Why did the mayor believe it so easily? Why did the mayor so easily believe the talkers Bobchinsky and Dobchinsky? In which works of Russian classics are the morals of bureaucracy depicted and in what ways can these works be compared with Gogol’s

23.06.2020

The hero of the comedy "The Inspector General" - Ivan Aleksandrovich Khlestakov - is not an adventurer, not a selfish deceiver; he does not set himself any conscious goal at all. Khlestakov is all within the limits of a given minute, acts and speaks almost reflexively, under the influence of circumstances. Khlestakov is sincere both when he speaks the truth and when he lies, for his lies are akin to the fantasies of a child.

But it was precisely this sincerity that deceived the Governor and the company, who were expecting to meet a real auditor, but found themselves powerless in the face of naivety and unintentionality.

Frightened by the upcoming audit, the Mayor is so overcome with fear of the imaginary authorities, finding out “sins”, that he ingratiatingly fawns over Khlestakov, humiliates himself, being overweight and respectable, bends over before the “strong”, before his superior in rank, “even though he is just a rag.” " Rude and cruel with everyone who is lower in rank or dependent on him, he flatteringly and insinuatingly, kindly and tenderly courtes the guest, trying to please, appease and charm him. With “great happiness” he gives him his daughter as his wife, and is almost ready to sacrifice his wife to him.

The mayor comes to his highest triumph, but does not notice how Khlestakov disappears from under his nose completely and irrevocably.

TICKET 14 question 1

The image of Tatyana Larina as an artistic discovery of the author (Based on the novel by A. S. Pushkin “Eugene Onegin”)

Tatyana was formed under the influence of folk origins and sentimental literature; she is a deeply feeling person. Let's remember the night conversation with the nanny. We see her feelings, their depth in Tatiana’s excitement.

Let us turn to the portrait of Tatyana, depicted in Chapter 8. Pushkin gives preference to Tatyana, thereby defending the ideal of female beauty - naturalness, simplicity, spirituality of appearance with thought and feeling.

Has Tatyana changed by becoming a social beauty? No, Tatyana remained the same inside, she just learned to “control herself.” At the same time, Princess Tatiana is no longer a timid dreamer girl, she is a woman with a sensitive, loving heart and a subtle, deep mind.

Tatyana continues to be alienated from everyone in society, just as in the village. (read Tatyana’s letter to Onegin).

Tatiana's last explanation with Onegin... Although Tatiana's words contain a feeling of insulted pride and pain from unfulfilled dreams, there is no ill will in them, no moralizing, no triumph. The verses that follow these words breathe special sincerity. Tatyana speaks sadly about her great love, about her tragic fate, about the fact that “happiness was so possible.” She wants to explain her feelings, her decision and understand Onegin. Pushkin admires the heroine in the last scene. His ideal is a faithful woman, even if she does not love her husband. This is the ideal woman:

“But I was given to another, I will be faithful to him forever.”

There is so much pain and disappointment in these lines, but also so much high feeling!

TICKET 14 question 2

Khlestakov's story about St. Petersburg life in Act 3 as one of the culminating scenes of N. V. Gogol's comedy “The Inspector General”

Khlestakov, as the mayor puts it, is an empty person, an “icicle”, a “rag”.

Already in Khlestakov’s appearance, Gogol emphasizes his insignificance - “a young man of about twenty-three, thin, skinny and, as they say, without a king in his head - one of those people who are called empty in the office.”

Khlestakov is not just a dreamer. He himself does not know what he is saying and what he will say in the next moment. If you are afraid in front of him, then he will go to be brave. And as soon as you step on him, he will tuck his tail between his legs.

Khlestakov’s appearance in comedy is not accidental. The district environment demands that the capital’s “thing” rise above it, and Khlestakov joyfully meets such a desire, getting away with his lies. The characters themselves “make” Khlestakov. There is an expression: “It is the retinue that makes the king.” Topics for conversation are given to him by those around him. They themselves seem to put everything in his mouth and create a conversation. Khlestakov floats with the flow formed by the district fear and admiration for the metropolitan person.

The fear of officials and Khlestakov's St. Petersburg dress miraculously transform him into an auditor. Although he himself had no intention of impersonating an important person. Only in the fourth act does he realize that he was mistaken for a “statesman”; this was due to his “Petersburg physiognomy” and suit.

However, Khlestakov quickly fell into the role and, in the end, even began to talk down to officials.

Yes, Khlestakov lies, he lies with inspiration, without thinking about what he said, “the words fly out of his mouth completely unexpectedly,” he speaks and acts without any consideration. But his lies are only about one thing: how rich, noble, famous and omnipotent he is. The more officials shake with fear, the more Khlestakov becomes scattered, and vice versa, the more horror the officials experience.

