper Vlas, Zemlyanika’s daughter, the infantry captain who beat Khlestakov in Penza, the visiting inspector, the quarterly Prokhorov and others.

Life phenomena typical for Nikolaev Russia

The comedy mentions various life phenomena that were typical for Nikolaev Russia at that time. This creates a broad panorama of community life. So, the merchant makes money from the construction of the bridge, and the mayor helps him with this. The judge has been sitting on the bench for 15 years, but still cannot figure out yet another memorandum. The mayor celebrates name days twice a year, expecting gifts for them from merchants. The postmaster opens other people's letters. The district doctor does not speak Russian.

Abuses by officials

The comedy talks about many abuses of officials. All of them were characteristic of the era of cruel tyranny. A married mechanic had his forehead illegally shaved. The non-commissioned officer's wife was whipped. Prisoners are not given provisions. The amount allocated for the construction of a church at a charitable institution is spent at their own discretion, but the report says that the church burned down. The mayor locks the merchant in a room and forces him to eat herring. The patients wear dirty caps, giving them a resemblance to blacksmiths.

Lack of a positive hero

It should be noted that readers learn about the criminal acts committed by officials from their own lips, and not from the actions of the work “The Inspector General” (Gogol) shown on stage. Analysis of heroes allows us to identify some other interesting features. Confirmation that in bureaucratic world illegal acts are being committed, and there are also complaints from people oppressed by officials, especially the mayor. The center of gravity shifts to socio-political phenomena. Gogol did not introduce into his play a positive hero, a reasoner and bearer of virtuous qualities, who is the mouthpiece of the author’s thoughts. The most positive hero is laughter, which smells social vices and the foundations of the autocratic regime.

Image of Khlestakov

The image of Khlestakov is central in the work. Let's analyze it. Gogol portrayed the “auditor” as easily navigating the situation. For example, wanting to show off in front of his bride, Marya Antonovna, he attributes to himself the composition “Yuri Miloslavsky” by Zagoskin, but the girl remembers its true author. A seemingly hopeless situation had arisen. However, Khlestakov quickly finds a way out here too. He says that there is another work with the same title that belongs to him.

Lack of memory

Lack of memory is an important feature of Khlestakov’s image. For him there is no future or past. He is focused only on the present. Because of this, Khlestakov is incapable of selfish and selfish calculations. The hero lives only for one minute. Its natural state is constant transformation. Having carried out an effective analysis of Gogol's "The Inspector General", you will see that Khlestakov, accepting this or that style of behavior, instantly achieves in it highest point. However, what is easily gained is easily lost. Having fallen asleep as a field marshal or commander in chief, he wakes up as an insignificant person.

Khlestakov's speech

The speech of this hero characterizes him as a petty St. Petersburg official claiming to be highly educated. He likes to use tricky syllables for beauty literary stamps. At the same time, his language contains vulgar and abusive words, especially in relation to commoners. Khlestakov calls Osip, his servant, a “fool” and “a brute,” and shouts to the owner of the tavern “scoundrels!”, “scum!”, “loafers!” The speech of this hero is abrupt, which indicates his inability to pay attention to anything. She conveys his spiritual poverty.

Two centers of the play

Khlestakov in the work is an attractive person. He acts and lives according to the logic of the development of the relationships in which the mayor placed him. At the same time, the surprises manifested in the actions and speeches of this hero also determine the development of the action of the play. This, for example, is the “scene of lies”, Khlestakov’s explanation of his love for his daughter and mother at the same time, his proposal to Marya Antonovna, his irrevocable and unexpected departure. In Gogol's play there are two centers and two persons who direct and lead the development of the action: Khlestakov and the mayor. We will continue our analysis of Gogol's play "The Inspector General" by characterizing the latter's image.

The image of the mayor

Mayor (Skvoznik-Dmukhanovsky Anton Antonovich) - in which the action of the comedy that interests us takes place. This is a “very intelligent”, “old in the service” person. His facial features are hard and rough, like those of anyone who began hard service from the lower ranks. At the beginning of the play, the mayor reads a letter to his subordinates. It informs about the arrival of the auditor. This news greatly frightened the officials. In fear, the mayor orders to “equip” the city for his arrival (kick out unnecessary patients from the hospital, bring teachers in schools into proper shape, cover unfinished buildings with fences, etc.).

Anton Antonovich assumes that the auditor has already arrived and is living incognito somewhere. The landowners Bobchinsky and Dobchinsky find him in the person of Khlestakov, a petty official who suspects nothing. The mayor, believing that Khlestakov is that same auditor, cannot dissuade himself of this. He believes in everything, even in the fantastic lies of the “auditor” - such is the extent of servility in the mayor.

