How the image of Khlestakov is revealed in the scene of lies. Analysis of the scene of lies in the comedy N.V.

A feature of Gogol's comedy "The Government Inspector" is that it has " mirage intrigue”, i.e. officials are fighting against the ghost created by their bad conscience and fear of retribution. Anyone who is mistaken for an auditor does not even make any deliberate attempts to deceive, to fool the officials who have fallen into error.

The development of the action reaches its climax in act III. The comic fight continues. The mayor deliberately goes to his goal: to force Khlestakov to “let slip”, “tell more”, in order to “find out that

He is and to what extent he should be feared. After visiting a charitable institution where a magnificent breakfast was offered to the guest, Khlestakov was at the height of bliss. “Cut off and cut off hitherto in everything, even in the manner of walking a trump card along Nevsky Prospekt, he felt spaciousness and suddenly turned around unexpectedly for himself, he started talking, not knowing at the beginning of the conversation, where will he go his speech. Topics for conversations are given to him by the investigators. They seem to put everything in his mouth and create a conversation, ”N.V. Gogol writes in Forewarning. In a few minutes in the scene of lies, Khlestakov makes a dizzying career: from a petty official (“You may think that I am only copying ...”) to a field marshal (“The State Council itself is afraid of me”). The action in this scene develops with ever-increasing energy. On the one hand, these are the stories of Ivan Alexandrovich, gradually losing all credibility and reaching their climax at the end of the phenomenon. On the other hand, this is the behavior of the listeners, who become more and more frightened by the speeches of the guest. Their experiences are expressively conveyed by remarks: at the beginning of the conversation, “the mayor and everyone sit down” at the gracious invitation of Khlestakov, however, at the mention that in his hallway one can supposedly meet counts and princes, even the minister, “the mayor and others get up from their chairs with timidity”. The words: “And for sure, it happened, as I pass through the department - just an earthquake, everything trembles and shakes like a leaf” - are accompanied by a remark: “the mayor and others are lost in fear.” At the end of the scene, the mayor, “approaching and shaking with his whole body, tries to utter” something, but with fright he cannot utter a word.

During his speech, Khlestakov, as it were, instinctively captures the nature of the impression he makes, spurring the fear experienced by the audience, the expectation of stories about the scale of life and service relations unusual for provincials. His exaggerations are purely quantitative: "seven hundred rubles a watermelon", "thirty-five thousand one couriers." Showing off in front of the ladies, he mobilizes all his meager supply of information about the life of the St. Petersburg nobility, about events and literature. “Khlestakov doesn’t lie about everything at all, he sometimes just reports sensational metropolitan news - about the magnificence of the balls, about the soup that arrived on the ship from Paris, that Baron Brambeus corrects other people’s articles, that Smirdin pays him a lot of money, that that the “Nadezhda” Frigate is a huge success, and finally, that Pushkin, with whom he is “on a friendly footing”, is a “great original”, writes A. G. Gukasova in the article “The Inspector General Comedy”.

However, all these real facts displaced and redirected, the narrator himself becomes the central person in all events.

Due to Khlestakov’s unintentionality, it is difficult to catch him in a lie - he, lying, easily gets out of a difficult situation: “As you run up the stairs to your fourth floor, you only say to the cook:“ On, Mavrushka, overcoat ... “Well, I'm lying - I and forgot that I live in the mezzanine.

Seized by an irresistible desire to play a role a little higher than the one that fate foresaw for him, in this "best and most poetic moment in his life," Khlestakov longs to appear not only as a secular man, but also as a "state" man.

Neither the mayor nor the officials question what Khlestakov is talking about, on the contrary, they are strengthened in the belief that the auditor sent to them is a significant state person. “A strange thing is happening. The wick, the match, the boy Khlestakov, by the power of fear and reverence for him, grows into a person, becomes a dignitary, becomes what they see in him, ”G. A. Gukovsky concludes from this scene in the article “Gogol's Realism”.

Comedy NV Gogol "" is thoroughly saturated with funny scenes and episodes that the author created, looking at the life around him. In it, he laughed not at serfdom, not at the monarchy. He ridiculed a person, but rather, his insignificance and meanness, his lack of spirituality and immorality.

In the comedy "The Government Inspector" we do not meet positive and good heroes. Perhaps the author tried to create them, but he did not succeed, because people like the main characters of the work simply flooded the earth and Russia.

The scene of Khlestakov's "lies" simply amazes the reader. The protagonist composes such fables that they reach the point of absurdity. says that he is well acquainted and friendly with Pushkin, that actors and writers are "on you with him." He boasts that he almost became commander in chief. His house was the first to be built in St. Petersburg, and now he arranges chic balls in it, which attract princes and ministers. He feeds them delicacies, soups from Paris, exotic fruits and berries.

