The beginning of the first act is woe. Key scenes in A. S. Griboyedov’s comedy “Woe from Wit.” Comic and satirical beginning in the play

Lesson topic: “Acquaintance with the heroes of the comedy “Woe from Wit.”

Analysis of the first action."

Lesson objectives: comment on the 1st act of A.S. Griboedov’s comedy “Woe from Wit”, during the analysis, identify the plot of the comedy, form initial ideas about the conflict, continue to develop the skill of analysis dramatic work taking into account its genre specificity.

During the classes:

1. introduction teachers. A conversation about the perception of comedy.

Today we start talking about immortal comedy Griboedova. However, when it appeared, not everyone was delighted with the playwright’s work; some critics could not even imagine that this play would outlive its creator by at least two hundred years.

What impression did Griboedov’s play make on you?

Is the story told in Griboyedov's play sad or funny for you?

The work had a difficult road to the stage. A book could also be written about this path.

! History of the comedy. (Student message.)

Griboyedov’s best friend S.N. Begichev wrote: “I know that the plan for this comedy was made by him in St. Petersburg in 1816 and several scenes were even written, but I don’t know whether it was in Persia or Georgia that Griboyedov changed them in many ways and destroyed some of the characters...”

V.V. Shneider, Griboyedov’s classmate at Moscow University, said that Griboedov began writing comedy back in 1812. This point of view exists, although its author was over 70 years old at that time, and perhaps he forgot something or confused something. True, given Griboyedov’s extraordinary abilities, it can be assumed that the 17-year-old boy was capable of creating such a work.

There is also a version that Griboyedov dreamed about the plot of the comedy. Moreover, the author himself, in a letter from Tehran dated November 17, 1820 (the addressee of the letter is unknown), confirms it: “...When should it be ready? - In a year, take an oath... And I gave it with trepidation... I woke up... the cold of the night dispelled my unconsciousness, lit the candle in my temple, I sat down to write, and vividly remember my promise; GIVEN IN A DREAM, WILL BE FULFILLED IN REALITY!»

Comedy was completed by the fall of 1824 . The 1st (draft) edition of the play has also been preserved, which is now in the Moscow State historical museum. Griboedov really wanted to see the comedy in print and on stage, but a censorship ban was imposed on it. The only thing we managed to do after much trouble was to print the excerpts with censored edits. However, the comedy reached reading Russia in the form of “lists”. The success was amazing: “Thunder, noise, admiration, curiosity has no end” (from a letter to Begichev, June 1824). In another letter he writes: “Listening to his comedy, I did not criticize, but enjoyed.”

Only after the death of the author, comedy appeared on the professional stage. The first separate edition of “Woe from Wit” was published in Moscow in 1833 year(with censored notes). The comedy's original title was "Woe to my mind." Then the author changes it to "Woe from Wit."

It is impossible to cause grief to a real mind, but grief can very well come from the mind.

The plot basis of the work is dramatic conflict, a stormy clash between an intelligent, noble and freedom-loving hero and the noble environment around him. As a result, the hero himself drank the full measure of “Woe from Your Own Wit.” “Woe from Wit” closes the first period of literary activity

A. S. Griboedova.

In the future, the time comes for him to be tense creative quests. To the questions and wishes of his friends, he answered: “...I won’t write any more comedy, my gaiety has disappeared, and without gaiety there is no good comedy.”

Which of the characters in the play do you find most attractive and who the most repulsive?

What comedy scene do you most vividly imagine?

II Repetition of the concept of “comedy of classicism”.

What are genre features Griboedov's works?

(Comedy- one of the dramatic works.

Features of such a work: lack of author's narration (but there is a list of characters and stage directions); limiting the action by spatial and temporal frameworks, hence revealing the character’s character through moments of confrontation (the role of conflict); organization of speech in the form of dialogues and monologues that are addressed not only to other characters, but also to the viewer; stages of conflict development (exposition, beginning, development of action with culmination, denouement).

What style did the classicists classify comedy as?

(In the system of genres of classicism, comedy belongs to the lowest style.)

