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

The great satirist began his career by describing the way of life, manners and customs of Ukraine dear to his heart, gradually moving on to describing the entire vast Rus'. Nothing escaped the artist's attentive eye: neither the vulgarity and parasitism of the landlords, nor the meanness and insignificance of the townsfolk. "Mirgorod", "Arabesques", "Inspector", "Marriage", "Nose", "Dead Souls" - a caustic satire on the existing reality. Gogol was the first of the Russian writers, in whose work the negative phenomena of life were most clearly reflected. Belinsky called Gogol the head of a new realistic school: "With the publication of Mirgorod and The Government Inspector, Russian literature took a completely new direction." The critic believed that “the perfect truth of life in Gogol's stories is closely connected with the simplicity of meaning. He does not flatter life, but he does not slander it; he is glad to expose everything that is beautiful, human in her, and at the same time does not hide her ugliness in the least.

A satirist writer, referring to the "shadow of trifles", to "cold, fragmented, everyday characters", must have a subtle sense of proportion, artistic tact, and a passionate love for nature. Knowing the difficult, harsh field of the satirist writer, Gogol nevertheless did not renounce him and became one, taking the following words as the motto of his work: “Who, if not the author, should tell the holy truth!” Only a true son of the motherland could, under the conditions of Nikolaev Russia, dare to bring the bitter truth to light in order to contribute to the loosening of the feudal-serf system with his work, thereby contributing to the movement of Russia forward. In The Inspector General, Gogol "gathered everything bad in Russia into one heap", brought out a whole gallery of bribe-takers, embezzlers of public funds, ignoramuses, fools, liars, etc. In the "Inspector General" everything is funny: the plot itself, when the first person of the city takes him for an auditor from the capital, a idler, a person "with extraordinary lightness in his thoughts", Khlestakov's transformation from a cowardly "elystratishka" into a "general" (after all, those around him take him precisely for a general) , the scene of Khlestakov's lies, the scene of a declaration of love to two ladies at once, and, of course, the denouement and the silent comedy scene.

Gogol did not show a "positive hero" in his comedy. A positive start in The Inspector General, which embodied the high moral and social ideal of the writer, which underlies his satire, was "laughter", the only "honest face" in comedy. It was laughter, wrote Gogol, “which all emanates from the bright nature of man ... because at the bottom of it there is an eternally beating spring of it, which deepens the object, makes something that would slip through brightly, without whose penetrating power the trifle and emptiness of life would not frighten would be so human.

From all sides they curse him, And only seeing his corpse, How much he did, they will understand, And how he loved, hating.

Literature teacher

MOU "Secondary School No. 83", Barnaul

- Writer and satirist.

The lifeblood of the comedy The Inspector General.

Knowledge in the classroom: humor and satire as the basis of artistic manner

During the classes.

I. Repetition. What works of Gogol do you know? What literary characters created by the writer do you remember? How do they get your attention?

II. What facts of the biography influenced the formation of his creative manner?

Nikolai Vasilievich Gogol was born on March 20, 1809 in the town of Velikie Sorochintsy, Mirgorodsky district, Poltava province. It was named Nicholas in honor of the miraculous icon of St. Nicholas, kept in the church of the village of Dikanka.

He spent his childhood years in his native estate Vasilievka (another name is Yanovshchina). The Gogols had over 1000 acres of land and about 400 souls of serfs.

The writer's father, Vasily Afanasyevich Gogol-Yanovsky, served at the Little Russian Post Office, in 1805 he retired with the rank of collegiate assessor and married Maria Ivanovna Kosyarovskaya, who came from a landowner's family. The story of his marriage is interesting: as if in a dream, the Mother of God appeared to him and pointed to a certain child. Later, in Maria Ivanovna, he recognized this same child. In the early 1920s, he became close friends with the former Minister of Justice, Dmitry Prokofievich Troshchinsky, who lived in the village of Kibintsy and set up a home theater here. Gogol was the director of this theater and an actor. For this theatre, he composed comedies in the Little Russian language.

Gogol's mother came from a landowner's family. According to legend, she was the first beauty in the Poltava region. He married Vasily Afanasyevich at the age of fourteen. Her family life was the calmest, but Maria Ivanovna was distinguished by increased impressionability, religiosity and superstition. In the family, in addition to Nikolai, there were five more children.

