Collaborative learning. Problem dialogue with elements of research work

Patapenko S. N. (Vologda), Candidate of Philological Sciences, Associate Professor of the Vologda State Pedagogical University / 2003

It seems that the brainchild named Ivan and the surname Khlestakov worried Gogol more sharply than his other creations. The writer constantly peered into it, as if trying to explain the essence of the image not only to extraneous hearing and eyes, but also to himself.

In "Remarks to Messrs. Actors" this fact is not yet so obvious. Gogol characterizes Khlestakov on a par with other characters. At the same time, he highlights the unpresentable lightness of Ivan Alexandrovich’s physical appearance (“thin, thin”), as opposed to the solidity and “seriousness” of the Gorodnichiy’s body, and emphasizes the same intellectual inconsistency (“somewhat stupid”, “without a king in his head”, “empty”, “ speaks and acts without any consideration). But already here there is one difference in the preliminary outline of the image of Khlestakov in comparison with other characters. Only the performer of this role, the author considers it necessary to give additional advice to avoid obsessive theatricality and demands the utmost organicity: “The more the person who plays this role shows frankness and simplicity, the more he will win” (IV,).

In his review of the first performance of the play, Gogol speaks mainly of Khlestakov. “Is it really not clear from the role itself what Khlestakov is? Or was a prematurely blind pride seized me, and my strength to cope with this character was so weak that even a shadow, and a hint in it, did not remain for the actor? - the writer exclaims in a “sad and annoyingly painful feeling” (). What irritates the playwright most of all is that Dur, the first performer of Khlestakov, entered the role into the traditional series of “vaudeville naughty ones”, not seeing any fundamental differences from the images of ordinary and quirky deceivers, whom the stage of that time knew so well and in the reflection of whose characters the nearest literary “relatives” of Ivan Alexandrovich in Russian literature (“A Visitor from the Capital, or Turmoil in a County Town” by G. Kvitka-Osnovyanenko, “Provincial Actors” by A. Veltman, “Inspectors, or Glorious Tambourines Beyond the Mountains” by N. Polevoy). Complaining about the misunderstanding, Gogol diligently explains: “Khlestakov does not cheat at all; he is not a liar by trade, he himself will forget that he is lying, and already he himself believes what he says. He ... speaks from the heart, speaks completely frankly<...>Khlestakov does not lie at all coldly or fanforonically - theatrically; he lies with feeling, in his eyes the pleasure he receives from this is expressed. This is generally the best and most poetic minute in his life - almost a kind of inspiration<...>The features of the role of Khlestakov are too mobile ”(). The conclusion sounds like this: “What is it, if you really take it apart, Khlestakov? A young man... empty... but containing many human qualities<...>Everyone, even for a minute, if not a few minutes, was or is being done by Khlestakov ”().

Gogol insistently repeats the same thought in “Forewarning for those who would like to play The Inspector General properly”: “The actor especially should not lose sight of this desire to show off, which all people are more or less infected with and which is most reflected in Khlestakov »(). The writer also draws attention to the fact that in his character "everything is a surprise and surprise" and that he is "a phantasmagoric face, a face that, like a deceitful, personified deception, has gone away, along with a troika, God knows where ..." ().

In The Denouement of The Inspector General, Gogol focuses on the symbolic interpretation of his play and in this context sees in Khlestakov the personification of a “windy secular conscience”, specifying that this is a “corrupt and deceptive conscience” (). And unjustifiably insistently several times calls: “With Khlestakov on hand you won’t see anything in our spiritual city<...>Not with Khlestakov, but with a real auditor, let's look at ourselves!<...>you will find everything in yourself, if only you sink into your soul not with Khlestakov ”(). As if it could or might occur to someone to choose Khlestakov as a moral guide in life.

Summing up the author's hints, we note: Gogol highlights in Khlestakov the ability to deceive without a consciously set goal of this kind, the universality of his desire to try on the mask of another, more significant existence and the ability to look organic in this mask, the improvisational lightness and emotional persuasiveness of his involuntary lies. Ultimately, we are even talking about the presence in Khlestakov's behavior of an inspired, creative principle.

It is significant that in many studies and reflections on the image of Khlestakov, the importance of creativity for understanding the essence of this character is also noted. Here are some of these observations: “a poet in a moment of ecstasy with his own boasting” (Ap. Grigoriev; cited from: 1; 170); “He successfully played the role of an auditor ... He is like water that takes the form of any vessel” (Yu. Mann; 4; 226), “Khlestakov was conceived by Gogol ... as a great artist who entered the role of exactly who he is taken for in the town "(S. Sergeev - Tsensky; quoted from: 4; 225). V. Nabokov sees “the iridescence of nature” and “the ecstasy of fiction” in Khlestakov, saying that Ivan Alexandrovich “is a dreamer in his own way and is endowed with a certain deceptive charm” (8; 68). Yu. M. Lotman, inscribing Khlestakov in the “world of non-textual reality”, highlights in the Russian culture of the post-Petrine period a “peculiar dual world”, which consists in the fact that ideal ideas about life should not have coincided with reality. The “ideal life” was played mainly outside the official and state spheres (although the “Potemkin villages” in this context can be considered as an expansion of the boundaries of the game world, the penetration of its rules to all levels of reality). By the beginning of the nineteenth century. the situation was dramatized: a person was faced with the problem of choosing “between practical activity, but alien to ideals, or ideal, but developing outside of practical life” (3; 339). A person who did not want to give up dreams lived them out "in the imagination, replacing real actions with words." The need for fiction becomes a feature of the time for people of different personal levels, from the artistically gifted to the mediocre. The notions of lies and creative imagination merge, the attraction to them becomes a feature of "not individual, but historical psychology." But speaking not about social Khlestakovism, but about Khlestakov-character, the researcher nevertheless considers it necessary to emphasize: “Having adopted any mode of behavior, Khlestakov instantly achieves perfection in it ... Khlestakov is undoubtedly gifted with the talent of imitation” (3; 349 ).

