Plan
Introduction
The scene of lying occupies the climax of the comedy.
Main part
Khlestakov in the Gorodnichy’s house:
a) the hero’s confused story about his life in St. Petersburg;
b) he has “extraordinary ease of thought”;
c) the attitude of the ladies towards Khlestakov;
d) Gogol takes the situation to the point of absurdity.
Conclusion
The lying scene is the climactic scene in the comedy composition, which is of great importance for revealing the characters' characters.
The scene of lies in the comedy by N.V. Gogol's "The Inspector General" occupies the climax.
Khlestakov was brought to the Governor’s house, tasty food and drink. Before this, half-starved, he was going to go to prison, but now he does not understand why such a change occurred, and does not think about it. He is unable to analyze events. He simply enjoys the current moment and wants to impress those present, especially the ladies. Therefore, Khlestakov happily talks about his life in St. Petersburg. He lies with inspiration and he himself believes what he says. Finishing the sentence, he does not remember what he said at the beginning. That’s why he so often doesn’t make ends meet: they wanted to make him a collegiate assessor ( civil rank VIII class), then he was “completely mistaken for the commander-in-chief,” then he says about himself that he “exists in literature.” He gives himself a very precise description: “I have extraordinary lightness in my thoughts.” Therefore, he easily ascribes to himself the authorship of the comedy “The Marriage of Figaro”, and the opera “Norma”, and the story “Frigate “Nadezhda”, and the entire magazine “Moscow Telegraph”. And when Marya Antonovna accuses him that “Yuri Miloslavsky” was written by Zagoskin, he immediately corrects himself that “there is another “Yuri Miloslavsky”, so that one is mine.” He has a lot of such confusion: in a game of whist, he considers himself the fifth, extra player, and while checking, he says that he lives on the fourth floor. But officials do not notice this absurdity. The ladies are delighted because they met metropolitan man, with “subtle handling.” Khlestakov instilled such fear in the officials that they trembled and stood at attention: “The rank is such that they can still stand.” They believe that Khlestakov is an auditor and an important person, but “no speech is made without bending down.” That's why this scene is " finest hour"of the hero, the moment of his triumph, where he is the center of attention, and there are admiring listeners around. In addition, this scene is also one of the pinnacles of the author’s skill. She is so comical, she has so many vivid expressions that the viewer remembers for a long time. Who doesn’t remember “on friendly terms with Pushkin” or “thirty-five thousand couriers alone.” Gogol takes the situation to the point of absurdity: a watermelon “costs seven hundred rubles” or “soup in a saucepan came straight from Paris on the boat.” These comic devices show us the skill of Gogol the humorist.
So, the scene of lying is the culminating scene in the composition of the comedy and at the same time is of great importance for revealing the characters' characters.
Feature Gogol's comedy“The Inspector General” is that it has a “mirage intrigue,” that is, officials are fighting against a ghost created by their bad conscience and fear of retribution. The one who is mistaken for an auditor does not even make any deliberate attempts to deceive or fool the deluded officials.
The development of the action reaches its climax in Act III. The comic struggle continues. The mayor deliberately moves towards his goal: to force Khlestakov to “let slip”, “tell more” in order to “find out what
This is what he is and to what extent he should be feared.” After visiting a charitable establishment, where the guest was offered a magnificent breakfast, Khlestakov was at the height of bliss. “Having been cut off and cut off in everything, even in his ambition to walk trump card along Nevsky Prospekt, he felt the spaciousness and suddenly turned around, unexpectedly for himself, he began to talk, not knowing at the beginning of the conversation, where will he go his speech. Topics for conversation are given to him by inquirers. They seem to put everything in his mouth and create a conversation,” writes N.V. Gogol in “Pre-Notification.” In just a few minutes in a scene of lies, Khlestakov makes a dizzying career: from a minor official (“You may think that I’m just rewriting…”) to a field marshal (“The State Council itself is afraid of me”). The action in this scene develops with ever-increasing energy. On the one hand, these are Ivan Aleksandrovich’s tales, gradually losing all plausibility and reaching their climax at the end of the phenomenon. On the other hand, this is the behavior of listeners who become increasingly frightened by the guest’s speeches. Their experiences are expressively conveyed by the remarks: at the beginning of the conversation, “the mayor and everyone sit down” at the gracious invitation of Khlestakov, however, when it is mentioned that in his hallway one can supposedly meet counts and princes, even a minister, “the mayor and others timidly get up from their chairs.” The words: “And sure enough, it happened when I was passing through the department - there was just an earthquake, everything was trembling and shaking like a leaf” - accompanied by the remark: “the mayor and others are lost in fear.” At the end of the scene, the mayor, “approaching and shaking his whole body, tries to say” something, but from fright he cannot utter a word.
