Can Khlestakov be considered an adventurous hero? "The image of Khlestakov in the comedy "The Inspector General" - essay
The image of Khlestakov in N. V. Gogol’s comedy “The Inspector General”
Laughter is often a great mediator
in distinguishing truth from lies...
V. G. Belinsky
Khlestakov is the main character in N.V. Gogol’s comedy “The Inspector General” (1836). He is not only the central figure of the comedic action, but also represents the typical character. “Everyone, at least for a minute, if not for a few minutes,” said Gogol, “was or is being made by Khlestakov... And a clever guards officer will sometimes turn out to be Khlestakov, and a statesman... and our brother a writer...” It is this hero who most fully expresses that combination of extreme ambition and spiritual insignificance, arrogance and narcissism, which was characteristic of high-ranking officials. Khlestakov became the personification of a high-ranking official-auditor by mistake, but a natural mistake. His resemblance to a messenger from the “higher ups” was striking, which is why it misled such an experienced person as the mayor, and all those around him.
The mayor did not notice any differences in Khlestakov from those numerous auditors and high-ranking persons with whom he had met before. Of course, fear clouded his eyes and mind, but he probably experienced the same fear during other visits of “big” people. Consequently, the point here is not only fear, but also the fact that Khlestakov could really be mistaken for an auditor.
It was no coincidence that Gogol brought to the stage in the role of an imaginary auditor a man living in St. Petersburg and serving in the department. Khlestakov was born of bureaucratic-aristocratic Petersburg. He absorbed into himself, like a sponge, all those negative phenomena that filled the capital’s society.
The son of a poor Saratov landowner, Khlestaov, serving in the department as a petty official (“elistrate”), wants to live in grand style, indulge in entertainment, diligently imitating secular dandies, and pluck flowers of pleasure. “Father will send money, something to hold it with - and where!.. He went on a spree... instead of going to office, and he goes for a walk along the avenue, plays cards,” says Osip’s servant about him.
Khlestakov, insignificant both by origin and position, must play the role of a respectable official. The main character traits of this character are irresponsibility and bragging. Having squandered all his money and significantly spent money on the road, he nevertheless imagines how nice it would be to drive up to the house in a luxurious carriage, and dress up his servant Osip in livery, and how everyone would come to attention just at the mere mention of his name - Ivan Alexandrovich Khlestakov from St. Petersburg.
Even while courting the tavern servant, begging him for lunch, Khlestakov behaves arrogantly. Without paying anything for the hotel, he makes claims to the owner, who does not want to understand that this is not an ordinary person: “You explain to him seriously that I need to eat. .. He thinks that just as he, a man, is okay if he doesn’t eat for a day, so is it for others too. News!" Having difficulty obtaining an extension of the loan from the hotel owner, he begins to behave even more impudently: he doesn’t like the food, and everyone around him is a swindler and thieves.
Khlestakov's warlike ardor fades away as soon as he learns of the mayor's arrival. He fears that the head of the city will send him straight to prison. However, the timidity of the mayor in front of the imaginary auditor reinforces Khlestakov’s unceremoniousness: “What right do you have? How dare you? Yes, here I am... I serve in St. Petersburg...” He suddenly realizes that Skvoznik-Dmukhanovsky is not going to put him in prison, but, on the contrary, intends to provide him with all kinds of services, mistaking him for a “high-flying bird.”
The image of the mayor receives its brilliant conclusion in the fifth act of the comedy. And here Gogol uses the principle of sharp switches, moving from the defeat of the hero to his triumph, and then from triumph to the dethronement of the hero. In an atmosphere of universal admiration, Khlestakov literally blossoms. In the third act of the comedy, he is shown in the moments of his takeoff. With ecstasy, Khlestakov paints pictures of his imaginary life in front of shocked listeners. He does not lie out of any clear motives or clear goals. Lightness of mind does not allow him to make serious calculations regarding the consequences of his actions. He lies out of empty vanity, he lies to boast of his “high” position, he lies because he is at the mercy of his fantasy. He reveals to the heroes of the comedy and to the audience his dream, which he would like to achieve, but he himself passes it off as reality.
Khlestakov has already made everyone believe that he is an important person, and therefore he takes the warm welcome for granted. At first he has no idea that he is being mistaken for some kind of important person. After officials began supplying him with money, he began to realize that he was being mistaken for another person. However, this does not prevent Khlestakov from still experiencing pleasure from everything that happens.
In the fourth act of the comedy, Gogol shows how Khlestakov organizes a fundraiser, receives gifts from officials and merchants, and deals with complaints from townspeople. Nothing bothers Khlestakov: he feels neither fear nor remorse. Apparently, it is not particularly difficult for this person to commit any meanness, any deception. Without a shadow of embarrassment, he performs the functions of an important official and is ready to thoughtlessly decide the fate of people.
With extraordinary ease, Khlestakov switches from the “state” sphere to the lyrical plane. As soon as the visitors disappear from his field of vision, he immediately forgets about them. The arrival of Marya Antonovna immediately puts Khlestakov in a romantic mood. And here he acts without realizing where the events will lead him. “Lyrical” scenes reveal the character of the hero from a new side. In his explanations with Marya Antonovna and Anna Andreevna, Khlestakov appears as a person using a wretched set of vulgar tricks and banal sayings. The hero's love explanations emphasize his lack of living human feelings.
It is not for nothing that Gogol, giving instructions on how to play his hero, emphasized that he should turn out to be a liar, a coward and a clicker in all respects.
The objective meaning and significance of this image is that it represents an indissoluble unity of “significance” and insignificance, huge claims and inner emptiness.
It is also very significant that the image of Khlestakov is closely related to the images of other characters in the play. The mayor, Zemlyaika, and Lyapkin-Tyapkin have Khlestakov qualities. They are expressed in a complete lack of moral principles, in exorbitant claims, in the desire to play the role of a person of a rank higher than one’s own, in the ability to commit any meanness.
I. S. Turgenev saw in the image of Khlestakov “the triumph of poetic truth.” He said that “... the name of Khlestakov loses its randomness and becomes common noun" Khlestakovism is a manifestation of arrogance, frivolity, inner emptiness, irresponsibility and deceit. This phenomenon has acquired a broad social and psychological meaning. The image of Khlestakov belongs to the number of such - found and guessed phenomena of life.
