Nikolai Vasilyevich Gogol is a talented satirist writer. Satirical motifs in the works of N. V. Gogol Message Gogol satirist

It would be completely impossible to give an understanding of the humor and wit of Gogol’s stories from Little Russian life without citing entire pages from them. This is the kind-hearted laughter of a young man, enjoying the fullness of life, who himself cannot help but laugh, looking at the comic situations in which he puts his heroes: the village sexton, the rich peasant, the village coquette or the blacksmith. He is filled with happiness; Not a single cloud has yet darkened his cheerfulness. But it should be noted that the comedy of the types he depicts is not the result of his poetic whim: on the contrary, Gogol is a scrupulous realist. Every peasant, every sexton in his stories is taken from living reality, and in this regard, Gogol’s realism is almost ethnographic in nature, which does not prevent him from having a bright poetic coloring at the same time. Only later did Gogol’s penchant for the comic crystallize into what can rightly be called “humor,” i.e. the contrast between the comic setting and the sad essence of life, about which Gogol himself said that he was given “through visible laughter to shed invisible tears, invisible to the world.”

Peering at satirical images, you come to the conclusion that they are certainly emotionally charged in a certain way. Emotional assessment in satire is always the negation of what is depicted by laughing at it.

Humor is much less likely to involve denial; Laughter generated by a humorous attitude differs in tone from satirical laughter.

“Humor,” wrote A. V. Lunacharsky, “of course, means such an approach to life in which the reader laughs, but laughs affectionately, good-naturedly.” Such an understanding of humor in the narrow, so to speak, sense of the word is legitimate. Indeed, there is an extensive humorous literature where laughter is certainly heard, but it is soft, good-natured or sad.

“It’s boring in this world, gentlemen!” - exclaimed N.V. Gogol, with sad humor, “laughter through tears,” telling a sad but comic story about how Ivan Ivanovich and Ivan Nikiforovich quarreled. Humor also colors the story “Old World Landowners.”

But the concept of humor also has another meaning. In fact, no satire is unthinkable without humor.

“The most flagellating, the most angry, the most mournful satire must contain at least a drop of laughter - otherwise it will cease to be satire. And humor, for its part, always contains elements of satire

We must first know that Gogol was a follower and, in a certain respect, a student of Pushkin. Like Pushkin, Gogol believed that a writer should truthfully and truly reflect real reality, while setting himself social and educational goals. But at the same time, one of the most significant distinctive features of Gogol, in comparison with Pushkin, was his humor, which in his last, best works turns into socio-political satire.

Gogol believed that one of the most effective means of re-educating society is ridicule of its typical shortcomings, ridicule of that “despicable and insignificant” that hinders its further development.

“Evenings on Khutor near Dikanka” and “Mirgorod”. the content and characteristic features of their style opened a new stage in Gogol’s creative development. There is no longer room for romance and beauty in the depiction of the life and customs of Mirgorod landowners. A person's life here is entangled in a web of petty interests. There is no lofty romantic dream, no song, no inspiration in this life. Here is the kingdom of self-interest and vulgarity.

In “Mirgorod” Gogol parted with the image of a simple-minded storyteller and appeared before readers as an artist who boldly reveals the social contradictions of our time.

From cheerful and romantic boys and girls, inspired and poetic descriptions of Ukrainian nature, Gogol moved on to depicting the prose of life. This book sharply expresses the writer’s critical attitude towards the musty way of life of old-world landowners and the vulgarity of Mirgorod “beings”.

Realistic and satirical motives of Gogol’s work are deepened in “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich.” The story of a stupid lawsuit between two Mirgorod inhabitants is interpreted by Gogol in a sharply accusatory way. The life of these ordinary people is devoid of an atmosphere of patriarchal simplicity and naivety. The behavior of both heroes arouses in the writer not a gentle smile, but a feeling of bitterness and anger: “It’s boring in this world, gentlemen!” This sharp replacement of a humorous tone with a nakedly satirical one reveals the meaning of the story with utmost clarity. A seemingly funny, cheerful anecdote turns in the reader’s mind into a deeply dramatic picture of reality.

Gogol, with his characteristic thoroughness, peers into the characters of his heroes: two bosom friends. They are “the only two friends” in Mirgorod - Pererepenko and Dovgochkhun. But each of them is on his own mind. It seemed that there was no such force that could upset their friendship. However, a stupid incident caused an explosion, arousing hatred of one for the other. And one unfortunate day, friends became enemies.

Ivan Ivanovich really misses the gun that he saw on Ivan Nikiforovich. A gun is not just a “good thing,” it should strengthen Ivan Ivanovich in the consciousness of his noble birthright. His nobility, however, is not a family one, but an acquired one: his father was in the clergy. It is all the more important for him to have his own gun! But Ivan Nikiforovich is also a nobleman, and even a real one, hereditary! He also needs a gun, although since he bought it from Turchin and had in mind to enroll in the police, he has not yet fired a single shot from it. He considers it blasphemous to exchange such a “noble thing” for a brown pig and two sacks of oats. That’s why Ivan Nikiforovich became inflamed and this unfortunate “gander” flew off his tongue.

In this story, the ironic manner of Gogol’s writing makes itself felt even more strongly than in the previous one. Gogol's satire is never revealed nakedly. His attitude towards the world seems good-natured, kind, and friendly. Well, really, what bad thing can you say about such a wonderful person as Ivan Ivanovich Pererepenko! Natural kindness just flows out of Ivan Ivanovich. Every Sunday he puts on his famous bekesha and goes to church. And after the service, prompted by natural kindness, he will definitely go around the beggars. He will see a beggar woman and have a cordial conversation with her. She expects alms, he will talk and talk and go away.