During his speech, Khlestakov seems to instinctively grasp the nature of the impression he is making, spurred on by the fear experienced by the listeners, the expectation of stories about the scale of life and work relationships that are unusual for provincials. His exaggerations are purely quantitative: “seven hundred rubles for a watermelon,” “thirty-five thousand couriers alone.” Showing off in front of the ladies, he mobilizes his entire meager supply of information about the life of the St. Petersburg nobility, events and literature. “Khlestakov doesn’t lie about everything, he sometimes simply reports sensational news from the capital - about the splendor of balls, about the soup that arrived by boat from Paris, about the fact that Baron Brambeus corrects other people’s articles, that Smirdin pays him a lot of money, about that “Frigate “Nadezhdy” is a huge success, and finally, that Pushkin, with whom he is “on friendly terms,” is “a great original,” writes A.G. Gukasova in the article “The Comedy “The Inspector General”.”
However, all these real facts shifted and redirected, the narrator himself becomes the central person in all events.
Due to Khlestakov’s unintentionality, it is difficult to catch him in a lie - he, lying, easily gets out of a difficult situation: “As you run up the stairs to your fourth floor, you only say to the cook: “Here, Mavrushka, overcoat...” Why am I lying - I and forgot that I live in the mezzanine.”
Seized by an irresistible desire to play a role a little higher than the one predicted for him by fate, in this “best and most poetic moment in his life,” Khlestakov longs to appear not only socialite, but also a “statesman” person.
Neither the mayor nor the officials question what Khlestakov is chattering about; on the contrary, they are strengthened in the belief that the auditor sent to them is a significant public official. “A strange thing is happening. The figurine, the match, the boy Khlestakov, by the power of fear and reverence for him, grows into a person, becomes a dignitary, becomes the one who is seen in him,” G. A. Gukovsky concludes from this scene in the article “Gogol’s Realism.”
In a work belonging to the comedy genre, “The Inspector General” N.V. Gogol, using the technique of satirical exaggeration (grotesque), based on a combination of the real and the fantastic, makes fun, ridicules all swindlers, strives to show a person as he really is.
With the help of the grotesque, Ivan Khlestakov is shown as a liar who knows how to deceive with feeling, receiving pleasure from it. The protagonist of the comedy, seeing that society reveres him, allows his imagination to run wild and becomes impudent in his demands: for a short time from a low-class official turns into a field marshal.
The scene of “lies” exposes the vices of officials and Khlestakov himself, who wants to show off.
In society main character elevates, idealizes oneself. In his house, which was the first to be built in St. Petersburg, he gives balls, the guests of which are princes and ministers.; takes credit for authorship famous works. Forgetting himself, he says: “As you run up the stairs to your fourth floor, you just say to the cook: “Here, Mavrushka, overcoat...”. Realizing that he had misspoken, Khlestakov corrects the situation: “Why am I lying - I forgot that I live in the mezzanine,” he strives to support that lucky coincidence circumstances that happened.
We can say that Khlestakov has an insufficiently complete spiritual world, since, wanting to impress the mayor’s wife, he says that he is friends with A.S. Pushkin, cannot come up with a worthy topic of conversation with the poet, but still delights the ladies: “ Well, brother Pushkin? - “Yes, brother,” he answers, it happened, “that’s how it’s all…”.
A situation arises of deafness, blindness and inattention of officials who suddenly stopped comprehending the semantics of the words that Khlestakov utters. The shameless lie only increases everyone's belief that the true auditor is coming. The officials are so frightened that they do not notice the lie until the postmaster opens Khlestakov’s letter, from which it becomes known that he is not an auditor. Every government official is a lawless and wicked person, so the deception remains undetected for a long time.
The scene of deception, the climax of the work, allows the composition of the play to be fully revealed. It is the satirical exaggeration used by N.V. Gogol that allows one to approach a serious topic from a humorous side. The writer denounces vulgarity, lack of spirituality, shows people who have deprived themselves of ideals and values.
