Gogol inspector illustrations for the work. Illustrations for N.V. Gogol's comedy "The Government Inspector"
MOU "Gymnasium No. 17"
"Hero of the comedy "Inspector General" Khlestakov
in illustrations by Russian artists.
Completed:
8th grade students
Sharkova, Anna
Chernienko Margarita.
Confusion and trembling are characteristic of all officials at Khlestakov's "reception", but each of them gives a bribe in his own way. There are no similar works of artists. Each of them is individual.
1951
Khlestakov woke up. Carelessness, growing abandonment in all his nature.
1951
Khlestakov. Here is a strange case with me: on the road I completely spent it. Can you lend me three hundred rubles?
In scenes with merchants, a locksmith and a non-commissioned officer, Khlestakov is already a real auditor in his every word. He is already acting as an experienced bribe taker and as an empowered "doer".
Khlestakov's swagger increases in the scene of the "reception" of officials and other city residents. Apparently, Khlestakov begins to guess that he is mistaken for a statesman. In the scene with Bobchinsky and Dobchinsky, Khlestakov is no longer in the role of a petitioner. Gogol shows us the process of turning a person into a bribe taker.
1900
Gogol uses the grotesque in his work. The whole action of the comedy rests on a mistake.
There is another artistic motive: the grotesqueness of the plot should convey the absurdity of the public order, when the possession of a high rank is achieved not according to a reasonable human law, not according to the true spiritual value of the individual, but, in essence, according to a random whim of fate.
Gogol sharpens this idea in a comedic way. Khlestakov quickly enters the role, skillfully and even brilliantly represents the formidable nobleman. This playful, grotesque moment is very meaningful: here is a transparent allusion to chance, complete groundlessness, psychological, intellectual, the appearance of significant persons.
makes us feel this grotesque, absurdity, the absurdity of the rule of law, the comicality of what is depicted.
I recall the epigraph of the play: "There is nothing to blame on the mirror, if the face is crooked." The epigraph was given by Gogol later, in 1842, after the suffering he experienced from a stream of furious accusations of slandering Russia, of distorting reality. So, comedy is not slander, but a mirror. Don't blame him
do not blame him for distorting, but look at his reflection. The epigraph sounds sharp and bold.
Chernyshevsky wrote: Gogol "was the first to introduce us to us in our present form ... the first to teach us to know our shortcomings and to abhor them." But for 150 years, comedy has been living on theater stages. What does it give to the modern viewer, reader, besides the fact that we learn how it was? Are there any features of Khlestakov and other comedy heroes in ourselves, around us?
The contradiction between the existent and the proper is fixed in the "Inspector". Isn't it strange that in the "prefabricated city" together with Skvoznik-Dmukhanovsky, such monsters as judge Lyapkin-Tyapkin, the trustee of charitable institutions Strawberry and the caretaker of schools Khlopov feel like true owners? Their existence in this role is absurd and insane, just as the organization of life created by such "fathers of the city" is cruelly absurd. Their power is real, but, from Gogol's point of view, it is illusory.
The grotesque in The Inspector General perfectly expresses the idea of "ghostly", but it is realistic. Its originality lies in the fact that its main, comic element is constantly "coexisting" with the pathos of the tragic. Reading the play, we always imagine that a real inspector is quite real without boasting, but with a gloomy severity that is even more frightening. And sometimes Anton Antonovich’s dreams of a generalship with a natural addition in the form of one of the “first houses in the capital” and with the only possible form of using this generalship: unlimited, heavy power over the weak of this world seem to be not empty projecting at all.
Hands stick out the window with requests.
Khlestakov. Who else is there? ( Approaches the window.) I don't want, I don't want! No need, no need! ( Departing.) Tired, damn it! Don't let me in, Osip!
Osip ( screaming out the window). Go-go! No time, come tomorrow!
What new properties of Khlestakov's nature did we learn from the fourth act?
One of the researchers of the comedy "The Inspector General" wrote: "If in the scene of lies Khlestakov is obsessed with the elements of speech, then in the scene of courtship he is obsessed with the elements of actions. The element is always in him, it controls him in everything. Khlestakov is ready to both cheat and talk, in a word, he will not miss what floats into his hands, like the mayor. He is able to play any role, even the role of an ardent lover. This role is prompted to him by the circumstances themselves, "chance".
1951
"Pick flowers of pleasure" - that's the purpose of his existence. And the greatest pleasure is to have power and money, to live in a big way.
finds Khlestakov with his daughter, then both women are clearly embarrassed. And how does Khlestakov feel? In any case, we do not see embarrassment.
What are the life goals and dreams of the mayor now? "Kinship" with Khlestakov opens up, in his opinion, incredible opportunities: to "hit" the rank of general, get "cavalry", live in St. Petersburg.
NIKOLAI VASILYEVICH GOGOL
(1809-1852)
"Inspector"
In this topic, we took into account the established tradition of a holistic study of the comedy "The Inspector General", which is most consistent with the nature of a dramatic work ("following the author"). At the same time, a prerequisite is the prepared reading of the comedy by the teacher and students in its entirety, from action to action.