This is what Ivan Ivanovich’s “natural kindness” and compassion look like, turning into hypocrisy and complete cruelty. “Ivan Nikiforovich is also a very good person.” “Also” - obviously he is a man of the same kind soul. Gogol does not make any direct accusations in this story, but the accusatory thrust of his letter reaches extraordinary strength. His irony seems good-natured and gentle, but how much true indignation and satirical fire there is in it!

For the first time in this story, bureaucrats also become the target of Gogol’s satire. Here are the judge Demyan Demyanovich, and the defendant Dorofey Trofimovich, and the court secretary Taras Tikhonovich, and the nameless office employee, with “eyes that looked askance and drunk,” with his assistant, from whose breath “the presence room turned for a while into a drinking house.” , and mayor Pyotr Fedorovich. All these characters seem to us to be prototypes of the heroes of “The Inspector General” and the officials of the provincial city from “Dead Souls”.

The composition of “Mirgorod” reflects the breadth of Gogol’s perception of modern reality and at the same time testifies to the scope and breadth of his artistic quest.

All four stories of the “Mirgorod” cycle are connected by the internal unity of ideological and artistic concept. At the same time, each of them has its own distinctive style features. The originality of “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich” lies in the fact that here the technique of satirical irony characteristic of Gogol is most clearly and vividly expressed. The narration in this work, as in “Old World Landowners,” is told in the first person - not from the author, but from a certain fictional narrator, naive and simple-minded. It is he who admires the valor and nobility of Ivan Ivanovich and Ivan Nikiforovich. It is the “beautiful puddle” of Mirgorod, the “glorious bekesha” of one of the heroes of the story and the wide trousers of another that move him. And the more his delight is expressed, the more obvious the emptiness and insignificance of these characters is revealed to the reader.

It is easy to see that the narrator acts as an exponent of the self-consciousness of the people. In the way Rudy Panko perceives and evaluates the phenomena of reality, one can see the humor and grin of Gogol himself. The beekeeper is the exponent of the author's moral position. In “Mirgorod” the artistic task of the narrator is different. Already in “Old World Landowners” he cannot be identified with the author. And in the story about the quarrel he is even more distant from him. Gogol's irony is completely naked here. And we guess that the subject of Gogol’s satire is, in essence, the image of the narrator. It helps to more fully solve the satirical task posed by the writer.

Only once in a story about a quarrel does the image of a narrator appear before us, who was not touched by the author’s irony, in the final phrase of the story: “It’s boring in this world, gentlemen!” It was Gogol himself who seemed to push the boundaries of the story and enter it in order to pronounce his verdict openly and angrily, without a hint of irony. This phrase crowns not only the story of the quarrel, but also the entire “Mirgorod” cycle. Here is the grain of the whole book. Belinsky subtly and accurately remarked: “Gogol’s stories are funny when you read them, and sad when you read them.” Throughout the book, the writer creates a judgment on human vulgarity, which becomes, as it were, a symbol of modern life. But it is here, at the end of the story about the quarrel, that Gogol openly, on his own behalf, pronounces the final verdict on this life.

In “Old World Landowners” and “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich,” Gogol first appeared before readers as a “poet of real life,” as an artist boldly exposing the ugliness of social relations in feudal Russia. Gogol's laughter did a great job. He had enormous destructive power. He destroyed the legend about the inviolability of the feudal-landlord foundations, debunked the aura of imaginary power created around them, exposed to the “nation's eyes” all the abomination and inconsistency of the political regime of the writer's day, brought justice to him, awakened faith in the possibility of a different, more perfect reality.

When Gogol was reproached for the fact that in “The Inspector General” he collected only swindlers and scoundrels and did not contrast them with a single honest person who could become an example for the reader, Gogol replied that the role of this honest, noble person is played by laughter: “Not that laughter that is generated by temporary irritability, a bilious, painful disposition of character; It is also not that light laughter that serves for idle entertainment and amusement of people; but that laughter, which all flows out of the bright nature of man, flows out of it because at the bottom of it lies an ever-bubbling spring of it, which deepens the subject, makes to appear brightly that which would have slipped, without the penetrating power of which the triviality and emptiness of life would not frighten a person so much” (“Theatrical tour after the presentation of a new comedy”, 1842).

A satirical writer, turning to the “shadow of little things,” to “cold, fragmented, everyday characters,” must have a subtle sense of proportion, artistic tact, and a passionate love of nature. Knowing about the difficult, harsh field of a satirical writer, Gogol still did not renounce it and became one, taking the following words as the motto of his work: “Who, if not the author, should tell the holy truth!”

In The Inspector General, Gogol “collected everything bad in Russia into one pile,” bringing out a whole gallery of bribe-takers, embezzlers, ignoramuses, fools, liars, etc. Everything in “The Inspector General” is funny: the plot itself, when the first person of the city mistakes an idle talker from the capital for an inspector, a man “with extraordinary lightness of mind,” Khlestakov’s transformation from a cowardly “elistratishka” into a “general” (after all, those around him mistake him for a general) , the scene of Khlestakov’s lies, the scene of a declaration of love to two ladies at once, and, of course, the denouement and silent comedy scene.

Conclusion to chapter 1

So from all that has been said, we can conclude that the discrepancy between the phenomena of life and the requirements that they actually must satisfy reaches such an extent that we can only talk about their complete denial. The artist achieves it by revealing the internal inconsistency of the exposed phenomena of life, through humor, and by bringing them to the limit of absurdity, thereby revealing their essence.

And a satirical image is an image that strives to deny the reflected phenomena of life by bringing to the extreme the comic, absurdity of the traits inherent in them in life.