At first, Gogol studied at the Poltava district school, and in 1821 he entered the newly founded Nizhyn Gymnasium of Higher Sciences. Gogol studied rather averagely, but he distinguished himself in the gymnasium theater as an actor and decorator. He performs comic roles with particular success. The first literary experiments belong to the gymnasium period, for example, the satire “Something about Nizhyn, or the law is not written for fools” (not preserved).

Most of all, however, Gogol is occupied with the idea of ​​the state. service in the field of justice. After graduating from the gymnasium in December 1829, Gogol went to St. Petersburg. In his dreams, Petersburg was a magical land where people enjoy all the material and spiritual benefits, where they wage a great fight against evil - and suddenly, instead of all this, a dirty, uncomfortable, furnished room, worries about how to have a cheaper dinner, anxiety at the sight of how quickly the purse, which seemed inexhaustible in Nizhyn, is being emptied.

Experiencing financial difficulties, unsuccessfully fussing about the place, Gogol makes the first literary tests: at the beginning of 1829, the poem "Italy" appears, and in the spring of the same year, under the pseudonym V. Alov, Gogol prints "an idyll in pictures," Hanz Küchelgarten ". The poem drew scathing and derisive reviews. In the early years in St. Petersburg, Gogol changed many apartments. Zverkov's house probably did not become the happiest place for him. Around this time, "Hanz Küchelgarten" was written. But he burned his unsuccessful opus not at all here, but in a hotel room specially rented for this purpose.

At the end of 1829, he managed to decide on a service in the department of state economy and public buildings of the Ministry of the Interior. Staying in the office caused Gogol a deep disappointment in the public service, but provided rich material for future works.

In the years, “Evenings on a Farm near Dikanka” were published, which aroused universal admiration.

From 1831 to 1836 Gogol lived almost entirely in St. Petersburg. This time was the period of his most intense literary activity. In 1835 Gogol's collection Mirgorod was published. Critics were unanimous in their assessment of Gogol's talent, they especially singled out the story "Taras Bulba".

Working on stories, Gogol tried his hand at dramaturgy. The theater seemed to him a great force of exceptional importance in public education. In 1835, The Inspector General was written, the plot of which was suggested by Pushkin. On April 19, 1836, the premiere of The Inspector General took place on the stage of the Alexandria Theater in St. Petersburg, where he was present, allowing the play to be staged and printed. For a copy of The Government Inspector presented to the Emperor, Gogol received a diamond ring.

Soon after the production of The Government Inspector, hunted by the reactionary press, Gogol went abroad. In total, he lived there for twelve years. The writer lived in Germany, Switzerland, France, Austria, the Czech Republic, but for the longest time in Italy. Abroad, he writes his main book-poem "Dead Souls", where he learns about Pushkin's death.

In 1848, Gogol returned to Russia and settled in the house of Count Alexander Petrovich Tolstoy on Nikitsky Boulevard. There he occupied two rooms on the first floor: one served as a reception room, the other as an office, which was connected by a door to the people's room. Here, Gogol was looked after like a child, giving him complete freedom in everything. He didn't care about anything. Lunch, tea, dinner were served where ordered.

The death of the writer followed on February 21, 1852 at about 8 o'clock in the morning. The day before, late in the evening, he loudly said: "Ladder, hurry, give me a ladder."

Gogol's death is still a mystery. To some extent, the story of the writer's sister Olga Vasilievna sheds light on the mysteries of Gogol's biography: “He was very afraid of the cold. The last time he left here, from Vasilyevka, with the intention of spending the winter in Rome, but stopped by Moscow, where his friends began to beg him to stay, live in Russia, not to go to Rome. My brother made excuses, kept repeating that frosts were bad for him. And they made fun of him, they assured him that all this seemed to him so, that he would perfectly endure the winter in Russia. Persuaded brother. He stayed and died. Then my eldest son died. Then our old house became intolerable to us. There is a belief among the people: if a contractor building a house becomes angry with the owner and if he “lays the house on his head”, then misfortunes weigh on that house. In our family, all the men died. We decided that this house was cursed, and demolished it, and built a new one, although it was almost next to the former one, but still in a different place. And such a strange phenomenon was after the destruction of the old house. On the Easter holiday, the maid had a dream that the old house was intact, and there she saw many men who had already died, describing the appearance even of those whom she had never seen. Perhaps it was in the house that the causes of the family's misfortunes lay. After the demolition of the house, everything went well. Many children were born who lived long and were healthy. However, there was not even the slightest sign of giftedness in them.