The first lesson deepens students' knowledge about the main genres (types) of dramatic works, about the features of comedy as a genre. The teacher in the introductory speech tells the story of the creation of the "Inspector General", a historical and everyday commentary on the play (Nikolaev Russia during the time of Gogol).
At the same lesson, the poster is read and analyzed, a preliminary acquaintance with the characters takes place, accompanied by reading excerpts from "Remarks for gentlemen of the actors." This kind of “parade” of actors before reading in the classroom can be accompanied by illustrations by P. M. Boklevsky for a comedy (N. V. Gogol in portraits, illustrations, documents. - M .; L., 1959. - P. 184-187 ). The comparison of appearance and name enables the teacher to draw the attention of the class to the characteristic surnames of the characters, which in themselves create a certain impression of the persons to whom they belong.
The expressive reading of the comedy will be accompanied by the necessary commentary and will end after each action with a conversation, questions and tasks for which are offered below.
You can invite students to title each action of the comedy with quotes from it, for example:
I action - "Unpleasant news: the auditor is coming to us."
II act - “Oh, a thin thing! .. What a fog I let in!”
III act - "After all, you live on that, in order to pluck the flowers of pleasure."
IV act - "I have never had such a good reception anywhere."
Act V - "Some kind of pig snouts instead of faces."
The entire system of lessons is preceded by a general anticipatory question, the material for answering which students accumulate during all lessons: “How does the only, according to the author, honest, noble face of comedy, laughter, manifest itself in comedy?”
Questions and tasks:
I action
What can you say about the comedy "The Inspector General", just starting to study it? What does the word "comedy" mean to you? What does the timing of the play say?
What words of the mayor alarmed all the officials and set the plot of the comedy in motion? What do you consider the beginning of a comedy (the event that starts the action)?
Is there an exposition in the first act (a description of the situation preceding the beginning of the action)? What is its uniqueness? What is she talking about?
What is the significance of the reading of the letter by the mayor for the development of the action? What exactly characterizes the mayor in this reading?
What feeling drives all the officials?
How are the various institutions of the city characterized? What exactly in these descriptions justifies the fear of officials and the mayor of the auditor?
What scenes in act I seem to slow down the development of the plot? Why does the author introduce a dispute about the bribes of the mayor and the judge, the postmaster's story about other people's letters? Describe the story of Bobchinsky and Dobchinsky about the "auditor".
II act
Who is Ivan Alexandrovich Khlestakov? What do we learn about him from Osip's monologue? (Use the following sample questions in your analysis of this and other comedy monologues:
How does this monologue characterize the hero pronouncing it?
What prompted this monologue? What issues are covered in it?
What is the psychological state of the hero at the moment and how is it expressed?
What is the purpose of the monologue introduced by the playwright?)
How do Khlestakov characterize his own monologues, behavior with Osip, a tavern servant (before meeting with the mayor)?
What do we know about the relationship of the characters based on the previous scenes?
What caused the mutual misunderstanding of the mayor and Khlestakov? Why could Khlestakov seem like an auditor to an experienced mayor? After all, Khlestakov, at a meeting, tells the truth about himself, but the mayor does not believe. What confuses the mayor? Why does he call Khlestakov a "thin thing"?
Re-read carefully the author's remarks and remarks of the mayor to the side in order to answer the questions: what is the subtext of the behavior and statements of the mayor and Khlestakov? What do they say and what do they really think? How do we know about their inner state? Why does Khlestakov have no retorts to the side?
What is funny, comical in act II? What scenes are the most funny? How, for example, did the mayor understand Khlestakov's words that he had no money?
What did you learn from Act II about the characters of the characters, about their life positions, views? How does the speech of the characters characterize them?
What is the role of act II in the development of the plot and in revealing the ideological content of the entire comedy?
III act
What is the basis of constant contradictions between mother and daughter?
What scene III of the act and why can be called the climax (the highest point in the development of the action) of the plot of the comedy?
How does Khlestakov reveal himself in the scene of lies? What is especially funny about it? What is the manifestation of Khlestakov's "unusual lightness in thoughts"?
IV act
One of the researchers of the comedy "The Inspector General" wrote: "If in the scene of lies Khlestakov is obsessed with the elements of speech, then in the scene of courtship he is obsessed with the elements of actions. The element is always in him, it controls him in everything. Do you agree with this observation? Confirm your opinion with scenes from Act IV (not just the matchmaking scene).
When Anna Andreevna finds Khlestakov with her daughter, both women are clearly embarrassed. And how does Khlestakov feel and behave? How do you explain his behavior?
- "Each of Khlestakov's actions, like almost every word of his, is impromptu." How do you understand the word "impromptu"? Confirm the validity of these words, using scenes from the II, III and IV acts of the comedy.
How does Khlestakov behave in scenes of a bribe? How does Gogol show us the process of turning a person into a bribe taker?
What does Khlestakov call a "good reception"? What does the non-commissioned officer call her "happiness"? (“But they ordered me to pay a fine for a mistake. I have nothing to refuse from my happiness ...”) Are these two statements only ridiculous?