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We are already accustomed to the fact that, basically, life presents us with surprises in the form of troubles and difficulties. This is probably why stories with the reverse course of circumstances are perceived by us as something out of the ordinary. Such situations seem somewhat ironic. The story told in Nikolai Vasilyevich Gogol’s story “The Inspector General,” in addition to being essentially a gift of fate, is also based on a dose of absurdity. This combination makes the work unique and attractive.
Biography of Khlestakov
Naturally, when reading a work, we first of all pay attention to the main character. So, Ivan Aleksandrovich Khlestakov is a young landowner, a nobleman who once found himself in an awkward situation.
He had a chance to seriously lose at cards. In order to improve his situation a little, he goes to his parents on the estate.
Since his journey is long, he, despite the lack of finances, stops at a hotel in the city of N. This is where luck smiles on him.
He is mistaken for the long-awaited auditor from Moscow. The impudent behavior and manner of demeanor in society leaves no doubt among officials - in their opinion, only an auditor can behave this way.
We invite you to read the story of the same name by N.V. Gogol
Since in the city of N. things were not ideal, and officials continually retreated from their duties, of course not for the benefit of the city residents, but for the benefit of their own pockets, it is impossible to avoid the problems associated with checking their work in an honest way. None of them want to lose their hot spot, so as one they all go to Khlestakov and give him bribes - a guarantee that they will remain in office and avoid problems.
At first Khlestakov was perplexed, but then decided to take full advantage of the situation. With money in his pocket, he successfully retreated from the city. News about his fictitiousness as an auditor became known too late - blaming Khlestakov and demanding the return of money from him is a stupid thing to do. In this case, the fact of bribery would have to be admitted, and this would be the ruin of the careers of officials.
Khlestakov's appearance
Like most rogues and scoundrels, Khlestakov has pleasant, trustworthy facial features. He has brown hair, a “cute nose” and quick eyes that make even determined people feel embarrassed. He is short. His build is far from that of graceful and physically developed young men - he is too thin.
Such physical characteristics significantly spoil the impression he makes. But the cunning Khlestakov finds a clever way to correct the situation - an expensive and well-groomed suit.
Ivan Aleksandrovich understands that the first impression of him is always based on his appearance, therefore, he cannot afford to make a mistake here - clothes are made of expensive fabric, sewn based on fashion trends. Always cleaned to a shine - such an external factor significantly distracts society’s attention from the inner essence of a person.
Khlestakov family, education
How did you have to look and behave in order to pass for an auditor in the first half of the 19th century?
First of all, you had to be born an aristocrat. It is extremely difficult for a person of common origin to create the appearance of belonging to high society.
The manner of speaking, the plasticity of movements, gestures - this had to be learned for many years. For people of noble origin, this style was common; they adopted it from their parents, their friends who came to visit.
Ivan Alexandrovich was not a luminary of high society, but he was still a nobleman by birth. His parents own the Podkatilovka estate. Little is known about the state of affairs and the importance of the estate - the fact that the parents sent money to their son suggests that the estate was not unprofitable, it generated sufficient income to provide the life of the whole family with at least the most necessary things.
Nothing is known about Khlestakov’s education. It is likely that he received an “average” education. This conclusion can be drawn based on the position he holds. Khlestakov works as a collegiate registrar. This type of civil service was at the very end of the list of the Table of Ranks. If Khlestakov’s parents were wealthy people, they would have been able to provide their son with a better position with the help of connections or money. Since this did not happen, it is inappropriate to talk about the family’s large income or their importance against the backdrop of the aristocracy.
Now let’s summarize all the data: financial instability has always been inherent in the Khlestakovs, their income has never been high (if they had ever been rich, they would have been able to acquire connections or acquaintances during the period of their family’s material rise), which means sending their son to study abroad or they did not have the money to hire highly qualified teachers.
Attitude to service
Khlestakov’s exact age is not indicated. Gogol limits it to 23-24 years old. Mostly people of this age are full of enthusiasm and desire to realize themselves. But this is not the case of Khlestakov. Ivan Aleksandrovich is rather frivolous about his work; he is of little interest in promotions and the possibility of career growth. His work is not difficult and consists of copying papers, but Khlestakov is too lazy to be zealous in matters of service. Instead of working, he goes for a walk or plays cards.
Such carelessness of his is connected, first of all, with the fact that Khlestakov does not suffer from a lack of money. Yes, he lives in a poor apartment, which is located on the fourth floor, but, apparently, this state of affairs does not bother Ivan Alexandrovich. It is likely that he is not used to living in luxury apartments and therefore does not seek to improve the current housing situation. For Khlestakov, the values of life are contained in other things - leisure and clothing. But the situation changes dramatically when Khlestakov needs to stay in an unfamiliar city - here he stays only in the best apartments. It is likely that such a move is connected with Khlestakov’s desire to create the impression of a man so rich that everyone around him, who does not know the real state of affairs, begins to envy him. It is possible that the calculation is based not only on the feeling of envy, with the help of which Ivan Alexandrovich asserts himself, but also on the opportunity to receive some kind of bonuses from local officials or the hotel owner.
Added to this fact is the fact that Khlestakov is not able to compete with the rich people of St. Petersburg, where he lives most of the time and works. Renting cheap housing allows him to save money on those things that would set him apart from those of the same condition as himself - appearance attributes. He doesn’t have to invite everyone to his home or talk unnecessarily about the location of his home, but the condition and cheapness of the suit can give him a bad reputation. Since life for show is important to Khlestakov, in the manner of very wealthy aristocrats, he has no choice but to save on permanent housing.
Ivan Alexandrovich's parents are discouraged by the lack of promotion for their son. Apparently they were betting heavily on his abilities. The father periodically expresses his indignation at this expense, but the son always finds an excuse - not all at once. It takes a long time to earn a promotion. In fact, such an excuse is a lie that allows you to hide the true state of affairs.
Life in St. Petersburg
Ivan Alexandrovich cannot imagine his life without St. Petersburg. It is in this place that everything that is so dear to his heart is collected - the opportunity to spend time in a variety of pleasures. He eagerly goes to the theater every day and does not deny himself the pleasure of playing cards. By the way, he finds people who want to play always and everywhere, but not everyone and not always Khlestakov manages to win - staying on the nose is a common thing for him.