V. Markovich expands the boundaries of the talent of this nature, seeing in it a manifestation of the natural carnival element. In Markovich’s observations, the emphasis generally shifts towards the discovery in the image of an archetypal play principle: “Obsession reaches the level of inspiration in him, the spirit of improvisation awakens, in Khlestakov, or, more precisely, through him, the artistic forces of life begin to act. Here the element of festive, playful theatricality is tangibly concentrated...” (5; 159).

V. Mildon, following the symbolist-Meyerhold tradition, sees in the image of Khlestakov the awakening of not festive, but demonic forces, which does not prevent him from calling Ivan Alexandrovich “Mozart”, “pure intuitive genius” (7; 104).

What in the structure of Khlestakov's image makes you persistently talk about creative ferment, the bewitching magnetism of his behavior?

In the playbill, in accordance with the principle of social hierarchy, Khlestakov is listed last in the list of officials. This is fully justified in the light of subsequent information about the “simple elistratishka”, that is, in the social space the character occupies the lowest level (even Akaki Bashmachkin had the rank of 9th class - unlike Khlestakov's 14th).

The surname Khlestakov aroused the delight of V. Nabokov, who claimed that “it was brilliantly invented, because in the Russian ear it creates a feeling of lightness, thoughtlessness, chatter, whistle of a thin cane, slapping cards on the table, boasting of a varmint and daring of a conqueror of hearts ... " (8; 68). The ear also catches the phonetic similarity of the names of Gogol's character and Griboedov's old woman Khlestova, their relationship with the verb "lash", which leaves a more weighty and rude feeling than "whistling" and "spanking". Famusov's sister-in-law, a representative of the female omnipotence of Moscow, who allows herself not only to "have her own judgment", but also to express it out loud without hesitation or looking back, the meaning of the "speaking" surname is beyond doubt. And what about the "wick" from St. Petersburg? Is the threatening phonetics of the surname the same mirage as the high rank of Khlestakov? For some time it seems so, until Gorodnichiy’s phrase about the non-commissioned officer’s wife (“she flogged herself”) acquires a deep meaningful meaning in relation to everything that happened in the city of N. County residents, mistaking a petty official for an important bird and showing him all conceivable and unthinkable honors, "flogged themselves." Khlestakov acted as an involuntary tool in this session of socio-psychological masochism, fully justifying his "talking" surname.

It is also worth paying attention to the name. Of course, the hero of Russian folklore, Ivan the Fool, is immediately remembered, leaving everyone else in the end as fools. This favorite character of a Russian fairy tale can act both in the form of an epic hero (then he has a royal origin), and in a more democratic version. E. Meletinsky notes that in this case the character does not show any promise, occupies a low social position, is despised by everyone, but unexpectedly performs a heroic deed or receives the support of magical powers and achieves the goal. “The image of Ivan can be both heroic and comic. In essence, it varies between a “fool” - a genuine one and a “fool” - a cunning one, ”the researcher writes (6; 226). Using Gorky's term, the folklorist calls the comic version of the "fool - genuine" "an ironic lucky man."

Ivan Khlestakov may well be regarded as a typological brother of the "ironic lucky man" or as a literary modification of this folklore image. All the characteristics are present: a low social position, complete contempt on the part of others (before the inhabitants of the city of N, no one even put Khlestakov in a penny, even his own servant), the unexpected intervention of magical forces. But when moving from a fairy-tale space to a literary text, magic acquired a number of social and psychological motivations - such as fear of the authorities, "the electricity of the rank" - providing Khlestakov with a situation of triumph. But there is in the mechanism of "magic" that supported a petty official, and his own merit, purely Khlestakov's witchcraft, which is enhanced by the self-blinding of county officials and gives rise to a mysterious, infernal situation.

Khlestakov appears in the play only in the second act. Prior to this, Gogol resorted to the technique of a correspondence exposition presentation of the hero, moreover, a two-stage one. First, we learn about him from the words of Dobchinsky and Bobchinsky. In addition to the information that Khlestakov travels from St. Petersburg to Saratov and lives in a hotel for the second week without paying, the city landlords give outward signs of his behavior: “... he walks around the room like that, and in his face there is such a reasoning ... physiognomy ... deeds ... and here (wiggles his hand near his forehead) a lot, a lot of things<...>So observant: he looked at everything. He saw that ... we ate salmon ... so he looked into our plates ... ”(IV,). Nervous mobility, peremptory curiosity and the desire for picturesque behavior are visible in this description.