Essay on Lies by Khlestakov (analysis)
Khlestakov, one of the characters in N.V.’s comedy. Gogol "The Inspector General". The hungry, exhausted Khlestakov, who was about to go to prison, was brought to the Governor’s house, where he was fed and given drink. He did not think about how and why such a change occurred in his life. He never thinks about anything, he just lives in one moment, his goal is to make a good impression on people, especially on females. It is for this reason that there is so much joy in his voice and expressions when he talks about life in St. Petersburg.
There are so many lies in his words that he himself begins to believe in what he says. His emotions and stories are so untruthful and false that in the end he no longer remembers what he was talking about at the beginning. The facts from his stories differ and say completely opposite things. He says that his thoughts have an extraordinary lightness and ascribes to himself the merits of other writers.
Marya Antonovna catches him in a lie, saying that the author of the work “Yuri Miloslavsky” is Zagoskin, and Khlestakov, in turn, asserts the opposite. Saying that there is a work with the same name that belongs to him. Almost every sound uttered by Khlestakov contains a lie.
There is so much confusion that he himself does not understand it, but fortunately for Khlestakov, officials do not pay attention to it. As Khlestakov wanted, he presents himself from the good side and the ladies are delighted with him. They think they have met a wonderful man from the capital. And Khlestakov instilled great fear in the officials by only lying a little about his rank. He completely convinced everyone that he was the auditor and an important person.
The scene of lies elevates him, puts him above the rest, this is his finest hour, where he is the center of attention. This is not only Khlestakov’s finest hour, this is one of the best scenes author of the work. This scene contains many interesting and key moments that will be remembered by the audience for a long time. The author is a master. It is in this work that Nikolai Vasilyevich Gogol’s skill as a poet is revealed. “The soup in a saucepan came straight from Paris on the boat” is a situation that Gogol brought to the point of absurdity.
From all of the above, we can conclude that the scene of lying is the culminating scene in the work, in which the characters of many heroes are revealed.
Several interesting essays
- Essay The main idea and meaning of the Song about the prophetic Oleg Pushkin
"Song of prophetic Oleg"was written by A.S. Pushkin in 1822, it was during these years that the poet was especially concerned about the historical past of his homeland. Pushkin’s writing of this poetry was based on his freedom to think.
- Problems of the novel A Hero of Our Time by Lermontov (Problematics)
The novel entitled “Hero of Our Time” was written by Mikhail Yuryevich Lermontov. It enjoys wide popularity among Russian-speaking readers and connoisseurs of classical Russian literature and to this day.
- Analysis of Bunin's story Snowdrop, grades 5, 6
The wonderful Russian writer Ivan Alekseevich Bunin became famous by writing a large number of thoughtful works. Such works include the story “Snowdrop”
- Review of Shakespeare's Romeo and Juliet
Famous all over the world dramatic work entitled "Romeo and Juliet" was written by an English writer named William Shakespeare. A review of this creation is presented in this article.
- The image and characteristics of Vitya A photograph in which I am not present Astafieva essay
The main character of the work is a little boy named Vitya, on whose behalf the story is narrated.
Ivan Aleksandrovich Khlestakov is the main character of the comedy and its most striking character. The most satirical and important scene is the scene of Khlestakov’s lies in “The Inspector General”. It shows all the pettiness and hypocrisy of city officials, as well as Khlestakov himself.
Khlestakov's behavior
Ivan Aleksandrovich Khlestakov is a young man who has squandered his entire fortune and does not even have money for food. But luck smiles on him when the mayor mistakes him for a high-ranking official from the capital. The penniless hero is accepted into best houses city, feed him and try to make friends. When Khlestakov realizes that he has been mistaken for another person, he decides to take advantage of the situation for himself. He takes money from the merchants and from the mayor himself, eats and drinks at their expense, without feeling shame.
Khlestakov is an ordinary swindler and swindler, just like the other characters in the play. Everyone around him is afraid of him, but he is also afraid of the mayor, he is afraid that his deception will be exposed. But the thirst for profit drives Khlestakov. He tries to rob the mayor as much as possible and live at his expense. And having already realized that he could be declassified, he leaves the city, leaving all city officials fooled.