Ivan Aleksandrovich loves gourmet cuisine and does not deny himself the pleasure of a tasty and satisfying meal.
Personality characteristics
First of all, Khlestakov stands out in society for his ability to lie beautifully and smoothly - for a person who prefers to live in the illusion of wealth, to create the appearance significant person, this is a necessity.
Ivan Aleksandrovich is aware of his gaps in knowledge, but is in no hurry to eradicate them - the fictitious success created by his lies, arrogant and pompous appearance inspires him.
Still, from time to time he reads books and even tries to write something on his own, but judging by the fact that there are no reviews from other characters about his works, we can conclude that these attempts were not successful.
Khlestakov loves when he is praised and admired, this is another reason to invent something about his life. He loves to be the center of attention - such success is difficult to achieve in St. Petersburg, but in the provinces, where even his manner of speaking in a metropolitan manner evokes a storm of positive emotions - this is an easy matter.
Khlestakov is not brave, he is not ready to answer for his actions. When officials come to his hotel room, his heart is filled with fear of the possibility of being arrested. At his core, he is a wimp, but he is a good actor - he knows how to create the appearance of a significant and very smart person, although in fact neither the first nor the second corresponds to the true state of affairs.
Khlestakov's attitude towards women
Gogol is silent about Khlestakov’s relationships with women in St. Petersburg, but actively describes Ivan Alexandrovich’s behavior with female representatives in the provinces.
Khlestakov knows how to play to the public and evoke a feeling of sympathy in people - this applies not only to indicators of good manners and ostentatious aristocracy. Khlestakov is a skilled seducer and seducer. He enjoys the company of women and their attention.
It is unlikely that he sets himself the goal of getting a wife. For Khlestakov, love interests are a unique way of playing and manipulating people.
Arriving in the city of N and meeting the wife and daughter of the governor, he does not miss the opportunity to flirt with both women. At first he confesses his love to his daughter, but after a couple of minutes he swears his mother’s love. Khlestakov is not at all embarrassed by this fact. In addition, when Marya Antonovna (the governor’s daughter) becomes an accidental witness of Khlestakov’s tenderness towards his mother, Ivan Aleksandrovich, taking advantage of the stupidity of women and the feeling of love that arose in them towards him, turns the whole situation in favor of a wedding with Marya Antonovna - at the same time Neither mother nor daughter understands their humiliating position and does not feel offended. Leaving the city, Khlestakov understands that his matchmaking was a game only for him, everyone else, including Marya Antonovna, takes everything at face value. Doesn't bother him further fate a young girl and the opportunity to traumatize her with his act - he leaves the city with a calm soul.
Thus, Ivan Aleksandrovich Khlestakov is a typical scoundrel, capable of bringing grief and trouble to other people for the sake of his pleasure. He does not appreciate the care his parents take for himself and is in no hurry to reciprocate the kindness shown to him by others in kind. Most likely, on the contrary - he cleverly takes advantage of the gullibility and innocence of those around him.
Characteristics of the image of Khlestakov in quotes
Gogol's character appears as the central character of the famous Gogol text. Moreover, Khlestakov has already become a household name, because the “father” of the character, Nikolai Gogol, managed to create one of the most successful, bright and succinct literary types. Here, for example, is how his creator describes Khlestakov:
Khlestakov, a young man of about twenty-three, thin and thin; somewhat stupid and, as they say, without a king in his head - one of those people who in the offices are called empty. He speaks and acts without any consideration. He is unable to stop constant attention on any thought. His speech is abrupt, and words fly out of his mouth completely unexpectedly. The more the person playing this role shows sincerity and simplicity, the more he will win. Dressed in fashion...
Remark about the place of the image of Khlestakov in the plot of Gogol’s text
The hero finds himself in one of the small, provincial towns Russian Empire accidentally. And just as accidentally, Khlestakov creates a whirlwind of mistakes around himself. The man constantly stumbles and stumbles. However, at first events go well for Khlestakov. The hero's arrival almost coincides with the arrival in the city of an auditor - a strict Russian official who intended to check the affairs in the town. And so: the residents of the city are waiting for the arrival of the official, and mistake our hero for him.
Khlestakov manages to successfully mimic the guise of an auditor. Over time, Gogol's hero reveals his true essence. Our hero is a rake and a gambler, a spender of his parents’ money. A man loves female company, craves power, influence and money. Khlestakov treats lower-ranking serfs and servants with pointed disdain. The hero calls the peasants scoundrels, swindlers, slackers and fools. Khlestakov’s faithful servant also gets it.
At the same time, Khlestakov seems to be very naive. They bring money to the hero as a bribe, meanwhile, the man perceives these “offerings” as a loan, exclaiming:
Give me, lend me a loan, I’ll pay the innkeeper right away...
How to evaluate the image of Khlestakov?
Of course, literary scholars were puzzled by how to correctly evaluate the image of Khlestakov - in a positive or negative way. No, Gogol did not intend to present his character as an evil bandit, a swindler, a cunning schemer or a scoundrel. Moreover, our hero has so little cunning that Osip, the hero’s servant, sometimes shows much more wisdom in his actions than his master.
Khlestakov is a victim of circumstances, the cycle of random events. The hero evokes universal sympathy, because the image of Khlestakov is characterized by such features as good looks, courtesy, charm (especially the man’s smile fascinates everyone), as well as good manners. The hero belonged to an aristocratic family, but showed the same inability to live in a life where he had to earn his own living, like all nobles. The man's soul longed for St. Petersburg life.
Gogol evaluates Khlestakov as neutrally as possible. The writer presents the hero as a young man about “twenty-three to twenty-four years old.” The hero was distinguished by his affectation and thinness, the hero’s posture was beautiful, thin, slender. However, the young man was “somewhat stupid and, as they say, without a king in his head, one of those people who in the offices are called empty.”
"Hero's Passport", according to Gogol's text
1. The completely Gogolian hero was called Ivan Aleksandrovich Khlestakov. The mayor emphasizes the “plainliness,” that is, the smallishness, short stature of the hero, who did not at all resemble a powerful auditor. However, Khlestakov’s very appearance is “not bad”; the young man clearly arouses the interest of ladies, the favor of mature beauties and young girls.
2. Before the hero arrived in the provincial regions, Khlestakov served in the St. Petersburg chancellery with the rank of collegiate registrar. This is the lowest rank, according to the Russian Table of Ranks:
It would be nice if there was really something worthwhile, otherwise he’s just a simple little elistrat!..