When Khlestakov wooed his daughter, Marya Antonovna, the official began to think about what benefits his relationship with an “important person” promised him, and decided that “it would be nice to be a general.” The unexpected revelation of Khlestakov offends the mayor to the depths of his soul. It finally dawns on him that he mistook the “rag”, “icicle” for an important person. The mayor, having experienced a humiliating shock, begins to see things spiritually for the first time in his life. He says that for the first time he sees “pig snouts” instead of faces.

Concluding the analysis of the comedy by N.V. Gogol's "The Inspector General", we add that his comic figure in the finale of the comedy develops into a tragic one. The tragedy becomes most obvious in the silent scene, when it becomes known about the arrival of the real auditor.

There's no point in blaming the mirror,
if the face is crooked.

Popular proverb.

Characters

Anton Antonovich Skvoznik-Dmukhanovsky, mayor.

Anna Andreevna, his wife.

Marya Antonovna, his daughter.

Luka Lukich Khlopov, superintendent of schools.

His wife.

Ammos Fedorovich Lyapkin-Tyapkin, judge.

Artemy Filippovich Strawberry, trustee of charitable institutions.

Ivan Kuzmich Shpekin, postmaster.

Characters and costumes

Notes for gentlemen actors

The mayor, already old in the service and a very intelligent person in his own way. Although he is a bribe-taker, he behaves very respectably; quite serious; a few are even resonant; speaks neither loudly nor quietly, neither more nor less. His every word is significant. His facial features are coarse and hard, like those of anyone who began his service from the lower ranks. The transition from fear to joy, from rudeness to arrogance is quite rapid, as in a person with crudely developed inclinations of the soul. He is dressed, as usual, in his uniform with buttonholes and boots with spurs. His hair is cropped and streaked with gray.

Anna Andreevna, his wife, a provincial coquette, not yet quite old, brought up half on novels and albums, half on chores in her pantry and maid's room. She is very curious and shows vanity on occasion. Sometimes she takes power over her husband only because he is unable to answer her; but this power extends only to trifles and consists only of reprimands and ridicule. She changes into different dresses four times throughout the play.

Khlestakov, a young man of about twenty-three, thin, thin; somewhat stupid and, as they say, without a king in his head - one of those people whom in the offices they call empty-headed. He speaks and acts without any consideration. He is unable to stop constant attention on any thought. His speech is abrupt, and words fly out of his mouth completely unexpectedly. The more the person playing this role shows sincerity and simplicity, the more he will win. Dressed in fashion.

Osip, the servant, is like servants who are several years old usually are. He speaks seriously, looks somewhat downward, is a reasoner, and likes to lecture himself to his master. His voice is always almost even, and in conversation with the master it takes on a stern, abrupt and even somewhat rude expression. He is smarter than his master and therefore guesses more quickly, but he does not like to talk much and is silently a rogue. His costume is a gray or blue shabby frock coat.

Bobchinsky and Dobchinsky, both short, short, very curious; extremely similar to each other; both with small bellies; Both speak quickly and are extremely helpful with gestures and hands. Dobchinsky is a little taller and more serious than Bobchinsky, but Bobchinsky is more cheeky and lively than Dobchinsky.

Lyapkin-Tyapkin, judge, a man who has read five or six books and is therefore somewhat free-thinking. The hunter is big on guesses, and therefore he gives weight to every word. The person representing him must always maintain a significant mien on his face. He speaks in a deep voice with an elongated drawl, wheezing and gulping - like antique clock, which first hiss and then hit.

Strawberry, a trustee of charitable institutions, is a very fat, clumsy and clumsy man, but for all that he is a sneak and a rogue. Very helpful and fussy.

The postmaster is a simple-minded person to the point of naivety.

The other roles don't require much explanation. Their originals are almost always before your eyes.

Gentlemen actors should especially pay attention to last scene. The last spoken word should produce an electric shock on everyone at once, suddenly. The entire group must change position in the blink of an eye. The sound of amazement should escape from all women at once, as if from one breast. If these notes are not observed, the entire effect may disappear.

MBOU " high school No. 36 named after A. M. Gorodnyansky" Smolensk

Heroes of Gogol's comedy "The Inspector General"

Completed the job:

Muradov Egor - 8 "B"

Supervisor:

Lyutikas Natalya Petrovna

« There’s no point in blaming the mirror if your face is crooked.”

N.V. Gogol

Purpose of the study: to study the images of the main and minor characters Gogol's comedy "The Inspector General".

Research objectives:

1. Find out what characteristics the playwright himself and contemporary criticism give to his characters.
2. Describe the appearance of the heroes of this work.
3. Determine what characters these heroes have.
4. Describe the emotions that the (main) characters experience at their climactic moments.
5. Find out what formed the basis of the work.
6. Find out who first played their roles on stage.