In a strange way, Gogol probably foresaw his death. He always avoided meetings with the kindest and sweetest Moscow "doctor of the poor" Fyodor Petrovich Gaaz. However, on the night of New Year 1852, he accidentally met a doctor who was leaving the rooms of the owner of the house where the writer lived. In his broken Russian, Haaz wished him with all his good heart a new year that would grant him an eternal year. Indeed, the leap year of 1852 brought the writer to eternity, just as his writings remained in the eternal world history of literature.

Gogol was buried in the Donskoy Monastery. In 1931, Gogol's remains were transferred to the Novodevichy Cemetery.

III. In the "Actor's Confession" he explains why humor and satire have become decisive in his work. What task did Gogol set himself when starting to create the comedy The Inspector General?

Reading and discussion of the textbook article "The great satirist about himself." (Textbook-reader. Author-compiler. Mnemosyne. M. 2000).

IV. Gogol had his own ideas about the genre of comedy.

What dramatic works (plays) have you read? What satirical works do you know?

V. Drama as a kind of literature.

VI. The word of the teacher about the creation of the "Inspector".

In October 1835, Pushkin handed over the plot of The Government Inspector to Gogol, in December rough sketches appeared, the first edition in 1836, and in total Gogol worked on the text of the comedy for 17 years. The text of 1842 is considered final.

Gogol dreamed of returning comedy to its lost meaning. The theater is a great school: it reads a lively useful lesson to the whole crowd at a time. The plot of the comedy is not original. Prior to this, the plays are known: Kvitko-Osnovyanenko “A Visitor from the Capital, or Turmoil in a County Town” and Alexander Veltman “Provincial Actors”.

Gogol was accused of plagiarism, but the novelty of his play is that the person mistaken for the auditor did not intend to deceive anyone.

The theme of the comedy is taken from reality itself. The situation at that time was such that the governor was the full owner of the province, and the governor of the county town. Arbitrariness and unrest reigned everywhere. The only thing that held me back was the fear of the auditor from St. Petersburg. Gogol took an old theme (abuse of office) and created a work that turned out to be an indictment against the entire Russian statehood of Nicholas I.

Does the theme of comedy sound modern?

The first production of the play was met with mixed reception. The social significance of the play was not immediately understood. At the premiere on April 19, 1836 at the Alexandrinsky Theater in St. Petersburg, Tsar Nicholas I was present, who was pleased with the performance: "Everyone got it here, but most of all I."

How did it happen that with such an assessment, the play saw the light of day? Apparently, at first it was personally approved by Nicholas I, who did not understand all of its enormous revealing power. Most likely, Nicholas I believed that Gogol laughed at the provincial towns, their life, which the tsar himself despised from his height. He did not understand the true meaning of the "Inspector General". Bewilderment seized the first spectators. Confusion turned into resentment. Officials did not want to recognize themselves. General verdict: "This is an impossibility, slander and farce."

The satirical power of this work was such that Gogol incurred fierce attacks from reactionary circles. This and dissatisfaction with the St. Petersburg production, which reduced the social comedy to the level of vaudeville, cause depression and departure abroad.

VII. Heroes of Gogol's comedy.

VIII. Gogol's laughter did a great job. He had tremendous destructive power. He destroyed the legend about the inviolability of the feudal-landowner foundations, made a judgment on them, awakened faith in the possibility of a different, more perfect, reality.

A satirist writer, referring to the "shadow of trifles", to "cold, fragmented, everyday characters", must have a subtle sense of proportion, artistic tact, and a passionate love for nature. Knowing the difficult, harsh field of the satirist writer, Gogol nevertheless did not renounce him and became one, taking the following words as the motto of his work: "Who, if not the author, should tell the holy truth."

("The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich")

Working on "The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich", Gogol wants to reveal the comic outside the tragic conflicts of life, in the field of "boring". It is wide, this area - from outwardly idyllic forms of life within the neglected estate of Tovstogubs to an anecdotal quarrel and lawsuit between two Mirgorod friends Pererepenko and Dovgochkhun, the story of which ends with the famous words: "It's boring in this world, gentlemen!"

The story opens with a deliberately enthusiastic description of the costume, house and garden of Ivan Ivanovich. And the more the writer “enthuses” about his hero, the greater the worthlessness of this person is revealed to us. With undisguised sarcasm, Gogol describes the “pious man Ivan Ivanovich”, who goes to church only to talk with the poor after the service, find out their needs, but at the same time give nothing. He argues “very logically”:

What are you standing for? Because I don't hit you...