The great satirist began his creative journey with a description of the life, morals and customs of Ukraine, dear to his heart, gradually moving on to a description of all of vast Rus'. Nothing escaped the artist’s attentive eye: neither the vulgarity and parasitism of the landowners, nor the meanness and insignificance of the inhabitants. “Mirgorod”, “Arabesques”, “The Inspector General”, “Marriage”, “The Nose”, “Dead Souls” - a caustic satire on existing reality. Gogol became the first of the Russian writers in whose work the negative phenomena of life were most clearly reflected. Belinsky called Gogol the head of the new realistic school: “With the publication of Mirgorod and The Inspector General, Russian literature took a completely new direction.” The critic believed that “the perfect truth of life in Gogol’s stories is closely connected with the simplicity of meaning. He does not flatter life, but does not slander it; he is happy to expose everything that is beautiful and human in it, and at the same time does not hide anything and its ugliness."

A positive beginning in the work of N.V. Gogol, in which the high moral and social ideal of the writer underlying his satire was embodied, was “laughter,” the only “honest face.” It was laughter, Gogol wrote, “which completely flows out of the bright nature of man, because at the bottom of it lies an eternally flowing spring of it, which deepens the subject, makes brightly appear what would have slipped through, without the penetrating power of which the trifles and emptiness of life would not frighten "If only a person could do that."

N.V.Gogol.

In 1852, after Gogol’s death, Nekrasov wrote a beautiful poem

a creation that can be an epigraph to Gogol’s entire work:

Feeding my chest with hatred,

Armed with satire,

He goes through a thorny path

With your punishing lyre.

These lines seem to give the exact definition of Gogo's satire.

Well, satire is an evil, sarcastic ridicule of not just general

human shortcomings, but also social vices. This is not a good laugh

sometimes “through tears invisible to the world,” because (and Gogol believed so)

it is the satirical ridicule of the negative in our lives that can serve

live for its correction. Laughter is a weapon, a sharp, military weapon, with

with whose help the writer struggled all his life with the “abominations of Russian action”

tweetability."

The great satirist began his creative journey with a description of everyday life,

morals and customs of Ukraine, dear to his heart, gradually moving to a description

dignity of all vast Rus'. Nothing escaped the attentive eye

artist: neither the vulgarity and parasitism of the landowners, nor meanness and nothingness

the cruelty of the inhabitants. "Mirgorod", "Arabesque", "The Inspector General", "Marriage",

"The Nose", "Dead Souls" - a caustic satire on existing reality.

Gogol became the first of the Russian writers whose work received

the clearest reflection of the negative phenomena of life. Belinsky called Go-

Golya head of the new realistic school: "With the time of publication

"Mirgorod" and "The Inspector General" Russian literature took on a completely new

direction." The critic believed that "the perfect truth of life in stories

Gogol is closely connected with the simplicity of fiction. He doesn't flatter life, but

does not slander her; he is happy to bring out everything that is beautiful in her -

racial, human, and at the same time does not hide its ugly

The satirical writer, referring to the “shadow of little things”, to the “cold,

fragmented, everyday characters", must have a subtle feeling

your measure, artistic tact, passionate love for nature. Knowing about

difficult, harsh field of a satirical writer, Gogol still did not renounce

from him and became one, taking the following words as the motto of his work:

the son of his homeland could, in the conditions of Nikolaev Russia, dare to bring to

light of the bitter truth in order to promote the shattered creativity

the reduction of the feudal-serf system, thereby promoting the movement

Russia forward.

In "The Inspector General" Gogol "collected into one pile everything bad in Russia"

brought out a whole gallery of bribe takers, embezzlers, ignoramuses, fools, liars

and so on. Everything in The Inspector General is funny: the plot itself, when the first person of the city

mistakes for an auditor from the capital a idle talker, a man with an extraordinary

ease of thought", Khlestakov's transformation from the cowardly "elistra-

Tishki" into "general" (after all, those around him take him for the general-

la), the scene of Khlestakov’s lies, the scene of a declaration of love for two yes-

mom, and, of course, the denouement and the silent comedy scene.

Gogol did not bring out a “positive hero” in his comedy. Polo-

living principle in The Inspector General, which embodied the high moral

the writer’s personal and social ideal, which underlies his satire,

became “laughter,” the only “honest face” in comedy. It was laughter, pi-

sal Gogol, “who completely flies away from the bright nature of man...

because at its bottom there is an eternally flowing spring, which deepens

the object, makes something stand out brightly that would have slipped through without

the penetrating power of which the trifles and emptiness of life would not frighten so much

person."

Satirically depicting the nobility and bureaucratic society,

endlessly loves his native country and its people. Evil satire serves precisely

this great love. Condemning everything bad in the public and state

a way out in serf Rus'. Gogol writes with deep love about the people

de. There is no more accusatory satire here, only sadness about

some aspects of the life of the people generated by serfdom. Write-

I am optimistic; he deeply believes in the bright future of Russia.

I would like to finish the work with the lines of Nekrasov:

They curse him from all sides,

And just seeing his corpse,

They will understand how much he has done

And how he loved while hating.

Lesson 32

N.V. GOGOL IS THE GREAT SATIRIST.

COMEDY “THE AUDITOR”: HISTORY OF CREATION

Lesson objectives: recall the works of N.V. Gogol, studied in grades 5–7; conduct a comparative mini-analysis of prose fragments of the works of A. S. Pushkin, M. Yu. Lermontov and N. V. Gogol; teach to use vocabulary and constructions in the reader’s statement with the meaning of similarities and differences in the writer’s style, its originality; introduce the ideological concept and compositional features of the comedy “The Inspector General”.