What are the features of classic comedy?

(The principle of unity of place, time and action; role system, the play, as a rule, has 4 acts - the third is the climax, the fourth is the denouement. Features of the exposition: the play opens minor characters, which introduce the viewer to the main characters and tell the backstory. The action is slowed down by long monologues. Vice is punished - virtue triumphs.)

What are the features of the plot in a classic comedy?

(One of the main plot schemes of the comedy of classicism is the struggle of two contenders for the hand of one girl, the positive one is poor, but endowed with high moral qualities; it all ends with a happy dialogue.)

Can we say that this is a classic comedy?

(Of course not, although we see elements of classic comedy: the unity of time, places, telling names.)

The comedy by A. S. Griboyedov “Woe from Wit” is a work in which momentary ideological and political disputes are accurately reproduced and at the same time problems of a national and universal nature are identified. These problems in the play are born of the collision of a bright personality with an inert social structure, according to the author himself, "sensible person" With "twenty-five fools."

Such a collision "the contradiction between characters, or characters and circumstances, or within character, underlying an action" is called conflict. Conflict is the mainspring» , a source of dynamic tension in a literary work, ensuring the development of the plot.

Plot- This "the chain of events depicted in literary work, that is, the life of the characters in its spatio-temporal changes, in changing positions and circumstances.” The plot not only embodies the conflict, but also reveals the characters' characters, explains their evolution, etc.

What plot elements do you know?

Which ones are major and which are secondary?

What are distinctive features each (exposition, plot, development of action, climax, denouement)?

Is it possible to rearrange them?

What artistic effect is achieved?

III. Analysis of the list of actors.

Reading the poster.

Speaking names.

FAMUSOV(from the Latin Fama - “rumour”) - embodied the ability to hide, to advantageously explain the meaning of one’s own and others’ actions. His dependence on public opinion, rumors and is emphasized by his “speaking” surname.

REPETILOV(from the French Repeter - “to repeat”) - carries the image of a pseudo-oppositionist. Having no opinion of his own, Repetilov repeats other people's thoughts and expressions. The author contrasts him with Chatsky as an internally empty person who tries on “other people’s views and thoughts.”

MOLCHALIN- he is timid and silent with Sophia and Famusov, but with Liza and Chatsky he turns into a “talker” and a rake. Obviously, his surname hints at the hidden and important properties of nature.

Tugoukhovsky, Skalozub, Khryumina, Khlestova, Zagoretsky.

Heroes are characterized based on the following criteria: the principle of birth and place on the career ladder.

Chatsky and Repetilov are deprived of these characteristics.

Why?!

The surname Chatsky is “rhymed” ( Chadsky - Chaadaev).

With his comedy, Griboyedov foresaw the fate of P.Ya. Chaadaeva.

The surname “Chatsky” carries an encrypted hint to the name of one of most interesting people that era: Pyotr Yakovlevich Chaadaev. The fact is that in the draft versions of “Woe from Wit” Griboedov wrote the hero’s name differently than in the final version: “Chadsky”. Chaadaev’s surname was also often pronounced and written with one “a”: “Chadayev”. This is exactly how, for example, Pushkin addressed him in the poem “From the Sea Shore of Taurida”: “Chadaev, do you remember the past?..”

Chaadaev participated in Patriotic War 1812, in the anti-Napoleonic campaign abroad. In 1814 he joined Masonic lodge, and in 1821 suddenly interrupted the brilliant military career and agreed to join secret society. From 1823 to 1826, Chaadaev traveled around Europe, comprehended the latest philosophical teachings, met Schelling and other thinkers. After returning to Russia in 1828-30, he wrote and published a historical and philosophical treatise: “Philosophical Letters.”

The views, ideas, judgments - in a word, the very system of worldview of the thirty-six-year-old philosopher turned out to be so unacceptable for Nicholas Russia that the author of “Philosophical Letters” suffered an unprecedented and terrible punishment: by the highest (that is, personally imperial) decree, he was declared crazy.