Ivan Ivanovich loves very much if someone gives him a present or a present. He likes it very much. Ivan Ivanovich, a couch potato and windbag, due to the habit of those around him and due to his property status, is reputed in Mirgorod for a decent person.

Just as “good” is his neighbor Ivan Nikiforovich. It is not so much high as it "spreads in thickness". Sluggish and grumpy, he does not follow his speech and sometimes allows such words that his neighbor Ivan Ivanovich, an “esthete”, only says in response: “Enough, enough, Ivan Nikiforovich; better soon in the sun than to speak such ungodly words.” However, the author concludes, despite some differences, both friends are "wonderful people."

A carefree and idle life has made idlers out of these landowners, busy only with how to entertain and amuse their idleness. There is no question of any spiritual growth, self-improvement of the personality. These characters don't even know the words. They are occupied purely with their personalities, with the satisfaction of their most primitive needs. And when there is the slightest obstacle in the way of these needs, then a real battle breaks out. Moreover, the methods used by both sides are as unworthy as their performers.

With unsurpassed skill and humor, Gogol shows how lightning fast from bosom friends Ivan Ivanovich and Ivan Nikiforovich become sworn enemies. Between them, “military operations” are unfolding, ending with the damage to the goose barn of Ivan Nikiforovich, committed by Ivan Ivanovich with “chivalrous fearlessness”.

With undisguised sarcasm, Gogol describes Mirgorod, in which these events took place. What kind of spirituality and height of thoughts can be expected from the inhabitants of the city, the main attraction of which was “an amazing puddle! The only one you've ever seen! It occupies almost the entire area. Great puddle! Houses and cottages, which from a distance can be mistaken for haystacks, crowded around, marveling at her beauty ... ”

The heroes of the story with the emergence of a quarrel perked up, perked up. They have a purpose in life. Everyone wants to win a lawsuit in court. They travel to the city, submit papers to all instances, spend their income on offerings to officials of all ranks, but do not achieve any visible results. They are on the same rung of the social ladder. Therefore, “their cause” is unlikely to end in the foreseeable future. It will end only after the death of one of the judges. But neither Ivan Ivanovich nor Ivan Nikiforovich understand this. They take the illusion of life for life itself, drowning in litigation and slander, they have lost the initial comfort and well-being that they had.

“The story of how Ivan Ivanovich quarreled with Ivan Nikiforovich” was included in the collection “Mirgorod” along with the historical-heroic story “Taras Bulba”. This proximity helped the writer to show all the pettiness and baseness of the actions and thoughts of Ivan Ivanovich and Ivan Nikiforovich compared to the real exploits of Taras and his associates. The author becomes bored from contemplating his characters. Are the days of great deeds over? The author continues this theme in his brilliant work “Dead Souls”.

The great satirist began his career by describing the way of life, manners and customs of Ukraine, gradually moving on to describing the entire vast Russia. Nothing escaped the artist's attentive eye: neither the vulgarity and parasitism of the landlords, nor the meanness and insignificance of the townsfolk. "Mirgorod", "Arabesques", "Inspector", "Marriage", "Nose", "Dead Souls" - a caustic satire on reality. Gogol was the first of the Russian writers, in whose work the negative phenomena of life were most clearly reflected. Belinsky called Gogol the head of a new realistic school: "Since the publication of Mirgorod and The Government Inspector, Russian literature has taken a completely new direction." The critic believed that “the perfect truth of life in Gogol's stories is closely connected with the simplicity of fiction. He does not flatter life, but he does not slander it either: he is happy to expose everything that is beautiful, human in it, and at the same time does not hide its ugliness.

The satirist writer, referring to the "shadow of trifles", to "cold, fragmented, everyday characters", must have a subtle sense of proportion, artistic tact, and a passionate love for the truth. Gogol took the following words as a motto for his work: “Who, if not the author, should tell the holy truth!”

Being a very observant person, even in his youth, in Nizhyn, the writer had the opportunity to get acquainted with the life and customs of the provincial "existents". Life in St. Petersburg expanded his ideas about the bureaucratic world, about the world of urban landowners, about merchants and philistines. And he fully armed began to create the immortal comedy "The Government Inspector". The ideological and artistic richness of Gogol's comedy lies in the breadth of coverage of the life of the social strata of Russia, the display of typical living conditions of that era, and the extraordinary power of generalization. Before us is a small county town with its characteristic arbitrariness of local authorities, the lack of the necessary control over the order, the ignorance of its inhabitants.