During the classes

II. Communicate the topic and objectives of the lesson.

1. Introductory speech by the teacher.

I hope you guessed that, following Lermontov, we have to read N.V. Gogol. What if you try to compare Lermontov and Mr. Ogol? Isn’t it interesting to compare Gogol’s pages with Lermontov’s prose, and at the same time return to the prose of another brilliant master - A. S. Pushkin? I am sure that you have already noticed that there is no hard boundary between poetic and prose works: in prose we discover poetry every now and then, and in poetry sometimes we discover prose, not to mention the fact that the artist, created, it would seem, exclusively for poetry ( Pushkin and Lermontov!), suddenly turn to prose, and it is not inferior to his poetry, and the prose writer sometimes creates talented poetic works (this often happened with Turgenev!).

2. Quiz “Pushkin, Lermontov, Gogol.”

So, the quiz “Pushkin, Lermontov, Gogol”: find out the author and justify the ownership of the quoted fragment, name the work.

1) Reading a fragment of Gogol’s story “Nevsky Prospekt”.

- Who is this? Of course, Gogol! Gogol is immediately betrayed by the picturesqueness of the description, its careful detail, with the elaboration of every detail, right down to the watchman, covered with matting and climbing onto the ladder. Did you notice the spaciousness of the phrase and the complexity of the syntax? Try reading Gogol's phrase quickly! Nothing will work! Yes, Gogol needs to be read slowly, looking at the slightest detail of the picture, listening to every word! Have you noticed the writer’s predilection for adjectives and epithets?! What about the overall tone of the picture, its coloring? It is extremely clear, quite realistic, and at the same time light and shadows, a touch of “temptation” and mystery. Have you guessed which work of Gogol we are talking about? The city, and by no means a provincial one, is crowded, with a vigilant guard; “Police Bridge”, and if it’s a “bridge”, then it’s also a river... Before us is Gogol’s Petersburg, its “Nevsky Prospekt”!

“...he arrived in St. Petersburg, stayed in the Izmailovsky regiment...”

– Do you have anything in common? Undoubtedly: both here and here - St. Petersburg. Just presented differently. What differences give a sharp originality to one and the other page, immediately revealing the author?

As extensive and detailed as Gogol’s page is, the narration in the work of the second author is so laconic and restrained. Pay attention to the accuracy of place, time and the action itself (not so much how, what is it like, How many What And Where happened)! How does the author choose grammatical forms? He prefers nouns and verbs: objects and actions! Prose, restrained in style, laconic and dynamic: every phrase is an event, an action!

I hope you recognized the signs of Pushkin’s prose in “The Station Agent”?

3) And here is another fragment:

“...The most charming forehead was dazzlingly white and covered with hair as beautiful as agate. They curled like wonderful curls..."

Well, the generosity of verbal painting (the artist, when creating a portrait, does not spare paint!), combined with the extreme emotionality of the author’s speech and even its ornateness, with the writer’s frank admiration for the beauty revealed to him, betray Gogol. But what page of him, whose charm was captured so inspired by the artist? (This is also “Nevsky Prospekt”, a lovely stranger, after whom the artist Piskarev rushed, to his misfortune.)

4) And here is another meeting with a captivating young creature:

“...A girl of about fourteen came out from behind the partition and ran into the hallway. Her beauty struck me.”

The theme and subject of the image are the same: female beauty. But how differently it is conveyed! Instead of a dazzling “Gogol” portrait there is a calm, even narration, and at the same time the author does not hide his feelings, but his recognition is just as calm and laconic: “Her beauty amazed me,” and instead of enthusiastic intonations and epithets full of admiration (“wonderful curls") - a few details of the portrait and behavior (“lowered her big blue eyes”, “answered... without any timidity” - and that’s all!) in the same calm, narrative manner... Guessed it?

(“Stationmaster” by A.S. Pushkin.)

5) What do you say about this:

“The sun was already beginning to hide behind the snow ridge when I left for the Koishauri Valley...”

It would seem that the problem can be solved easily: the Caucasus betrays Lermontov! Although Pushkin also has Caucasian sketches - in the essay “Travel to Arzrum”. However, it is too whimsical and picturesque for Pushkin’s prose, rather close to Gogol’s with its tendency to intensify pictorial details, thicken colors, syntactic complexity and pathos. And if you also feel the threatening mystery of the mountain landscape, something magical in the “black gorge full of darkness” and in the river with its “snake” sparkle, the closeness to Gogol’s prose will become all the more certain. However, this is Lermontov, the beginning of Bela. It turns out how close he is to Gogol! But is it only him?

6) Do you remember this:

“The cross on the grave staggered, and a dried-up dead man quietly rose from it...”?

Where is this from:

“...At that moment someone else approached the gate and was about to enter... The room was full of dead people...”?

I’m glad that many people recognized Pushkin’s “Undertaker.”

3. Summarizing the results of the research quiz.

Perhaps we have the right to say that Gogol seemed to unite many of his contemporaries in his style; at the same time, his pages are sharply set off by the originality of other writers, even where we find a “Gogolian” beginning in them.

III. Work on a new topic.

1. Conversation.

– Do you like theater? Is he close to you? Are you interested?

– Do you know how a performance is created?

Here are a few key words (based on them, tell us about the birth of the play):

2. Dramatization (appearance 3, house I with Bobchinsky and Dobchinsky).

Now listen:

Bobchinsky. Emergency!

Dobchinsky. Unexpected news!

All. What? What's happened? (pp. 276–280, textbook).

3. Teacher (continuation of conversation).

Are you perplexed? Yes, it's Gogol! But, you see, it’s completely different, unknown to us yet. Gogol the playwright! How could it happen: after “Evenings...”, “Mirgorod”, Gogol creates not a story or a story, but... a play?

– Give a synonym for the word “play.” (Dramatic work.)

– How does a dramatic work differ from others, how do you define them in comparison with dramatic works?

Let's transfer the terminology that we are starting to get used to in our notebooks:

Literary works

– Why are narrative and lyrical works created? (To make them read.)