Hypothesis: The heroes of Gogol's comedy "The Inspector General" form a fairly coherent system, each of which takes its place and plays a very important role. Object of study: The characters of Gogol's comedy "The Inspector General" and the actors who first embodied their images on stage. Subject of study: A way of thinking, a model of behavior and relationships with the outside world, a manner of playing a role.

Plan

Analysis of the comedy "The Inspector General".
The attitude of leading critics of that time to Gogol’s work “The Inspector General”
The main characters of the comedy "The Inspector General".
Minor characters of the comedy "The Inspector General".
The first actors.
A short biography of the actors who played the roles of the heroes of Gogol’s comedy “The Inspector General”.

Analysis of the comedy "The Inspector General"

In 1835, N.V. Gogol turned to Pushkin about an idea for a comedy, in a letter stating a request for help. The poet responds to requests and tells a story when the publisher of one of the magazines in one of the southern cities was mistaken for a visiting official. A similar situation, oddly enough, happened with Pushkin himself at the time when he was collecting materials to describe the Pugachev rebellion in Nizhny Novgorod. He was also mistaken for the capital's auditor. The idea seemed interesting to Gogol, and the very desire to write a comedy captured him so much that work on the play lasted only 2 months.

During October and November 1835, Gogol wrote the comedy in its entirety and a few months later read it out to other writers. Colleagues were delighted.

In 1835, Gogol began composing the comedy “The Inspector General,” the plot of which was suggested to him by Pushkin. At the beginning of 1936, the play premiered in Moscow and St. Petersburg. However, Gogol continued to make adjustments to the text of the work until 1842, when the final edition was completed.

N.V. Gogol

“The Inspector General” is a completely innovative play. Gogol was the first to create a social comedy without a love line. Khlestakov's courtship of Anna Andreevna and Maria Antonovna is rather a parody of high feelings. There is also not a single positive character in the comedy. When the writer was reproached for this, he replied that the main positive character of The Inspector General is laughter.

The composition of the play is also unusual, since it does not have a traditional exposition. From the very first phrase of the Governor, the plot begins. The final silent scene also surprised theater critics a lot. No one had used such a technique in drama before.

The classic confusion with the main character takes on a completely different meaning in Gogol. Khlestakov did not intend to impersonate an auditor; for some time he himself could not understand what was happening. I just thought: the district authorities were ingratiating themselves with him only because he was from the capital and fashionably dressed. Osip finally opens the dandy’s eyes, persuading the master to leave before it’s too late. Khlestakov does not seek to deceive anyone. The officials are deceiving themselves and dragging the imaginary auditor into this action.

The plot of the comedy is built on a closed principle: the play begins with the news about the arrival of the auditor and ends with the same message. Gogol's innovation was also evident in the fact that there were no secondary plot lines in the comedy. All characters are tied up in one dynamic conflict.

The main character himself was an undoubted innovation. For the first time he became a stupid, empty and insignificant person. The writer characterizes Khlestakov as follows: "without a king in my head" . The character of the hero is most fully manifested in scenes of lies. Khlestakov is so strongly inspired by his own imagination that he cannot stop. He piles up one absurdity after another, and does not even doubt the “truthfulness” of his lies. A gambler, a spendthrift, a lover of hitting on women and showing off, a “dummy” - this is the main character of the work.

In the play, Gogol touched upon a large-scale layer of Russian reality: state power, medicine, court, education, postal department, police, merchants. The writer raises and ridicules in “The Inspector General” many unsightly features of modern life. There is widespread bribery and neglect of one's duties, embezzlement and veneration of rank, vanity and passion for gossip, envy and gossip, boasting and stupidity, petty vindictiveness and stupidity... There is so much more! “The Inspector General” is a real mirror of Russian society.

The strength of the plot and its spring are also unusual for the play. This is fear. In Russia in the 19th century, audits were carried out by high-ranking officials. That is why the arrival of the “auditor” caused such panic in the district town. An important person from the capital, and even with "secret order" , horrified local officials. Khlestakov, who in no way resembles the inspector, is easily mistaken for an important person. Anyone traveling from St. Petersburg is suspicious. And this one lives for two weeks and does not pay - this is exactly how, according to ordinary people, a high-ranking person should behave.

The first act discusses "sins" to all those present and orders are given for "cosmetic" measures. It becomes clear that none of the officials consider themselves to blame and are not going to change anything. Only for a while will clean caps be given to the sick and the streets will be swept.

In the comedy, Gogol created a collective image of bureaucracy. Civil servants of all ranks are perceived as a single organism, since they are close in their desire for money-grubbing, confident in impunity and the correctness of their actions. But each character leads his own party.

The main one here, of course, is the mayor. Anton Antonovich Skvoznik-Dmukhanovsky has been in service for thirty years. As a tenacious person, he does not miss the benefit that floats into his hands. But the city is in complete chaos. The streets are dirty, prisoners and the sick are fed disgustingly, the police are always drunk and lethargic. The mayor pulls the beards of merchants and celebrates name days twice a year in order to receive more gifts. The money allocated for the construction of the church disappeared.