5th action
What scene V of the action is the highest point of happiness, the success of the mayor's power? How does he act in this scene?
How does the mayor's wife reveal her character in this scene?
How are the characters of officials and the essence of their relationship to the mayor revealed in Act V?
They say that in Gogol's comedy there are not one, but two outcomes (events that complete the action). Which scenes are the denouement of the action? Who is affected by the first denouement? What infuriates the mayor the most?
Recall that the plot in act I concerned the characters and set everyone in motion. What denouement in a comedy captures all the characters at once? How exactly does it give the impression of completeness? What can the viewer expect now?
Don't you think that the message of the gendarme about the arrival of a real auditor violates the logic of comedy? To answer this question, carefully re-read Chmykhov's letter, which was read by the mayor in Act I.
In one of the articles about The Inspector General there is such a remark: “If the plot immediately set everyone in motion, all the characters in the comedy, then the denouement immediately made everyone shut up and numb.” The play ends with a famous silent scene. What made all the characters in the play dumb and almost petrified?
The epigraph to the comedy says: "There is nothing to blame on the mirror, if the face is crooked." How are the crooked faces of the authorities, their “pig snouts” shown in the comedy?
Questions and tasks for the whole comedy :
I.What are your first general impressions of comedy?.
Why is the comedy called The Inspector General?
Why was Khlestakov mistaken for an auditor, although "in this heliport ... there was not even half a little finger resembling" an auditor?
What scenes and characters seemed to you the most interesting and why? Which character would you like to "play" in class?
II.Let's understand what we read, re-read the text of the comedy.
What kinds and types (genres) of literature do you know? To what kind and type of literature does The Inspector General belong?
Briefly tell (in three or four sentences) how the comedy The Inspector General is built: what is its main conflict, who are its main characters, what scenes are most important for the development of the plot of the comedy, to identify its main thought, idea?
Where and when does the comedy take place? Support your idea with a specific analysis of the text.
Pay attention to the writer's word:
Give examples from the speech of the mayor, Khlestakov and other characters that clearly depict the features of their characters and relationships, for example:
“What, samovar, arshinniki, complain? Archipists, protobeasts, swindlers of the sea! to complain?"
“On the table, for example, a watermelon - seven hundred rubles a watermelon. Soup in a saucepan came from Paris right on the ship ... "
"Eh!" - I say to Pyotr Ivanovich ... - No, Pyotr Ivanovich, it was I who said: "Eh!" - First you said, and then I said. "Eh!" - said Peter Ivanovich and I ... "
The comedy "The Government Inspector" became the source of many winged words and expressions that were included in folk speech, in proverbs, for example: "Alexander the Macedonian hero, but why break the chairs", "Unusual lightness in thoughts", etc. Remember the winged words and comedy expressions.
Gogol strenuously sought to fulfill his remarks in relation to the final silent scene. He writes: “The fright of each of the characters is not similar to one another, just as their characters and the degree of fear and fear are not similar, due to the greatness of the sins committed by each.” Read carefully the final remark to the comedy and explain how it reflects the character traits of Gogol's characters.
Addressing the performers of the comedy The Inspector General, Gogol wrote: “One of the main roles is the Governor ... a Russian man who was not only a monster, but in whom the concept of truth was perverted, who became all a lie, without even noticing it himself ... Maybe he is even one of those people who, if they saw that everyone around them became honest, that honesty is a requirement ... ”Here Gogol cut off his thought. How do you understand it? Do you agree with this author's assessment of the hero? Justify your opinion.
Gogol described the other characters as follows:
“He is not even a hunter to do lies, but the passion for dog hunting is great ... Because of her, he will do many different lies, without suspecting it himself.”
"... The man is fat, but the rogue is thin."
"... Nothing more than a frightened person with frequent audits and reprimands for no reason."
"... A simple-minded to the point of naivety, a person who looks at life as a collection of interesting stories to pass the time."
"... It's all surprise and surprise."
Determine which of the characters the author has in mind. Justify the validity of your opinion.
The author of the comedy wrote: “It is strange: I am sorry that no one noticed the honest face that was in my play. Yes, there was one honest, noble face that acted in it throughout its entire duration. This honest, noble face was - laughter ... even the one who is no longer afraid of anything in the world is afraid of ridicule ... "
By what methods does Gogol achieve comedy, how does he expose evil with the help of laughter? What is the nature of Gogol's laughter in Taras Bulba and in The Government Inspector?
Give examples of "meaningful" names of comedy heroes and explain their meaning.
Get ready for an expressive reading on the roles of the comedy "The Government Inspector".
In this regard, remember N.V. Gogol’s advice to performers: “Most of all, you need to be afraid not to fall into a caricature ... The less an actor thinks about making laugh and being funny, the more funny will be found in the role he has taken” . How did Gogol himself read The Inspector General? Turgenev, who was present at such a reading, said: “Gogol ... struck me with the extreme simplicity and restraint of his manner, with some important and at the same time naive sincerity, which, as if it doesn’t matter whether there are listeners here and what they think.”
