The basis of Gogol's "Inspector General" is not love affair, not the desire to get a profitable place, rank; the dramatic situation of the work is formed by “the very horror, the fear of expectation, the storm of the law ahead,” which seizes the officials. The plot of the play consists in the very first phrase of Gorodnichiy (“I invited you, gentlemen ...”), and from that moment fear begins to fetter the heroes and grows from action to action. Because of this, many comic situations arise, we see what morals reign in the city, what officials are goats, and so on. At the same time, in comedy there is no hero-ideologist, such as Chatsky, there is no hero who deliberately leads everyone by the nose. Officials, overwhelmed by fear that obscures the mind, impose on Khlestakov the role of a significant person, take the “icicle”, “rag” for the auditor. Heroes rush into nowhere, behind the void, behind the mirage. That is why Yuri Mann called the intrigue in The Inspector General "a mirage intrigue." It begins with the story of Bobchinsky and Dobchinsky about how Khlestakov looked into their trinkets and that he is the auditor. Mirage materializes with the appearance of Khlestakov. Without this hero, there would be no “mirage intrigue”. After all, it consists in turning him into a statesman - that is, filling the complete emptiness with mental content. Behind all the action, all the intrigue, this big zero is felt, put in the familiar position of one for the characters and spectators. Gogol deliberately puts at the center of the play a hero who is unaware of the position he is in and does not try to benefit from this position. It is not the hero who leads the action, but action leads the hero- so very conditional, but it can be succinctly indicated main feature constructing comedy. This is the originality of Gogol's development of a walking story about an imaginary auditor and the essence of the concept of "mirage intrigue".
Gogol warned more than once that X is the most difficult character in the play, because, having become the culprit of the general deception, X did not deceive anyone. The hero successfully played the role of the auditor, not only not intending to play it, but not even realizing that he was playing it. Only by the middle of the fourth act, vague guesses begin to dawn in X-va's head that he is being mistaken for a “state. bang". The image of Khlestakov is one of the most striking types created by G. Khar-r of the hero, completely innovative in Russian and world dramaturgy. And before G. in comedies, deceivers and rogues, liars and braggarts, spendthrifts and red tape were ridiculed. At the same time, the characterization of types was usually limited to only one feature. The character of Khlestakov is more complex: none of the listed features is alien to him, but they are all summarized in a more complex general phenomenon, called Khlestakovism.
X is a naive darling, an empty nobleman, burning through the means of his landowner father. He is ordinary person and, "as they say, without a king in his head," but at the same time the embodiment of impudence. The hero has an "unusual lightness in his thoughts." “He is simply stupid,” G. wrote, “he talks only because he sees that he is disposed to listen; lies, because he had a hearty breakfast and drank a decent amount of wine. He fidgets only when he drives up to the ladies. All the actions of the hero are guided by petty vanity, the desire to splurge and play the role "a rank higher than one's own." He, according to the author's description, "is both a liar, and a scoundrel, and a coward, and a clicker in every respect." X can commit any meanness simply because he is devoid of any ideas about good and evil. X lies for no apparent reason, just out of sheer vanity to boast of an imaginary position in high society. A hero and a player, and a vulgar red tape (he takes care of both his daughter and her mother at the same time), and a bribe-taker, and a coward, besides, he is extremely narrow-minded person. However, in dealing with serf servants, the hero is extremely rude and shows "remarkable courage." In relation to Osip, the hero does not find other words like "fool", "cattle", "rude animal"; the hero calls the tavern servant "bad pig". V. mark that Khlestakovism is a typical phenomenon, and the image of H. is of a generalizing nature: the features of Khlestakovism were repeated in thousands of people and in many incidents; many of the features of the hero, according to G., "are scattered in different Russian characters ... and a clever guards officer will sometimes turn out to be Khlestakov, and a statesman will sometimes turn out to be Khlestakov, and our brother, a sinful writer, will sometimes turn out to be Khlestakov."