The image of Judge Lyapkin-Tyapkin is funny, who passionately loves hound hunting, takes bribes with greyhound puppies, sincerely believing that this "that's a completely different matter" . There is complete chaos going on in the court reception area: the guards have brought in geese, there are hangings on the walls. "all sorts of rubbish" , the assessor is constantly drunk. And Lyapkin-Tyapkin himself cannot understand a simple memo. In the city the judge is considered "freethinker" , since he has read several books and always speaks pompously, although he speaks completely nonsense.

The postmaster is sincerely perplexed as to why one cannot read other people's letters. For him, his whole life consists of interesting stories from letters. The postmaster even keeps the correspondence he particularly likes and re-reads it.

The comical pair of city gossips Bobchinsky and Dobchinsky attracts attention. To enhance the effect, Gogol makes them look similar in appearance and gives the same names; even the characters’ surnames differ by just one letter. These are completely empty and useless people. Bobchinsky and Dobchinsky are busy only collecting gossip. Thus, they manage to be the center of attention and feel important.

The attitude of critics of that time to the work “The Inspector General”

Gogol's comedy "The Inspector General" was at one time warmly received by both readers and critics. Feedback from contemporaries about the comedy was both sharply negative and the most enthusiastic. Some critics criticized The Inspector General, while others immediately recognized it as a masterpiece of world literature. Below is criticism of Gogol's comedy "The Inspector General": reviews and reviews that came out shortly after the play's publication in 1836. Reviews belong to such famous personalities, contemporaries of Gogol, such as P. A. Vyazemsky, K. S. Aksakov, O. I. Senkovsky

“...We had few such comedies: “The Brigadier”, “The Minor”, “Sneak”, “Woe from Wit” - these, it seems, were the top of this close branch of our literature. “The Inspector General” took place after them and became higher than some of them. This comedy was a complete success on stage: the general attention of the audience, applause, heartfelt and unanimous laughter, the challenge of the author after the first two performances, the greed of the audience for subsequent performances and, most importantly, its living echo, which was heard later in the ubiquitous conversations - there was no shortage of anything... Who says that the fundamental basis of the "Inspector General" is implausible, that the mayor could not so credulously fall into deception, but should have demanded travel allowance, etc. Of course, so; but the author in this case remembered a more psychological proverb than police order, and for a comedian, it seems, he was not mistaken. He remembered that fear has big eyes, and on this he strengthened his fable... They say that in Gogol’s comedy not a single one is visible smart person; not true: the author is smart..." (1836)

Osip Ivanovich Senkovsky

"...Let's move on to The Inspector General. Here, first of all, it is necessary to welcome in its author a new comic writer, with whom Russian literature can truly be congratulated. Mr. Gogol's first experience suddenly revealed in him an extraordinary gift for comedy, and also such a comedian that promises place him among the most excellent writers of this kind... His beauties and blemishes grow with equal force, to the point that he has never produced anything funnier and nothing dirtier than his last creation. How can you heap so much rubbish on so much pure gold! .. "We can only rejoice at the great merits that The Inspector General discovered in the talent of its author. We will probably not be mistaken in saying that Mr. Gogol finally found his natural purpose in The Inspector General: his purpose is comedy. He must master it as their own property... City officials are too frivolously convinced that Khlestakov is the very inspector they expect: it was possible to bring them to this confidence with more naturalness and greater plausibility, and in this place, the weakest in the whole comedy, Mr. Gogol clearly did not even fulfill his anecdote..." (1836)

Konstantin Sergeevich Aksakov

“...I have already read The Inspector General; I read it four times and that’s why I say that those who call this play crude and flat did not understand it. Gogol is a true poet; After all, in the comic and funny there is also poetry. ...I am sure that, having known and understood Gogol, you will change your opinion about him and see that he is a true poet, that he has a deep feeling. If he laughs at life, at the absurdities that he encounters in it, then believe that at this time his heart is heavy, and while he laughs at people, he loves them and is upset by their shortcomings. Many of his stories are tinged with sadness that breaks straight from the soul... "(letter from K.S. Aksakov to M.G. Kartashevskaya dated May 9, 1836)

Main characters

Anna Andreevna
Marya Antonovna
Bobchinsky and Dobchinsky
Lyapkin-Tyapkin
Artemy Filippovich Strawberry
Ivan Kuzmich Shpekin