What about plays and dramatic works? (Of course, they can be read, and are read, even engrossed! But still, dramatic works are created for the theater, for the stage.)

– What is the play?

Let's open any page of Gogol's play. They immediately noticed that the play had no narration or description, and almost no original text.

A dramatic work is the speech of the characters, the dialogues of the characters in the play, and sometimes, when the hero is left alone on stage, he has to pronounce monologues.

Write down the words-terms that we could not do without, explain their etymology and meaning.

So, Gogol and the theater. An unexpected discovery: it turns out that Gogol’s narrative pages are thoroughly scenic! It is no coincidence that Mikhail Afanasyevich Bulgakov, a great writer of the 20th century, in love with Gogol’s work, created a brilliant play, dramatizing Gogol’s poem “Dead Souls,” and the Moscow Art Theater brilliantly stages this performance to this day.

Gogol and the theater... Isn't Gogol's path to drama connected with the circumstances of his life?

“A play truly lives only on stage,” Nikolai Vasilyevich Gogol once remarked. It turns out that without a stage, without a theater, a play, without acquiring “real” life, may well die?

We involuntarily feel some kind of special relationship between Gogol and the theater, a kinship with it, a love for the stage, for the theater, for the actors...

Let’s open a kind of introduction to the comedy “The Inspector General”, let’s read only its title for now: “Characters and costumes. Notes for gentlemen actors."

Have you noticed how Gogol, breaking a ban that no playwright had violated before, allowed himself a lengthy and completely independent author's text? Probably, the writer was so worried about the fate of his first dramatic work: what if it was played incorrectly, that he interfered in the preparation of the performance, in rehearsals, explaining the character of each character.

What is the address of this Gogol page? (“... for gentlemen actors”!)

Find another theatrical term and check its meaning in the dictionary. (Role - type of acting roles. A. reasoner.)

And finally, Gogol’s “gentlemen actors”!

What a pity that we know too little about the history of the theater, and it is difficult for us to imagine how the theater regulars loved to humiliate the actors, how despicable the acting title itself was. And suddenly: “... for gentlemen actors”!

Where does this reverence for the theater come from? n the need to feel like an actor, and certainly playing each character in turn, or a director? But it all starts from childhood! And the theater entered Gogol’s life just as poetry entered Pushkin’s soul - in infancy, “with the first concepts.” The serf theater, which glorified the estate of its neighbor, the landowner Troshchinsky, is the first unforgettable impressions of the future writer, his theatrical impressions. And then school years! A student of the Nezhin Lyceum, Gogol-Yanovsky felt an uncontrollable attraction to acting, to stage transformation, imagining himself on stage. How could he not infect his comrades with a plan that had long been matured in him and demanded implementation: to create his own theater at the lyceum! Gogol will forever remember his “premiere,” in which he participated both as a director and as an actor.

What play do you think Gogol and his “troupe” chose?

Fonvizinsky's "Undergrowth"! Fonvizin was Gogol's idol. Who do you think Gogol played in Fonvizin’s comedy? Mrs. Prostakova appeared before the audience! Do you want to know how Gogol’s venture ended with both the theater and the role of Mrs. Prostakova? According to eyewitnesses, the premiere of the Lyceum Theater was a triumph, and the culprit behind the success was Gogol, who talentedly staged the play and equally successfully and talentedly played Ms. Prostakova.

Shouldn’t we “repeat” Gogol too? Shouldn't we transfer his experience to the comedy "The Inspector General"?

Homework: get acquainted with the textbook article “On the conception, writing and production of The Inspector General” (pp. 247–250); prepare an expressive reading for the roles of acts I and II of the comedy (distribute roles); individual task: a story about the theater and your theatrical impressions using special (theatrical) vocabulary: vestibule, foyer, auditorium, stalls, amphitheater, boxes, intermission; performance, premiere, director, acting troupe, composer, conductor, orchestra, musical introduction (introduction, prologue); watch with bated breath; listen to the actor’s voice, its intonation, peer into the faces of the performers; be transported into the world created on stage; have compassion, have difficulty holding back tears; laugh heartily; admire the art of the creators of the play.

Lesson 33

“THE AUDITOR”: THE FIRST AND SECOND ACTS.
KHLESTAKOV AND “MIRANGE INTRIGE” (YU. MANN)

Lesson objectives: introduce, comment and discuss the events and characters of acts I and II of the comedy; start working on drawing up a quotation plan; work on expressive reading by role.

During the classes

I. Organizational moment.

II. Checking homework.

1. Experiments in oral compositions (individual assignment).

– How did you feel creating your own work about the theater - or more precisely, about yourself in the theater?

– What was achieved relatively easily (if, of course, it was possible)?

- What caused the pain? Did you manage to overcome them?

2. Review of the first experiences of theatrical essays (reflections, free thoughts, as if alone with oneself).

– What hasn’t worked out yet?

3. Retelling of an article from the textbook “On the concept, production and writing of the “auditor”.

III. Work on a new topic.

1. The teacher's word.

So, isn’t it time for us to make a stop in the city where Skvoznik-Dmukhanovsky rules, and justice is administered by Lyapkin-Tyapkin, in company with policemen Ukhovertov, Svistunov and Derzhimorda, where Artemy Filippovich Strawberry is in charge of the hospitals, and the district doctor Christian Ivanovich Gibner heals the sick. ..

So, "The Inspector". Comedy in five acts.

“There is no point in blaming the mirror, / if the face is crooked.” Popular proverb.

- What kind of auditor does an auditor have to be to end up in a comedy? And what kind of auditor is he after that?

And then there’s the epigraph: “There’s no point in blaming the mirror...”