In the writer's laboratory :
Gogol was not happy with how he originally wrote the scene of bribes in act IV: “... it’s not so clever that Khlestakov is the first to start asking for money and ... it would be better if the officials themselves offered him ...” What do you think is the point of redoing these scenes?
- “What is, if you take it apart, really Khlestakov? A young man, an official and empty, as they say, but containing many qualities that belong to people whom the world does not call empty ... Everyone, even for a minute, if not for a few minutes, was or is becoming Khlestakov ... "About what qualities Khlestakov is the author speaking here?
Compare the two beginnings of The Inspector General in the original and final editions and draw a conclusion about the direction in which the revision of the text of the comedy went, which Gogol sought:
|
Initial edition I invited you, gentlemen... Here are Artemy Filippovich and Ammos Fedorovich, Luka Lukich and Khristian Ivanovich... in order to tell you one unpleasant news... I am informed that an official has left incognito from St. Petersburg with a secret order to revise in our province everything pertaining to civil administration. " Auditor". M., 1966. E. L. Voitolovskaya. Comedy N. V, Gogol « Auditor". Comment. L., 1971. S. Mashinsky. Art... N. A. Nekrasov Teacher's word about N. V. GogolDocumentEquipment: portrait of N.V. Gogol, “N.V. Gogol in portraits, illustrations, documents” (under the editorship of A.M. Dokusov); illustrations to " Auditor". During the classes. ... presenting a new comedy» Gogol created in 1836 under the impression of the premiere " Auditor". Except... Lesson planning of literature lessons NV Gogol. Cycle "Petersburg Tales"LessonVISIBILITY, TCO: portrait of N.V. Gogol, the poem "Dead Souls", informer cards, illustrations and drawings for works ... rubles 4) from fifty dollars The role of which character in comedy N.V. Gogol « Auditor”played by our famous fellow countryman M.S. Shchepkin... Literature lesson in grade 8 "This honest, noble face was laughter"Lessonnamed after Kiselev. Multimedia installation (display illustrations to comedy N.V. Gogol « Auditor") During the classes. Introduction. Today our... interest in his work. Did you like comedy Gogol « Auditor"? If you get a chance, would you go... |
slide 2
Gogol backstage during a rehearsal of the comedy The Inspector General at the Alexandrinsky Theater in St. Petersburg. Watercolor by the actor P.A. Karatygin, 1836. “No one guessed what a great talent was hidden in this weak body, what suffering he experienced, foreseeing that neither the performing actors nor the majority of the public would appreciate and understand The Inspector General with his first show." (P. P. Karatygin from the words of P. A. Karatygin. Ist. Vestn., 1883, Sept., 735.)
slide 3
P.M.Boklevsky. Self-portrait, 1848. Considering Gogol the greatest of Russian writers, P. M. Boklevsky devoted his whole life to illustrating his works. A huge number of variants of portraits of the heroes of the "Inspector" was created by the artist for forty years.
slide 4
In 1858, the "Gallery of Gogol's types" appeared. The album consists of 14 large lithographs. The characters of the "Inspector" are depicted in full growth. Their portraits are provided with captions taken from the text of the comedy. "Oh, if the old gentleman had known this! He would not have looked at the fact that you are an official, but, lifting his shirt, he would have covered you with such that you would scratch yourself for four days ..."
slide 5
Osip, Khlestakov's servant. In contrast to his master, he is unkempt, unkempt, his face overgrown. Eyebrows are furrowed, look sullen, even wild. Osip furiously cleans Khlestakov's elegant, thin-skinned boot.
slide 6
Mayor with her daughter. Exaggerating the corpulence of the mayor, Boklevsky seeks to emphasize her rudeness and stupidity. The self-satisfaction and vanity of Anna Andreevna is set off by her daughter. Marya Antonovna timidly looks out from behind her mother's powerful shoulder.
Slide 7
Slide 8
Boklevsky, after the reform of 1861, once again refers to the Inspector General. In 1863, his famous "Bureaucratic Catechism" appeared - five lithographed scenes from "The Government Inspector". Now Boklevsky, using scenes from The Inspector General, wanted to show not the abuses of individual officials, but the system of views that is widespread among civil servants.
Slide 9
The mayor: “As for what Andrei Ivanovich calls sins in the letter, I can’t say anything. Yes, it's weird to say. There is no person who does not have some sins behind him. It is already so arranged by God himself, and the Voltaireians speak against it in vain.
Slide 10
Officials in front of Khlestakov's door. “Listen, these things are not done in a well-organized state. Why do we have a whole squadron here? You need to introduce yourself one by one, but between four eyes and that ... as it should be; so that the ears do not hear. This is how it is done in a well-ordered society.”
slide 11
“After all, why do you want to be a general? ..”
slide 12
“What, samovar, arshinniki, complain? Archwives, protobeasts, swindlers of the sea ... "
slide 13
Work on the "Inspector General" does not end even after the "Bureaucratic Catechism". Two later series of full-length portraits of the heroes of The Inspector General are popular - contour and tone. In a series of tone drawings, a new interpretation of the mayor attracts attention.