Of course, X is Gogol's brilliant discovery. In a pointed form, immoderate and unreasonable claims are revealed, the ability to shine with complete mental and spiritual emptiness and frivolity; “microscopic pettiness and gigantic vulgarity” (Belsky) are features that are so characteristic of the noble and bureaucratic R. In the dizzying transformation of insignificance into a significant “person”, the nonsense of social orders, the cult of “rank” affected. The character of the existing relationship, combined with the fear that officials experience, makes everyone believe the ridiculous logic of D and B: “Forgive me, if not him! And he doesn’t pay money, and he doesn’t go - who should be, if not him? .. By God, he ... He is so observant: he looked at everything ... and even looked into our plates to inquire about what we eat? Therefore, the comedy of the scene in the hotel is so deep, when the Governor is convinced that the visiting official is a “thin thing”. But the whole point is that it is here that X ingenuously expresses the whole truth about himself. In the future, Khlestakov never consciously and deliberately plays the auditor out of himself - everything is done for him, even the central scene of lies is not led by him at all, as it might seem at first. In the scene of lies, the mirage grows to an incredible size. His exaggerations, by the way, characterize the poverty of nature.: they are purely quantitative. Actually, I somehow don’t really want to call everything Khlestakov utters a lie, because behind the lies there is always the presence of some goal that I really want to achieve. Khlestakov does not have this goal. It is also impossible in the full sense to call the offerings in cash and in kind, which Khlestakov takes in act 4, bribes. Khlestakov simply does not understand that these are bribes, since he already knows his position for sure and cannot even imagine that everything given to him is given for a specific purpose. What is happening is perceived by him as another manifestation of the sweet customs of this wonderful city, inhabited by extremely pleasant and courteous people. It is characteristic that Gogol himself insistently emphasized that Khlestakov should not be perceived as a traditional comedic rogue, a swindler, since there is no deliberate intent in his behavior; it is no coincidence that he also compared Khlestakov with a piece of wood caught in a whirlpool.
« Mirage intrigue”- the term of Yu. V. Mann (the word “mirage” was borrowed from the critic of the last century Al. Grigoriev). It means that formally the intrigue takes place between Khlestakov and the officials, but in fact the officials interact not with Khlestakov, but with the absent Auditor. The name of the comedy "The Government Inspector" eloquently refers to this character, who never appears on stage. Meanwhile, it is he who constitutes "the purpose and meaning of comedy." “The auditor sits in the head of everyone” (N.V. Gogol). The inspector is replaced by Khlestakov, therefore, in the course of the development of the action, false, imaginary, "ghostly" (as Belinsky would say) or "mirage" relations are established between the characters. Based on this, we can say that there are two intrigues in comedy.
One real one: "The auditor is coming to us." This plot appears in the very first phrase and captures all the characters (Gogol considered such an energetic beginning a very important requirement for a comedy). This link can be understood in symbolic sense- mystical fear of the auditor as a manifestation of "wild conscience" (M. E. Saltykov-Shchedrin). After the tie - an exposition (messages of officials on the state of affairs for the viewer - this is an acquaintance with officials). The climax is the Postmaster's message that Khlestakov is not an auditor, reading a letter to Tryapichkin and the words of the Governor ("Who are you laughing at, etc."). The denouement is the arrival of the Gendarme (with a message about the arrival of a real auditor) and a silent scene.
Another intrigue is the “mirage” (Vaudeville relationship between Khlestakov and officials). The plot here is the message of Bobchinsky and Dobchinsky that the auditor is Khlestakov. The climaxes are the scene of Khlestakov’s lies (and the compositionally parallel scene of Gorodnichiy boasting), the scene of taking bribes, the scene of Khlestakov’s “matchmaking” with a parody love triangle(he, the wife and daughter of the Governor). The denouement for Khlestakov is his departure, and for the Gorodnichiy, the moment when he feels ashamed (“He cheated, damned ...”). The action thus develops between two letters, which gives the composition a circular character.
There is no consensus among researchers regarding the final "silent scene", it can be interpreted in different ways. One of the possible interpretations is that a real, honest auditor finally appeared, and fair retribution overtook the officials. It is known, however, that there are no honest officials, including auditors, Gorodnichiy's many years of experience speaks for this, and the whole play proves this idea. Therefore, it is hardly worth hoping that this new auditor will be better than the previous one. In addition, the play does not say that "the official who arrived by personal order from St. Petersburg" is precisely the auditor (especially since the expected auditor must be "incognito"). That is, the alarm may again turn out to be false. But if this official is not an auditor, then it is generally unclear who he is and for what purpose he came. He travels accompanied by a gendarme and demands the governor to himself. If this gendarme is needed in order to arrest Gorodnichiy, then this is inexplicable, because there has not yet been an investigation, just as there was no audit itself.
However, it is obvious that the city does not need an audit from outside: it audited itself throughout the play. Therefore, it is no coincidence that the replica of the gendarme causes such a shock among the characters: the arriving official can indeed be associated with heavenly punishment, which the characters of the comedy are afraid of. This is facilitated by the fact that the gendarme announcing him is not on the list of actors. All this gives a special, mystical coloring to the end of the play.
It is noteworthy that the official arrives from St. Petersburg: this corresponds to the general color of the image of St. Petersburg in the play as a mysterious, transcendental, “mirage” city, which none of the inhabitants of the city has ever seen, existing in some special reality.