It so happened that literary character did not repeat the fate of his prototype, but predicted it. And here we come to the most important issue: what is Chatsky’s madness?

1. Analysis of the first act of the comedy.

What are phenomena 1–5 in terms of plot development?

(Phenomena 1–5 in terms of plot development are exposition).

What intrigue starts at the very beginning?

(The secret love of a master's daughter and a rootless secretary. The unexpected arrival of Chatsky is the beginning of a comedy action, love conflict: Chatsky is in love with Sophia, she is in love with Molchalin.)

What is the atmosphere of life in Famusov’s house and its inhabitants themselves? Let's try to imagine what Famusov's house looks like.

(In the morning, together with Famusov, we walk around it. The house is rich, spacious, and boring. Everything is as it should be - and there are no traces of the personality of the owners. They have no hobbies, passions, or even activities. The house is boring because life here is motionless. Sophia, probably , not only because of love impatience says to Molchalin: “Go; We'll be bored all day long.")

What information do we get about characters who have not yet appeared on the scene?

(From Lisa’s words we learn about Chatsky and Colonel Skalozub.)

Why did Famusov allow himself to be deceived? After all, the situation was very frank, Sophia’s story about the dream is transparent: she cannot immediately renounce the oblivion of music and love; (Molchalin is almost clearly the “hero of the dream” told by her (and this is evidence of the sincerity of her love). And the monosyllabic nature of Molchalin’s answers and Sophia’s intervention are suspicious for Famusov. But Famusov never learned anything. Why?

(First of all, despite all his rudeness, Famusov is simple-minded. Thus, praising his concerns for his daughter, he talks about Madame Rosier, whom "knew how to hire" How "second mother" ; but it immediately turns out that his insight was not too sharp: "rare rules" this "old ladies of gold" didn't stop her from running away to others “for an extra five hundred rubles a year.” When asking questions, Famusov almost does not allow others to speak; he is so talkative that, jumping from one subject to another, he almost forgets about his intentions. But this alone is difficult to explain his agreement to close his eyes to everything he saw.

Perhaps, main reason his blindness is that he doesn’t want to see anything, he’s just lazy, he’s afraid of “trouble”. After all, if you take all this seriously, you have to start a scandal with Sophia, drive out Molchalin... Famusov does not like change; it is convenient for him to live the way he lives. And the precautions boil down to the fact that he scolds everyone and “He leaves with Molchalin, lets him in first at the door” so as not to leave his secretary with his daughter.

In what phenomenon does Chatsky appear? How does Chatsky enter?

(1d., 7th Jan. He is energetic, happy, excited, anticipating the meeting that he has been waiting for so long. This first scene is very important. Here is the beginning of that tragic delusion that will ultimately make Chatsky the hero of a comedy.)

What made Chatsky leave Moscow?

(Boredom, which even falling in love with Sophia could not overcome. His exacting criticism inevitably led to “sadness”; it overshadowed the joy of love. And Chatsky leaves "search your mind" , to look for the positive foundations of life, its enlightenment. Love for the homeland (it’s not for nothing that he talks about "smoke of the fatherland") and falling in love with Sophia return him to Moscow.

Chatsky is a hero of action, an enthusiast by nature. But in Famusov’s Moscow, energy and enthusiasm are not only illegal” - they have nothing to feed on. And Chatsky “throws himself” into love, as into a living, immediate and deep element of life.)

How does Sophia greet him? (Her behavior is very accurately given by Griboedov in the mirror of Chatsky’s remarks.)

Why does Sophia's secular courtesy give way to coldness, irony and hostility? What irritates Sophia about Chatsky?

How does Chatsky try to restore the tone of his previous relationship with Sophia? What struck Chatsky most about Sophia and why didn’t he immediately understand that love was lost?

What changed for Chatsky in Famusov’s house and how did he himself change?

What is Chatsky’s irony directed against?

(Dialogue between Chatsky and Sophia - Chatsky’s satirical denunciation of Moscow morals)

What in the lifestyle and behavior of the Moscow nobility causes Chatsky’s condemnation? How is the nature of the hero himself revealed in his accusatory speeches?