However, in the Saratov region, Khlestakov had his own village, which was called Podkatilovka. This is where Gogol's hero was heading until, due to a coincidence of circumstances, he stopped by the city of N. In St. Petersburg, Khlestakov occupies a small apartment located on the top floor. The top places were then occupied by people who did not boast of tight wallets:
...As you run up the stairs to your fourth floor...
3. The hero’s heart, it seemed, was not in the service. Therefore, instead of regular and honest work, the young man wastes his life in entertainment establishments:
...does not take care of business: instead of going to office, he goes for a walk along the avenue, plays cards<…>“No, father demands me. The old man was angry that he had still not achieved anything in St. Petersburg. He thinks that this is how he came and now they’ll give you Vladimir in your buttonhole...”
So, the Russian writer emphasizes that Khlestakov loved to lead a free lifestyle, indulge in various pleasures, spend money on trifles and amusements. Saving was never easy for Khlestakov, so the hero periodically found himself completely broke and begging for money from his parents’ savings:
“He squandered some expensive money, my dear, now he sits with his tail curled up and doesn’t get excited. And it would be, and there would be a lot of use for runs; no, you see, you need to show yourself in every city!..”<…>“...The priest will send money, something to hold it with - and where! .. he went on a spree: he drives a cab, every day you get a ticket to the key, and then a week later, lo and behold, he sends him to the flea market to sell a new tailcoat...”
4. Khlestakov is characterized by a love of luxury. Therefore, the hero does not deny himself anything, lives beyond his means, buys the most expensive things, prefers delicious cuisine, theatrical performances, and gambling, in which he lost more often than he won:
“And I admit, I don’t like to deny myself death on the road, and why? Isn’t it?..”<…>“... Hey, Osip, go look at the room, the best one, and ask for the best lunch: I can’t eat a bad lunch, I need the best lunch...”<…>“I love to eat. After all, you live to pick flowers of pleasure.”<…>“I—I admit, this is my weakness—love good cuisine.”<…>“Please tell me, do you have any entertainment, societies where you could, for example, play cards?..”<…>"...sometimes it's very tempting to play..."<…>“... He meets a person passing by, and then plays cards - now you’ve finished the game!..”<…>“Yes, if I hadn’t gone on a spree in Penza, I would have had enough money to get home. The infantry captain greatly deceived me: the stosi are amazing, beast, cutting off. I only sat for about a quarter of an hour and robbed everything. And with all that fear, I would like to fight it again. The case just didn’t lead..."
5. Khlestakov is prone to lies. The drama of the character lies in the fact that the hero sometimes invents an alternative reality in which he believes. For example, according to the pseudo-auditor, he loves writing, writes literary texts, publishing stories and articles of his own production in magazines. Khlestakov, as the hero says, often reads books. However, even the reader develops sympathy for Gogol’s careless character; after all, Khlestakov is a swindler. Even if the fraudulent nature of Gogol’s character is accidental, Gogol does not justify Khlestakov, but portrays the image of the young man objectively.
Patapenko S. N. (Vologda), Ph.D., Associate Professor, Vologda State Pedagogical University / 2003
It seems that the brainchild named Ivan and the surname Khlestakov worried Gogol more acutely than his other creations. The writer constantly peered at it, as if trying to explain the essence of the image not only to prying ears and eyes, but also to himself.
In the “Notes for Gentlemen Actors” this fact is not yet so obvious. Gogol characterizes Khlestakov along with others actors. At the same time, he highlights the unpresentable lightness of Ivan Aleksandrovich’s physical appearance (“thin, skinny”) in contrast to the solidity and “seriousness” of Gorodnichy’s figure and emphasizes the same intellectual inconsistency (“somewhat stupid”, “without a king in his head”, “empty”, “ speaks and acts without any consideration"). But already here there is one difference in the preliminary outline of the image of Khlestakov in comparison with other characters. Only to the performer of this role does the author consider it necessary to give additional advice to avoid obsessive theatricality and demands extreme organicity: “The more the person performing this role shows sincerity and simplicity, the more he will win” (IV,).
In his review of the first performance of the play, Gogol speaks mainly about Khlestakov. “Is it really not clear from the role itself what Khlestakov is? Or was blind pride taking possession of me prematurely, and my strength to control this character was so weak that not even a shadow or a hint of it remained for the actor?” - the writer exclaims in “a sad and annoyingly painful feeling” (). What irritates the playwright most of all is that Dur, Khlestakov’s first performer, wrote the role into the traditional series of “vaudeville rascals”, without seeing any fundamental differences from the images of ordinary and resourceful deceivers, whom the stage of that time knew so well and in the reflection of whose characters the closest literary works were decided “relatives” of Ivan Alexandrovich in Russian literature (“A Visitor from the Capital, or Turmoil in a District Town” by G. Kvitka-Osnovyanenko, “Provincial Actors” by A. Veltman, “The Inspectors, or Glorious Tambourines Beyond the Mountains” by N. Polevoy). Having complained about the misunderstanding, Gogol carefully explains: “Khlestakov is not cheating at all; he is not a liar by trade, he himself forgets that he is lying, and already believes what he says. He... speaks from the heart, speaks completely frankly<...>Khlestakov lies not at all coldly or fanforon-style - theatrically; he lies with feeling, his eyes express the pleasure he receives from this. This is generally the best and most poetic moment of his life - almost a kind of inspiration<...>The features of Khlestakov’s role are too flexible” (). The conclusion sounds like this: “What is it, if you really look at it, Khlestakov? A young man... empty... but containing many qualities, belonging to people <...>Everyone, at least for a minute, if not several minutes, was or is being made by Khlestakov” ().
Gogol persistently repeats this same thought in “A warning for those who would like to play The Inspector General properly”: “The actor especially should not lose sight of this desire to show off, with which all people are more or less infected and which was most reflected in Khlestakov " (). The writer also draws attention to the fact that in his character “everything is surprise and surprise” and that he is “a phantasmagoric face, a face that, like a lying, personified deception, was carried away, along with the troika, God knows where...” ().