Then the servant Osip will talk about the owner, revealing the deplorable state of his affairs (no money, nowhere to wait for help), and describe how he lived in St. Petersburg. Noteworthy is the hero's passion for the card game (“instead of being in office ... he plays cards”) and love for the theater (“father will send money ... every day you deliver a ticket to the keyatr”). Even on the road, these passions haunt Khlestakov. “He gets acquainted with a passer-by, and then in cards, - so you finished your game!” - this is how the addiction to the card game is realized, and the passion for the stage - the theatricalization of life. “You need to show yourself in every city,” concludes Osip (IV,).

The main performance, which showed Khlestakov's capabilities in all their glory, took place in the city of N, when the officials themselves built a stage platform for this theater lover, staged the situation and distributed the roles. Khlestakov turned out to be a talented artist. With his appearance, everything that happens has acquired the character of carnival unrestraint and confusion. Here you can simultaneously declare your love to mother and daughter (it is not the subject that is important, but the process), be “on a friendly footing with Pushkin” and feel your complete impunity.

The situation that developed after the "appointment" of Khlestakov to the role of auditor changes the spatio-temporal boundaries of the work. The spirit of the ancient Roman saturnalia penetrates into the provincial Russian life, with their attitude to the "reversal" of social relations, the temporary rejection of the social status assigned to a person. The prospect of shifting what is happening into the carnival element was indicated at the end of the first act by the behavior of the Gorodnichiy, who, out of excitement, put a paper case on his head instead of a hat. The appearance of Khlestakov realizes the outlined prospect in full.

Bringing Ivan Alexandrovich to the stage, Gogol considers it necessary to re-emphasize the character's craving for theatricality. The desire to constantly be in a fictional image makes Khlestakov forget about the forced abstinence from food. Even nausea from hunger cannot interrupt his desire to master new roles. Having sent a servant to beg for dinner, Khlestakov, as part of his short monologue, manages to adapt to two roles at once.

First, a footman is depicted, who is instructed to be surprised and obsequiously meet Ivan Alexandrovich. At the same time, the remark “stretching out” indicates the plastic development of the image. Then there is a return to his own guise in an instantly invented situation of courting "some pretty" daughter of a landowner neighbor. The remark “shuffles his leg” reiterates that the situation “I imagine”, formulated by Khlestakov in this monologue, is not limited to a verbal description - Ivan Alexandrovich immediately begins to master it physically. Khlestakov seems to be looking for an image that is interesting for himself and so far cannot find the necessary proposed circumstances.

Khlestakov's inner emptiness, his lack of an individual-personal beginning, has been repeatedly noted as the most important characteristic of the image. “He speaks quickly, moves quickly, almost flies - empty in the heart, empty in the head,” M. Chekhov, one of the best performers of this role, derives Khlestakov’s characterological formula (10; 395).

In combination with the character's craving for reincarnation, his emptiness becomes of fundamental importance. Even the ancient Hellenes saw in the emptiness of chaos a potential wealth of perspectives, a combination of nothing and everything (zero and infinity). Khlestakov's emptiness also has a promising character. It is perceived as a necessary condition for further acting. To wear masks and be convincing at the same time, it is by no means necessary to have a face.

The uncertainty and inconsistency of Khlestakov's behavior in the scene of the first meeting with the Gorodnichiy (sometimes dismissive and impudent, sometimes pleading and pathetic) is explained by the fact that for the time being he does not know his acting task. As soon as it is determined, Khlestakov finds ground under his feet. He becomes persuasive and... free. The fear that binds all the characters in the play recedes from him.

Here he is separated from others, falls out of the system of universal fear. Inspirational lies, the unbridled flowering of fantasy (even within the framework of miserable ideas about the life of high-ranking officials) take Khlestakov to a different level of human existence - here they are, “empyreans”, where there are no worries about daily bread, the need to reckon with others, where everything is as you want exactly. The playful ecstasy achieved by Khlestakov in the scene of lies frees him from fear. Here, according to V. Markovich, "the creative inspiration of the hero and the author" are combined (5; 159). In other words, a receptive situation of aesthetic delight arises, born from the feeling of completeness of the author's self-realization. Khlestakov's physical lightness and his "unusual lightness in thoughts" acquire the weightlessness of soaring in the creative space - the character visibly becomes a "phantasmagoric face", the personification of the game principle.

J. Huizinga, exploring the phenomenon of play as the basis for the development of culture, defines its main parameters: exclusion from everyday life, predominantly joyful tone of activity, spatial and temporal limitation, a combination of strict certainty and true freedom (9; 34). All these characteristics are found in Khlestakov's situation.

Through the development of different roles, he constantly turns off from everyday life in order to forget about his “smallness”; changing masks gives him pleasure; reality from time to time breaks into his dreams, and he is forced to limit his acting sketches spatially and temporally. As for the observance of certain rules, Khlestakov's natural acting talent, clearly embedded in the structure of the image, makes him intuitively follow the sequence of stages of work on the role: mastering the proposed circumstances, emotionally-sensory getting used to the actor's task, searching for external means of expression. Ultimately, thanks to the childish immediacy of faith in the reality of what was invented, Khlestakov achieves improvisational lightness, free soaring, the moment of truth. But the truth is not connected with the moral principle. This, perhaps, was what bothered Gogol when he convinced that his character was a "corrupt and deceptive conscience."

Having created the image of a “playing man” in Khlestakov, Gogol guessed that the playful, creative element of being does not want to obey any laws - this is complete freedom from everything. Huizinga also insists on self-sufficiency, "far-reaching independence of the game." The researcher undertakes to assert that “the game lies beyond the disjunction of wisdom and stupidity”, “it does not know the difference between truth and falsehood”, the game “does not contain any moral function - neither virtue nor sin” (9; 16).