The history of the idea and genre originality Poems "Dead Souls"
Scene selection. As in the case of The Government Inspector, the plot is based on a well-known "joke", and it was suggested to Gogol by Pushkin. Gogol found it the most suitable for such a work, in which it would be possible to depict "at least from one side ... all of Russia." Here is what he himself said about this: “What an original story! what a diverse bunch! all Russia will appear in it. A simple "road" plot (Chichikov travels around Russia, buying " dead Souls”) makes it possible to show pictures from the life of various social groups. It is significant that if in Gogol's earlier \ works the scene is a mythologized city-world, then in " dead souls ah” Russia as a whole should be considered the scene of action. Of course, this is also a mythologized Russia, Russia is the “child of Gogol” (A. A. Blok).
Dante background. As an important prototype for his poem, Gogol chooses Dante's Divine Comedy, main character who travels through Hell, Purgatory and Paradise in search of the soul of her beloved. The poem "Dead Souls", according to Gogol's plan, was also to consist of three parts, conditionally corresponding to Hell, Purgatory and Paradise. "Dead Souls" is conceived as a poem about the hero's gradual ascent from the lower spheres. human life to the highest, from the ugly to the beautiful, from chaos to harmony, from non-existence to being, from “dead souls” to a living soul. Everything bad (Hell) is concentrated in the first volume, the events of the second volume were supposed to turn out to be "Purgatory" for Chichikov, in the third volume the hero was to be completely transformed and become the embodiment of the national ideal. Together with Chichikov, both the author and Russia itself (in the person of the reader) pass this way. Does this mean that Gogol had a peculiar utopian plan to save, to transform Russia with his poem? It probably is. However, like any utopia, this plan was not realized in reality. Being in a state of severe spiritual crisis. Gogol destroyed the third volume of the poem and a significant part of the second.
"Dead Souls" - a poem. It is no coincidence that Gogol calls "Dead Souls" a poem, despite the fact that this text is prosaic. In this work, of course, the influence of an adventurous picaresque novel, or the so-called “picaresque”, is strongly felt, the main character of which (a rogue, “pikaro”) travels, meets on his way various people and skillfully circles them around the finger; the road plot gives the writer the opportunity to show a wide variety of socio-satirical pictures. But despite this, "Dead Souls" does not look like an ordinary novel. Let us list those features of the poetics of "Dead Souls" that justify the formula of the genre ("poem") proposed by the author.
1. The lyrical-epic nature of the work, the special role of the author's voice in it, digressions.
2. Important role compositional repetitions on different levels text.
3. Poetic manner of writing. Expanded metaphors and comparisons, long phrases with complicated rhetorical figures, arbitrary associative ones; rows, various deviations from the topic, in some places (reread the beginning of chapter 7) one can speak of a certain rhythmic element in prose and of the significant role of phonetic consonances. Large fragments of "Dead Souls" are easy to memorize precisely because of this "poetic" factor.
4. In general, the style of narration is of greater importance here than in a purely epic work (story, novel). As already mentioned, during this period of Gogol's work, the phantasmagoric element, as it were, passes from the plot into the style.
5. In the draft “Study Book of Literature for Russian Youth”, Gogol defines “a lesser kind of epic” as a medium genre between a poem and a novel: “... The author leads his [hero] life through a chain of adventures and changes in order to present at the same time live a true picture of everything significant in the features and customs of the time he took, a picture of shortcomings, abuses, vices ... ”Recall that an epic is a major epic work on national theme, the “substantial forces of the people” find their expression in it (V. G. Belinsky). "Dead souls" were thought. Gogol in precisely this perspective. Therefore, the reading of K. S. Aksakov should be considered very sensitive (the article “A few words about Gogol’s poem“ The Adventures of Chichikov, or Dead Souls ”), who calls this poem the Russian Iliad, and Gogol - the Russian Homer. (Read the article by K. S. Aksakov, as well as the articles by V. G. Belinsky about Dead Souls. What is the essence of the controversy between the two critics?)
Plot and conflict
The plot of the poem is simple.
Tie. In Chapter 1, Chichikov arrives in the city, meets with officials and prepares the ground for the adventure he has planned. pay attention to portrait characteristic Chichikov (find indications of typicality, "averageness" of the hero), to the romantic clichés ironically parodied by Gogol in Chichikov’s self-characterization addressed to officials: “... and his conversation in such cases took on somewhat bookish turns: that he is an insignificant worm of this world and is not worthy of being cared for a lot, that he experienced a lot on in his life, endured in the service for the truth, had many enemies who even attempted on his life, and now, wanting to calm down, he is finally looking for a place to live, and that, having arrived in this city, he considered it an indispensable duty to pay his respects first to his dignitaries." Here, the parody is emphasized by an unexpectedly prosaic, even vulgar, ending.
(Which of the landowners did Chichikov meet at the governor's "house party"?)