Remember the epigraph to Pushkin’s “The Captain’s Daughter,” which also opens with a folk proverb. In Pushkin it is inviting and pathetic: “Take care of your honor from a young age,” in Gogol it is provoking and mocking: “mirror” and “face” reflected in it!

Not a single playwright has opened a play like this: so that nothing seems to have happened in it, but at the same time almost “everything” has already happened, happened, and this “everything” is the mood of the reader-spectator: he cannot help laughing at such a “mirror” and such a “face”.

Let's try to imagine what the “city fathers” would look like in your performance.

2. Reading by roles (I act, phenomenon 1).

3. Conversation about what you read.

– Who and how is depicted in Gogol? Such important and respectable “city fathers,” and suddenly they were able to utter only a few timid, incoherent words, as if they had lost the power of speech: “How’s the auditor?” How pathetic and ridiculous this fear of officials is!

– What lines of Gogol’s characters in “The Inspector General” were immediately remembered and seemed especially successful and expressive? (“Like an auditor?”, “Here you go!”, “You’re not that, you’re not...”, about “sins,” about “war.”)

– How were these assumptions about the reason for the unexpected visit of the auditor met? (Of course, this is funny, stupid. But they are important, with knowledge of the matter, doing their best! Why? Yes, everyone wants to seem smarter and more knowledgeable than the other: well, isn’t it Bobchinsky and Dobchinsky?!)

“But it all started with basic fear.” Do Gogol's officials, and even the atmosphere of Act 1, change?

Let us recall once again the verbosity of the mayor and the ornateness of his first phrase, which opened the Gogol comedy “I invited you...”. He is official and significant, there is even some kind of solemnity in his tone and words, in the complexity of the phrase. Is it possible to suspect the mayor of cowardice based on this phrase (“unpleasant news: an auditor is coming to see us”), based on the way it was pronounced? No way! Although he, as a “smart person”, will not miss what “floats into his hands” and his “sins”!.. But with what dignity does he carry himself, while instilling fear in the officials? How did he do this? Please note that the mayor does not immediately inform the officials of the “unpleasant news”, but gradually, keeping silent about the most unpleasant and dangerous for now: having prepared his colleagues for the upcoming troubles and having heard their first perplexed questions, he reports the most alarming detail calmly, as if nothing had happened : “Inspector from St. Petersburg, incognito. And with a secret order."

How brilliantly Gogol “...starts” the comedy and constructs dialogues and individual lines, how important even subtle details are for him, right down to a single word or punctuation. This is how you should read Gogol, taking in the details of genius.

While reading, we not only hear, but also see any Gogol character. How? Whereby?

– Let us turn again to the text, to the episode of the mayor reading a letter: “Dear friend, godfather and virtue (mutters in a low voice, quickly running his eyes... significantly raises his finger up)” .

But Christian Ivanovich Gibner: makes a sound somewhat similar to the letter “i” and somewhat similar to “e”.

– So we discovered another secret of the play: even a dramatic work cannot do without the author’s word. Remarque- a kind of hint to the actor. “The Inspector General” is simply replete with remarks! They are very laconic, not syntactically related to the text and are not pronounced, but are only read in order to be played, and are enclosed in parentheses in the text of the play.

4. The first stage test of the comedy and its background.

– And now I would like to invite you to look at Gogol’s comedy through the eyes of the author: did he foresee how his contemporaries would greet his “The Government Inspector”?

Imagine: in the Maly Theater at the first performance of “The Inspector General” - not a single laugh (!), in the role of the mayor - the public’s favorite, the famous Mikhail Semenovich Shchepkin, and - deathly silence from the audience. The author rushes around behind the scenes, convinced that his comedy has failed. And as soon as, at the end of the 1st act, Shchepkin, who had not yet cooled off from the role, appeared before Gogol, the writer, almost crying, asked him: “Is it really a failure?” The actor responded with bewilderment: “Where did you get the idea, Nikolai Vasilyevich?” - “But no one laughed!” - Gogol said in confusion. “Yes, we didn’t laugh,” Shchepkin agreed, smiling. - so what? And how could they laugh if those sitting below are those who take bribes, and at the top (balcony, gallery, cheaper tickets) are those who give them.”

The events in Gogol's comedy are so natural, believable, they are so everyday that one involuntarily wants to know: did such a case with officials who were deceived about the auditor really happen, or did Gogol come up with it all?

Student's story about the history of comedy (homework).

Teacher's word.

Yes, Pushkin prompted Gogol to create “The Inspector General” by telling him a story that happened in a provincial town with his friend; It’s not difficult to imagine it from Gogol’s comedy, but Khlestakov has nothing to do with it. After all, finding himself in Khlestakov’s place, Pushkin’s friend behaved completely differently than Gogol’s hero: he hastened to leave the overly hospitable city, to escape from the embrace of hospitable officials.

Having given the plot to Gogol, Pushkin dreamed that his future creation would become a real holiday of laughter. With his comedy, Gogol ridiculed what we had become accustomed to for centuries, he ridiculed the familiar!

And again scenes from a comedy come to mind.

Recreation in an emotional and playful retelling scenes of an argument between the mayor and the judge about the fact that each of them takes bribes .

Teacher's conclusion.

Pay attention to how persistent the judge is in his ideas about bribery, especially since he professes quite original views, which, like the rest of his views, “he arrived at on his own, with his own mind.”

But behind every bribe there is a person, the one to whom it is given, and Gogol’s comedy amazes with the large number of bribe takers!

The playwright reduced the bribe to comic absurdity, since bribe takers are absurd, insignificant, and ridiculous. So why do they please such a nonentity, a wicked little thing, Khlestakov, with bribes?

Because he is an important thing in the capital, which the officials did not doubt for a moment, an “auditor”, “and incognito”, and, moreover, “with a secret order”!