In addition to the characters that we meet in the text of the comedy, the author's laughter plays a special role. He is present everywhere and everywhere. We meet with ridiculous situations, with funny mistakes of persons county town, with ironic moments. And the demeanor of officials who were the main swindlers of the city. They consider those around them fools and cleverly deceived, although they themselves fall for Khlestakov's ridiculous trick.

Satirical techniques help N.V. Gogol is much brighter and more colorful to describe the realities Russian life. Analyzing the actions of Shpekin, who, out of curiosity, opened and read other people's letters, and then exposed their meaning to general ridicule, the reader cannot help but notice the baseness and immorality of such actions.

The very image of the protagonist consists of a total lie. He composes tales about chic holiday dinners, although he himself goes half-starved. He is so forgetful that he puts his name in the ranks famous writers. And none of the inhabitants of the city notices the mistakes in the spoken words. After all, they are so uneducated and culturally destroyed!

Almost all comedy characters resort to fiction and lies. So, their life becomes much more colorful and interesting. in a funny, satirical form, he tries to open the eyes of the world around him to the harsh and rather sad reality. After all, there is a lie all around.

"Scene of lies" Khlestakov

Returning from distant wanderings,

Some nobleman (and maybe a prince),

Walking in the field with my friend on foot,

Boasting about where he's been

And to the true stories of fables without an account attached.

I.A. Krylov

These words are from the fable "Liar" by I.A. Krylova very well reflect the essence of the episode from the comedy N.V. Gogol's "Inspector". The most interesting fragment is known as Khlestakov's "scene of lies". The culprit of the extraordinary events described in the comedy, the most empty person, "icicle", "rag", in the words of the mayor, Ivan Aleksandrovich Khlestakov is one of the most remarkable and characteristic images in Gogol's work. The comedian reflected in this hero all his passion for exaggeration and love for depicting multifaceted characters. Consider how the imaginary auditor is revealed to the audience in the "scene of lies." According to the definition given in the "dictionary of literary terms", an episode is "an excerpt, a fragment of some artwork, possessing a certain independence and completeness. "But an episode in a work of art is not only an element of the plot, an event in the life of the characters, but also an integral part of the work, embodying the most important features of the ideological and artistic originality of the work as a whole, a kind of" magic crystal", linking the path of heroes in storyline. What is the ideological and figurative structure of this episode and its role in the context of the work?

The sixth phenomenon is the most striking fragment of the third act. In it, Khlestakov, under the influence of the impression he makes on women, the attention that officials and the mayor give him, gradually rises to such heights of lies that they cannot be called mere fantasies. In the blink of an eye, like a fabulous genie, he builds and destroys entire fantastic worlds - the dream of his contemporary mercantile age, where everything is measured in hundreds and thousands of rubles. Starting with a simple fib about writing "rhymes", Khlestakov rapidly takes off to the literary Parnassus. Listeners will learn that he is the author of many vaudevilles and comedies, short stories and fashionable novels (for example, Yuri Miloslavsky, authored by M.N. Zagoskin). Stunned by the acquaintance with such a brilliant personality, others do not notice that among the names prose works slip and operas "Norma", "Robert the Devil". Where can you spot such subtleties! After all, the society surrounding the liar has long forgotten what reading books is. And here is a man on a short footing with Pushkin himself, the editor of the well-known magazine Moscow Telegraph. An enchanting, magical sight! The only objection of Marya Antonovna, who read Zagoskin's novel, is mercilessly destroyed by her mother and easily, naturally brushed aside by Khlestakov, who reports that there are two works of the same name, and he is the author of one of them. Showing off in front of the mayor's wife, Anna Andreevna, the deceiver assures that he does not like ceremonies and with all important officials in St. Petersburg "on a friendly footing"; that he has the most famous house in the capital; that he gives balls and dinners, for which they deliver him "a watermelon worth seven hundred rubles", "soup in a saucepan from Paris." It even goes so far that he claims that the minister himself came to his house, and once, meeting the requests of couriers, he even managed the department. "I am everywhere ... everywhere ... I go to the palace every day." Khlestakov is so carried away that sometimes he starts talking: either he lives on the fourth floor, or in the mezzanine.

It is surprising why, during this scene, no one interrupted Khlestakov, everyone was servilely silent and listening, with

laboriously pronouncing "... wah-wah-wah ... procession, excellency"? "How is it, in fact, we so blundered!" - Judge Lyapkin-Tyapkin exclaimed after it turned out that Khlestakov was not at all the one for whom he was taken. And indeed, how could highly experienced crooks, led by a mayor, fall for the bait of an insignificant St. Petersburg official, who is not distinguished by either intelligence, cunning, or imposing figure?