Did the conflict manifest itself in events 8-10, between whom, what is its nature?

1. Summarizing.

Expositionintroduces the reader to the house of the Moscow master Famusov. His 17-year-old daughter Sophia is in love with her father's poor secretary, Molchalin. They meet secretly from their father. Sophia's maid Lisa helps with this. From a conversation between Lisa and Sophia we learn that three years ago Chatsky, who was brought up in the Famusovs’ house, went to “search for his mind” in St. Petersburg, then abroad.

The beginning of a comedy is the unexpected arrival of Chatsky, who passionately confesses his love to Sophia. This is how it arises external conflict : fight for the bride, love triangle - Sophia loves Molchalin, Chatsky loves Sophia. The dialogue between Sophia and Chatsky reveals Sophia’s complete indifference to her childhood friend. The conflict is complicated by the fact that Sofia Famusov’s father would not be happy with either one or the other applicant: Molchalin is poor and rootless, Chatsky is also not rich, in addition he is freethinking and daring.

2 Individual task: on expressive reading prepare

Chatsky's monologues “And sure enough, the world began to grow stupid...”, “Who are the judges?” and Famusov “That’s it, you are all proud!”, “Taste, father, excellent manner.”

1. Answer the questions: “Why does Chatsky enter into an argument with Famusov. Why is a clash between Chatsky and Famusov’s Moscow inevitable?”

1. Determine the theme of A. Griboyedov’s comedy “Woe from Wit.”

Theme is the vital material underlying the work. The theme of the comedy “Woe from Wit” by A.S. Griboyedov is the life and views of the noble-bureaucratic Moscow, and more broadly, of all of Russia.

2. Define the concept “ eternal images" Give examples.

“Eternal images” are mythological and literary characters that have been used more than once in the literature of different countries. The reason for their enduring value is the general significance of the moral and philosophical content contained in them. These are the mythological images - Prometheus, Medea, literary images- Don Quixote, Don Juan, Hamlet, Faust, etc.

3. What elements does the plot of the work consist of?

The main elements of a plot are exposition, beginning, development of action, climax, denouement, and sometimes a prologue and epilogue.

4. Determine the climax of the comedy “Woe from Wit”.

The climax of the comedy “Woe from Wit” is Sophia’s words about Chatsky’s madness.

5. Determine the climax of the novel by A.S. Pushkin "Eugene Onegin".

In the novel by A.S. Pushkin's "Eugene Onegin" culminates in the duel between Onegin and Lensky.

6. Determine the climax of N.V.’s comedy. Gogol "The Inspector General".

In the comedy N.V. Gogol's "The Inspector General" the culmination of the plot action is the matchmaking of Khlestakov and the celebration of his engagement to Marya Antonovna.

7. What is the exposition of a work?

Exposition is the portrayal of the characters' lives before the action begins.

8. Determine the plot of N.V.’s comedy. Gogol "The Inspector General".

The plot of N.V.’s comedy Gogol's "The Inspector General" consists of several events: the mayor's receipt of a letter about the arrival of the inspector, the mayor's dream, and the message from Bobchinsky and Dobchinsky about his arrival "incognito from the capital."

9. Determine the plot of the novel by A.S. Pushkin "Eugene Onegin".

The plot of the novel by A.S. Pushkin's "Eugene Onegin" - Onegin's meeting with Tatyana.

10. What is the role of the prologue in the work?

A prologue is an introduction to the development of the plot, which reveals the background of the events depicted in the work. He explains the reasons for everything that is happening.

11. Determine the nature of the conflict in D.I.’s comedy. Fonviz-na "Nedorosl".

Conflict in the comedy “Minor” by D.I. Fonvizin is the contradictions born of serfdom, affecting all spheres of Russian life, especially the education and life of the local nobility. It can be defined as social and moral.

12. Determine the nature of the conflict in the novel by M.Yu. Ler-montov "Hero of Our Time".

The main conflict of the novel “A Hero of Our Time” by M.Yu. Lermontov lies in the collision of the hero - a person unclaimed by Russian reality - with society.