Scene of lies
The play is built on a comic conflict based on inconsistency: Khlestakov is mistaken for someone who he really is not. Outwardly, there are two parties involved in the conflict: all the city officials who need to deceive the auditor, and Khlestakov.
In the first act of the comedy, a conflict begins. The mayor learns about the upcoming arrival of the auditor. And at the same time, an unknown young man checks into the hotel and is mistaken for an inspector. All further actions officials are aimed at hiding existing violations.
In the third act, Khlestakov begins to understand that he is being taken for some kind of important person, and tries to fit the proposed role. It is in this action that the scene of lies in “The Inspector General” begins. Khlestakov begins to lie, and nothing can stop him. He lied so much that he himself believed what he was saying. The hero talks about his friendship with Pushkin, about his huge house in St. Petersburg, credits himself with the authorship of many works. When he speaks, he does not plan his story in advance. His speech seems rough River– it is unknown in which direction it will flow.
Exposing Khlestakov
The culmination of the conflict is the scenes in which the mayor triumphs over the fact that Khlestakov has wooed his daughter. Now they will become related to an important official!
“What kind of birds you and I have become now,” the mayor proudly says to his wife.
Khlestakov's exposure occurs in the eighth scene. The postmaster printed out and read Khlestakov’s letter, in which he tells a journalist friend about the miracles that happened to him. The contents of the letter show city officials in the most unsightly light.
To top off all the disputes, a gendarme appears with a message about the arrival of a real auditor. Everyone was petrified by this news. This silent scene is the denouement of the conflict and the ending of the comedy.
This article will help schoolchildren write an essay on the topic “The Scene of Khlestakov’s Lies.” Here the behavior of the main character and his relationships with other characters are considered. An analysis of scene 3 of act of the comedy was also carried out, where Khlestakov selflessly lies about his high position in the capital.
Work test
"Scene of Lies" by Khlestakov
Returning from distant travels,
Some nobleman (and maybe a prince),
Walking with my friend on foot in the field,
He bragged about where he had been,
And he added countless fables to the tales.
I.A. Krylov
These words are from the fable “Liar” by I.A. Krylov very well reflect the essence of the episode from N.V.’s comedy. Gogol "The Inspector General". The most interesting fragment is known as Khlestakov’s “scene of lies.” The culprit of the extraordinary events described in the comedy, the most empty person, an “icicle”, a “rag”, as the mayor puts it, Ivan Aleksandrovich Khlestakov is one of the most remarkable and characteristic images in Gogol’s work. The comedian reflected in this hero all his passion for exaggeration and love for portraying multifaceted characters. Let's consider how the imaginary auditor reveals himself to the audience in the “scene of lies.” According to the definition given in the dictionary literary terms", an episode is "an excerpt, a fragment of some artistic work that has a certain independence and completeness." But an episode in work of art- not only an element of the plot, an event in the lives of the heroes, but also an integral part of the work, embodying the most important features of the ideological and artistic originality of the work as a whole, a kind of “magic crystal” connecting the path of the heroes in storyline. What is the ideological and figurative structure of this episode and its role in the context of the work?
The sixth phenomenon is the most striking fragment of the third act. In it, Khlestakov, under the influence of the impression he makes on women, the attention that officials and the mayor give him, gradually rises to such heights of lies that they cannot be called simply fantasies. In the blink of an eye, like a fairy genie, he builds and destroys entire fantasy worlds- a dream of the contemporary mercantile age, where everything is measured in hundreds and thousands of rubles. Starting with a simple fib about writing “poems,” Khlestakov quickly soars to literary Parnassus. Listeners will learn that he is the author of many vaudevilles and comedies, stories and fashionable novels (for example, “Yuri Miloslavsky,” the author of which was M.N. Zagoskin). Stunned by meeting such a brilliant personality, those around them do not notice that among the names prose works The operas “Norma” and “Robert the Devil” also pop up. Why notice such subtleties! After all, the society surrounding the liar has long forgotten what reading books is. And here is a man short leg with Pushkin himself, editor of the famous magazine "Moscow Telegraph". Enchanting, magical spectacle! The only objection of Marya Antonovna, who read Zagoskin’s novel, is mercilessly destroyed by her mother and easily, naturally swept aside by Khlestakov, who reports that there are two works of the same name, and he is the author of one of them. Showing off in front of the mayor’s wife, Anna Andreevna, the deceiver assures that he does not like ceremonies and is “on friendly terms” with all the important officials in St. Petersburg; that he has the most famous house in the capital; that he gives balls and dinners, to which he receives “a watermelon worth seven hundred rubles,” “soup in a saucepan from Paris.” He goes so far as to say that the minister himself came to his home, and once, meeting the requests of the couriers, he even managed the department. “I’m everywhere...everywhere...I go to the palace every day.” Khlestakov gets so carried away that he sometimes starts talking: sometimes he lives on the fourth floor, sometimes in the mezzanine.