This question primarily affects the very situation of comedy - special, unlike anything else. What the play warns about from the very beginning, and throughout the text are scattered words and expressions that speak of the exclusivity of everything that happens. Khlestakov, according to Gogol, main character plays and the most unusual - not only in character, but also in the role that fell to him. In fact, Khlestakov is not an auditor, but not an adventurer who deliberately deceives those around him either. It seems that he is simply not capable of a pre-planned trick, an adventure; this, as Gogol says in remarks, is a young man "without a king in his head", acting "without any consideration", possessing a certain degree of naivety and "candor". But it is precisely all this that allows the false auditor to deceive the mayor with the company, or rather, allows them to deceive themselves. “Khlestakov does not cheat at all, he is not a liar by trade,” wrote Gogol, “he himself will forget that he is lying, and he himself almost believes what he says.” The desire to show off, to become a little taller than in life, to play a more interesting role, destined by fate, is characteristic of any person. The weak are especially susceptible to this passion. From a fourth-class employee, Khlestakov grows up to "commander in chief". The hero of the analysand experiences his finest hour. The scope of lies stuns everyone with its breadth and unprecedented strength. But Khlestakov is a genius of lies, he can easily come up with the most unusual and sincerely believe in it.

Thus, in this episode, Gogol deeply reveals the versatility of the protagonist's character: outwardly ordinary, nondescript, empty, "wick", and inwardly - a talented dreamer, superficially educated fanfaron, in a favorable situation reincarnating as the master of the situation. He becomes a "significant person" who is given bribes. Having got the taste, he even begins to demand in a rude form from Dobchinsky and Bobchinsky: "Do you have any money?" It is no coincidence that a contemporary of the author of the comedy, Apollon Grigoriev, spoke enthusiastically about the "scene of lies": "Khlestakov, like a soap bubble, inflates under the influence of favorable circumstances, grows in his own eyes and in the eyes of officials, becomes bolder and bolder in boasting."

It is impossible not to agree with the opinion of the poet. Indeed, in the "scene of lies" Khlestakov - the bubble, swells to the maximum and shows itself in its true light, in order to burst in the denouement - phantasmagorically disappear, rushing off on a troika. This episode is truly a "magic crystal" comedy. Here all the features of the protagonist are focused and highlighted,

his acting skills. The scene makes it possible to better understand that "uncommon lightness in thoughts" about which Gogol warned in his remarks to the gentlemen of the actors. Here comes the culminating moment of pretense and lies of the hero. The convexity of the "scene of lies" is Gogol's formidable warning to subsequent generations, wishing to protect them from a terrible disease - Khlestakovism. Its impact on the viewer is great: those who have lied at least once in their lives will see what excessive lies can lead to. Looking at the image of Khlestakov, you understand how terrible it is to be in the shoes of a liar, experiencing a constant fear of exposure.

Returning to the words of the great sage Krylov, taken out in the epigraph, I would like to paraphrase an excerpt from another

his fables "The Crow and the Fox":

For how many years they told the world

That lies are vile, harmful ...

Unfortunately, even today this vice finds a corner in the hearts of people, and the only way to fight a lie is by ridiculing it. Gogol understood this well and realized this idea with faith in the "bright nature of man" in the "scene of lies."

Bibliography

For the preparation of this work, materials from the site http://www.bobych.spb.ru/

Why is Khlestakov lying? Let's try to find the answer in this article.

Lie Khlestakov

Khlestakov is a deceitful person; in his inner emptiness, he even stands much lower than not only the mayor and other officials, but also his lackey Osip. He is completely incapable of any coherent thinking; he has, in his own words, "a remarkable lightness in thought": his thought constantly flies from subject to subject, so that he himself forgets what he has just said. His highest pleasure is to flaunt on a walk in a fashionable suit, to show off, especially in front of the ladies. Petty vanity, the desire to splurge, that's what guides all his actions.

In order to satisfy this passion, he resorts to the most shameless lies, especially when he sees that they are listening to him, that they are looking after him: he manages the department, and travels to the palace, and plays cards with envoys. Finally, he lies so much that even the frightened mayor notices this, although he explains in his own way: “Yes, he also said more than necessary; It is clear that the man is young.

However, Khlestakov is not at all a conscious deceiver and not an impostor. He lies without any purpose, not from any personal, selfish motives, but from simple frivolity and fanfare. At the moment when he lies, he even believes his own words, although he immediately forgets about them and sometimes loses his tone and thinks about his room on the fourth floor, about the cook Mavrushka. As there is little connection in his thoughts, so there is little connection in his actions. He is not at all aware of his actions, does not think about the result.