This is one of the main roles. This person is most concerned about not missing out on what is floating in his hands. Because of this concern, he had no time to look more strictly at life or to take a better look at himself. Because of this concern, he became an oppressor, without himself feeling that he was an oppressor, because he had no evil desire to oppress; there is only a desire to tidy up everything that the eyes see. He just forgot that this is a burden to the other and that it makes the other’s back ache. He suddenly forgave the merchants who were plotting to destroy him when they offered a tempting offer, because these tempting blessings of life overwhelmed him and did what hardened and coarsened his sense of hearing the situation and suffering of another. He feels that he is sinful; he goes to church, he even thinks that he is firm in his faith, he even thinks about repenting someday later. But the temptation of everything that floats into his hands is great, and the blessings of life are tempting, and to grab everything without missing anything has become, as it were, just a habit for him. He was struck by the rumor that had spread about the auditor, and even more struck by the fact that this auditor was incognito, it was unknown when he would be, from which side he would approach. From the beginning to the end of the play, he is in positions beyond those in which he happened to be in other days of his life. His nerves are tense. Moving from fear to hope and joy, his gaze is somewhat inflamed because of this, and he has become more susceptible to deception, and he, who at another time would not have been easily deceived, becomes possible. Seeing that the inspector in his hands is not terrible and has even become a relative with him, he indulges in exuberant joy at the mere thought of how his life will henceforth be carried away among feasts and drinking bouts; how he will give out places, demand horses at stations and make the mayors wait in the front, put on airs, set the tone. That is why the sudden announcement of the arrival of a real auditor is more of a thunderclap for him than for everyone else, and the situation becomes truly tragic.

IN climax stunned and very worried that Khlestakov deceived him.

The mayor, already old in the service and a very intelligent person in his own way. Although he is a bribe-taker, he behaves very respectably; quite serious, even somewhat reasoning; speaks neither loudly nor quietly, neither more nor less. His every word is significant. His facial features are coarse and hard, like those of anyone who began hard service from the lower ranks.

“How am I - no, how am I, old fool? Survived, stupid sheep, out of your mind!.. I’ve been in the service for thirty years; no merchant or contractor could carry out; He deceived swindlers upon swindlers, swindlers and rogues such that they were ready to rob the whole world, he cheated on them. He deceived three governors!.. What a governor! (waved his hand) there is nothing to say about the governors...”

The transition from fear to joy, from baseness to arrogance is quite rapid, like in a person with crudely developed inclinations of the soul. He is dressed, as usual, in his uniform with buttonholes and boots with spurs. His hair is cropped and streaked with gray.

Anna Andreevna

The wife of the Governor (Anton Antonovich Skvoznik - Dmukhanovsky), a provincial coquette, not yet quite old, brought up half on novels and albums, half on chores in her pantry and maiden room. She is very curious and expresses vanity on occasion. Sometimes she takes power over her husband only because he cannot answer her.

But this power extends only to trifles and consists of reprimands and ridicule. She changes into different dresses four times throughout the play.

At the climax, she was stunned and perplexed that Khlestakov was not an auditor.

“But this cannot be, Antosha: he got engaged to Mashenka...”

An official from St. Petersburg, a young man of about twenty-three, thin and thin; somewhat stupid and, as they say, without a king in his head - one of those people whom in the offices they call empty-headed. He speaks and acts without any consideration. He is unable to stop constant attention on any thought. His speech is abrupt, and words fly out of his mouth completely unexpectedly.

At the climax

Khlestakov finds out that he is being mistaken for someone else, takes advantage of this, takes money from everyone and soon leaves.

“There are a lot of officials here. It seems to me, however, that they take me for statesman. That's right, I let them get dirty yesterday. What a fool! I’ll write about everything to Tryapichkin in St. Petersburg: he’s writing articles - let him click them well. Hey, Osip, give me paper and ink!”

He is smarter than his master and therefore guesses more quickly, but he does not like to talk much and is silently a rogue. His costume is a gray or blue shabby frock coat.

Realizing at the climax that Khlestakov is being mistaken for someone else, he wants to leave as quickly as possible and talks about this with Khlestakov.

“Yes, yes. God be with them all! We walked here for two days - well, that’s enough. Why take so long to contact them? Spit on them! It's not even an hour, someone else will come... By God, Ivan Aleksandrovich! And the horses here are nice - they would have rolled like that!..”

“By God, let's go, Ivan Alexandrovich! Although it’s a great honor for you, you know, it’s better to leave quickly: after all, they really mistook you for someone else... And the priest will be angry that they were so slow. It really would have been a great time! And they would give important horses here.”

A servant, as servants usually are, several years old. He speaks seriously, look a little down, he is a rosoner and loves to read moral lessons to himself for his master. His voice is always almost even, and in conversation with the master it takes on a stern, abrupt and even somewhat rude expression.

Bobchinsky and Dobchinsky

Bobchinsky and Dobchinsky are city landowners, both short, short, very curious; extremely similar to each other; both with small bellies; Both speak quickly and are extremely helpful with gestures and hands. Dobchinsky is a little taller and more serious than Bobchinsky, but Bobchinsky is more cheeky and lively than Dobchinsky.