And gentlemen officials cannot, do not want to deprive themselves of the trade to which they are accustomed and which feeds them more than the civil service - to deprive themselves of a bribe!

What is going on in the city, why is a bribe so necessary?

How to present the city that the auditor is to examine?

Gogol coped with this task brilliantly: his characters suddenly started talking with all their might, and their chatter immediately transports the reader to different “institutions” of the city - be it a court, a hospital or an “educational institution.”

5. Monologue statements by students about the court, hospital, school.

6. Analysis of Act II.

Teacher's word .

In Gogol’s “The Inspector General,” no matter what the new scene, there is certainly a climax!

Why are the officials and the city so funny? Just because it is impenetrably stupid, this city, however, does not doubt its “learning” and “wisdom”! That is why the mayor, the judge, Zemlyanika, and even the almost speechless Luka Lukich Khlopov are so fond of launching into thoughtful discussions. This is probably why the scene where Dobchinsky and Bobchinsky warm up the officials with their “version” about the mysterious “incognito” from St. Petersburg is so hilarious.

Gogol’s brilliant move: he put us, readers and viewers, in a position more advantageous than the one in which, by his own authorial will, the characters are: we know who Khlestakov is, but the mayor has “damned incognito” on his mind, and Almost a farce is playing out before us. Khlestakov and the mayor instill fear in each other, competing in both fear and servility. After all, they cannot understand each other, they resist, fight off each other - well, Khlestakov does not want to move to a new apartment, and the mayor pins all his hopes for mutual understanding with the auditor only on this.

7. Reading by roles (Act II, phenomenon 8).

– What do they agree on? On a bribe! She, damn it, made them related.

And then, between four walls, without witnesses (as it should be according to the “laws” of bribery), a bribe, and, of course, larger than requested, obviously “in debt,” their Excellency “screwed” Strawberry to Khlestakov, repeating the mayor ...

A significant event has happened: those who are accustomed to taking bribes are now just as accustomed to giving them! By the will of Gogol, the bribe-taker turned into a bribe-giver!

You have to stoop so low as to fork out for it yourself, and how!

IV. Summing up the lesson.

– Don’t you remember the beginning of the stage history of “The Inspector General”? Yes, Shchepkin’s explanation: why the audience didn’t laugh.

Gogol's comedy introduces a significant clarification into the thought of the great actor: if the audience was divided into those who take and those who give bribes, then Gogol's comedy united them: and those who take inevitably become givers! It is not so important whether the bureaucratic spectators of Gogol’s comedy experienced this on their own skin or were dismayed by the prospect that the writer suddenly opened up for them, turning an important person into a “fiend” - the opposite of what Khlestakov tried to do to himself: their reputation as Gogol’s laughter dealt an irreparable blow!

Homework: prepare an expressive reading based on the roles of Act III; Continue drawing up the quotation plan.

Lesson 34

"THE AUDITOR": THIRD ACT.
THE CITY OFFICER'S FAMILY

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Slide captions:

• Satirist writer. The vital basis of comedy.

• Teacher of Russian language and literature, Municipal Educational Institution “Secondary School No. 54”
• Orenburg.

Who can be considered a satirical writer and why?

• M.V. Lomonosov
• A.S. Pushkin
• N.V. Gogol
• A.P. Platonov

• Types of literature

• Lyrics

• Drama

In the lyrics the thoughts and feelings of the author are expressed, in epic the work tells about events and people, “the voice of the author is heard.” Lesson topic: Lesson objectives:

• Add more information about N.V. Gogol as a satirist writer.
• Give the concept of a dramatic work, comedy, and the word auditor.
• Reveal the ideological concept of the comedy “The Inspector General”.
• Learn to work with a poster.

• N.V. Gogol is a satirist writer.
• The vital basis of the comedy "The Inspector General".

• Gogol does not write, but draws;
• his images breathe alive
• colors of reality.
• You see and hear them...
• V.G. Belinsky.

• In dramatic in the work, the author cannot tell the biography of the hero on his own behalf, cannot describe what the heroes look like, i.e. there are no portrait descriptions, cannot reveal the internal reasons for the actions of the heroes, directly express his attitude towards them, i.e. the heroes of a dramatic work are more “independent”, they seem to be less dependent on the support of the author. Thus, the speech characteristics of the hero are of greatest importance. The development of the play's action is based on the conflict between the characters, that is, the clash of their interests.

• Dramaturgy is a type of fiction intended for the theater.
• A play or drama is a dramatic work written specifically for a theatrical production.
• Comedy is a dramatic work of a cheerful, cheerful nature, ridiculing the negative qualities of human character, shortcomings in social life and everyday life.
• Remark - a note in the margins or between the lines, an explanation by the author of the play for the director or actors.

• Drama is a type of literary work written in a dialogical form and intended to be performed by actors on stage.
• A comedy is a dramatic work with a cheerful, funny plot.

• “Petersburg is a great lover of theatre. If you are walking along Nevsky Prospekt on a fresh frosty morning... go into the vestibule of the Alexandria Theater at this time,” wrote N.V. Gogol

• Petersburg. Nevsky Avenue.

• History of the play

• On Sunday, April 19, 1836, at the Alexandria Theater for the first time, an original comedy (that is, not translated, finally!) a comedy in 5 acts, “The Inspector General,”
• composition by N. Gogol

• “The theater is not at all a trifle and not at all an empty thing... This is a pulpit from which you can say a lot of good to the world” N.V. Gogol

• Gogol read as hardly anyone can read. It was the height of amazing perfection.
• M.P. Pogodin

• On May 17 we watched The Inspector General. The mayor was played by Shchepkin for the first time upon his arrival from St. Petersburg, in which he left a living memory. The role of the mayor in Moscow was vulgarized during his absence, and the more impatiently we wanted to see it again, performed by a great artist. And how he accomplished it! No, I've never done it like that before!