Slide 14
Mayor. “You dine somewhere with the governor, and there you stop, mayor ...”
slide 15
Bobchinsky and Dobchinsky. “Eh, no, let me ... let me, let me ... you don’t even have such a style ...”
slide 16
“Bobchinsky and Dobchinsky, both short, short, very curious; very similar to each other"
Slide 17
Khlestakov. somewhat stupid and, as they say, without a king in his head ... "
Slide 18
Khlestakov. one evening, it seems, he wrote everything, he amazed everyone. I have an extraordinary lightness in my thoughts.
Slide 19
"Gendarme. An official who arrived from St. Petersburg by personal order demands you to come to him at once.
MOU "Gymnasium No. 17"
"Hero of N.V. Gogol's comedy" The Government Inspector "Khlestakov
in illustrations by Russian artists.
Completed:
8th grade students
Sharkova, Anna
Chernienko Margarita.
Checked:
teacher of Russian language and literature
Karymova E.A.
Elektrostal 2011
Content.
- Gogol the painter. Portrait in fine arts and literary portrait. Means of creating the image of Khlestakov. Khlestakov in the illustrations of Russian artists. Image analysis and comparison with text. Conclusion.
detail", means, "tool" of the author to characterize the hero,
character, his experiences, emotional state, that is
everything that contributes to a more complete perception, understanding of the author's intention, the author's attitude to what is happening.
In fiction, the portrait is only one of the means of characterization used in compositional unity with other means: the deployment of action in the plot, the description of the thoughts and moods of the characters, the dialogue of the characters, and the description of the situation. An original system of such means of characterization creates an artistic image in literature, and the portrait thus turns out to be one of the sides of the artistic image. The writer can describe events taking place at different times and in different places, can give a lengthy verbal description of the hero, show the relationship of characters in different plot situations. The artist is deprived of such an opportunity. However, the language of painting helps to express and tell a lot without words. The state, thoughts, feelings of the character, the author's position in relation to the hero are "read" with the help of visual and expressive means (composition, color scheme, gestures, facial expressions, postures). Sometimes what is not said in words is quite clearly shown in the picture. Comedy belongs to a special kind of literature - dramatic. Designed for the stage, it is built according to special laws. The play does not describe the appearance and actions of the characters, the author's narration, the direct expression of the author's attitude to events and characters, his feelings. The author is hidden behind the actions and speeches of the characters in the play. Therefore, each of the works of art is the author's reading of Gogol's text, the bearer of a special Gogol's mood, spirit. Feeling, capturing and conveying the atmosphere of a work is one of the most difficult tasks for an illustrator. The artist must bring together the author's text, readers' ideas and their own creative concept. Thus, a new artistic image is obtained. Let's turn to the author's text. The action of the comedy The Inspector General takes place in a typical Russian provincial town, its name is unknown. Gogol wrote in The Author's Confession: “In The Government Inspector, I decided to collect in one heap everything that was bad in Russia, which I then knew, all the injustices that are being done in those places and in those cases where justice is most required of a person, and laugh at everything at once.” One of the central places in the conflict is occupied by the image of Khlestakov. What character traits does this character have? What is this person? "Remarks for Messrs. Actors" gives him a detailed description. This is “a young man of about twenty-three, thin, thin; somewhat stupid and, as they say without a king in his head, is one of those people who are called empty in the offices. He speaks and acts without any thought. He is unable to stop the constant focus on any thought. His speech is abrupt, and words fly out of his mouth quite unexpectedly. The more the person who plays this role shows sincerity and simplicity, the more he will benefit. Dressed in fashion." We learn about Ivan Alexandrovich Khlestakov from the monologue of Osip, a serf servant. Khlestakov serves, but occupies the lowest rung on the ladder of ranks: he is a collegiate registrar (“simple elistratishka”), an official of the last, fourteenth grade. He does not show any interest in his service, “instead of taking a position, and he goes for a walk around the prefecture, plays cards”, he obviously lives beyond his means, likes to “show himself”, to have a good time. It was this careless, stupid, conceited, cowardly St. Petersburg varmint who was mistaken for a "statesman", for an auditor. What features of Khlestakov are captured in the illustrations of artists? If we consider the portraits created by Russian artists: P.M. Boklevsky, D.N. Kardovsky, Korovin Yu.D., Rudakov K.I., Savitsky K.A., you can see with what skill they reflected the character of Khlestakov in his appearance.
Khlestakov. ArtistP. Boklevsky. 1858, 1863 Facial expression, posture - everything speaks of the carelessness, stupidity of a hero who is able to show off in front of others. "In the face of a kind of reasoning ... physiognomy ... actions" (Bobchinsky). “But what a nondescript, short one, it seems like he would have crushed him with a fingernail.” Boklevsky is not interested in all the vicissitudes of Gogol's intrigue. He does not depict heroes at a certain moment, but gives them in a position that is essential for his typical characteristics. The desire to see the character as alive, to give him a true portrait strengthens P. Boklevsky's craving for volume and picturesqueness. 