When in the provinces Khlestakov talks about his life in St. Petersburg, he is not just fantasizing, but inventing fables. Only in the first words of the boastful confession is there a mention of the hero’s real role in bureaucratic Petersburg: “You may think that I’m just rewriting: no.” He begins to lie with increasing force: “And the watchman flies on the stairs after me with a brush: “Let me, Ivan Alexandrovich,” he says, “I’ll clean your boots.”

Starting with a simple lie about writing “rhymes,” listeners learn that he is the author of many vaudevilles and comedies, short stories and fashionable novels.

The climax of the comedy, when Khlestakov gives full play to his imagination. And that his imagination is wretched, this is evidenced by his stories about life in St. Petersburg. Let us remember how Khlestakov amazes officials with his St. Petersburg dinners. The watermelon on his table costs “seven hundred rubles,” and the main advantage of the soup is the great distance away—it “came straight by boat from Paris.” Khlestakov's speech is poor and primitive, which corresponds to his inner emptiness and stupidity. He is on “friendly terms” with everyone, calls everyone “brothers,” and Pushkin is “a great original.”

“Scenes of Lies” is a formidable warning from Gogol to subsequent generations, wanting to protect them from a terrible disease - Khlestakovism.

TICKET 15 question 1

The meaning of the name and the originality of the main character of the novel by M. Yu. Lermontov “A Hero of Our Time”

The beginning of the 19th century in literature is characterized by the search for the main character, the hero of the time. Both Griboyedov and Pushkin looked for him, and Lermontov was no exception.

Pechorin is a man of a very specific time and position. He is a nobleman-intellectual, his soul is “spoiled by the light.” By nature, Pechorin is an activist, but since he is a son of his time, his activities are empty and fruitless, and his actions are petty. He poses the question of the purpose and meaning of human life, about his purpose. For example, on the night before his duel with Grushnitsky, he reflects, asking himself: “Why did I live? For what purpose was he born? Oh, that’s right... I had a high assignment...”

Pechorin never found the main goal in life and this is the tragedy of his fate. Pechorin is characterized by individualism. A portrait description helps to understand the inconsistency of Pechorin’s character, his duality.

dazzlingly clean linen and a dusty velvet frock coat, soiled gloves;

wrinkles and feminine tenderness of the skin;

strong build and small aristocratic hand;

Demonic Traits: both 23 and 30 years old; blond hair and black mustache and eyebrows; his eyes did not change when he laughed; phosphorescent shine of the eyes.

Pechorin himself admits that there are two people in him: one lives, the other thinks and judges; one strives for high ideals, the other is a skeptic. Pechorin himself sees and feels that his soul is corrupted.

Having become acquainted with the “hero of our time”, we can draw conclusions:

1. Pechorin is not capable of friendship, he is characterized by selfishness, he has no real affection; He strives to bring every situation in life to conflict.

2. Pechorin forcibly tears Bela out of her natural environment and with his selfishness leads her to death.

3. His soul is unable to sympathize with another soul. Free from friendship, Pechorin is repulsed by the simple-minded kindness of Maxim Maksimych.

4. Pechorin destroys Mary’s love, mercilessly kills Grushnitsky, completing his villainy with the words: “Finita la comedia!”

In the novel, Pechorin is a lonely wanderer who cannot sit still. Pechorin speaks about his fate: “I was ready to love the whole world, no one loved me, I learned to hate.” Life itself killed love in him, erasing the line between good and evil. Lermontov describes in Pechorin the desire for something bright, apparently giving rise to such an attractive feature as love for nature. Simply contemplating the beauty and harmony of nature is not enough for him, because he is an active nature and cannot stop there.

Lermontov’s idea is to show the man of his time, his psychology, his character, as the author himself notes, “... a portrait made up of the vices of our generation, in their full development.” To emphasize the typicality of Pechorin’s image for Russia, Lermontov calls his novel “A Hero of Our Time.” TICKET 15 question 2

The theme of the homeland in the poem by A.A. Bloc "Russia"

“I consciously and irrevocably devote my life to this topic,” wrote Alexander Alexandrovich. This is what Blok said about the theme of Russia, the Motherland in his work. The image of the Motherland appears in his lyrics gradually, as if it reveals first one face, then another.

One of Blok’s poems dedicated to the theme of Russia, the homeland, is the poem “Russia”.

Blok sees the image of Russia through the motifs of the road, the wind, and the path.

As soon as Blok felt like a national poet, he fell in love with the word “wild”. Russia was dear to him precisely because of its savagery, disharmony, and chaos.

Those who were looking for benevolent thoughts about the beauty of Russia in them will not understand anything in Blok’s poems about Russia. He had no pity for Russia:

I don't know how to feel sorry for you

And I carefully carry my cross...

Which sorcerer do you want?

Give me back your robber beauty!..

He expresses a premonition that something terrible is approaching Russia, that Russia will give up its “robber beauty” to a sorcerer who can “lure” and “deceive” it: and at the same time expresses faith that Russia will not be lost:

You won’t be lost, you won’t perish,

And only care will cloud

Your beautiful features.