AT In the same chapter, we also find an exposition - a description of the city. Notice the satirical and grotesque aspect of the streetscape and the interior of the hotel. Highlight the formulas for indicating typicality (“Peace was of a certain kind, because the hotel was also of a certain kind, that is, exactly the same as there are hotels in provincial cities ...”, etc.). The paradox lies in the fact that although it is said about the usual and typical, many details are written out in a grotesque-hyperbolic way (the nymph depicted in the picture “with such huge breasts that the reader, it’s true, has never seen”, a room “with cockroaches looking out like prunes , from all corners", a store with the inscription "foreigner Vasily Fedorov"), irony is visible ("Most often, darkened double-headed state eagles were noticeable, which have now been replaced by a laconic inscription:" Drinking house ";" The city was in no way inferior to other provincial cities : yellow paint on stone houses hit hard in the eyes and gray on wooden houses modestly darkened"). Pay attention also to a parody fragment from a newspaper note (“our city has been decorated ...”, etc.).
Action development. In chapters 2 to 6, Chichikov visits the landlords - the owners of "Dead Souls" - and makes deals with them. All chapters are built according to the same compositional principle. In the 7th chapter, Chichikov signs a bill of sale, for which he needs to come to the court of justice and give a bribe to the official "Ivan Antonovich Kuvshinnoye Rylo". In the 8th chapter, Chichikov comes to the ball to the governor, and here he is unexpectedly exposed by Nozdryov.
Climax. Nozdryov's performance at the ball can be considered the beginning of the plot's climax. This climax is extended. At the end of the eighth chapter, we meet Korobochka's "traveler" who goes to the city to find out "how much dead souls are now." The ninth chapter begins with a conversation between two ladies and continues as a grotesque-phantasmagoric retelling of the rumors about Chichikov. In the tenth chapter, all the officials gather at the police chief's to "talk" about what happened. Here the postmaster tells "The Tale of Captain Kopeikin". Please note: on the one hand, this insert slows down the course of the story, on the other hand, its appearance at the climax implies a special significance at a deeper, symbolic level of the work.
Interchange. In the 11th chapter, Chichikov leaves the city. Note that the junction is slightly blurred. Almost the entire chapter is woven from author's digressions: this is Chichikov's biography (which can be considered as a "belated" exposition of the protagonist), as well as a number of lyrical digressions on the topic of Russia. In the final scene, Chichikov gradually loses his own "Chichikov" outlines and dissolves into the image of a troika, this is no longer Chichikov, but a generalized symbolic image of a Russian, who in next volumes had to correspond to the generalized symbolic image of Russia itself. Perhaps here Chichikov merges with the lyrical hero.
Mirage Intrigue" in Gogol's comedy "The Inspector General" "The Inspector General" is a whole sea of fear. Yu. Mann The main character of a dramatic creation is the center of the play. All other faces circulate around it, like planets around the Sun I. Kroneberg (quoted from the book by J. Mann "Gogol's Poetics") I. Organizing time II. Work on the topic of the lesson 1. Explanation of the goals and objectives of the lesson 2. Work in notebooks. Record the topic of the lesson and epigraphs. 3. Teacher's word: What is the nature of Gogol's play? Is it possible to say that the comedy is fantastic in nature? 4. Dictionary work No. 1 1. Fiction (For example, he invents a brilliant fate for himself, fantastic changes in the external conditions of life) Hyperbole (a scene of lies - a watermelon 700 rubles, 35 thousand couriers + poverty Grotesque imagination in this most fantastic change). Mirage Intrigue 5.
Lecture: Gogol's auditor: the concept of a "mirage" intrigue. Khlestakov and Khlestakovism.
He lives in the moment of the present and acts as he was taught: you must respect the rank - he respects; he is asked about the charms of a luxurious life in St. Petersburg - he answers, becoming a minister and more important than a minister; offer him bribes, he takes them. Gogol himself in his "Remarks for Gentlemen Actors" gives the following advice to the artist performing Khlestakov: "The more the actor playing this role shows candor and simplicity, the more he will win." A county town is an absurd world, a world of hypocrisy that clashes with the sincerity and simplicity of a St. Petersburg official.
Attention
Thus, Khlestakov, against his will, becomes the center of intrigue. But why was Ivan mistaken for an auditor? “I was so overcome with fear” - this is the first comment describing Khlestakov. It was the fear that seized the city before the arrival of the auditor that prepared the ground for deception.
Khlestakov - the concept of "mirage intrigue"
The basis of Gogol's "Inspector General" is not a love affair, not a desire to get a profitable place, a rank; the dramatic situation of the work is formed by “the very horror, the fear of expectation, the storm of the law ahead,” which seizes the officials. The plot of the play consists in the very first phrase of Gorodnichiy (“I invited you, gentlemen ...”), and from that moment fear begins to fetter the heroes and grows from action to action. Because of this, many comic situations arise, we see what morals reign in the city, what officials are goats, and so on.