It is possible that Gogol, with his commitment to the educational concept of the theater-department, was frightened by such a discovery, he did not want to put up with it.

However, the birth of Khlestakov has already taken place. The “ironic lucky man” became a “playing man”, revealing the creative principle in himself as an ontological riddle.

Literature

1. Voitolovskaya E. L. Comedy by N. V. Gogol: Commentary. - L., 1971.

2. Yu. M. Lotman, “On Khlestakov,” Yu. M. Lotman, Izbr. articles: In 3 vols. - Vol. 1. - Tallinn, 1992.

3. Yu. V. Mann, Gogol's Poetics. - M. 1978.

4. Markovich V. M. Comedy by N. V. Gogol “The Inspector General” // Analysis of a dramatic work: Interuniversity collection. - L., 1988.

5. Meletinsky E.M. The hero of a fairy tale. - M., 1958.

6. Mildon V. I. “Such a cheating land” // Mildon V. I. The abyss has opened ... - M., 1992.

7. Nabokov V. Nikolai Gogol // Nabokov V. Lectures on Russian literature. - M., 1996.

8. Huizinga J. Homo Ludens. - M., 1992.

9. Chekhov M. Literary heritage: In 2 volumes - T. 2. - M., 1986.

The image of Khlestakov in N. V. Gogol's comedy "The Government Inspector"

Laughter is often the great mediator

in distinguishing truth from falsehood...

V. G. Belinsky

Khlestakov is the main character in N. V. Gogol's comedy The Inspector General (1836). He is not only the central figure of the comedic action, but also represents a typical character. “Everyone, even for a minute, if not for a few minutes,” said Gogol, “became or is becoming Khlestakov .... And a dexterous officer of the guards will sometimes turn out to be Khlestakov, and a statesman ... and our brother is a writer ... "It is this hero who most fully expresses the combination of extreme ambition and spiritual insignificance, arrogance and narcissism, which was characteristic of high-ranking officials. By mistake, Khlestakov became the personification of a high-ranking official-auditor, but by mistake it was natural. His resemblance to the messenger of the "tops" was amazing, which is why he misled such an experienced person as the mayor, and all his entourage.

The mayor did not notice any differences in Khlestakov from those numerous auditors and high-ranking persons with whom he had met before. Of course, fear eclipsed his eyes and mind, but he certainly experienced the same fear during other visits of "big" people. Consequently, the point here is not only fear, but also the fact that Khlestakov could really be mistaken for an auditor.

It was no coincidence that Gogol brought to the stage in the role of an imaginary auditor a person living in St. Petersburg and serving in the department. Khlestakov was born of bureaucratic-aristocratic Petersburg, He absorbed, like a sponge, all those negative phenomena that filled the capital's society.

The son of a poor Saratov landowner, Khlestaov, serving in the department as a petty official (“Elistratishka”), wants to live on a grand scale, indulge in entertainment, diligently imitating secular dandies, and pick flowers of pleasure. “Batiushka will send money, with what to hold it - and where! .. He went to party ... instead of taking office, and he goes for a walk along the avenue, playing cards,” the servant Osip says about him.

Insignificant both in origin and position, Khlestakov should play the role of a respectable official. The main qualities of the character of this character are irresponsibility and bragging. Having squandered all the money and spent a lot of money on the road, he, nevertheless, imagines how nice it would be to drive up to the house in a chic carriage, and dress Osip's servant in livery, and how everyone would be drawn to attention only at the mere mention of his name - Ivan Alexandrovich Khlestakov from St. Petersburg.

Even courting a tavern servant, begging for dinner from him, Khlestakov behaves arrogantly. Without paying anything for a hotel, he makes claims to the owner, who does not want to understand that he is not an ordinary person: “You explain to him seriously that I need to eat. .. He thinks that like him, a peasant, it’s okay if he doesn’t eat for a day, and so do others. News!" Having hardly obtained an extension of the loan from the owner of the hotel, he begins to behave even more impudently: he does not like the food, and all around are swindlers and thieves.

The militant fervor of Khlestakov fades away as soon as he learns of the arrival of the mayor. He fears that the head of the city will send him directly to prison. However, the timidity of the mayor in front of the imaginary auditor strengthens Khlestakov's arrogance: “What right do you have? How dare you? Yes, here I am ... I serve in St. Petersburg ... "He suddenly realizes that Skvoznik-Dmukhanovsky is not going to put him in prison, but, on the contrary, intends to render him all sorts of services, mistaking him for a "high-flying bird."

The image of the mayor gets its brilliant completion in the fifth act of the comedy. And here Gogol uses the principle of abrupt switching, moving from the defeat of the hero to his triumph, and then from triumph to the debunking of the hero. In an atmosphere of universal admiration, Khlestakov literally blossoms. In the third act of the comedy, he is shown in the minutes of his takeoff. With rapture, Khlestakov draws pictures of his imaginary life in front of shocked listeners. He does not lie for any clear motive or clear purpose. Ease in thoughts does not allow him to make serious calculations regarding the consequences of his actions. He lies out of empty vanity, lies to boast of his “high” position, lies because he is in the grip of his fantasy. He reveals to the heroes of the comedy and to the audience his dream, which he would like to achieve, but he himself passes it off as reality.