“In essence, he praised Russia for what others would curse it for,” Gukovsky said.

TICKET 15 question 3

How does Chatsky’s attitude towards Sophia change during the action of the comedy “Woe from Wit”?

The conflict in Griboyedov’s play “Woe from Wit” represents the unity of two principles: public and personal. Being an honest, noble and progressive-minded person, Chatsky opposes Famus society. At the same time, the drama is intensified by a feeling of ardent, but unrequited love for Famusov’s daughter Sophia.

Upon returning to Moscow, Chatsky is excited by the meeting with Sophia, discouraged by her cold reception, trying to find in her the understanding that apparently existed before. What happens between Chatsky and Sophia to some extent is what happens between Sophia and Molchalin: he loves not the Sophia he saw on the day of his arrival, but the one he invented.

Chatsky makes no attempt to understand Sophia; it is difficult for him to understand why Sophia does not love him. Chatsky turns out to be too straightforward, not allowing the idea that Sophia might fall in love with Molchalin, that love does not obey reason. Unwittingly, he puts pressure on Sophia, causing her hostility. Chatsky can be justified by his blindness by passion; we can say that his “mind and heart are not in harmony.”

Gradually, Chatsky begins to see the light. Sophia, dissatisfied with his phrase addressed to Molchalin, says about Chatsky: “Not a man, a snake.” With her tacit consent, a rumor spreads that Chatsky is out of his mind. This rumor spreads quickly. The hero, embarrassed by Sophia's coldness and trying to understand who she loves, begins to behave imprudently, he is at a loss. But until the end of the play he is as if blind. His epiphany comes in the last act, when he, hiding in the footman's room, hears Molchalin's love dialogue with Liza, and then Molchalin with Sophia.

Complete disappointment pushes him to leave Moscow, and his famous “Carriage for me, carriage” ends the action of the comedy.

TICKET 16 question 1

Female images in the novel by M. Yu. Lermontov “A Hero of Our Time”

Roman M.Yu. It is not for nothing that Lermontov is called “Hero of our time”, because the entire work is subordinated to the disclosure of the image of Pechorin. The same can rightfully be said about the female characters in the novel.

The first female character the author introduces us to is Bela, a savage, the daughter of a mountain people. What attracts Pechorin to this woman? Of course, she was good, the author created a romantic picturesque portrait, which emphasizes that she was thin, tall, her eyes stood out - “black, like a mountain chamois.” Bela is proud and independent, the blood of her people flows in her.

And what is Pechorin’s attitude towards this love? We learn with some surprise from his lips that the love of a savage is little better than the love of a noble lady. He is ready to give his life for Bela, but it’s boring with her. Bela is one of the captivating and touching images of the novel.

Another woman on Pechorin's path was Princess Mary, that same noble lady.

The image of Princess Mary is drawn most fully. She is smart, pure and naive, passionate about romanticism, loves to talk about feelings and passions. Its purity reveals Pechorin's selfishness. By his own admission, he does not love Mary, wants to seduce her and will never marry. The story of Princess Mary's seduction is the reason for Pechorin's deep introspection and detailed monologues in his diary.

The only woman who was able to understand and feel Pechorin was Vera. Her image is given only in hints, which can be explained precisely by the similarity with the character of Pechorin himself. Vera, who loves devotedly and selflessly, could make Pechorin happy. Realizing this, Pechorin, after Vera’s departure, tries to catch up with her, drives his horse, cries and is glad that he can cry. But this one love story even more emphasized the loneliness of the hero, his inability to truly feel.

Thus, the female images of the novel “A Hero of Our Time” reveal Pechorin’s character traits. However, Lermontov’s skill as a narrator lies in the fact that even without creating detailed, complete images, sometimes using only characteristic details, the author creates vivid and memorable portraits.

TICKET 16 question 2

Philosophical theme of the poem by S. A. Yesenin

"I do not regret, do not call, do not cry…"

This is a poem was written in 1922, already in the mature period of the author's life. In the system of Yesenin’s philosophical works, it plays an important role, since it most clearly reflects his worldview. It is of particular importance for all creativity, because in general in Yesenin’s lyrics much more attention is paid to the theme of the homeland and the theme of love.

Theme of the work- reflections of a mature person about his past life, about its meaning, about its perception. The lyrical hero is trying to solve for himself a problem that sooner or later faces every person - the problem of accepting or not accepting the passing of youth. The author makes his decision: the main idea of the poem is the need for humility in the face of the inevitable.

All of us, all of us in this world are perishable...

Philosophical idea humility dominates everything else.

The theme of the inevitability of the end. The humility of the lyrical hero is the acceptance of the world as a whole, in all its diversity.

Poem composition. The change of seasons, the course of the life of the lyrical hero, the movement of certain images: the beating of the heart, the galloping of a pink horse.