At the same time, in comedy there is no hero-ideologist, such as Chatsky, there is no hero who deliberately leads everyone by the nose. Officials, overwhelmed by fear that obscures the mind, impose on Khlestakov the role of a significant person, take the “icicle”, “rag” for the auditor. Heroes rush into nowhere, behind the void, behind the mirage.
That is why Yuri Mann called the intrigue in The Inspector General "a mirage intrigue."
Mirage intrigue and the image of Khlestakov in the play "Inspector" (Gogol N.V.)
In the scene of Gorodnichego's first meeting with him, the latter loses all doubts about this. And why? After all, everything does not speak in favor of Khlestakov, and even the Governor notices this: “But what a nondescript, short one, it seems, he would crush him with a fingernail.” But Anton Antonovich does not attach any importance to his observations, and only reading the letter to the “soul of Ryapichka-nu” will reveal the truth to him.
The mirage intrigue lies in the transformation of Khlestakov into a significant person, into statesman, that is, in filling the complete emptiness with fictional content. Its development is due not only to the fear and illogical thinking of officials, but to certain qualities of Khlestakov himself. Gogol reveals the very moment of "mistakes". The fact that Khlestakov looked into the plate of Bobchinsky and Dobchinsky served as the basis for the mayor to take him for an auditor.
vi. summary of the topic of the lesson
Info
He said to the side”, “grabs his head”, “with disdain”, “teasing him”, “out loud” ... But it is surprising that Khlestakov, who simply does not need them, is the least of the author’s remarks: he has something on his mind, then in the language. But then, by what means does Gogol portray his favorite grotesque character? main role Osip plays here, Khlestakov’s servant, who, lying on a master’s bed, reveals to us the whole truth about his master, a card player and a rake, who needs to “show himself in every city” and be sure to squander all the money. An important role is also played by the speech of the St. Petersburg official, quick and abrupt: “But what really? I am like that! I won't look at anyone...
I tell everyone: “I know myself, myself. I am everywhere, everywhere…” After all, Khlestakov speaks and acts without any consideration: he is not able to stop constant attention on any thought.
Gogol's inspector: originality of intrigue. Khlestakov's image
But the whole point is that it is here that X ingenuously expresses the whole truth about himself. In the future, Khlestakov never consciously and deliberately plays the auditor out of himself - everything is done for him, even the central scene of lies is not led by him at all, as it might seem at first. In the scene of lies, the mirage grows to an incredible size.
Important
His exaggerations, by the way, characterize the poverty of nature: they are purely quantitative. Actually, I somehow don’t really want to call everything Khlestakov utters a lie, because behind the lies there is always the presence of some goal that I really want to achieve. Khlestakov does not have this goal. It is also impossible in the full sense to call the offerings in cash and in kind, which Khlestakov takes in act 4, bribes.
What is a mirage intrigue in the auditor
To do this, let us return to the first phrase of Gorodnichiy, uttered in the first phenomenon of the first act. The brilliant playwright managed to find such a phrase, which is in the full sense of the key, launching. Therefore, this phrase inspires fear in all officials, because things in the city where the play takes place are going very badly.
- Explain why the Governor, who “has been living in the service for thirty years”, whom “not a single merchant, not a single contractor could fool”, who “deceived scammers over scammers, a rogue and such rogues that they are ready to rob the whole world”, who “ he deceived three governors, ”he himself was deceived at the expense of Khlestakov, in which“ there was simply not half a little finger similar to the auditor? Guys, we saw that from the beginning of the comedy, fear becomes a full-fledged participant in the play, which increases from action to action and will find its maximum expression in a silent scene.
Once, the poet and critic Apollon Alexandrovich Grigoriev spoke of the plot of Nikolai Vasilyevich Gogol's play The Government Inspector in this way: "This is a mirage intrigue." But what is a “mirage intrigue” and what does it mean in a play about a county town? In order to answer this question, we need to turn to the definitions of the words "mirage" and "intrigue". A mirage is an illusion, a phantom, a phantom generated by a game of the imagination.
Intrigue (from Latin “I confuse”) - covert actions using various unseemly means to achieve a goal. It turns out that the intriguer himself does not want to deceive anyone and may not even guess that he has become the culprit of the general deception? Exactly. The same thing happens with Ivan Alexandrovich Khlestakov, the hero of the play "The Inspector General", a young official who went to the Saratov province to his father.
Attempts to start a feverish dance again cause a terrible fury of the mountain king, the blows of the staff literally shake the entire underground kingdom, and silence ensues. IV The originality of the composition of the I and V acts of the comedy. The Inspector General begins with such a stroke of Gorodnichiy's phrase, after a moment of petrification everything comes into some kind of convulsive and feverish movement. Fear accelerates this movement, increases strength tenfold: “To be in time, to be in time, to be in time!” - but then the next blow: a message from Bobchinsky and Dobchinsky that the auditor is already here! Again, momentary stupor and confusion - again the energy of action, unprecedented in strength. Nothing can be done, and a lot needs to be done at the same time. Only now the point of application of forces has changed: not to put the city in order, but to "take an auditor."