It’s surprising why during this scene no one interrupted Khlestakov, everyone is servilely silent and listens, with
with difficulty pronouncing “...va-va-va...procession, Excellency”? “How is it, really, we made such a mistake!” - Judge Lyapkin-Tyapkin exclaimed after it turned out that Khlestakov was not at all who he was mistaken for. And indeed, how could highly experienced swindlers, led by the mayor, fall for the bait of an insignificant St. Petersburg official, not distinguished by intelligence, cunning, or impressive figure?
This question concerns, first of all, the situation of comedy itself - special, unlike anything else. This is what the play warns about from the very beginning, and throughout the text there are words and expressions scattered that speak of the exclusivity of everything that is happening. Khlestakov, according to Gogol, main character plays and the most unusual - not only in character, but also in the role that fell to him. In fact, Khlestakov is not an auditor, but also not an adventurer who deliberately deceives others. It seems that he is simply not capable of a cunning thought out in advance, an adventure; this, as Gogol says in his stage directions, is a young man “without a king in his head,” acting “without any consideration,” possessing a certain amount of naivety and “sincerity.” But it is precisely all this that allows the false auditor to deceive the mayor and his company, or rather, allows them to deceive themselves. “Khlestakov does not cheat at all, he is not a liar by trade,” wrote Gogol, “he himself forgets that he is lying, and he himself almost believes what he says.” The desire to show off, to become a little taller than in life, to play a more interesting role, destined by fate, is characteristic of any person. The weak are especially susceptible to this passion. From a fourth-class employee, Khlestakov grows to “commander-in-chief.” The hero of the person being analyzed is experiencing his finest hour. The scope of lies stuns everyone with its breadth and unprecedented power. But Khlestakov is a genius at lying; he can easily come up with the most extraordinary things and sincerely believe in it.
Thus, in this episode, Gogol deeply reveals the multifaceted nature of the protagonist: outwardly ordinary, nondescript, empty, a “wizard,” but internally a talented dreamer, a superficially educated fanfare, who in a favorable situation transforms into the master of the situation. He becomes a "significant person" to whom bribes are given. Having gained a taste for it, he even begins to demand rudely from Dobchinsky and Bobchinsky: “You don’t have money?” It is no coincidence that a contemporary of the comedy author, Apollon Grigoriev, spoke enthusiastically about the “scene of lies”: “Khlestakov, like a soap bubble, inflates under the influence of favorable circumstances, grows in his own eyes and in the eyes of officials, becomes bolder and bolder in his boasting.”
One cannot but agree with the poet's opinion. Indeed, in the “scene of lies” Khlestakov is a bubble, inflates as much as possible and shows himself in his true light, only to burst at the denouement - to phantasmagorically disappear, rushing off in three. This episode is truly a “magic crystal” of comedy. Here all the features of the main character are focused and highlighted,
his " acting". The scene allows us to better understand that "extraordinary ease of thought" about which Gogol warned in his remarks to gentlemen actors. Here comes climax the hero's pretense and lies. The prominence of the “scene of lies” represents Gogol’s formidable warning to subsequent generations, wanting to protect them from a terrible disease - Khlestakovism. Its impact on the viewer is great: anyone who has lied at least once in his life will see what excessive lies can lead to. Looking at the image of Khlestakov, you understand how creepy it is to be in the skin of a liar, experiencing constant fear of exposure.
Returning to the words of the great sage Krylov, included in the epigraph, I would like to paraphrase an excerpt from another
his fables "The Crow and the Fox":
For how many years have they told the world,
That lies are vile and harmful...
Unfortunately, this vice still finds a corner in people’s hearts today, and the only way to fight lies is by ridiculing them. Gogol understood this well and realized this idea with faith in the “bright nature of man” in the “scene of lies.”