13. Determine the nature of the conflict in the novel by I.S. Turgenev "Fathers and Sons".

The main conflict of the novel “Fathers and Sons” by I.S. Turgenev consists of contradictions on social, moral, aesthetic issues between the “fathers” - representatives of the nobility and the “children” - democrats-commoners.

14. Why in epic works Are lyrical digressions introduced?

IN lyrical digressions contains reasoning, assessments, thoughts and feelings of the author, expressed directly. Lyrical digressions allow us to more clearly define the author’s ideal and place the necessary accents.

15. What literary images become household names? Give examples.Material from the site

In some images, writers so vividly and expressively embody certain (usually negative) human traits that the names of the bearers of these traits seem to merge with certain vices, begin to be associated with them and become common nouns. So, Manilov is an idle, fruitless dreamer, Nozdryov is the embodiment of a liar and a braggart, Plyushkin is a senseless miser.

16. Describe lyrical hero poetry by A.S. Pushkin.

Lyrical hero A.S. Pushkina is a harmonious, freedom-loving, spiritually rich personality, believing in love, friendship, and optimistically perceiving life. His image is revealed by analyzing the poems “To Siberia”, “Pushchina”, “To K***”, “I loved you”, etc.

17. Describe the lyrical hero of M.Yu.’s poetry. Lermon-tova.

Lyrical hero M.Yu. Lermontov is a “son of suffering”, disappointed in reality, lonely, romantically yearning for will and freedom and tragically not finding them, which can be seen in the poems “Sail”, “I go out alone on the road”, “And it’s boring , and sad”, “Clouds”, “Stanzas”.

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Innovation and tradition in the comedy “Woe from Wit”

The problem of genre.

Exploring the conflict and plot of the comedy “Woe from Wit,” it should be noted that Griboyedov innovatively used the classicist theory of three unities. Following the principles of unity of place and unity of time, the author of the comedy violates the principle of unity of action, which, according to existing rules, was built on one conflict, the beginning took place at the beginning of the play, the denouement - in the finale, where vice was punished and virtue triumphed.

The author’s refusal to build traditional intrigue caused heated controversy, some participants of which refused to give Griboyedov literary skill, others noted the “newness, courage, greatness<...>poetic consideration." The result of the dispute was summed up. In the article “A Million Torments,” the writer identified two conflicts in the comedy “Woe from Wit.” And accordingly, two storylines connected “in one knot”: love and social. “When the first is interrupted, another unexpectedly appears in the interval, and the action begins again, a private comedy plays out into a general battle and is tied into one knot.” Goncharov showed that at the beginning of the comedy a love conflict ensues, then the plot is complicated by the hero’s confrontation with society.

Both lines develop in parallel, reaching a climax in the 4th act. The love affair gets a resolution, and the solution to the social conflict is taken outside the scope of the work:

Chatsky was expelled from Famusov society, but remains true to his convictions. Society also does not intend to change its views. Although the fighting has subsided for a while, further clashes are inevitable.

The duality of the plot of “Woe from Wit” revealed by Goncharov for a long time became a dogmatic formula characterizing artistic originality plays. But, as you know, Griboyedov himself, retelling the plot of the comedy in a letter, emphasized the unity of personal and social elements. Social satirical scenes and love-comedy action in “Woe from Wit” do not alternate, which corresponds to the traditions of this genre of the 18th century, but act as a thoughtful whole. Thus, Griboedov rethought familiar plot patterns and endowed them with new content.

Identification of the features of various genres in comedy.

The comedy “Woe from Wit” was written during the reign of classicism, although in general, realism and romanticism developed in literature. This situation greatly influenced the definition of the method of the work: comedy has both traditional classic features, and the features of realism and romanticism.