What is a mirage intrigue in the comedy auditor
It begins with the story of Bobchinsky and Dobchinsky about how Khlestakov looked into their trinkets and that he is the auditor. The mirage materializes with the appearance of Khlestakov. Without this hero, there would be no “mirage intrigue”. After all, it consists in turning him into a statesman - that is, filling the complete emptiness with mental content.
Behind all the action, all the intrigue, this big zero is felt, put in the familiar position of one for the characters and spectators. Gogol deliberately puts at the center of the play a hero who is unaware of the position he is in and does not try to benefit from this position. It is not the hero who leads the action, but the action leads the hero - this is very conditional, but it is possible to succinctly indicate the main feature of the construction of the comedy.
This is the originality of Gogol's development of a walking story about an imaginary auditor and the essence of the concept of "mirage intrigue".
"Mirage intrigue" in Gogol's comedy "The Government Inspector"
The Inspector General is a whole sea of fear.
Y. Mann
The main character of the dramatic creation
is the center of the play. They turn around him
all other faces are like planets around the sun
I. Kroneberg (quoted from the book
Yu. Mann "Poetics of Gogol")
I. Organizational moment
II. Work on the topic of the lesson
1.Explanation of the goals and objectives of the lesson
2. Work in notebooks. Record the topic of the lesson and epigraphs.
3. Teacher's word:
What is the nature of Gogol's play? Is it possible to say that the comedy is fantastic in nature?
4. Vocabulary work No. 1
1. Fiction(For example, he invents a brilliant fate for himself, fantastic changes in
external conditions of life)
Hyperbola(scene of lies - watermelon 700 rubles, 35 thousand couriers + poverty Grotesque imagination in this most fantastic change). Mirage Intrigue5. teacher's word
In The Inspector General, much is built on exaggeration:
1) is fantastically exaggerated, brought to the “ideal” not only Khlestakov’s stupidity, but the universal human desire to seem at least a little better, higher than it really is.
2) The situation of delusion is comically exaggerated.
3) But the main thing in which the “Gogolian grotesque” was realized is the “mirage intrigue”, which highlighted in a fantastic glare the absurdity of human life in its pursuit of numerous mirages, when the best forces are wasted in an effort to overtake the void, so brilliantly embodied in Khlestakov.
Thus, one can confidently speak of the "mirage intrigue" as a "situation of delusion."
III. Detailed consideration of the first phrase of Gorodnichiy
1. Conversation with elements of the game.
We will reveal the "soil" that made it possible to unfold the "mirage intrigue".
a) What is the beginning of the comedy? (Already the writer's contemporaries noted the extreme swiftness and capacity of the phrase)
(b) What makes this phrase so magical? Let's think together.
Role-playing game "auditor's situation"
Since we are talking about the auditor, let's imagine ourselves in the role of the "auditor" and the "audited", i.e., we will create a "situation of the auditor". The task of the auditor is to “find and punish”, the task of the audited is to “hide and evade responsibility”. At the same time, the goal and tactics of the “enemy” are not a secret for either side, but the rules of the game are such that this knowledge is not shown. The emergence of fear is due to the fact that all sorts of surprises can arise, but the worst thing is the result of an audit, in which the “extreme” is almost always found. This means that anyone who is being audited can be punished. Thus, revision is a dangerous and unpredictable process.
c) What kind of reaction does this phrase evoke? It is also called the key, launcher.
d) Explain the reasons for the fear of officials according to the table.
2. Table work
Official
Field of activity
The state of affairs in this area
Corrective Actions
Trustee of charitable institutions
1. All patients are like blacksmiths;
2. patients are not treated;
3. the food is bad;
4. tobacco is smoked in the wards;
5. Everyone "recovers like flies."
1. Put on clean caps for the sick;
2. hang signs with the name of the disease;
3.i, in general, so that there are fewer patients (to be sent home).
3. Gogol City Model
Gradually, the image of the City emerges from small details. First, all administrative-territorial units are represented (except for the army and the church). Secondly, it is quite obvious that things are not going well in all spheres of urban life. Thirdly, the population is represented by all strata of society.
4. Teacher's word.
So that's what "soil" arises before readers. It is this that makes it possible for the “mirage intrigue” to unfold, since everyone is afraid of punishment.
Pay attention to the epigraph: “The auditor is a whole sea of fear” Yu. Mann. We can say that it is fear that is, if not the main character of the play, then at least its internal plot driver.