At the climax, when the main characters are angry with them, everyone tries to shift the blame onto each other.

« Bobchinsky. By God, it’s not me, it’s Pyotr Ivanovich.

"Dobchinsky. Uh, no, Pyotr Ivanovich, you’re the first to..."

“Bobchinsky. But no; you were the first.”

Lyapkin-Tyapkin

Lyapkin-Tyapkin, a judge, is a man who has read five or six books and is therefore somewhat free-thinking. The hunter is big on guesses, and therefore he gives weight to every word. The person representing him must always maintain a significant mien on his face. He speaks in a deep voice, with an elongated drawl, a wheeze and a gulp, like an ancient clock that first hisses and then strikes.

At the climax, realizing how they made a mistake, he admits it. And he is angry with Dobchinsky and Bobchinsky.

“How is this, gentlemen? How did we really make such a mistake?”

“But who released it - that’s who released it: these fellows! (Points to Dobchinsky and Bobchinsky.)"

Artemy Filippovich Strawberry

Artemy Filippovich Strawberry, the trustee of charitable institutions, is a very fat, clumsy and clumsy man, but for all that he is a sneak and a rogue. Very helpful and fussy. Has five children: Nikolai, Ivan, Elizaveta, Maria and Perepetua.

At the climax, I am stunned by what happened.

“For the life of me, I can’t explain how it happened. It was as if some kind of fog had stunned me, the devil had confused me.”

Ivan Kuzmich Shpekin

Postmaster - the head of the post office of city N, a simple-minded person. His favorite hobby- read other people's letters, which he prints out in his office. Like all city officials, he does his job poorly.

At the climax, he tells everything to the heroes that Khlestakov, it turns out, was not an auditor and deceived everything by reading a letter that Khlestakov himself wrote.

“An amazing thing, gentlemen! The official whom we mistook for an auditor was not an auditor.”

“Not an auditor at all, I learned this from the letter...”

Marya Antonovna

The mayor's daughter is a pretty girl of 18 years old, a naive coquette.

Minor characters

Luka Lukich Khlopov
Christian Ivanovich Gibner
Stepan Ilyich Ukhovertov
Tryapichkin
Servant Mishka
Locksmith Poshlepkina

Christian Ivanovich Gibner

The district doctor is the chief physician of the city of N. He came to serve in Russia from abroad. He is probably German. Gibner does not know a word of Russian, so he is not able to treat patients.

Derzhimorda, Svistunov and Pugovitsyn

Quarterly (police) - the duties of the police are to maintain order in the city, but they themselves like to drink and beat up citizens.

Luka Lukich Khlopov

The superintendent of schools is a timid, cowardly official. He doesn't keep order educational institutions. There was a case when he taught a lesson very enthusiastically and once broke a chair.

Stepan Ilyich Ukhovertov

Private bailiff - leads the quarter (police) of the city N. He performs his duties poorly. His subordinates get drunk and break the law themselves.

Non-commissioned officer widow Ivanova

A resident of the city of N comes to complain to Khlestakov about the mayor because the police flogged her for no reason. She asks the mayor to be fined for this lawlessness.

Tryapichkin

The writer is a friend of Khlestakov, a writer from St. Petersburg. He writes articles for newspapers. Khlestakov sends him a letter with a story about the officials of the city of N.

Retired officials are residents of city N, retired officials. They are familiar with all current officials. They play insignificant cameo role in the play.

Servant Mishka

The mayor's servant is a serf peasant, the mayor's servant. Mishka is an “errand boy” in the mayor’s house, a nimble guy . He plays a cameo role in the play.

Locksmith Poshlepkina

A resident of the city of N, an elderly mechanic Poshlepkina, comes to complain to Khlestakov about the mayor, who illegally took her husband as a soldier.

The first performers of the leading roles of the comedy

Mayor -

Anna Andreevna - unknown

Khlestakov - N. O. Dur

Osip - unknown

Bobchinsky and Dobchinsky - Bobchinsky - unknown, Dobchinsky - S.V. Shumsky.

Lyapkin Tyapkin – unknown

Strawberry - unknown

First performers minor roles unknown

Luka Lukich Khlopov

Derzhimorda, Svistunov and Pugovitsyn

Christian Ivanovich Gibner

Stepan Ilyich Ukhovertov

Non-commissioned officer widow Ivanova

Tryapichkin

Servant Mishka

Locksmith Poshlepkin

I.I. Sosnitsky

Born into the family of a poor nobleman, who was taken from Poland by Count Ilyinsky and worked all his life as an usher in the theater. Mother (nee Pushchina) was Russian by origin. Sosnitsky was sent to drama school 6 years old and has been performing on the big stage for 13 years.