In “The Inspector General’s Denouement,” Gogol focuses on the symbolic interpretation of his play and in this context sees in Khlestakov the personification of a “flighty secular conscience,” specifying that it is a “venal and deceptive conscience” (). And he unjustifiably insistently calls several times: “With Khlestakov on your arm, you won’t see anything in our soulful city<...>Not with Khlestakov, but with a real auditor, let’s look at ourselves!<...>You will find everything in yourself, if only you descend into your soul not with Khlestakov” (). As if it could or could occur to someone to choose Khlestakov as a moral guide in life.
Summarizing the author's tips, we note: Gogol highlights in Khlestakov the ability to deceive without a consciously set goal of this kind, the universality of his desire to try on the mask of another, more significant existence and the ability to look organically in this mask, the improvisational ease and emotional persuasiveness of his involuntary lies. Ultimately, we are even talking about the presence of an inspired, creative principle in Khlestakov’s behavior.
It is significant that many studies and reflections concerning the image of Khlestakov also note the importance of creative potential for understanding the essence of this character. Here are some of these observations: “a poet in a moment of rapture with his own boasting” (Ap. Grigoriev; quoted from: 1; 170); “He successfully played the role of an auditor... He is like water, taking the shape of any vessel” (Yu. Mann; 4; 226), “Khlestakov was conceived by Gogol... as a great artist who entered into the role of exactly who he is taken for in the little town" (S. Sergeev - Tsensky; quoted from: 4; 225). V. Nabokov sees “the iridescence of nature” and “the ecstasy of fiction” in Khlestakov, saying that Ivan Aleksandrovich is “in his own way a dreamer and endowed with a certain deceptive charm” (8; 68). Yu. M. Lotman, inscribing Khlestakov into the “world of extra-textual reality”, identifies in Russian culture of the post-Petrine period a “peculiar two-worldness”, which consists in the fact that ideal ideas about life did not have to coincide with reality. The “ideal life” was played mainly outside the official and state spheres (although “Potemkin villages” in this context can well be considered as an expansion of the boundaries of the game world, the penetration of its rules into all levels of reality). By the beginning of the nineteenth century. the situation was dramatized: a person was faced with the problem of choosing “between practical activity, but alien to ideals, or ideal activity, but developing outside of practical life (3; 339). A person who did not want to give up his dreams lived them out “in the imagination, replacing real actions with words.” The need for fiction is becoming a feature of the times among people of different personal levels, from the artistically gifted to the mediocre. The concepts of lies and creative imagination become intertwined, and attraction to them becomes a feature of “not individual, but historical psychology.” But speaking not about social Khlestakovism, but about Khlestakov the character, the researcher still considers it necessary to emphasize: “Having adopted any mode of behavior, Khlestakov instantly achieves perfection in it... Khlestakov is undoubtedly gifted with the talent of imitation” (3; 349 ).
V. Markovich expands the boundaries of the talent of this nature, seeing in it a manifestation of the natural carnival element. In Markovich’s observations, the emphasis generally shifts towards discovering the archetypal play principle in the image: “Obsession reaches the level of inspiration in him, the spirit of improvisation awakens, in Khlestakov, or, more precisely, through him, the artistic forces of life begin to act. The element of festive, playful theatricality is noticeably concentrated here...” (5; 159).
V. Mildon, following the symbolist-Meyerhold tradition, sees in the image of Khlestakov the awakening not of festive, but of demonic forces, which does not prevent him from calling Ivan Alexandrovich “Mozart”, “pure intuitive genius” (7;104).
What is it in the structure of Khlestakov’s image that makes us insistently talk about creative ferment, the bewitching magnetism of his behavior?
In the playbill, in accordance with the principle of social hierarchy, Khlestakov is listed last on the list of officials. This is completely justified in the light of subsequent information about the “simple little elistratishka,” i.e. in the social cosmos the character occupies the lowest level (even Akakiy Bashmachkin had the rank of 9th class - in contrast to Khlestakov’s 14th).
The name Khlestakov delighted V. Nabokov, who argued that “it was brilliantly invented, because in the Russian ear it creates a feeling of lightness, thoughtlessness, chatter, the whistle of a thin cane, the slapping of cards on the table, the bragging of a scoundrel and the daring of a conqueror of hearts...” (8; 68). The ear also catches the phonetic similarity of the surnames of Gogol’s character and Griboyedov’s old woman Khlestova, their relationship with the verb “whip”, which leaves a more weighty and rude feeling than “whistle” and “spank”. For Famusov’s sister-in-law, a representative of the female omnipotence of Moscow, who allows herself not only to “have her own judgment,” but also to express it out loud without embarrassment or hesitation, the meaning of the “speaking” surname is beyond doubt. But what about the “wick” from St. Petersburg? Is the threatening phonetics of the surname the same mirage as Khlestakov’s high rank? For some time, it seems so, until the Mayor’s phrase about the non-commissioned officer’s wife (“she flogged herself”) acquires a deep meaningful meaning in relation to everything that happened in the city of N. The district residents, mistaking the petty official for an important bird and showing him all conceivable and inconceivable honors “flogged themselves.” Khlestakov acted as an involuntary instrument in this session of socio-psychological masochism, fully justifying his “speaking” surname.
It is also worth paying attention to the name. Of course, I immediately remember the hero of Russian folklore, Ivan the Fool, who ultimately leaves everyone else a fool. This favorite character from Russian fairy tales can also appear in the form of epic hero(then he is of royal origin), and in a more democratic version. E. Meletinsky notes that in this case the character does not show any hope, occupies a low social position, is despised by everyone, but unexpectedly accomplishes a heroic feat or receives the support of magical forces and achieves his goal. “The image of Ivan can be both heroic and comic. In essence, it varies between the “fool” - genuine and the “fool” - cunning,” writes the researcher (6; 226). Using Gorky’s term, the folklorist calls the comic version of the “genuine fool” “ironic success.”
Ivan Khlestakov may well be considered as a typological brother of the “ironic successor” or as a literary modification of this folklore image. All the characteristics are present: low social status, complete contempt on the part of others (before the residents of the city of N, no one gave a damn about Khlestakov, not even his own servant), unexpected intervention of magical forces. But when moving from fairy-tale space to literary text magic acquired a number of social and psychological motivations - such as fear of superiors, “electricity of rank” - providing Khlestakov with a situation of triumph. But there is in the mechanism of “magic” that supported the petty official, and his own merit, purely Khlestakov’s witchcraft, which is enhanced by self-blinding county officials and gives rise to a mysterious, infernal situation.