Khlestakov has already made everyone believe that he is an important person, and therefore he takes a warm welcome for granted. At first, he does not realize that he is mistaken for some important person. After the officials began to supply him with money, he began to realize that he was being mistaken for another person. However, this does not prevent Khlestakov from still experiencing pleasure from everything that happens.

In the fourth act of the comedy, Gogol shows how Khlestakov organizes a collection of money, receives offerings from officials and merchants, and sorts out the complaints of the townspeople. Nothing bothers Khlestakov: he feels neither fear nor remorse. Apparently, for this person it is not difficult to commit any meanness, any deceit. Without a shadow of embarrassment, he performs the functions of an important official and is ready to thoughtlessly decide the fate of people.

With extraordinary ease, Khlestakov switches from the "state" sphere to the lyrical plane. As soon as the visitors have disappeared from his field of vision, he immediately forgets about them. The arrival of Marya Antonovna immediately sets Khlestakov in a romantic mood. And here he acts, not realizing where his events will lead, the "Lyrical" scenes reveal the character of the hero from a new side. In explanations with Marya Antonovna and Anna Andreevna, Khlestakov appears as a person who uses a miserable set of vulgar tricks, banal sayings. The hero's love explanations emphasize his lack of living human feelings.

No wonder Gogol, giving instructions on how to play his hero, emphasized that he should turn out to be a liar, a coward and a clicker in every respect.

The objective meaning and significance of this image lies in the fact that it is an indissoluble unity of "significance" and insignificance, huge claims and inner emptiness.

It is also very significant that the image of Khlestakov is in close contact with the images of other heroes of the play. Khlestakov's qualities are also found in the mayor, Zemlyaika, and Lyapkin-Tyapkin. They are expressed in the complete absence of moral principles, in exorbitant claims, in the desire to play the role of a person with a rank higher than one's own, in the ability to commit any meanness.

I. S. Turgenev saw in the image of Khlestakov "the triumph of poetic truth." He said that "... the name of Khlestakov loses its randomness and becomes a household name." Khlestakovism is a manifestation of arrogance, frivolity, inner emptiness, irresponsibility and deceit. This phenomenon has acquired a broad social and psychological meaning. The image of Khlestakov belongs to the number of such - found and guessed phenomena of life.

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We are already accustomed to the fact that, basically, life presents us with surprises in the form of troubles and difficulties. Perhaps that is why stories with a reverse course of circumstances are perceived by us as something out of the ordinary. Such situations seem somewhat ironic. The story told in Nikolai Vasilievich Gogol's story "The Inspector General", in addition to being essentially a gift of fate, is also based on a share of absurdity. This combination makes the work unique and attractive.

Biography of Khlestakov

Naturally, when reading a work, we first of all pay attention to the main character. So, Ivan Alexandrovich Khlestakov is a young landowner, a nobleman who once got into an awkward situation.

He happened to seriously lose at cards. In order to improve his situation a little, he goes to his parents in the estate.

Since his journey is long, he, despite the lack of finances, stops at a hotel in the city of N. Here, luck smiles at him.

He is mistaken for the long-awaited auditor from Moscow. The impudent behavior and demeanor in society leave no doubt to officials - in their opinion, only the auditor can behave like this.

We suggest that you familiarize yourself with the story of the same name by N.V. Gogol

Since things were not ideal in the city of N., and officials continually retreated from their duties, of course, not in favor of the inhabitants of the city, but in favor of their own pockets, it is impossible to honestly avoid the problems associated with checking their work. None of them wants to lose their hot spot, so all as one they go to Khlestakov and give him bribes - a guarantee that they will remain in office and avoid problems.

At first, Khlestakov was at a loss, but then decided to take full advantage of the situation. With money in his pocket, he successfully retreated from the city. The news about his fictitiousness as an auditor became known too late - blaming Khlestakov and demanding a return of money from him is a stupid thing to do. In this case, it would be necessary to admit the fact of bribery, and this would be the collapse of the career of officials.

Khlestakov's appearance

Like most rogues and scoundrels, Khlestakov has pleasant, trusting facial features. He has brown hair, a "cute nose" and quick eyes that make even determined people feel embarrassed. He is not tall. His complexion is far from graceful and physically developed young men - he is unnecessarily thin.

Such physical data significantly spoil the impression made by him. But the cunning Khlestakov finds a clever way to remedy the situation - an expensive and well-groomed suit.

Ivan Alexandrovich understands that the first impression of him is always based on his appearance, therefore he cannot afford to make a mistake here - clothes made of expensive fabric, sewn based on fashion trends. Always cleaned to a shine - such an external factor significantly distracts the attention of society from the inner essence of a person.

Khlestakov family, education

How did you have to look and how to behave in order to pass for an auditor in the first half of the 19th century?

First of all, one had to be born an aristocrat. It is extremely difficult for a person of common origin to create the appearance of belonging to high society.

The manner of speaking, the plasticity of movements, gesticulation - this had to be learned for many years. For people of noble origin, this style was commonplace, they adopted it from their parents, their friends who came to visit.

Ivan Alexandrovich was not a luminary of high society, but nevertheless he was a nobleman by birth. His parents own the Podkatilovka estate. Little is known about the state of affairs and the importance of the estate - the fact that the parents sent money to their son says that the estate was not unprofitable, it brought in enough income to provide the life of the whole family with at least the most necessary things.