Genre of the poem- reflection - most relevant to the topic and allows you to better convey the idea to the reader.

The poem is very musical, which is generally characteristic of Yesenin’s lyrics.

To convey emotionality in the poem, the author uses exclamations, questions, frequent references (“vagrant spirit”, “my life”, etc.) For the same purpose, the first line presents a selection of verbs close in meaning (“I don’t regret, I don’t call , I'm not crying").

The work contains many metaphors (“withering with gold”, “land of birch chintz”, “flame of the mouth”, etc.) and comparisons (“as if I rode on a pink horse in the echoing early morning”).

Unusually bright color rendering in the work- white smoke of apple trees, gold of withering, copper of leaves.

General mood of the work- tranquility, unhurriedness, the narration is calm and measured, promotes further reflection of the reader, allows you to think out and speculate.

The attitude towards Yesenin’s lyrics is very ambiguous, which is explained primarily by the deep personal fullness and emotional charge of his entire work.

TICKET 16 question 3

to the main character of the story?

The author of “The Lay...” did not set out to reproduce historical events, but to evaluate them. Igor’s battle with the Polovtsians and his defeat is an occasion to depict the situation of the Russian land, torn apart by the internecine strife of the princes. The author expresses the idea of the need for unity, the resurrection of the old ideals of “brotherly love.”

The attitude of the author of “The Lay” towards his hero is ambivalent. On the one hand, he condemns him, and on the other, he sympathizes with him. After all, Igor is a man of his troubled times. He sees in him one of the representatives of Rus', sympathizes with him, proud of his successes and mourning his failures. However, at the same time, the author of the Lay speaks condemningly of local politics and discord.

The reasons that forced Prince Igor to oppose the Polovtsians are tragically contradictory. He was motivated by family interests, a heightened sense of military honor, and an awareness of his patriotic duty. The bravery of the warrior, according to the author, defeated his sober political calculation: the nomadic Steppe could not be resisted alone. Igor's unreasonable actions destroyed the army and forced the prince to experience the shame of captivity and escape from it. Brave but reckless Igor goes on a campaign, despite the fact that this campaign is doomed to failure from the very beginning. He goes despite all the unfavorable “signs”. His main motivation in this case is the desire for personal glory. Nothing stops Igor on his fateful path.

TICKET 17 question 1

The theme of fate and its development in Lermontov’s novel “A Hero of Our Time”

Lermontov’s novel “A Hero of Our Time” was created in an era that brought to life a whole gallery of images that for many years were habitually called “superfluous people” by critics. But was Pechorin superfluous?

Lermontov portrayed Pechorin's fate as very tragic; His soul contains “immense powers,” but there is a lot of evil on his conscience.

His character is so contradictory that it is difficult to understand what Pechorin is really thinking and feeling.

Each person has his own destiny, his own fate. But strong and “alive” people are able to change it, make it better. This is how Pechorin seeks applications for his extraordinary abilities, “immense spiritual powers.”

Pechorin’s inner world is very complex: neither the beautiful “savage” Bela, nor the kind-hearted Maxim Maksimych, who does not understand the depth of the officer’s suffering after Bela’s death, can comprehend it. And only because Pechorin was unwell for a long time and lost weight, we understand the true power of Grigory Alexandrovich’s experiences. We notice his eyes, which did not laugh when he laughed. “This is a sign of either evil entitlement or deep, constant sadness.” Longing for the fact that Grigory Alexandrovich does not find a worthy use for his extraordinary abilities.

In the novel “A Hero of Our Time,” Pechorin speaks about his fate: “I was ready to love the whole world, no one loved me, I learned to hate.” Life itself killed love in him, erasing the line between good and evil. Lermontov describes in Pechorin the desire for something bright, apparently giving rise to such an attractive feature as love for nature. Simply contemplating the beauty and harmony of nature is not enough for him, because he is an active nature and cannot stop there.

Pechorin does not stand still, he is looking for himself, but to no avail. On his life's path, interesting personalities appear (Bela, Mary, Vera) who would help him find himself and save his soul. Pechorin is a lonely wanderer. And, realizing that he was created for something big, he moves on, but alone. Pechorin is a wanderer through life. Throughout the novel, the hero's life is bright and varied. And the ending is a quiet death, unnoticeable to society, somewhere far away, in one of the corners of our Motherland...

TICKET 17 question 3

Why did Sophia choose Molchalin and how does this characterize her?

(Based on the comedy by A.S. Griboyedov “Woe from Wit”)

One of the greatest works of the first half of the 19th century is the comedy “Woe from Wit” by A. S. Griboyedov. The author raised a number of the most important problems of his time.
The main character of the comedy, Chatsky, is seen both in his relationships with representatives of Famus society and with Sophia, whom he loves. The author shows her attitude not only towards Chatsky, but also towards Molchalin.

By nature, Sophia is endowed with good qualities: a strong mind and an independent character. She is capable of deeply experiencing and sincerely loving. For a girl of the noble circle, she received a good education and upbringing.