(1) D. Kardovsky. Khlestakov. Watercolor. 1922 (2) D. Kardovsky. Khlestakov. D. N. Kardovsky, illustrating the comedy "The Inspector General", set himself the task of giving multifaceted characteristics of the characters. Initially, the artist created watercolors as sketches for costumes and mise-en-scenes for a play staged at the Moscow Maly Theatre. Revealing the ideological and artistic meaning of comedy, Kardovsky molded each character so completely and vividly that he turned into a complete type, psychological and social. In (2) Kardovsky's illustration, D. Khlestakov is apparently shown at the moment when he “speaks and acts without any consideration. He is unable to stop the constant focus on any thought. His speech is abrupt, and words fly out of his mouth quite unexpectedly. His head is raised. He seems to be enjoying this moment. P. Boklevsky. Khlestakov. Lithography. 1863. Here, P. Boklevsky Khlestakov has "not bad appearance", "in a particular dress", "in the face of a kind of reasoning." 
Konstantinovsky A.I. 1951 Korovin Yu. D. The very pose of Khlestakov, drawn by Korovin Yu. D., emphasizes the carelessness of this young man, and the expression on his face - his innocence, inner emptiness. A later work of Konstantinovsky A.I. - a colorful, expressive portrait of Khlestakov. Here we do not see the hero in full growth, but we can also understand that this is a narrow-minded, stupidest person. He is full of contempt for the provinces, and therefore puts on airs. Before us is Khlestakov, capable of cheating and talking. 
S. Gribkov. Khlestakov's lunch. 1868 In Gribkov's painting, Khlestakov is seated half-turned at the table. He expresses indignation to the servant at the dinner that was brought to him. So, not bad appearance, "observation" (he looked into the plates), the news that an official from St. Petersburg does not pay money either for accommodation or for lunch - all this allowed Bobchinsky and Dobchinsky to take Khlestakov for an auditor, especially since they already were very scared." A mirage intrigue ensues. What scenes with the participation of Khlestakov attracted the special attention of artists? First of all, of course, the episode of the first meeting with the mayor. Let us recall what events are taking place at this moment and how Khlestakov behaves. Gogol endows his hero with a frightening surname, formed from the word whip - to beat backhand. And officials tremble. The mayor himself did not recognize the “wick”, “dummy”. We see Khlestakov as cowardly and impudent, he does not listen to the speeches of the mayor, does not see his obvious timidity, uncertainty. The author's remarks show how funny he looks: “bravely”, he knocks his fist on the table. Ridiculous exclamations flying out of his mouth: “I'm going straight to the minister! .. What are you doing! What are you! .. ”, betray his fear and at the same time arrogance, which serves him in a moment of danger as a means of self-defense. Khlestakov, in contrast to the mayor, has no remarks at all to the side. What's on his mind is on his tongue. Khlestakov is not able to dwell on his unfortunate position, he hopes for a chance. Quickly moves from a capricious, demanding tone to a timid, confused one; defending, getting excited, being brave. Having received the money, he feels safe, therefore he immediately puts on airs, calms down and even confidentially talks about himself with complete innocence. Why does Khlestakov take the servility of the mayor at face value? If Khlestakov were a little smarter, the strange behavior of the mayor would have confused him. After all, the mayor trembles, confesses to bribes, to arbitrariness (he whipped a non-commissioned officer's widow), talks about some villains who are ready to encroach on his life. 
The arrival of the mayor at the hotel.Artist D. Kardovsky. 1933 Before us is a reproduction of the artist D. Kardovsky. We almost do not see the expression on Khlestakov's face, but we immediately guess that he is very scared. He can't control his fear! Khlestakov is a coward. He is afraid of punishment. Both heroes behave naturally in accordance with their true position, although the interlocutors perceive each other's words in a distorted sense. Fear! This is what unites Khlestakov with the mayor and other district officials, and their common fear becomes the basis of all dramatic action in The Government Inspector. The mayor is afraid of Khlestakov, but Ivan Alexandrovich is in the same fear of the district mayor. It is necessary to understand the depth of Gogol's thought about the strange internal similarity of people, born of an unnatural feeling, in order to appreciate the satirical grotesque of the writer, who recreates, in essence, an absurd, anecdotal story with comic details. 
Konstantinovsky A.I. 1954 Khlestakov in the drawing by Konstantinovsky A.I. looks funny. Frightened eyes indicate that he is very frightened by the visit of the mayor. In light, elegant drawings, the parody and ease of Gogol's manner are preserved. The artists were well aware of this feature of Gogol's humor. 
Rudakov K.I.1946 Rudakov K.I. Khlestakov is depicted at the moment when he quickly moves from a capricious, demanding tone to a timid, confused one: “It’s not my fault ... I’ll pay the right ...” Here we do not see his facial expression, but we guess that he is asking for something. An interesting illustration of Konstantinovsky A.I. 