Gogol's manner - "to collect in one heap everything bad in Russia and to laugh at everyone at once" - is found in this brilliant work to the fullest.

Gogol did not bring out a positive hero in his comedy. A positive start in The Inspector General, the embodiment of the high moral and social ideal of the writer was "laughter" - the only "honest face" in comedy. “It was laughter,” wrote Gogol, “which all emanates from the bright nature of man ... because at the bottom of it lies an eternally beating spring of it, which deepens the subject, makes something that would slip through brightly, without whose penetrating power a trifle and the emptiness of life would not frighten a man like that.

Satirically depicting the nobility and bureaucratic society, the worthlessness of their existence, Gogol glorifies the Russian people, whose forces are not being used. With a special feeling Gogol writes about the people: there is no longer a denunciatory satire, but there is regret and sadness. And yet, the writer is characterized by optimism, he believes in a bright future for Russia.

Nikolai Vasilievich Gogol is a talented satirist writer. His gift was especially bright and original in the poem "Dead Souls" when creating images of landowners. The characteristics of the heroes are full of remarks, ridicule, when Gogol describes the most useless little people, but vested with the right to dispose of the peasants. There are writers who easily and freely invent the plots of their writings. Gogol is not one of them. He was agonizingly inventive with plots.

He was always tender external push to "inspire fantasy." As you know, Gogol owed the plot of Dead Souls to Pushkin, who had long inspired him with the idea of ​​writing a great epic work. The plot suggested by Pushkin was attractive to Gogol, as it gave him the opportunity, together with their hero, the future Chichikov, to “ride” all over Russia and show “all of Rus'”. The sixth chapter of Dead Souls describes Plyushkin’s estate. The image of Plyushkin fully corresponds to the picture of his estate, which appears before us. The same disintegration and decomposition, the absolute loss of the human image: the owner of a noble estate looks like an old housekeeper.

It begins with a digression about travel. Here the author uses his favorite artistic technique - characterization of a character through a detail. Consider how the writer uses this technique using the example of the landowner Plyushkin. Plyushkin is a landowner who has completely lost his human appearance, and in essence - his mind. Having entered Plyushkin's estate, the author does not recognize him. The windows in the huts were without glass, some were plugged with a rag or zipun. The manor's house looks like a huge grave crypt, where a person is buried alive.

“He noticed a particular dilapidation on all village buildings: the log on the huts was dark and old; many roofs blew through like a sieve; on others there was only a horse at the top, and poles on the sides in the form of ribs. ”Only a lushly growing garden reminds of life, of beauty, sharply contrasted with the ugly life of the landowner. It symbolizes the soul of Plyushkin. “The old, vast garden stretching behind the house, overlooking the village and then disappearing into the field, overgrown and decayed, it seemed that alone refreshed this vast village and alone was quite picturesque in its picturesque desolation.” Chichikov for a long time cannot understand who is in front of him, "a woman or a man." Finally, he concluded that it was true, housekeeper.

“He noticed a particular dilapidation on all village buildings: the log on the huts was dark and old; many roofs blew through like a sieve; on others, there was only a ridge at the top, and poles on the sides in the form of ribs. The master's house appeared before Chichikov's gaze. “This strange castle, long, looked like some kind of decrepit invalid. Long beyond measure. In some places it was one storey, in some places it was two: on a dark roof ... "" The walls of the house slitted in places a bare plaster sieve. Plyushkin's house struck Chichikov with a mess: “It seemed as if the floors were being washed in the house and all the furniture had been piled up here for a while.

On one table there was even a broken chair, and next to it was a clock with a stopped penny, to which the spider had already attached its web. Right there stood a cupboard with antique silver leaning sideways against the wall. Everything is ramshackle, dirty, and miserable. His room is littered with rubbish: leaky buckets, old soles, rusty carnations. Saving an old sole, a clay shard, a carnation or a horseshoe, he turns all his wealth into dust and dust: bread rots in thousands of pounds, many canvases, cloths, sheepskins, wood, dishes disappear.

The once rich landowner Stepan Plyushkin was an economical owner, to whom a neighbor stopped by to learn from him the economy and wise stinginess. “But there was a time when he was only a thrifty owner!” During this period of his history, he, as it were, combines the most characteristic features of other landowners: he was an exemplary family man, like Manilov, troublesome, like Korobochka.

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