Khlestakov appears in the play only in the second act. Before this, Gogol resorted to the method of absentee exposition of the hero, and a two-stage one. First we learn about him from the words of Dobchinsky and Bobchinsky. In addition to the information that Khlestakov is traveling from St. Petersburg to Saratov and has been living in a hotel for the second week without paying, the city landowners cite external signs of his behavior: “... he walks around the room like that, and there’s a kind of reasoning in his face... physiognomy... actions... and here (twirls his hand near his forehead) there are many, many things<...>So observant: he looked at everything. He saw that... we were eating salmon... so he looked into our plates..." (IV,). Nervous mobility, peremptory curiosity and a desire for picturesque behavior are visible in this description.
Then the servant Osip will talk about the owner, revealing the deplorable state of his affairs (there is no money, there is nowhere to wait for help), and will describe how he lived in St. Petersburg. Noteworthy is the hero’s passion for card games (“instead of being in office... he plays cards”) and his love for the theater (“father will send money... every day you deliver a ticket to the theater”). Even on the road, these passions haunt Khlestakov. “He gets acquainted with a passing person, and then plays cards - now you’ve finished the game!” - this is how the passion for playing cards is realized, and the passion for the stage - the theatricalization of life. “You need to show yourself in every city,” concludes Osip (IV,).
The main performance, which showed Khlestakov’s capabilities in all its glory, took place in the city of N, when officials themselves built a stage for this theater lover, staged the situation and distributed the roles. Khlestakov turned out to be a talented artist. With his appearance, everything that happened took on the character of carnival impetus and confusion. Here you can simultaneously declare your love for mother and daughter (it’s not the subject that’s important, but the process), be “on friendly terms with Pushkin,” and feel your complete impunity.
The situation that arose after Khlestakov’s “appointment” to the role of auditor changes the spatiotemporal boundaries of the work. To the provincial Russian life the spirit of the ancient Roman saturnalia penetrates with their emphasis on the “inversion” of social relations, the temporary rejection of what is assigned to a person social status. The prospect of the events shifting into the carnival element was indicated at the end of the first act by the behavior of the Mayor, who out of excitement put a paper case on his head instead of a hat. The appearance of Khlestakov fully realizes the emerging prospect.
Bringing Ivan Alexandrovich onto the stage, Gogol considers it necessary to once again emphasize the character’s craving for theatricalization. The desire to constantly be in an invented image makes Khlestakov forget about the forced abstinence from food. Even nausea from hunger cannot stop his desire to master new roles. Having sent a servant to beg for lunch, Khlestakov, within the framework of his short monologue, manages to adapt to two roles at once.
First, a footman is depicted, who is instructed to be surprised and obsequiously greet Ivan Alexandrovich. At the same time, the remark “stretching out” indicates the plastic development of the image. Then he returns to his own appearance in an instantly invented situation of courting “some pretty” daughter of a neighboring landowner. The remark “shuffles his foot” again draws attention to the fact that the situation “I imagine”, formulated by Khlestakov in this monologue, is not limited to verbal description - Ivan Aleksandrovich immediately begins to master it physically. Khlestakov seems to be looking for an image that is interesting for himself and so far cannot find the necessary proposed circumstances.
Khlestakov’s inner emptiness, his lack of an individual-personal beginning have been repeatedly noted as the most important characteristic image. “Speaks quickly, moves quickly, almost flies - empty in the heart, empty in the head,” deduces Khlestakov’s characterological formula M. Chekhov, one of best performers this role (10; 395).
Combined with the character’s desire for reincarnation, his emptiness becomes fundamentally important. Even the ancient Hellenes saw in the emptiness of chaos a potential wealth of perspectives, a combination of nothing and everything (zero and infinity). Khlestakov’s emptiness is also promising. It is perceived as a necessary condition for further acting. To put on masks and be convincing at the same time, it is by no means necessary to have a face.
The uncertainty and inconsistency of Khlestakov’s behavior in the scene of the first meeting with the Mayor (at one time he is dissolute and impudent, at another time he is pleading and pitiful) is explained by the fact that for the time being he does not know his acting task. As soon as it is determined, Khlestakov finds ground under his feet. He becomes convincing and... free. The fear that fetters all the characters in the play recedes from him.
Here he is separated from others, falls out of the system of universal fear. Inspired lies, the unbridled flowering of fantasy (even within the framework of pathetic ideas about the life of high-ranking officials) take Khlestakov to a different level of human existence - here they are, the “empyreans”, where there are no worries about their daily bread, no need to reckon with others, where everything is as exactly what you want. The playful ecstasy achieved by Khlestakov in the scene of lying frees him from fear. Here, according to the observation of V. Markovich, “the creative inspiration of the hero and the author” comes together (5; 159). In other words, a receptive situation of aesthetic delight arises, born from a feeling of completeness of the author's self-realization. Khlestakov’s physical lightness and his “extraordinary lightness of thought” acquire the weightlessness of floating in creative space - the character visibly becomes a “phantasmagoric face”, the personification of the beginning of the game.
J. Huizinga, exploring the phenomenon of play as the basis for the development of culture, defines its main parameters: exclusion from everyday life, a predominantly joyful tone of activity, spatial and temporal limitation, a combination of strict certainty and true freedom (9; 34). All these characteristics are found in Khlestakov’s situation.
Through mastering different roles, he constantly switches off from everyday life in order to forget about his “smallness”; changing masks gives him pleasure; reality breaks into his dreams from time to time, and he is forced to limit his acting sketches spatially and temporally. As for compliance with certain rules, Khlestakov’s natural acting talent, clearly embedded in the structure of the image, forces him to intuitively follow the sequence of stages of work on the role: mastering the proposed circumstances, emotionally and sensually getting used to the acting task, searching for external means of expressiveness. Ultimately, thanks to the childish spontaneity of faith in the reality of what was invented, Khlestakov achieves improvisational lightness, free floating, the moment of truth. But a truth that is not associated with a moral principle. This is what, perhaps, worried Gogol when he convinced that his character was “a corrupt and deceptive conscience.”