Graduated from the St. Petersburg Theater School (teachers: I. A. Dmitrevsky and Sh. L. Didelot). As a student he performed on the stage of the St. Petersburg imperial theater(in the ballet “Medea and Jason”, in the tragedy “Pozharsky” by Kryukovsky - the role of Pozharsky’s son, to the young actor was 13 years old).

Among dramatic artists he was famous as a wonderful dancer and at the beginning of his career he taught mazurka in rich aristocratic houses. After graduating from college (1811), he played in the so-called “Young Troupe” of A. A. Shakhovsky and on the stage of the St. Petersburg Imperial Theater; in 1812 he was enrolled in the troupe of the imperial theater in the role of lovers and young rakes.

I was studying pedagogical activity. Among his students are V.N. Asenkova, Samoilova 1st, Samoilova 2nd.

He was buried in St. Petersburg at the Novodevichy cemetery.

N. O. Dur

His grandfather fled the French Revolution.

His grandfather, Jean Baptiste Dur, moved from France to Poland during the revolution, became the court painter of Stanislaw Poniatowski and was killed during the Kosciuszka indignation. His son Joseph (Osip) barely escaped with his life, came to St. Petersburg and opened a hairdressing salon. Here he fell in love with the theater, met many artists of the Russian troupe and finally married the sister of the then famous dancer E.I. Kolosova. From this marriage N. O. Dur was born.

Dear aunt young Nicholas Dura, famous dancer, discerned his ability to dance, and in 1816, with her assistance, he entered the St. Petersburg Theater School under the choreographer S. L. Didelot, very soon establishing himself as a capable student. And he began performing in his teacher’s ballets in small roles of cupids, pages, etc. However, after a while he became interested in the dramatic stage - this was facilitated by the success on the dramatic stage of his sister Lyubov Osipovna Durova, based on the stage of Durova (1805-1828), who also became an actress and married Pyotr Karatygin; and besides, one of the most outstanding dramatic actresses time was his cousin Alexandra Kolosova-Karatygina, who became the wife of another of the brothers, Vasily Karatygina.

And starting to study classical ballet, he had already graduated in 1829 from the drama department of the school under A. A. Shakhovsky.

In 1829, after graduating from college, he was accepted into the troupe of the St. Petersburg Imperial Theater. At the same time, he began to take music lessons, first from Bianco, and then he moved on to Anton Sapienza. Besides dramatic roles, also performed in operas (baritone roles): Brunel in “Genevieve of Brabant” (debut on April 14, 1830 on the stage of the St. Petersburg Stone Theater), Kalila (“Doctor in Trouble” by composer F. M. Tolstoy), (Bartolo - “ Barber of Seville"; Papageno - “The Magic Flute”; Leporello - “Don Giovanni”), Repeikin (“The Best Day in Life, or a Lesson for Rich Suitors”), Dandolo (“Tsampa, sea robber, or The Marble Bride” by Louis Herold), Masetto (“Don Giovanni”), Lord Cockburg (“Fra Diavolo, or the Hotel in Terracina”), Manifico (“Cinderella” by G. Rossini). Opera parts cooked at hand. Katerino Kavosa.

Since 1831 - on stage Mikhailovsky Theater with a vaudeville repertoire, then - the Alexandrinsky Theater.

With the death of actor-comedian Vasily Ryazantsev in 1831, he inherited some of his roles.

He became best known for his vaudeville roles. Roles: Jovial (“The Solicitor Under the Table” by D. T. Lensky), Freytag, Makar Gubkin (“The Hussar Girl” and “Student, Artist, Chorister and Conman”) in Koni’s vaudevilles and many others. etc.:

Since 1831 D. preem. performed in the vaudeville repertoire (performed over 250 roles), in which he used great success thanks to lively, relaxed acting, a beautiful voice, the ability to dance and freely stay on stage. D. had particular success in the roles of “secular windy people”, comic. “old people”, as well as in “dress-up roles”.

Dur is also known as the author of music for vaudeville verses - a total of 50 vaudeville acts. Essay: “Musical album of vaudeville couplets, compiled by Nikolai Dur,” Notebook 1, St. Petersburg, 1837; “My soul now has only suffering.” Romance for voice in accompanied by f-p. and cellos. - St. Petersburg, 1837; "Don't cry, my friend." For voices with f-p. - St. Petersburg, 1838; Veronica's song (“Oh, dear friend”) from the tragedy “Ugolino”. Notebook 2, St. Petersburg, 1838; Third and last music album vaudeville couplets, St. Petersburg, 1839. In addition, he composed six separate musical pieces. The very first performer of the roles of Molchalin and Khlestakov in the first productions of “Woe from Wit” (1830) and “The Inspector General” (1836) on stage Alexandrinsky Theater. However, Gogol was disappointed with his performance. After the premiere of The Inspector General, Gogol wrote:

“Dur didn’t understand one bit what Khlestakov was. Khlestakov became something like... a whole line of vaudeville rascals...".