The image of Sofia Pavlovna is complex; two souls live in her:

One is a sentimental girl who drew ideas about people from French novels, and it was they who developed dreaminess and sensitivity in Sophia.

It was no coincidence that she paid attention to Molchalin, who, with his features and behavior, reminded her of her favorite heroes. However, it cannot be said that the heroine is blinded: she is able to evaluate her chosen one sensibly and critically.

Sophia loves Molchalin, but hides it from her father, who, of course, would not recognize him as a son-in-law, knowing that he is poor. The heroine sees a lot of good in her father’s secretary:

Compliant, modest, quiet,
Not a shadow of worry in his face,
…

That's why I love him.

Another Sophia- a child of Famus society with all the ensuing consequences.

Sophia also fell in love with Molchalin because she, a girl with character, needed a person in her life whom she could control.

But suddenly Sophia becomes an involuntary witness to Molchalin’s conversation with Liza and sees her chosen one in a different light. She realized that in fact Molchalin was pretending to be a lover; he needed Sophia only in order to take advantage of her influence at the right moment. His goal was also to get a higher rank, so he, according to his father’s precepts, was to please. But now she has lost a man who was very suitable for her to play the role of a boy-husband, a servant-husband, she is struck to the very heart, she is destroyed. Sophia does not understand that she needs another person like Chatsky. And if she had grown up in a different environment, she might have chosen Chatsky. But she chooses the person who suits her best, since she cannot imagine any other hero. ("A bird in the hand is worth two in the bush")

Griboyedov introduced us to the heroine of the comedy as a dramatic person. This is the only character who is conceived and executed as close to Chatsky.

TICKET No. 18 question 1

Nikolai Vasilyevich Gogol

(1809–1852)

Comedy "The Inspector General" (1835)

History of creation

AT 8. secondary

B9.satire

Mayor. That's when he stabbed him, he stabbed him like that! Killed, killed, completely killed!

I don't see anything. I see some pig snouts instead of faces, but nothing else...

Turn it back, turn it back! ( He waves his hand.)

Where to turn! As if on purpose, I ordered the caretaker to give me the best

three; The devil has managed to give an order ahead.

Korobkin's wife. This is definitely an unprecedented embarrassment!

Ammos Fedorovich. However, damn it, gentlemen! he took three hundred from me

rubles on loan.

Artemy Filippovich. I also have three hundred rubles.

Postmaster (sighs). Oh! and I have three hundred rubles.

Bobchinsky. Pyotr Ivanovich and I have sixty-five, sir.

banknotes, yes, sir.

Ammos Fedorovich (spreads his arms in bewilderment). How is this, gentlemen?

How did we really make such a mistake?

Mayor (hits himself on the forehead). How am I - no, how am I, an old fool? Survived

stupid sheep, out of your mind!.. I’ve been in the service for thirty years; not a single merchant or

the contractor could not carry out; scammers on scammers deceived, swindler and

such swindlers that they are ready to rob the whole world, he cheated on them! Three

He deceived the governors!.. What about the governors! ( waved his hand) nothing to say

about governors...

Anna Andreevna. But this cannot be, Antosha: he got engaged to

Mashenka...

Mayor (in hearts). Got engaged! Kukish with butter - now you're engaged!

Gets into my eyes with a betrothal!.. ( In a frenzy.) Look, look,

the whole world, all of Christianity, everyone, look how the mayor has been fooled! Fool

him, the fool, the old scoundrel! ( He threatens himself with his fist.) Oh you,

thick-nosed! He took an icicle and a rag for an important person! There he is now

the whole road is filled with bells! Will spread the story around the world. Few

so that you become a laughing stock - there is a clicker, a paper maker, a comedy

will put you in. That's what's offensive! Rank, title will not be spared, and everyone will grin

teeth and clap. Why are you laughing? - You’re laughing at yourself!.. Oh, you!..

(Knocking his feet on the floor in anger.) I would scribble all these papers! Uh, clickers,

Damn liberals! damn seed! I would tie you all in a knot and grind you into flour

Damn you all! into his hat!.. ( Sticks his fist and hits

heel to the floor. After some silence.) I still can’t come to

myself. Now, truly, if God wants to punish, he will first take away reason. Well

What was there in this helipad that looked like an auditor? There was nothing! It's simple

there was nothing like half a little finger - and suddenly everything: an auditor! auditor! Well who

the first one to say that he is an auditor? Answer!

Artemy Filippovich (spreading his arms). How it happened, for the life of me,

I can not explain. It was as if some kind of fog had stunned me, the devil had confused me.

Ammos Fedorovich. But who released it - that's who released it: these fellows!

(Points to Dobchinsky and Bobchinsky.)

Bobchinsky. Hey, not me! I didn't even think...

Dobchinsky. I'm nothing, nothing at all...