5. Grieg's entry "Peer Gynt" ("In the Hall of the Mountain King")
Listen to E. Grieg's symphonic painting "Peer Gynt", known as "In the Hall of the Mountain King".
The music conveys the dance of the gnomes, which, starting at a fairly calm pace, gradually becomes more and more violent. Suddenly, powerful blows are heard, reminiscent of the blows of the staff of the mountain king, the gnomes freeze for a second, but then their dance resumes in an even more unrestrained rhythm. The enraged king again strikes the floor with his staff, plunging the dwarves into horror and stupor. Attempts to start a feverish dance again cause a terrible fury of the mountain king, the blows of the staff literally shake the entire underground kingdom, and silence ensues.
IV The originality of the composition of the I and V acts of the comedy.
The Inspector General begins with such a stroke of Gorodnichiy's phrase, after a moment of petrification everything comes into some kind of convulsive and feverish movement. Fear accelerates this movement, increases strength tenfold: “To be in time, to be in time, to be in time!” - but then the next blow: a message from Bobchinsky and Dobchinsky that the auditor is already here! Again, momentary stupor and confusion - again the energy of action, unprecedented in strength. Nothing can be done, and a lot needs to be done at the same time. Only now the point of application of forces has changed: not to put the city in order, but to "take an auditor."
Looking ahead, I’ll tell you that we will find a symmetrical construction in the last act of the comedy, where the first blow will be the Postmaster’s message about Khlestakov’s intercepted letter, and the second, final, phrase will be the blow of the Gendarme about the auditor, after which the final petrification occurs
We have come close to the concept of "mirage intrigue". But now the most important thing is to talk about its bearer - Khlestakov.
V. The image of Khlestakov - the main carrier of the "mirage intrigue"
one). Presentation prepared by the student
2). teacher's word
a) When Khlestakov appears, the mirage materializes.
b) Gogol repeatedly insisted that Khlestakov was the main character.
c) The placement of this character in the center of comedy gives the whole play a fantastic, even phantasmagoric character. I am a director. I am a general. I am the commander in chief. I am everywhere, everywhere, everywhere, etc.
d) But why is he in charge?
3). Dictionary work No. 2 - "phantasmogoria"
four). Conversation on the epigraph to the lesson.
Writing on the board, and the guys in notebooks: “ The main face of a dramatic creation is the center of the play. All other faces revolve around it, like planets around the Sun. »
Is it applicable to Khlestakov, as the main acting person? Is it possible to say that the interests of most other heroes are directed precisely to him?
Yes. Students prove
1) Mayor
2) Earthling
3) Bobchinsky, Dobchinsky
5). teacher's word
Yes, he is the center of the universe - but not real, illusory, imaginary. He is the void taken as the center. The concept of "mirage intrigue" lies in the transformation of Khlestakov into significant person, i.e., in filling the void with fictional content.
6). Dictionary work No. 3 - "schemer"
VI. General conclusion on the topic of the lesson
1. teacher's word
So, in the center of the comedy there is a person who is least able to play an active game.
Behind all the action, all the intrigue, there is a big “zero”, put in the position of “one”, familiar to the characters and the audience.
It is in this production that the “mirage intrigue” is manifested. He is specially placed in the center of the play, he does not know the position in which he finds himself, and therefore does not try to profit.
2. It is not the hero who leads the action, but the action is led by the hero - this is very conditional, but one can succinctly indicate the main feature of the construction of the comedy. This is the originality of Gogol's development of the plot about the imaginary auditor, which immediately removes the question of various kinds of borrowings, and the essence of the concept of "mirage intrigue".
3.Quiz
VII.Homework
"Mirage intrigue" in Gogol's comedy "The Government Inspector"
The Inspector General is a whole sea of fear.
Yu.Mann
The main character of the dramatic creation
is the center of the play. They turn around him
all other faces are like planets around the sun
I. Kroneberg (quoted from the book
Yu. Mann "Poetics of Gogol")
I. Organizational moment
II. Work on the topic of the lesson
1.Explanation of the goals and objectives of the lesson2. Work in notebooks. Record the topic of the lesson and epigraphs.
3. Teacher's word:
What is the nature of Gogol's play?
Is it possible to say that the comedy is fantastic in nature?
Fiction(For example, he invents a brilliant fate for himself, fantastic changes in
Hyperbola(scene of lies - watermelon 700 rubles, 35 thousand couriers + poverty
Grotesque imagination in this most fantastic change).
Mirage
Intrigue
5. teacher's word
In The Inspector General, much is built on exaggeration:
fantastically exaggerated, brought to the "ideal" not only Khlestakov's stupidity, but the universal human desire to seem at least a little better, higher than it actually is.
The situation of delusion is comically exaggerated.