The thought that flashed through his head immediately turns into a word or a deed: in this sense, Khlestakov is a purely impulsive nature. This feature of him is especially pronounced in the 4th act, when Khlestakov either receives officials and takes money from them (on loan, since he heard in St. at the same time to his wife and daughter, then, finally, unexpectedly leaves, tempted by the prospect of riding in style on a dashing troika, and, thus, following the prudent advice of Osip, gets rid of the troubles that awaited him when the real auditor arrives. Gogol attached great importance to the role of Khlestakov.

Khlestakov, according to Gogol, is not just a small Petersburg veil, he is at the same time a representative of a very common type; therefore, its image, in addition to the private one, also has general meaning. Very many people strive in life to seem not what they really are, and this contradiction between being and seeming is precisely the root of all "Khlestakovism", with the only difference that it does not always manifest itself as clearly and clearly as in the face of Khlestakov.

In a work belonging to the comedy genre, N. V. Gogol's "Inspector General", using the technique of satirical exaggeration (grotesque), based on a combination of the real and the fantastic, makes fun, ridicules all scammers, seeks to show a person as he really is.

With the help of the grotesque, Ivan Khlestakov is shown as a liar who knows how to deceive with feeling, getting pleasure from it. The protagonist of the comedy, seeing that he is revered by society, lets his imagination run wild, becomes impudent in his demands: for a short time from an official of the lower class turns into a field marshal.

The scene of "lies" denounces the vices of officials and Khlestakov himself, who wants to show off.

In society main character exalts, idealizes itself. In his house, which was built first in St. Petersburg, he gives balls, the guests of which are princes and ministers .; claims authorship famous works. Forgetting himself, he says: “When you run up the stairs to your fourth floor, you will only say to the cook: “Here, Mavrushka, overcoat ...”. Realizing that he made a reservation, Khlestakov corrects the situation: “Well, I’m lying - I forgot that I live in the mezzanine”, seeks to support the fortunate combination of circumstances that happened.

We can say that Khlestakov does not have enough complete peace of mind, since, wanting to impress the mayor's wife, he says that he is friends with A.S. Pushkin, he cannot think of a worthy topic of conversation with the poet, but still delights the ladies: “Well, brother Pushkin?” - “Yes, brother,” he answers, it happened, “because somehow everything ...”.

A situation arises of deafness, blindness and inattention of officials who suddenly ceased to comprehend the semantics of the words that Khlestakov pronounces. Shameless lies only increase the belief in everyone about the arrival true auditor. The officials are so frightened that they do not notice the lie until the postmaster opens Khlestakov's letter, from which it becomes known that he is not an auditor. Every civil servant is lawless and wicked, so the deception remains undiscovered for a long time.

The scene of deceit, the culmination of the work, allows you to fully reveal the composition of the play. It is the satirical exaggeration used by N.V. Gogol that allows us to approach a serious topic from a humorous side. The writer denounces vulgarity, lack of spirituality, shows people who have deprived themselves of ideals and values.

Composition Vranye Khlestakov (analysis)

Khlestakov, one of the characters in the comedy N.V. Gogol's "Inspector". Hungry, exhausted Khlestakovo, who was about to go to prison, was brought to the Gorodnichy's house, where he was fed and watered. He did not think about how and why such a change occurred in his life. He never thinks about anything, just lives in one moment, his goal is to make a good impression on people, especially on females. It is for this reason that there is so much joy in his voice and expressions when he talks about life in St. Petersburg.

There are so many lies in his words that he himself begins to believe in what he says. His emotions and stories are so untrue and false that in the end he no longer remembers what he told at the beginning. The facts from his stories diverge and say completely opposite things. He says that in his thoughts the lightness is unusual and he attributes to himself the merits of other writers.

Marya Antonovna catches him in a lie, saying that the author of the work "Yuri Miloslavsky" is Zagoskin, and Khlestakov, in turn, claims the opposite. Saying that there is a work with the same name, belonging to him. In almost every sound that Khlestakov pronounces, there is a lie.

There is so much confusion that he himself does not understand it, but fortunately for Khlestakov, officials do not pay attention to it. As Khlestakov wanted, he presents himself on the good side and the ladies are delighted with him. They think they've met a fine metropolitan man. And Khlestakov overtook the officials with great fear, only a little fib about his rank. He completely convinced everyone that it was he who was the auditor and an important person.

The scene of lies elevates him, puts him above the rest, this is his finest hour, where he is in the center attention. This is not only Khlestakov's finest hour, this is one of the best scenes of the author of the work. There are many interesting and key moments in this scene that will be remembered by the audience for a long time. Author-master. It is in this work that the skill of Nikolai Vasilyevich Gogol as a poet is revealed. "Soup in a saucepan came from Paris right on the ship" a situation that Gogol brought to the point of absurdity.

From all of the above, we can conclude that the scene of lies is the climactic scene in the work, in which the characters of many heroes are revealed.

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