• "Inspector" -
• it's a whole
• sea ​​of ​​fear.
• Yu. Mann

• An audit is an examination of someone’s activities to establish the correctness and legality of actions.
• An auditor is an official who carries out an audit.

• Anton Antonovich Skvoznik-Dmukhanovsky - mayor.

• Anna Andreevna - his wife

• Luka Lukich Khlopov – superintendent of schools

• Ammos Fedorovich Lyapkin-Lyapkin - judge

• Artemy Filippovich Strawberry -
• trustee of charitable institutions

• Ivan Kuzmich Shpekin -
• postmaster

• Bobchinsky and Dobchinsky

• Ivan Alekseevich Khlestakov

• The Tsar laughed and applauded a lot at the comedy performance, probably wanting to emphasize that the comedy was harmless and should not be taken seriously. He understood perfectly well that his anger would be another confirmation of the veracity of Gogol’s satire. By publicly expressing royal complacency, Nicholas I wanted to weaken the public sound of The Inspector General. However, left alone with his retinue, the tsar could not stand the cunningly conceived role to the end and burst out: “What a play! Everyone got it, and I got it the most!”

Comedy epigraph:

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

Homework: 1.Read actions 1-4 and briefly retell. 2. Essay - miniature. “What did Khlestakov see during his inspection of the city?” 3. Prepare a message: “Images of officials.”

• I wish you creative success!

Literature:

• 1. Literature in 8th grade. Lesson after lesson. Turyanskaya B.I. and others. 4th ed. - M.: 2006. - 240 p.
• 2.http://www.c-cafe.ru/days/bio/4/069.php
• 3. Gogol N.V. Inspector. – M.: Fiction, 1985. - 160 p.
• 4. Starodub K. Gogol Nikolai Vasilievich // Starodub K. Literary Moscow. - M.: Education, 1997. - P. 79-85.

Gogol's satire

In 1852, after Gogol’s death, Nekrasov wrote a beautiful poem, which can be an epigraph to Gogol’s entire work: “Feeding his chest with hatred, arming his lips with satire, he walks a thorny path with his punishing lyre.” These lines seem to give the exact definition of Gogol’s satire, because satire is an evil, sarcastic ridicule of not just universal human shortcomings, but also social vices. This is not a kind laughter, sometimes “through tears invisible to the world,” because (and Gogol believed so) it is the satirical ridicule of the negative in our lives that can serve to correct it. Laughter is a weapon, a sharp, combat weapon, with the help of which the writer fought all his life against the “abominations of Russian reality.”

The great satirist began his creative journey with a description of the life, morals and customs of Ukraine, dear to his heart, gradually moving on to a description of all of vast Rus'. Nothing escaped the artist’s attentive eye: neither the vulgarity and parasitism of the landowners, nor the meanness and insignificance of the inhabitants. “Mirgorod”, “Arabesques”, “The Inspector General”, “Marriage”, “The Nose”, “Dead Souls” - a caustic satire on existing reality. Gogol became the first of the Russian writers in whose work the negative phenomena of life were most clearly reflected. Belinsky called Gogol the head of the new realistic school: “With the publication of Mirgorod and The Inspector General, Russian literature took a completely new direction.” The critic believed that “the perfect truth of life in Gogol’s stories is closely connected with the simplicity of meaning. He does not flatter life, but does not slander it; he is happy to expose everything that is beautiful and human in it, and at the same time does not hide anything and its ugliness."

A satirical writer, turning to the “shadow of little things,” to “cold, fragmented, everyday characters,” must have a subtle sense of proportion, artistic tact, and a passionate love of nature. Knowing about the difficult, harsh field of a satirical writer, Gogol still did not renounce it and became one, taking the following words as the motto of his work: “Who, if not the author, should tell the holy truth!” Only a true son of the motherland could, in the conditions of Nicholas Russia, dare to bring to light the bitter truth in order to contribute through his creativity to the weakening of the feudal-serf system, thereby contributing to Russia’s movement forward. In The Inspector General, Gogol “collected everything bad in Russia into one pile,” bringing out a whole gallery of bribe-takers, embezzlers, ignoramuses, fools, liars, etc. Everything in “The Inspector General” is funny: the plot itself, when the first person of the city mistakes an idle talker from the capital for an inspector, a man “with extraordinary lightness of mind,” Khlestakov’s transformation from a cowardly “elistratishka” into a “general” (after all, those around him mistake him for a general) , the scene of Khlestakov’s lies, the scene of a declaration of love to two ladies at once, and, of course, the denouement and silent comedy scene.

Gogol did not show a “positive hero” in his comedy. The positive beginning in “The Inspector General,” in which the high moral and social ideal of the writer underlying his satire was embodied, was “laughter,” the only “honest face” in comedy. It was laughter, Gogol wrote, “which completely flows out of the bright nature of man... because at the bottom of it lies an eternally flowing spring of it, which deepens the subject, makes brightly appear that which would have slipped, without the penetrable power of which the trifle and emptiness of life They wouldn’t frighten a person like that.”

Satirically depicting the nobility and bureaucratic society, the worthlessness of their existence, parasitism, exploitation of the people, Gogol endlessly loves his native country and its people. Evil satire serves precisely this great love. Condemning everything bad in the social and state system of Russia, the author glorifies its people, whose forces do not find an outlet in serf Rus'. Gogol writes about the people with deep love. There is no more accusatory satire here, only sadness slips through about some aspects of the life of the people generated by serfdom. The writer is characterized by optimism; he deeply believes in the bright future of Russia. I would like to complete the work with lines from Nekrasov.