Artemy Filippovich. Of course, you.

Luka Lukic. Of course. They came running like crazy from the tavern:

“He came, he came and he doesn’t pay for money...” We found an important bird!

Mayor. Naturally, you! city gossips, damned liars!

Artemy Filippovich. Damn you and your auditor and

stories!

Mayor. Just prowling around the city and confusing everyone, rattles

damned! Sow gossip, short-tailed magpies!

Ammos Fedorovich. Damn bastards!

Luka Lukic. Caps!

Artemy Filippovich. Short-bellied morels!

Everyone surrounds them.

Bobchinsky. By God, it’s not me, it’s Pyotr Ivanovich.

Dobchinsky. Eh, no, Pyotr Ivanovich, you are the first to...

Bobchinsky. But no; you were the first.

("Inspector")

B1. Indicate the genre of the work from which the fragment is taken.

B2. What is the name of the hero mentioned by the Mayor?

VZ. Establish a correspondence between the three characters appearing in this fragment and their ranks.

For each position in the first column, select the corresponding position from the second column.

B4. Establish a correspondence between the three characters appearing in this fragment and the characteristics given to them in the play. For each position in the first column, select the corresponding position from the second column.

B5. The Mayor’s speech in this scene is accompanied by the comments “waving his hand”, “hitting himself on the forehead”, “threatening himself with his fist”, etc. What are such author’s comments called in dramaturgy?

B6. The mayor pronounces the phrase: “Why are you laughing? “You’re laughing at yourself.” What do you call a saying that is distinguished by brevity, capacity of thought and expressiveness?

B7. Korobkin's wife does not participate in the main action, appearing only in the above scene. What is the name of such a character?

C1. How does the Mayor appear in this episode and what dramatic means help reveal his character?

C2. What universal human vices does Gogol reveal in “The Inspector General” and in what other works of Russian literature do these shortcomings come to light?

IN 1. Comedy

AT 2. Khlestakov

AT 5. Remarque

AT 6. Aphorism

AT 7. Secondary

Why did the mayor so easily believe the talkers Bobchinsky and Dobchinsky?

Read the text fragment below and complete tasks B1-B7; C1-C2.

Bobchinsky<...>We had just arrived at the hotel when suddenly a young man...

Dobchinsky (interrupting). Not bad looking, in a private dress...

: Bobchinsky. Not bad-looking, in a particular dress, walks around the room like that, and in his face there’s a kind of reasoning... physiognomy... actions, and here(twirls his hand near his forehead)

. many, many things. It was as if I had a presentiment and said to Pyotr Ivanovich: “There’s something here for a reason, sir.” Yes. And Pyotr Ivanovich already blinked his finger and called the innkeeper, sir, the innkeeper Vlas: his wife gave birth to him three weeks ago, and such a perky boy will, just like his father, run the inn. Pyotr Ivanovich called Vlas and asked him quietly: “Who, he says, is this young man? “- and Vlas answers this: “This,” he says... Eh, don’t interrupt, Pyotr Ivanovich, please don’t interrupt; you won’t tell, by God you won’t tell: you whisper; you, I know, have one tooth whistling in your mouth... “This is, he says, a young man, an official,” yes, sir, “coming from St. Petersburg, and his last name, he says, is Ivan Aleksandrovich Khlestakov, sir, but he’s going, he says, to the Saratov province and, he says, he attests to himself in a very strange way: he’s been living for another week, he’s not leaving the tavern, he’s taking everything into his account and doesn’t want to pay a penny.” As he told me this, and so it was brought to my senses from above. “Eh! “I say to Pyotr Ivanovich...

Bobchinsky.

First you said it, and then I said it too. “Eh! - Pyotr Ivanovich and I said. - Why on earth should he sit here when his road lies to the Saratov province? "Yes, sir. But he is this official.

Mayor.

Who, what official? Bobchinsky. The official about whom you deigned to receive a lecture is an auditor.

Mayor

(in fear)

. What are you, God bless you! It's not him.

Dobchinsky.

He! and he doesn’t pay money and doesn’t go. Who else should it be if not him? And the road ticket is registered in Saratov.

Bobchinsky.

He, he, by God he... So observant: he examined everything. He saw that Pyotr Ivanovich and I were eating salmon, more because Pyotr Ivanovich was talking about his stomach... yes, he looked into our plates. I was filled with fear.

Mayor. Lord, have mercy on us sinners! Where does he live there? Dobchinsky. In the fifth room, under the stairs.

Bobchinsky. In the same room where visiting officers fought last year.

Mayor. How long has he been here?

Dobchinsky. And it’s already two weeks. Came to see Vasily the Egyptian. Mayor.

Two weeks!

(To the side.)

Fathers, matchmakers! Bring it out, holy saints! In these two weeks the non-commissioned officer's wife was flogged! The prisoners were not given provisions! There's a tavern on the streets, it's unclean! A shame! vilification!