“The guards open both halves of the doors. Khlestakov enters, followed by the mayor, then the trustee of charitable institutions, the superintendent of schools, Dobchinsky and Bobchinsky with a band-aid on their noses. The scene of Khlestakov's boasting is the next stage in the disclosure of Khlestakov's image. He grows from an “Elistratishka” into a minister who manages a department. Gogol described Khlestakov in this way: “He started talking, not knowing at all from the beginning of the conversation where his speech would lead. Topics for conversations are given to him by the investigators. They kind of put everything in his mouth and create a conversation.” We read Gogol's advice: “Khlestakov does not cheat at all; he is not a liar by trade; he himself forgets that he is lying, and he himself almost believes what he says ... This is generally the best and most poetic minute in his life - almost a kind of inspiration. In this scene, everything that lurked in the soul of this "emptiest" little man, that was drawn in his ridiculous dreams, that was the essence of his existence, is revealed. Everything he says emphasizes the paucity of his imagination. Here the highest comedic skill of Gogol was manifested. There are many different ways to create comics. “In the boasting scene, the author resorts to hyperbole, exaggeration. He composed three works in one evening: "Norma", "Robert the Devil" and "The Marriage of Figaro". He gets "soup in a saucepan straight from Paris", and what is the cost of receiving 35,000 foreign couriers in one evening! The comedy of this scene lies in the fact that the further Khlestakov is from the truth, the more inspired and convincing his words sound for officials. Along with the exaltation of his position in society, the rapid rise of his rank, the panicky fear of officials and admiration for him, joy and adoration are growing. The stage directions in the play convey the feelings of officials. “The mayor and others shyly get up from their chairs”; “The mayor and others are shaking with fear,” the mayor, “walking around and shaking with his whole body, tries to utter” something, but with fright he cannot utter a word. This is the high point of the lie scene. The mayor's goal has been achieved: the guest has revealed himself - he is an important state person. And now it's about the fate of the mayor. Gogol laughs not so much at the fact that the Elistratishka was mistaken for a field marshal, but at the fact that a dummy was mistaken for the ideal of a person: “This, Pyotr Ivanovich, is a man. This is what a person means, ”Bobchinsky exclaims. G. A. Gukovsky writes: “And all of them, county, frightened and knowing their sins, reverent to their superiors, are ready to see any majestic features in their nose, sideburns, pacifier, in a wick, since they recognized the sideburns or wick as a “person”. 
Konstantinovsky A.I. "Inspector". Khlestakov says. 1951 In this illustration, Khlestakov is shown in a moment of inspiration, in a boasting scene. Thus, Khlestakov goes with the flow, formed by district fear and delight in front of the capital person. The inner motive of the main action in The Government Inspector, which "justifies" all outwardly improbable plot episodes, is the unrestrained desire of the mayor and Khlestakov to become higher in rank. The difference is only in the forms of behavior. And also only outwardly their specific ideals differ and the reader's reaction to them is different. The general's future of the mayor is simply frightening, Khlestakov's "state" activity causes only a smile. But Gogol warns: these differences are insignificant, one cannot be mistaken about the comic Khlestakovism - it is not at all harmless. No wonder the mayor listens with delight to the speeches of Ivan Alexandrovich - in them he sees his own dream come true. And this unity of Khlestakov and the mayor gives rise to the tragicomic grotesque of the play, makes understandable the unlikely situation when a young idler is mistaken for a state dignitary. Scenes of bribes, according to the definition of G. A. Gukovsky, open the mechanism for the transformation of a little wick into an auditor. Encouraged by the timidity and servility of officials, Khlestakov, before our eyes, becomes an auditor, a dignitary, a bribe-taker. Confusion and trembling are characteristic of all officials at Khlestakov's "reception", but each of them gives a bribe in his own way. There are no similar works of artists. Each of them is individual. 
Konstantinovsky A.I. 1951 Khlestakov woke up. Carelessness, growing abandonment in all his nature. 
Konstantinovsky A.I. 1951 Khlestakov. Here is a strange case with me: on the road I completely spent it. Can you lend me three hundred rubles? In scenes with merchants, a locksmith and a non-commissioned officer, Khlestakov is already a real auditor in his every word. He is already acting as an experienced bribe taker and as an empowered "doer". 
Savitsky K.A. Khlestakov's swagger increases in the scene of the "reception" of officials and other city residents. Apparently, Khlestakov begins to guess that he is mistaken for a statesman. In the scene with Bobchinsky and Dobchinsky, Khlestakov is no longer in the role of a petitioner. Gogol shows us the process of turning a person into a bribe taker. 