Sergey Vasilievich Shumsky ( real name Chesnokov; October 7 (19), 1820, Moscow - February 6 (18), 1878, Moscow) - Russian dramatic actor. Sergei Shumsky came from a Moscow bourgeois family. He graduated from the Moscow Theater School, where he entered as a teenager and where he was the favorite student of M. S. Shchepkin, with whose family he became close friends and in whose house he met outstanding cultural figures of his time - artists, writers, playwrights, literary critics, artists.

He attracted attention in 1830 by performing in a training play the role of actor Yakov Danilovich Shumsky in the production of the vaudeville opera by Khmelnitsky and V.N. Vsevolzhsky “Actors among themselves, or the First debut of the actress Troepolskaya.” The young artist was only 10 years old at the time. Director of the Moscow office of the imperial theaters F. F. Kokoshkin left this surname behind him.

While still a student, he first appeared on the stage of the Maly Theater performing non-main roles, including the role of Dobchinsky’s “The Inspector General” by Gogol (1836, first production in Moscow), and this work received the approval of V. G. Belinsky:

“Mr. Shumsky, playing Dobchinsky, is excellent... The appearance of some good-natured idiot, the provincialism of nature, which he knows how to assume, all this is beyond praise.”

In 1841, after graduating from college, he was accepted into the Maly Theater troupe.

Until 1847 he performed mainly in vaudeville, playing the roles of Ducrot, Motylkova (“Two Merchants and Two Fathers”, “The Master’s Arrogance and Pansies” - vaudevilles by D. Lensky), Ogryzkov (“Confusion” by Fedorov). He also played the roles of young Glov (“The Players” by Gogol) and Mr. N (“Woe from Wit” by Griboedov) - in total during this time he played more than sixty roles on the stage of the Maly Theater.

In 1847, having received leave to practice in the provinces, at the insistence of his teacher Shchepkin, he entered the Odessa Theater to play leading roles. Practice in an insignificant provincial theater bore fruit. In 1850, returning to the Maly Theater, where he worked until the end of his life, he expanded his repertoire complex images: Kochkarev (“Marriage”, 1850), Zagoretsky (“Woe from Wit”, 1850), Khlestakov (“The Inspector General”, 1851). The first performer on the Moscow stage: Count Lubin (Turgenev's Provincial Woman, 1851, first production in Moscow), Krechinsky (Krechinsky's Wedding, 1855, first production in Moscow). Other roles: in Ostrovsky’s plays: Vikhorev (“Don’t Sit in Your Own Sleigh,” 1853) Zhadov (“Profitable Place,” 1863), Obroshenov (“Jokers,” 1864), Krutitsky (“Simplicity is Enough for Every Wise Man,” 1868) , Dobrotvorsky (“Poor Bride”, 1853), Schastlivtsev (“Forest”, 1871); Margaritov (“ Late love", 1873), Groznov ("Truth is good, but happiness is better", 1876); in Molière's plays: Scapin (The Tricks of Scapin, 1866), Sganarelle (The School for Men, 1866), Arnolf (The School for Women, 1869); as well as Shprikh (“Masquerade”, 1862), Tropachev (“The Freeloader” by Turgenev, 1862), Pustozerov (“Tinsel” by A. Potekhin, 1862), Cheglov-Sokovnin (“Bitter Fate” by Pisemsky, 1863), Chatsky (“Grief” from the mind" Griboyedov, 1864); Ivan the Terrible (“The Death of Ivan the Terrible” by A.K. Tolstoy, 1868); Telyatev and Cheryomukhin (“Sparrows,” 1867, and “Grouse Can’t Fly in the Trees,” 1872, Tarnovsky, adaptations of Labiche’s comedies), Figaro (“The Barber of Seville,” 1856, and “The Marriage of Figaro,” 1868, Beaumarchais), Mr. Ford (“The Merry Wives of Windsor”, 1866), Franz Moor (“Schiller’s Robbers”, 1868), Plyushkin (“Dead Souls”, 1877), roles in plays by Korolev, Kugushev, Lope de Vega and many others. Over 40 years of stage activity, Shumsky created more than 500 roles.

Bibliography

https:// seasons-goda.rf /Inspector. html
http://ktoikak.com/revizor-glavnyie-geroi/
Sosnitsky,_Ivan_Ivanovich
https://ru.wikipedia.org/wiki/ Nikiforov,_Mikhail_Nikiforovich
https://ru.wikipedia.org/wiki/ Dur,_Nikolai_Osipovich
https://ru.wikipedia.org/wiki/ Shumsky,_Sergey_Vasilievich