1. Features of classicism:

The principle of three unities is observed: the unity of time and place (the action fits into one day, takes place in Famusov’s house); formally there is one story line Sofya-Molchalin-Chatsky, although it is violated social conflict and the introduction of off-stage characters;

The traditional “role system” is preserved: the plot is based on love triangle; a father who has no idea about his daughter’s love; a maid who helps lovers;

A departure from tradition is that Chatsky is a reasoner and a hero-lover at the same time, although as a hero-lover he failed. But Molchalin does not quite fit this role, since he is depicted with a clearly negative assessment of the author. Famusov is, in addition to a father who knows nothing, also an ideologist of the “past century.” Therefore, it can be argued that the traditional scope of roles in comedy has been expanded.

There is a principle “ speaking names" These surnames can be divided into three types: 1) surnames indicating some trait of the hero; 2) assessing names; 3) associative surnames;

The comedy is built according to classical canons: 4 acts - the 3rd culmination, the 4th denouement.

2. Features of realism:

Social and psychological typification: typical characters, typical circumstances, accuracy in detail.

The difference from classical plays is that there is no happy ending: virtue does not triumph and vice is not punished. The number of characters goes beyond the classic ones (5-10) - there are more than 20 of them in the comedy.

The comedy is written in iambic meter, which perfectly conveys intonation shades, individual characteristics speeches of individual characters.

H. Features of romanticism:

The romantic nature of the conflict;

The presence of tragic pathos;

The motive of loneliness and exile of the main character;

The protagonist's journey as salvation from the past.

Features of the plot of the comedy "Woe from Wit"

The play has a double plot. The beginning of a love conflict immediately introduces the essence of the plot. In the first six apparitions (before Chatsky’s appearance), we meet the heroes in love, the “deceived” father, and the quick-witted maid. Having given only a hint at the traditional turn of events, Griboyedov radically changes both the course and meaning of the plot. The maid Lisa does not want to play the role of “confidante” and “bringing together lovers”; lovers do not seek dates and the father’s blessing for their love, their meetings (“locked” in the bedroom) are appointed by Sophia herself; The “noble” father feels “contradictions” in explaining how a “young man” could get into the living room so early in the morning, but allows himself to be persuaded.

These changes to the clichéd plot scheme allowed Griboyedov to escape from the routine theatrical tradition and show characters connected by difficult relationships.

Sophia deceives her father in his own home, at the same time she herself turns out to be a victim of an insidious lover; The “noble” father flirts with the maid and immediately declares his “monastic behavior.” There is no truth or sincerity in the relationships between the characters; they find themselves bound by mutual responsibility. As the comedy progresses, it becomes obvious that there is a double morality when what appears does not correspond inner essence, is generally accepted. Deception is conditioned by the unwritten law of “secular” relations, in which everything is permissible, but it is necessary that what happened remains implicit and unspoken. In this regard, Famusov’s monologue that ends the play is indicative, where the hero fears that rumors about the events in his house will reach “Princess Marya Alekseevna” herself.

The title of the work contains the word “grief.” We call what happens to Chatsky drama. Why do we, following Griboyedov, define the genre of the work as a comedy? It is unlikely that it will be possible to achieve clarity in the answer to this question, especially since the author himself, in his notes on this work, defines the genre as a “stage poem,” and researchers offer a range from poetic lyrics to stories and novels. One way or another, if this is a comedy, it is an innovative one; it is no coincidence that many of Griboyedov’s contemporaries did not understand it.

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 petty official and insignificant person or 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 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 with 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 a 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. Under the guise county town All of Russia is depicted.

In what action does the play begin? What caused such a prolonged exposure? Read in their faces that part of the play that you consider to be the beginning.

“Comedy,” wrote Gogol, “must knit itself by itself, with its entire mass into one big knot. The plot should embrace all faces, and not just one or two - touch on what worries more or less all the characters. Everyone is a hero here.” Let's see how this important position of Gogol is realized in the first act of the play, where we get acquainted with both the exposition and the plot of the comedy "The Inspector General".

Reference. Exposition is that part of the play in which the arrangement of the characters, the position and characters of the heroes is given before the action begins, and contains motives that will develop in the future.