Nothing is known about Khlestakov's education. It is likely that he received an "average" quality education. Such a conclusion can be drawn based on the position he occupies. Khlestakov works as a collegiate registrar. This type of civil service was at the very end of the list of the Table of Ranks. If Khlestakov's parents were wealthy people, they would be able to provide their son with a better position with the help of connections or money. Since this did not happen, it is inappropriate to talk about the large income of the family or their importance against the backdrop of the aristocracy.

Now let's summarize all the data: financial instability has always been inherent in the Khlestakovs, their income has never been high (if they were ever rich, they could make connections or acquaintances during the period of the material take-off of their family), which means sending their son to study abroad or they had no money to hire highly qualified teachers for him.

Service attitude

The exact age of Khlestakov is not specified. Gogol limits him to 23-24 years old. Basically, people of this age are full of enthusiasm and desire to realize themselves. But this is not Khlestakov's case. Ivan Alexandrovich is rather frivolous about his work, he is not very interested in promotions and the possibility of career growth. His work is not difficult and consists in rewriting papers, but he is too lazy to be zealous in the affairs of service to Khlestakov. Instead of working, he goes for a walk or plays cards.

Such carelessness of his is connected, first of all, with the fact that Khlestakov does not suffer from a lack of money. Yes, he lives in a poor apartment, which is located on the fourth floor, but, apparently, this state of affairs does not bother Ivan Alexandrovich. It is likely that he is not used to living in luxurious apartments and therefore does not seek to improve the current housing situation. For Khlestakov, the values ​​of life lie in other things - leisure and clothing. But the situation changes dramatically when Khlestakov needs to stay in an unfamiliar city - here he only stays in the best apartments. It is likely that such a move is connected with Khlestakov's desire to create the impression of a person so rich that all those around him, who do not know the real state of affairs, begin to envy him. It is possible that the calculation is not only on the feeling of envy, with the help of which Ivan Alexandrovich asserts himself, but also on the opportunity to receive some bonuses from local officials or the owner of the hotel.

To this fact is added the fact that Khlestakov is not able to compete with the rich people of St. Petersburg, where he lives most of the time and works. Renting cheap housing allows him to save money on those things that would distinguish him from the same condition as he is - on the attributes of appearance. After all, he does not have to invite everyone to his home or spread unnecessarily about the location of his housing, but the condition and cheapness of the suit can give him a bad reputation. Since life for show is important for Khlestakov, in the manner of very wealthy aristocrats, he has no choice but to save on permanent housing.

Ivan Alexandrovich's parents are discouraged by the lack of promotion of their son in the service. From the looks of it, they were making a big bet on his abilities. The father periodically expresses his indignation on this score, but the son always finds an excuse - not all at once. You have to earn a promotion for a long time. In fact, such an excuse is a lie that allows you to hide the true state of things.

Life in Petersburg

Ivan Alexandrovich cannot imagine his life without Petersburg. It is in this place that everything that is so dear to his heart is collected - the opportunity to spend time in various pleasures. He willingly goes to the theater every day, does not deny himself the pleasure of playing cards. By the way, he finds those who want to play always and everywhere, but not everyone and not always Khlestakov manages to win - staying with his nose is a common thing for him.

Ivan Alexandrovich loves gourmet cuisine and does not deny himself the pleasure of a tasty and satisfying meal.

Personality characteristic

First of all, Khlestakov stands out in society for his ability to lie beautifully and smoothly - for a person who prefers to live in the illusion of wealth, to create the appearance of a significant person, this is a necessity.

Ivan Alexandrovich is aware of his gaps in knowledge, but is in no hurry to eradicate them - the fictitious success created by his lies, arrogant and pompous appearance inspire him.

Nevertheless, from time to time he reads books and even tries to write something on his own, but judging by the fact that there are no reviews of his work from other characters, we can conclude that these attempts were unsuccessful.

Khlestakov loves to be praised and admired, this is another reason to invent something about his life. He loves to be in the center of attention - such success is difficult to achieve in St. Petersburg, but in the provinces, where even his manner of speaking in a metropolitan manner causes a storm of positive emotions - this is an easy thing.

Khlestakov is not distinguished by courage, he is not ready to answer for his actions. When officials come to his hotel room, his heart is filled with fear of the possibility of being arrested. At its core, he is a rag, but a good actor - he knows how to create the appearance of a significant and very smart person, although in fact neither the first nor the second corresponds to the true state of affairs.

Khlestakov's attitude towards women

Gogol is silent about Khlestakov's relationship with women in St. Petersburg, but actively paints Ivan Alexandrovich's behavior with female representatives in the province.

Khlestakov knows how to play in public and evoke a feeling of sympathy in people - this applies not only to indicators of good breeding and ostentatious aristocracy. Khlestakov is a skilled seducer and seducer. He enjoys the company of women and their attention.

It is unlikely that he sets himself the goal of getting a wife. For Khlestakov, love interests are a peculiar way of playing, manipulating people.