But the main thing in which the “Gogolian grotesque” was realized was the “mirage intrigue”, which highlighted in a fantastic glare the absurdity of human life in its pursuit of numerous mirages, when the best forces are wasted in an effort to overtake the void, so brilliantly embodied in Khlestakov.
Thus, one can confidently speak of the "mirage intrigue" as a "situation of delusion."
^
III. Detailed consideration of the first sentence of Gorodnichiy
Conversation with elements of the game.
We will reveal the "soil" that made it possible to unfold the "mirage intrigue".
b) What makes this phrase so magical? Let's think together.
Role-playing game "auditor's situation"
Since we are talking about the auditor, then let's imagine ourselves in the role of "auditor" and "audited", i.e. Let's create a "situation of the auditor". The task of the auditor is to “find and punish”, the task of the audited is to “hide and evade responsibility”. At the same time, the goal and tactics of the “enemy” are not a secret for either side, but the rules of the game are such that this knowledge is not shown. The emergence of fear is due to the fact that all sorts of surprises can arise, but the worst thing is the result of an audit, in which the “extreme” is almost always found. This means that anyone who is being audited can be punished. Thus, revision is a dangerous and unpredictable process.
D) Explain the reasons for the fear of officials according to the table.
^ Table work
Gogol City Model
Gradually, the image of the City emerges from small details. First, all administrative-territorial units are represented (except for the army and the church). Secondly, it is quite obvious that things are not going well in all spheres of urban life. Thirdly, the population is represented by all strata of society.
Teacher's word.
So that's what "soil" arises before readers. It is this that makes it possible for the “mirage intrigue” to unfold, because Everyone is afraid of punishment.
Pay attention to the epigraph: "The auditor is a whole sea of fear" Yu.Mann. We can say that it is fear that is, if not the main character of the play, then at least its internal plot driver.
^ Grieg's entry "Peer Gynt" ("In the Hall of the Mountain King")
Listen to E. Grieg's symphonic picture "Peer Gynt", known as "In the cave of the mountain king".
^ IV The originality of the composition of the I and V acts of the comedy.
The Inspector General begins with such a stroke of Gorodnichiy's phrase, after a moment of petrification everything comes into some kind of convulsive and feverish movement. Fear accelerates this movement, increases strength tenfold: “To be in time, to be in time, to be in time!” - but then the next blow: a message from Bobchinsky and Dobchinsky that the auditor is already here! Again, momentary stupor and confusion - again the energy of action, unprecedented in strength. Nothing can be done, and a lot needs to be done at the same time. Only now the point of application of forces has changed: not to put the city in order, but to "take an auditor."
Looking ahead, I’ll tell you that we will find a symmetrical construction in the last act of the comedy, where the first blow will be the Postmaster’s message about Khlestakov’s intercepted letter, and the second, final, phrase will be the blow of the Gendarme about the auditor, after which the final petrification occurs
We have come close to the concept of "mirage intrigue". But now the most important thing is to talk about its bearer - Khlestakov.
^
V. The image of Khlestakov - the main carrier of the "mirage intrigue"
one). Presentation prepared by the student
2). teacher's word
A) When Khlestakov appears, the mirage materializes.
B) Gogol repeatedly insisted that Khlestakov was the main character.
C) The placement of this character in the center of the comedy gives the whole play a fantastic, even phantasmagoric character. I am a director. I am a general. I am the commander in chief. I am everywhere, everywhere, everywhere, etc.
D) But why is he in charge?
^ 3). Dictionary work No. 2 - "phantasmogoria"
four). Conversation on the epigraph to the lesson.
Writing on the board, and the guys in notebooks: “ The main face of a dramatic creation is the center of the play. All other faces revolve around it, like planets around the Sun.»
Does it apply to Khlestakov as the main character? Is it possible to say that the interests of most other heroes are directed precisely to him?
Yes. Students prove
mayor
earthling
Bobchinsky, Dobchinsky
Merchants
Yes, he is the center of the universe - but not real, illusory, imaginary. He is the void taken as the center. The concept of "mirage intrigue" is the transformation of Khlestakov into a significant person, i.e. in filling the void with fictional content.
6). Dictionary work No. 3 - "schemer"
^
VI. General conclusion on the topic of the lesson
teacher's word
Behind all the action, all the intrigue, there is a big “zero”, put in the position of “one”, familiar to the characters and the audience.
It is in this production that the “mirage intrigue” is manifested. He is specially placed in the center of the play, he does not know the position in which he finds himself, and therefore does not try to profit.
It is not the hero who leads the action, but the action is led by the hero - this is very conditional, but one can succinctly indicate the main feature of the construction of the comedy. This is the originality of Gogol's development of the plot about the imaginary auditor, which immediately removes the question of various kinds of borrowings, and the essence of the concept of "mirage intrigue".
3.Quiz
VII. Homework