(He grabs his head.)

Artemy Filippovich.

Well, Anton Antonovich? - Parade to the hotel.

Ammos Fedorovich.

No no! Put your head forward, the clergy, the merchants; here in the book “The Acts of John Mason”...

Mayor.

Answer: comedy

Name a literary movement that flourished in the second half of the 19th century and whose principles were embodied in Gogol’s play.

Artemy Filippovich.

This literary movement is called realism. Let's give a definition.

Realism is a truthful depiction of reality.

Realism in The Inspector General is shown by typical characters of that time: careless officials.

Answer: realism.

Answer: Realism

The above fragment conveys a lively conversation between the characters. What is this form of communication between characters in a work of fiction called?

Artemy Filippovich.

This form of communication is called dialogue. Let's give a definition.

Dialogue is a conversation between two or more persons in a work of fiction. In a dramatic work, the dialogue of the characters is one of the main artistic means for creating an image and character.

Answer: dialogue.

Answer: dialogue|polylogue

Indicate the term that denotes the author's comments and explanations during the action of the play (“interrupting,” “in fear,” etc.)

Artemy Filippovich.

Such author's comments are called remarks. Let's give a definition. A remark is a commentary by the author that complements the content of the work.

Answer: remark.

Answer: remark|remarks

The action of the play is based on the confrontation between officials of the city of N and the imaginary auditor. What is the name of confrontation, confrontation that serves as a stimulus for the development of action?

Artemy Filippovich.

This confrontation is called conflict. Let's give a definition.

Conflict is a clash of opposing views of characters in epic, drama, works of the lyric-epic genre, as well as in lyrics, if there is a plot in it. The conflict is realized in the verbal and physical actions of the characters. The conflict unfolds through the plot.

Answer: conflict.

Answer: Conflict

Julia Milach 02.03.2017 16:26

In training books, answers to such tasks are written “antithesis/contrast,” which implies that both options are correct. Even among the tasks on your website that ask the same thing, in some places the antithesis is recognized as the correct answer, and in others it is a contrast.

Tatiana Statsenko

Conflict is not the same as contrast. What is the contrast in this task?

The scenes of reading the letter and the appearance of Bobchinsky and Dobchinsky with the news about the auditor set the course for the main events of the play. Indicate the term denoting this stage of action development.

Artemy Filippovich.

This stage of development is called the beginning. Let's give a definition.

The plot is the event that begins the development of action in a literary work.

Mayor. I invited you, gentlemen, in order to tell you some very unpleasant news: an auditor is coming to visit us.

Ammos Fedorovich. How's the auditor?

Artemy Filippovich. How's the auditor?

Mayor. Inspector from St. Petersburg, incognito. And with a secret order.

Ammos Fedorovich. Here you go! "..."

Answer: connection.

Answer: Tie

· Answer: detail|artistic detail|artistic detail

Which works of Russian classics depict the morals of bureaucracy and in what ways do these works have something in common with Gogol’s “The Inspector General”?

Artemy Filippovich.

The morals of officialdom are a topical topic for Russian classical literature of the 19th century. The theme raised by Gogol in “The Inspector General”, “The Overcoat”, brilliantly developed by him in “Dead Souls”, was reflected in the stories of A.P. Chekhov: “Fat and Thin”, “Death of an Official” and others. The distinctive features of officials in the works of Gogol and Chekhov are bribery, stupidity, money-grubbing, inability to develop and fulfill the main function assigned to them - managing a city, province, state. Let us remember the officials of the county town from Dead Souls. Their interests are limited to their own pockets and entertainment, they see the meaning of life in veneration of rank, and the officials in the above excerpt from “The Inspector General” appear like this before us. Bobchinsky and Dobchinsky, Ammos Fedorovich, even the mayor - each of them has something to fear, this fear does not allow them to consider Khlestakov’s true face, but they are frantically trying to get out of an unpleasant situation by any means. In Chekhov’s stories, the official is so insignificant that he is ready to die from fear of a higher rank (“Death of an Official”), this is the path from Gogol’s official to Chekhov’s official - complete degradation.

Artemy Filippovich.

The mayor has something to fear and something to hide. He is frightened by news from an old friend about the arrival of an auditor. That is why the mayor easily succumbs to Dobchinsky-Bobchinsky’s “provocation” about the arrival of the auditor and believes them. It is truly “fear has big eyes,” which is why the mayor does not see obvious things.

1. What is the theme of the comedy “The Inspector General”?
The comedy "The Inspector General" is a comedy of manners. Its topic is bribery and corruption of officials; the author satirically depicts various abuses in the bureaucratic environment, as well as Khlestakov’s frivolity and dishonesty.