Arriving in the city of N and meeting the wife and daughter of the governor, he does not miss the opportunity to flirt with both women. First, he confesses his daughter's love, but after a couple of minutes he swears his mother's love. Khlestakov is not at all embarrassed by this fact. In addition, when Marya Antonovna (the governor's daughter) becomes an accidental witness to Khlestakov's tenderness towards her mother, Ivan Alexandrovich, taking advantage of the stupidity of women and their feeling of love for him, turns the whole situation in favor of a wedding with Marya Antonovna - at the same time neither mother nor daughter understand their humiliating position and do not feel offended. Leaving the city, Khlestakov realizes that his matchmaking was a game only for him, everyone else, including Marya Antonovna, takes everything at face value. He is not worried about the further fate of the young girl and the possibility of injuring her with his act - he leaves the city with a calm soul.

Thus, Ivan Alexandrovich Khlestakov is a typical scoundrel, capable of bringing grief and trouble to other people for his own pleasure. He does not appreciate the care of himself on the part of his parents and is in no hurry to answer those around him for the kindness done to him in the same way. Most likely, on the contrary, he deftly uses the gullibility and innocence of those around him.

Characteristics of the image of Khlestakov in quotes

Gogol's character appears as the central character of the famous Gogol's text. Moreover, Khlestakov has already become a household name, because the "father" of the character - Nikolai Gogol - managed to create one of the most successful, vivid and capacious literary types. Here, for example, is how Khlestakov's creator describes him:

Khlestakov, a young man of about twenty-three, thin, thin; somewhat stupid and, as they say, without a king in his head - one of those people 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 one who plays this role will show sincerity and simplicity, the more he will win. Dressed in fashion...

Remarque about the place of Khlestakov's image in the plot of Gogol's text
The hero ends up in one of the small, provincial towns of the Russian Empire by chance. And just as accidentally, Khlestakov generates a whirlwind of errors around him. The man constantly stumbles and stumbles. However, at first, events are developing successfully for Khlestakov. The arrival of the hero almost coincides with the arrival in the city of the auditor - a strict Russian official who intended to check the affairs in the town. And so: the inhabitants of the city are waiting for the arrival of an official, and they take our hero for him.

Khlestakov manages to successfully mimic the guise of an auditor. Over time, Gogol's hero reveals his true essence. Our hero is a rake and a gambler, a spender of parental money. A man loves women's society, craves power, influence and money. To the inferior, serfs, servants Khlestakov is emphatically dismissive. The hero calls the peasants scoundrels, swindlers, loafers and fools. The faithful servant of Khlestakov also gets it.

At the same time, Khlestakov seems to be very naive. Money is brought to the hero as a bribe, meanwhile, the man perceives these “offerings” as a loan, exclaiming:

Give me, give me a loan, I will immediately pay off the innkeeper ...

How to evaluate the image of Khlestakov?

Of course, literary scholars were puzzled by how to correctly assess the image of Khlestakov - in a positive or negative way. No, Gogol did not intend to present his character as an evil bandit, swindler, cunning intriguer or rogue. Moreover, there is so little cunning in our hero that Osip, the hero's servant, sometimes shows much more wisdom in his actions than his master.

Khlestakov is a victim of circumstances, a cycle of random events. The hero evokes universal sympathy, because the image of Khlestakov is characterized by such features as good looks, courtesy, charm (especially everyone is fascinated by the smile of a man), as well as good manners. The hero belonged to an aristocratic family, but showed the same inability to live, where he had to earn his living on his own, like all nobles. The man's soul longed for Petersburg life.

Gogol evaluates Khlestakov as neutrally as possible. The writer presents the hero as a young man about "twenty-three to twenty-four years old". The hero was distinguished by cuteness and thinness, the hero’s posture is beautiful, thin, slender. However, the young man was "somewhat stupid and, as they say - without a king in his head - one of those people who are called empty in the offices."

"Hero's Passport", according to Gogol's text

1. Completely Gogol's hero was called Ivan Alexandrovich Khlestakov. The mayor emphasizes the “plainness”, that is, the smallness, short stature of the hero, who did not at all resemble a powerful auditor. However, the very appearance of Khlestakov is “not bad”, the young man is clearly of interest to the ladies, the favor of mature beauties and young girls.

2. Before the hero arrived in the provincial regions, Khlestakov served in the St. Petersburg office with the rank of collegiate registrar. This is the lowest rank, according to the Russian Table of Ranks:

It would really be good to be something worthwhile, otherwise it’s a simple elistratishka! ..

However, in the Saratov region, Khlestakov had his own village, which was called Podkatilovka. Gogol's hero was heading there until, due to a combination of circumstances, he drove into the city of N. In St. Petersburg, Khlestakov occupies a small apartment located on the top floor. Verkhotury was then occupied by people who did not show off a tight wallet:

... As you run up the stairs to your fourth floor ...

3. The hero's heart did not seem to lie in the service. Therefore, instead of regular and honest work, the young man spends his life in entertainment establishments:

... is not engaged in business: instead of taking office, and he goes for a walk along the avenue, he plays cards<…>“No, my father wants me. The old man was angry that he had not served anything in Petersburg until now. He thinks that he has come and now Vladimir is in your buttonhole and they will give you ... "

So, the Russian writer emphasizes that Khlestakov loved to lead a secluded lifestyle, indulge in various pleasures, spend money on trifles and amusements. Saving Khlestakov was not given in any way, so the hero periodically found himself completely “stranded” and begged for money from his parental savings:

“Profinted expensive money, my dear, now he sits and twisted his tail, and does not get excited. And it would be, and it would be very much for runs; no, you see, you need to show yourself in every city! .. "<…>“... Batiushka will send money to hold it back - and where!