The somewhat prolonged exposition in the comedy “The Inspector General” is caused by the desire of the author of the play to acquaint readers and viewers with a picture of the life of one of the county towns, to reveal the reasons that led officials, led by the mayor, to their fatal mistake, show that the driving spring of action is fear.

The action in the comedy begins with the mayor informing the assembled officials about “very unpleasant news” - an auditor from St. Petersburg is coming to the city “with a secret order.” But that’s not all: Chmykhov’s letter, which the mayor reads aloud, contains a phrase that plunges everyone present into fear. Chmykhov writes that the auditor “can arrive at any hour, unless he has already arrived and lives somewhere incognito...”. This forces the prudent mayor to begin to act immediately - he considers it necessary to give advice to each of the officials present. All his instructions are superficial, relating only to the external side of the matter: to the trustee charitable institutions he advises putting clean caps on the sick (“This is possible,” agrees Strawberry), writing “any disease” in Latin above their beds, when you got sick, what day and date, and it’s better that there are “fewer sick people”; Judge Lyapkin-Tyapkin, whose very name speaks volumes about his attitude to the matter, is to remove the goose and goslings from public places, remove the arapnik from the cabinet with papers, etc. Moreover, each of his advice is accompanied by the words: “I wanted to notice this to you before, but somehow I forgot everything.”

The mayor's advice, and later the instructions to the quarterly (phenomenon IV), the statements of the city fathers themselves indicate a negligent attitude towards their duties, complete irresponsibility, and abuses in the service. Hence the general fear when danger approaches - the arrival of an auditor. The mayor’s remarks, concluding scenes I and II of acts one, are also not accidental: “... incognito damned! Suddenly he’ll look in: “Oh, you’re here, my dears! And who, say, is the judge here? - “Lyapkin-Tyapkin”. - “And bring Lyapkin-Tyapkin here!..”; “...the damn thing sits incognito in my head. You just wait for the door to open - and off you go...” The door actually opens, and Bobchinsky and Dobchinsky run into it, out of breath, with a message about an “emergency incident,” “unexpected news.”

It would seem that all the officials have already been warned by the mayor about the possible arrival of the auditor, instructions have been given, or rather, advice, but everyone is worried about one question: “Where can the “incognito damned” be located?”

Phenomenon Act III The first is the beginning, from which the action develops rapidly. The message from Dobchinsky and Bobchinsky fell on prepared ground. On what grounds did the two “city talkers” accept young man, seen in the hotel, for the auditor? There are several of them, which completely satisfied the excited officials who were waiting for the “damned incognito”: the first, which was first of all perceived by those present, does not pay money and does not go; The second one is also important: “He’s not bad looking, in a private dress, he walks around the room like that, and there’s a kind of reasoning in his face...”

The mayor’s first reaction is the words uttered “in fear”: “What are you, the Lord is with you! It's not him!" But he hears in response the convincing exclamations of Dobchinsky and Bobchinsky: “He!” “He, he, by God, he... So observant: he looked at everything... so he looked into our plates.” Upon learning that the passing young man has been living in the city for more than two weeks, the mayor is overcome with horror. How not to be scared: “During these two weeks... The prisoners were not given provisions! There is a tavern on the streets, uncleanness! The news is no longer in doubt.

We need to act quickly. It is enough to compare the remarks accompanying the mayor’s speech in scenes I and II with the remarks in scene V to see how excited he is: “He significantly raises his finger up,” “He takes a case instead of a hat,” “Instead of a hat he wants to put on a paper case,” etc. His speech contains only interrogative and exclamatory sentences, all instructions to the policeman are given in a hurry, in great excitement.

Almost all characters(“the plot embraces more than one or two faces”) react to this unexpected news, everyone is in excitement, in panic, everyone is in a hurry to fix at least something in the institutions under his control, everyone has their own sins and “sins”. The mayor, having given instructions to the quarterly and private bailiff, decides to go to the hotel himself to “sniff out” the young man, to find out what he is like (“It’s a problem if the old devil is the old one, and the young one is all upstairs”).