2. Who was the first to report the auditor? Why did everyone believe this message? Who is Khlestakov: a minor official and an insignificant person or a significant person? How does he appear in conversations with officials, merchants, the mayor’s wife and daughter?
For the first time they learned about the auditor from a letter received by the Governor and, since the auditor could already arrive and live in the city incognito, the eccentric and stupid gossips Dobchinsky and Bobchinsky mistook the Strange Visitor for the auditor, who turned out to be Khlestakov. Everyone believed their guess because they were very scared. In reality, Khlestakov is an insignificant and empty person, a talker and a braggart who does not know how to do anything, but knows how to benefit from the mistakes of officials. He quite cleverly adapts to his interlocutors and impresses everyone. He behaves freely with officials, boasts in front of ladies, and pretends to be a boss with merchants.

3. Where is the beginning and end of the comedy? Did Khlestakov want to deceive the officials and townspeople?
The plot of a comedy is an episode in which the prerequisites for the development of the plot are laid. In this case, it seems to me that this is the moment when Bobchinsky and Dobchinsky report that they saw the auditor.
The denouement is the moment when the plot comes to its conclusion. This is an episode of reading Khlestakov’s letter, from which it becomes clear to everyone that he is not an auditor.

4. Why are the landowners Dobchinsky, Bobchinsky and the mayor being deceived? Read and comment on the scene at the inn. For what reason do officials believe Khlestakov in the “scene of lies”? Remember and tell or read this scene out loud. What is the role of stage directions in comedy?
The landowners are deceived because they are stupid, they are captured by the sensation and want to be involved in it, and Khlestakov behaves atypically. The mayor believes them out of fear. For example, he takes all Khlestakov’s words about prison personally: Khlestakov is afraid that he will be sent to prison for not paying the innkeeper, and the Governor himself is afraid of prison for bribery. Wanting to avoid arrest, Khlestakov lies that he is a respected official, and the Mayor takes this as a hint that he is the auditor.
In the "lying scene" all the officials are very scared because they think that the drunk will tell the truth. They have never met such selfless liars as Khlestakov. He seems to believe himself. In addition, everyone is very afraid of him, because they all broke the law. The stage directions show how at first they did not dare to sit down, and then jumped up and shook in horror.

5. What did the news of the arrival of a new auditor mean and who is this new auditor - an official or the conscience of each character? Read this scene and prepare a detailed answer to this question.
The news of the arrival of a new auditor - the real one - meant the end of a career for each of the officials, and perhaps even prison. Everyone was already dumbfounded by their revealed mistake, and then there was the real auditor. The mayor says: “Killed, completely killed!” That was probably everyone's feeling.
I think this is a real auditor: people like, for example, Strawberry can hardly have a conscience. It seems to me that this is not conscience then, but fear of punishment, because if officials had a conscience, they would not behave this way. The same Zemlyanika stole from sick people, hired a doctor who doesn’t understand a word of Russian: it’s not surprising that all the patients “get better like flies.” Something like human feelings is visible in Gorodnichy, he even says words that Gogol himself would like to say: “Why are you laughing? You’re laughing at yourself!” He speaks these words not so much to officials, but to all of us. Because the auditor is not the conscience of officials, but ours.

6. Read the definitions of the main stages of plot development. What comedy scenes do you think correspond to these stages? (exposition, beginning, climax, resolution)
The exhibition is a reading and discussion of the letter received by the Mayor.
The beginning is a message from the landowners that they have found the auditor and the conversation of the Governor with him.
The climax is the scene where the Mayor boasts that he is leaving for St. Petersburg.
The denouement is the reading of Khlestakov’s letter.

7. It is known that Nicholas 1, after the first performance of the play, said: “What a play! Everyone got it, and I got it more than anyone else!” And Gogol exclaimed: “Everyone is against me!” How can we explain the indignation of all classes by the play?
Everyone was offended by the comedy because people of all classes were depicted satirically. The whole of Russia is depicted under the guise of a district town.

Despite the fact that the landowners Bobchinsky and Dobchinsky were famous in the city of N as gossips and talkers, the mayor easily believed their words that the guest who had been living in the tavern for a week and was behaving “strangely” was the same auditor about whom “ deigned to receive a notification.” He believed, firstly, because the envoy from the capital, expected with horror by the officials of the city of N, was supposed to arrive incognito. Secondly, according to the landowners, the stranger is suspiciously observant: he looks into the plates of tavern visitors, and he himself “takes everything into the account and does not want to pay a penny.”

The mayor “grabs his head”: the auditor has been observing the unrest happening in the city for two weeks. During this period, the non-commissioned officer’s wife was flogged, “the prisoners were not given provisions,” and there was “uncleanliness,” “shame,” and “vilification” on the streets.

The mayor's panicky fear takes over his sanity, makes him mistake “an icicle, a rag” for an “important person”, and believe gossips and talkers.

Why did the mayor believe it so easily? Why did the mayor so easily believe the talkers Bobchinsky and Dobchinsky? In which works of Russian classics are the morals of bureaucracy depicted and in what ways can these works be compared with Gogol’s

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