4. Khlestakov is characterized by a love of luxury. Therefore, the hero does not deny himself anything, lives beyond his means, buys the most expensive things, prefers delicious kitchen delights, theatrical performances, gambling, in which he lost more often than he won:

“And I, I confess, do not like death to deny myself the road, and why? Is not it?.."<…>“... Hey, Osip, go look at the room, the best one, and ask for the best dinner: I can’t eat a bad dinner, I need a better dinner ...”<…>"I like to eat. After all, you live for picking flowers of pleasure.<…>"I - I confess, this is my weakness - I love good food"<…>“Tell me, please, do you have any entertainment, societies where you could, for example, play cards? ..”<…>“…sometimes it’s very tempting to play…”<…>“... He gets acquainted with a passer-by, and then in cards - so you finished your game! ..”<…>“Yes, if I hadn’t drank in Penza, it would have been money to get home. The infantry captain greatly taunted me: shtoss surprisingly, a beast, cuts off. I just sat there for a quarter of an hour and robbed everything. And with all that fear, I would like to fight him again. The case just did not lead ... "

5. Khlestakov is prone to lies. The drama of the character is that the hero sometimes invents an alternative reality that he believes in. For example, according to the pseudo-auditor, he loves writing, writes literary texts, publishing stories and articles of his own production in magazines. Khlestakov, as the hero says, often reads books. However, even the reader develops sympathy for the negligent Gogol character, yet Khlestakov is a swindler. Let the fraudulent nature of Gogol's character be of an accidental nature, yet Gogol does not justify Khlestakov, but portrays the image of a young man objectively.

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Slides captions:

Khlestakov - “nobleman” and “significant person” (analysis of the third act) 1

Retelling of the events of phenomena 1 - 3, acts III. Khlestakov says. Artist A. Konstantinovsky. 2

How does his wife and daughter feel as they wait for someone to show up to tell them about the visiting inspector? How do they behave? Anna Andreevna and Maria Antonovna. Artist P. Boklevsky. 3

What is important for Anna Andreevna? Why do mother and daughter contradict each other when choosing an outfit? Anna Andreevna and Maria Antonovna. Artist P. Boklevsky. 4

Expressive reading on the roles of phenomena 5 - 6, actions III. Khlestakov says. Artist A. Konstantinovsky. 5

Why did Khlestakov begin to lie so inspiredly? Khlestakov. Artist P. Boklevsky. 6

Research work with the text Officials, Anna Andreevna, Maria Antonovna Khlestakov "We are even more pleased to see such a person." “How can you, sir, you are doing a lot of honor. I do not deserve this. I live in the village". Mayor: "The rank is such that you can still stand." “You, right, put it in magazines? Tell me, were you Brambeus?” “Excuse me, madam, quite the opposite: I’m even more pleased.” “You, ma'am, deserve it. Yes, the village, however, also has its own hillocks, streams ... "" Without ranks, please sit down." “Well, brother, we completely mistook you for the commander in chief.” “Yes, and I put it in magazines ... Well, I correct articles for them all ...” 7

Research work with the text Officials, Anna Andreevna, Maria Antonovna Khlestakov “So, right, is “Yuri Miloslavsky” your essay?” “I think with what taste and splendor balls are given there.” “This is Mr. Zagoskin’s composition.” "The mayor and others shyly get up from their chairs." “Yes, this is my composition.” “Just don't say. On the table, for example, a watermelon - seven hundred rubles a watermelon ... "" Oh, yes, it's true, it's definitely Zagoskina; but there is another “Yuri Miloslavsky”, so that one is mine.” “The State Council itself is afraid of me.” 8

Results of the work Did Khlestakov manage to "meet" the expectations of the audience? The hero ate and drank well. He is happy. Out of the habit of the “little man”, he wants to please nice people, so he is ready to do and tell them everything that they want to hear from him. Khlestakov - A. Gorev. Performance of the Moscow Art Theatre. 1908 9

Can it be argued that Khlestakov's imagination is ingeniously bold? Imagination is terribly wretched, but bold, bold in its wretchedness - brilliantly wretched. Nowhere does Khlestakov go beyond his horizons, his level of understanding. Khlestakov - B. Babochkin. 1936 10

Why do officials believe such nonsense? How do you understand the words of Dobchinsky: “Yes, you know, when a nobleman speaks, you feel fear?” Khlestakov - P. Boklevsky. 1858 11

Does Khlestakov himself believe at this moment that his person causes fear among those around him? He speaks now only in bossy shouts of a scolding tone, he "briefly" shouts at them; but they are both in age and in rank above him; but they made themselves an idol out of him, to whom everything is allowed. Khlestakov - V. Samoilov. 1897 12

What is the author of the comedy thinking about, showing Khlestakov's "transformations"? N.V. Gogol shows how real "significant persons" are created - by an absurd mistake, a stupid fear of an environment that creates an idol for itself. Khlestakov - I. Ilyinsky. 1938 13

Homework 1. Read the act IV of the comedy. 2. Prepare a retelling of scenes with merchants, a locksmith, a non-commissioned officer. 3. Expressive reading on the roles of phenomena 3 - 7. 14

On the topic: methodological developments, presentations and notes

research work. Khlestakov.

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"The Fate of a Man" is the embodiment of the tragic fate of the Russian people during the Great Patriotic War (according to the story of M. A. Sholokhov "The Fate of a Man") ...