Having created in Khlestakov the image of a “playing man,” Gogol realized that the playful, creative element of existence does not want to obey any laws - it is complete freedom from everything. Huizinga also insists on self-sufficiency, “far-reaching independence of the game.” The researcher undertakes to assert that “the game lies outside the disjunction of wisdom and stupidity”, “it does not know the difference between truth and lies”, the game “does not contain any moral function - neither virtue nor sin” (9; 16).
It is possible that Gogol, with his commitment to the educational concept of the theater-department, was afraid of such a discovery; he did not want to put up with it.
However, the birth of Khlestakov has already taken place. The “ironic lucky man” became a “playing man”, revealing the creative principle in himself as an ontological riddle.
Literature
1. Voitolovskaya E. L. Comedy by N. V. Gogol: Commentary. - L., 1971.
2. Lotman Yu. M. About Khlestakov // Lotman Yu. M. Izbr. articles: In 3 volumes - T. 1. - Tallinn, 1992.
3. Mann Yu. V. Poetics of Gogol. - M. 1978.
4. Markovich V. M. Comedy by N. V. Gogol “The Inspector General” // Analysis dramatic work: Interuniversity collection. - L., 1988.
5. Meletinsky E. M. Hero fairy tale. - M., 1958.
6. Mildon V.I. “Such a scam land” // Mildon V.I. An abyss has opened... - M., 1992.
7. Nabokov V. Nikolai Gogol // Nabokov V. Lectures on Russian literature. - M., 1996.
8. Huizinga J. Homo Ludens. - M., 1992.
9. Chekhov M. Literary heritage: In 2 volumes - T. 2. - M., 1986.
Option 1:
Khlestakov... He is generally considered a swindler and a deceiver. But is this really so? All his life a person is late for something, doesn’t have time, everything is awkward for him, he doesn’t know how to do anything, he’s a failure in everything... At the same time, he dreams. And in his dreams he is strong, smart, rich, powerful and irresistible to women.
The reality is sad - Khlestakov lost to smithereens. Only a miracle will save our dreamer from starvation and debt.
And a miracle happens. The circumstances are so favorable that Ivan Alexandrovich cannot resist the temptation. And those in power fawn over him, and the first beauties of N-Ska are ready to fall into his arms - or provide their daughters. And there is no strength or desire to stop and think about the consequences - the whirlwind of flattering and corrupt carries on and on...
Khlestakov himself, however, is stupid and cowardly. And the only thing that justifies him in our eyes is the even greater stupidity and cowardice of the characters around him. However, he knows how to deftly adapt to the situation and wishful thinking. If you want to see an important official, you will have an important official. If you want to give bribes, he will accept them. If you want a profitable marriage or an influential lover, he will promise you this. It is impossible to stop in the flow of lies, only to leave, which is what Khlestakov does. Very timely.
Khlestakov - no main character plays. It is rather a natural phenomenon, like a snowstorm or drought. He simply by existing allows others to show themselves in all their glory. Put your vices and passions on display. Turn inside out under the spotlight.
Khlestakov is passive throughout the entire action, he goes with the flow. It doesn't act - it just encourages those around them to take off their masks. By your very existence here and now.
Khlestakov is only a catalyst.
Option 2:
It is precisely this invincible confidence in his right to be cared for by other people that leads to the fact that Khlestakov is easily drawn into the game offered to him and does not disabuse the other participants in this game. He carries himself so naturally in the image of a pompous talker that officials have no doubt: this role was invented on purpose to disguise the audit.
The behavior model of all bribe takers is approximately the same - they also pretend to be stupid. Therefore, the events of the play unfold very predictably. The combination of fear with hope for quick success leads to a loss of vigilance, including among women.
Khlestakov - no goodie, although he had no bad intentions. This image is especially relevant in our time, when society is aimed at consumption rather than personal development.
Option 3:
Gogol is one of the most merciless critics moral principles and the foundations of the then public. It is noteworthy that everything described by the author, all the characteristics and life stories are relevant to this day. As they say: “we all came out of Gogol’s overcoat.” The same can be said about the comedy “The Inspector General,” in particular about Ivan Aleksandrovich Khlestakov, whose character is central to the work. His character traits, manner of behavior, and the adventures in which he got involved were so vital and natural that a collective name appeared for this kind of incident - “Khlestakovism.”
If you figure out who Khlestakov is, it will become obvious that he is, in fact, not an evil character, but an extremely resourceful, cunning and skillful deceiver. He is even close to acting. Upon arrival in the small town, he found it difficult to make ends meet. Left alone in the room and sending the servant to beg dinner from the owner of the inn, these are the thoughts that come to him: “It’s terrible how hungry I am! So I walked around a little, wondering if my appetite would go away - no, damn it, it won’t. Yes, if I hadn’t had a party in Penza, I would have had enough money to get home.” It is obvious that sometimes, very rarely, Khlestakov’s thoughts of common sense slip through and repentance appears. This happens not because of high morality, but because of the horrors of need. The hero squandered almost all his father's money at cards. He is left to look for ways to make money, but our character is not so prudent. Instead, he simply took advantage of the situation, pretended important official and fooled the inhabitants of a small town. “After all, you live to pick flowers of pleasure.”
Khlestakov is intoxicated by the situation, the imaginary power and the fallen role. Such a person has no backbone; he swims wherever the current takes him. He cheats to get out, throws dust in his eyes, wants to appear and not be. Unfortunately, both before and today, a person who has received a high position, without achieving it through his own work, but by chance, behaves this way. He imagines himself to be a great man, deciding the destinies of people, covers his eyes with false achievements, extols himself to the skies, not noticing that there is nothing to support his flight. And each of us needs to answer honestly, to ourselves, would we be tempted to hit the big jackpot when it comes into our hands? What would they do if each of the residents was in a hurry to please us, honor us and “kiss our hands.” Wouldn't you give in? “There is no point in blaming the mirror if your face is crooked,” the proverb to the work tells us.
Option 4:
The key figure in N.V. Gogol's comedy "The Inspector General" is Ivan Aleksandrovich Khlestakov.
The writer characterizes the main character of his work negatively. Why? Because Khlestakov behaves so arrogantly and irresponsibly that even the reader develops a feeling of hostility towards this character.