Savitsky K.A. 1900 Gogol uses the grotesque in his work. The whole action of the comedy rests on a mistake. There is another artistic motive: the grotesqueness of the plot should convey the absurdity of the public order, when the possession of a high rank is achieved not according to a reasonable human law, not according to the true spiritual value of the individual, but, in essence, according to a random whim of fate. Gogol sharpens this idea in a comedic way. Khlestakov quickly enters the role, skillfully and even brilliantly represents the formidable nobleman. This playful, grotesque moment is very meaningful: here is a transparent allusion to chance, complete groundlessness, psychological, intellectual, the appearance of significant persons. Savitsky K.A. makes us feel this grotesque, absurdity, the absurdity of the rule of law, the comicality of what is depicted. I recall the epigraph of the play: "There is nothing to blame on the mirror, if the face is crooked." The epigraph was given by Gogol later, in 1842, after the suffering he experienced from a stream of furious accusations of slandering Russia, of distorting reality. So, comedy is not slander, but a mirror. Do not blame him, do not reproach him for distorting, but take a closer look at his reflection. The epigraph sounds sharp and bold. Chernyshevsky wrote: Gogol "was the first to introduce us to us in our present form ... the first to teach us to know our shortcomings and to abhor them." But for 150 years, comedy has been living on theater stages. What does it give to the modern viewer, reader, besides the fact that we learn how it was? Are there any features of Khlestakov and other comedy heroes in ourselves, around us? The contradiction between the existent and the proper is fixed in the "Inspector". Isn't it strange that in the "prefabricated city" together with Skvoznik-Dmukhanovsky, such monsters as judge Lyapkin-Tyapkin, the trustee of charitable institutions Strawberry and the caretaker of schools Khlopov feel like true owners? Their existence in this role is absurd and insane, just as the organization of life created by such "fathers of the city" is cruelly absurd. Their power is real, but, from Gogol's point of view, it is illusory. The grotesque in The Inspector General perfectly expresses the idea of "ghostly", but it is realistic. Its originality lies in the fact that its main, comic element is constantly "coexisting" with the pathos of the tragic. Reading the play, we always imagine that a real inspector is quite real without boasting, but with a gloomy severity that is even more frightening. And sometimes Anton Antonovich’s dreams of a generalship with a natural addition in the form of one of the “first houses in the capital” and with the only possible form of using this generalship: unlimited, heavy power over the weak of this world seem to be not empty projecting at all. 
Rudakov Korovin Yu. D. Hands sticking out of the window with requests. Khlestakov. Who else is there? ( Approaches the window.) I don't want, I don't want! No need, no need! ( Departing.) Tired, damn it! Don't let me in, Osip! Osip ( screaming out the window). Go-go! No time, come tomorrow! 
Rudakov K. 
Rudakov K. What new properties of Khlestakov's nature did we learn from the fourth act? One of the researchers of the comedy "The Inspector General" wrote: "If in the scene of lies Khlestakov is obsessed with the elements of speech, then in the scene of courtship he is obsessed with the elements of actions. The element is always in him, it controls him in everything. Khlestakov is ready to both cheat and talk, in a word, he will not miss what floats into his hands, like the mayor. He is able to play any role, even the role of an ardent lover. This role is prompted to him by the circumstances themselves, "chance". . 
Konstantinovsky A.I. 1951 "Pick flowers of pleasure" - that's the purpose of his existence. And the greatest pleasure is to have power and money, to live in a big way. When Anna Andreevna finds Khlestakov with her daughter, both women are clearly embarrassed. And how does Khlestakov feel? In any case, we do not see embarrassment. What are the life goals and dreams of the mayor now? "Kinship" with Khlestakov opens up, in his opinion, incredible opportunities: to "hit" the rank of general, get "cavalry", live in St. Petersburg. What awe and humiliation plunged him into horror before the power of "general" Khlestakov. And now this fear will pierce others in front of his special. It is tempting to see those trembling and trembling! Khlestakov also experienced the same delight of the soul, imagining himself as the head of the department: “And for sure, it happened that I was passing through the department - just an earthquake - everything was shaking, shaking like a leaf.” The bureaucratic machine of Russia rested on this contempt for the lower and servility to the higher ranks. This system, legalized by the state, has created and shaped the psychology of an official. How distorted was the idea of the true dignity of a person, if the rank meant everything! The author "forces" his hero Khlestakov to leave the stage in act IV. But we got to know Khlestakov enough to draw a final conclusion about him. Khlestakov's last remark: “Farewell, Anton Antonovich! Much obliged for your hospitality. I confess from the bottom of my heart that I have never had such a good reception anywhere.” There is no shadow of the former boastful heliporter, the words sound sincere and plaintive. In one of the articles about The Inspector General there is this remark: “If the plot immediately set everyone in motion, all the characters in the comedy, then the denouement immediately made everyone shut up and numb.” The play ends with a famous silent scene. The news of the arrival "by personal order from St. Petersburg" of an official falls on everyone's heads even more unexpectedly than Khlestakov's letter to Tryapichkin. So, the image of Khlestakov was a brilliant artistic generalization of N.V. Gogol. There is a lot of Khlestakovism in each of the characters in the play. This is the author's intention. Its features are inherent in every person to one degree or another. And if we talk about the means of creating this image, then we can see an organic whole of verbal-expressive and artistic-graphic means. The main advantage of the illustrations is that they are permeated with the inquisitive thought of the artist who seeks to expose the very essence of a literary work, an artist who sees his goal not in presenting well-known truths, but in the search for new ways of translating the images of literature by means of fine art. Each epoch introduced its own characteristic features into the pictorial embodiment of Gogol's heroes, imprinted on them the stamp of its own understanding. Useful resources.- N.V. Gogol in the fine arts. 2009 Ivanovo Regional Scientific Library. Gogol N.V. Selected passages from correspondence with friends. Gogol.lit-infoWikipedia.orgVinogradov V.V. "Gogol and the natural school" Dictionaries. Yandex.Cheskis M. Walked by GogolElectronic public library