When meeting Khlestakov, we learn that he managed to spend all his money because of his love for gambling. Now he is in the county town of N, unable to pay for accommodation in the hotel where he was staying. The mayor, who mistook this rogue for an auditor, creates for Khlestakov all the conditions where the imaginary auditor can show his “talents” - lies, ambition, money-grubbing. All this leads to the fact that the number of people deceived by Khlestakov increases every day, and the anti-hero himself, without a twinge of conscience, uses what could never rightfully belong to him.
The image of this negative hero became a household name and today we can observe a considerable number of such “Khlestakovs” surrounding us in everyday life.
Option 5:
One of the main characters, as well as the most striking image of the comedy N.V. Gogol's "Inspector General" is Ivan Khlestakov, he is young, thin and stupid. They often say about such people: “without a king in their head.”
Khlestakov serves in the office, receiving a meager salary and dreaming of incredible heights that are inaccessible to him from birth. He fantasizes about how he will lead a luxurious life and become the favorite of the ladies, although this, of course, will never happen.
By chance, having lost everything he had, he ends up in a hotel county town N, where he encounters the mayor. He takes him for an auditor, and previously inaccessible opportunities open up for the dreamer and liar Khlestakov. He begins to feel his importance, even if imaginary, and uncontrollably lies about himself, his achievements and position in society. At the same time, he doesn’t even know who exactly he was confused with; the hero lacks the intelligence to use his temporary position for his own benefit. Although unconsciously, Khlestakov, playing the role that was imposed on him, managed to feed everyone’s fear of the “big man.” During his service in the office, he more than once tried on the role of serious officials, observing their behavior. And so he had the opportunity to feel significant and important, and the hero, of course, took advantage of it, because his superficiality does not allow him to predict the troubles that may follow. It is worth noting that Khlestakov was not a swindler by nature, he simply accepted other people’s honors and was sure that he deserved them, already beginning to believe in his own lies.
The mayor was unable to recognize the forgery, because Ivan impersonated an official unintentionally, without the goal of profit; he innocently considered himself to be what those around him believed. But it was an accident that saved him; he left the city on time and thanks to this he avoided retribution for his lies.
The image of Khlestakov illustrates an empty and worthless person who, without giving anything to society, wants to receive all kinds of benefits and honors for nothing.
Option 6:
Khlestakov Ivan Aleksandrovich is one of the key characters in Gogol’s comedy “The Inspector General”. By himself, he is a very mediocre person, who does not stand out from the crowd in any way. positive qualities, typical " little man" By the will of fate, he finds himself on the crest of a wave of life - by pure chance, residents of the provincial town of N mistake him for an important person - the capital's auditor. And this is where our hero begins real life- the life he’s dreamed of for so long: the town’s top officials invite him to dinner parties, best women pay attention to him, and officials are in awe of the “significant person.”
And then, when Khlestakov achieves the life he dreamed of, his true face begins to clearly appear. Khlestakov lies uncontrollably, presenting himself as a great writer and public figure, shamelessly takes bribes, and fools two women at the same time. In the middle of the work, we see him no longer as a faceless “little man”, but as a truly immoral person. In his character we see frivolity and deceit, irresponsibility and stupidity, superficiality and simply a lack of decency. It’s not for nothing that all these qualities together were dubbed Khlestakovism.
It is also interesting that as the action of the work develops, the character of the main character also develops - the negative traits of his character appear more and more. It is unknown what Khlestakov would have reached if it were not for another happy accident - just before the hero’s deception was revealed, he left the city. Probably, luck is the only valuable natural gift that nature endowed Khlestakov with.
Who is Khlestakov
“The Inspector General” is one of the first theatrical plays written by Nikolai Vasilyevich Gogol. One of central characters works - Khlestakov, a young man who found himself in the city of N on his way from St. Petersburg to the village to visit his father.
A brief description of Khlestakov from Gogol’s “The Inspector General” can be composed of just two words: frivolous and irresponsible. He squandered all the money his father sent him and lost it at cards. In the tavern where Khlestakov lives with his servant Osip, he owes money for housing and food. Moreover, he is indignant that they don’t want to feed him for free, as if everyone around him is obliged to support him.
As Gogol writes in brief description in “Notes for Gentlemen Actors”, Khlestakov is an empty person.
The role of Khlestakov in the play
As the play progresses, Khlestakov finds himself in a situation where he is mistaken for an inspector. Khlestakov was scared at first, thinking that the mayor was going to put him in prison, but then, quickly getting his bearings, he used the situation to his advantage. Realizing that he is not yet in danger and using the respect for rank on the part of the mayor and other characters, Khlestakov extracts money from them and disappears in an unknown direction. Without knowing it, Khlestakov plays the role of a scalpel, opening an abscess on the patient’s body. All the dirty deeds that officials in the city of N are doing suddenly come out. People who consider themselves the “elite” of the city begin to throw mud at each other. Although before the scene where everyone brings offerings to Khlestakov, everyone smiled sweetly and pretended that everything was fine.
Khlestakov's surname and his role in the play - is there a connection?
The surname Khlestakov suits his role in the play well, because with his deception it was as if he “whipped” all the characters on the cheeks. It is difficult to say whether Gogol connected the character of Khlestakov in the comedy “The Inspector General” with his surname. But the meaning is very similar to this. Moreover, Khlestakov simply accepted the role imposed on him by those around him and took advantage of the opportunity.
Khlestakov's relationship with the characters of the play
Depending on who he was with and under what circumstances, his attitude towards the heroes also changed. For example, with Osip Khlestakov is a gentleman, capricious, a little rude, and behaves like a little unreasonable child. Although he scolds him at times, Khlestakov still listens to his opinion, and it is thanks to the servant’s ingenuity and caution that Khlestakov manages to leave before being exposed.
With women, Khlestakov is a metropolitan dandy, whispering compliments to any lady, regardless of age.
With the Mayor and city officials - at first, frightened, and then insolent, a visiting liar, pretending to be an important bird.
Khlestakov easily adapts to any situation and finds benefits for himself, as a result getting away with it.
Khlestakov and modernity
The plot of the play surprisingly resonates with today. And now you can find the ceremonial worship described in the work. And the characterization of Khlestakov in the comedy “The Inspector General” is quite suitable for many people. After all, it often happens when a person, trying to seem more significant, boasts of meeting celebrities or, adapting to the situation, lies and dodges.
Gogol seems to describe events taking place at the present time. But when he wrote “The Inspector General” he was only twenty-seven years old. And this once again confirms that genius does not depend on age.
Work test
