1. What is the theme of the comedy “The Inspector General”?
The comedy "The Inspector General" is a comedy of manners. Its topic is bribery and corruption of officials; the author satirically depicts various abuses in the bureaucratic environment, as well as Khlestakov’s frivolity and dishonesty.
2. Who was the first to report the auditor? Why did everyone believe this message? Who is Khlestakov: a minor official and an insignificant person or a significant person? How does he appear in conversations with officials, merchants, the mayor’s wife and daughter?
For the first time they learned about the auditor from a letter received by the Governor and, since the auditor could already arrive and live in the city incognito, the eccentric and stupid gossips Dobchinsky and Bobchinsky mistook the Strange Visitor for the auditor, who turned out to be Khlestakov. Everyone believed their guess because they were very scared. In reality, Khlestakov is an insignificant and empty person, a talker and a braggart who does not know how to do anything, but knows how to benefit from the mistakes of officials. He quite cleverly adapts to his interlocutors and impresses everyone. He behaves freely with officials, boasts in front of ladies, and pretends to be a boss with merchants.
3. Where is the beginning and end of the comedy? Did Khlestakov want to deceive the officials and townspeople?
The plot of a comedy is an episode in which the prerequisites for the development of the plot are laid. In this case, it seems to me that this is the moment when Bobchinsky and Dobchinsky report that they saw the auditor.
The denouement is the moment when the plot comes to its conclusion. This is an episode of reading Khlestakov’s letter, from which it becomes clear to everyone that he is not an auditor.
4. Why are the landowners Dobchinsky, Bobchinsky and the mayor being deceived? Read and comment on the scene at the inn. For what reason do officials believe Khlestakov in the “scene of lies”? Remember and tell or read this scene out loud. What is the role of stage directions in comedy?
The landowners are deceived because they are stupid, they are captured by the sensation and want to be involved in it, and Khlestakov behaves atypically. The mayor believes them out of fear. For example, he takes all Khlestakov’s words about prison personally: Khlestakov is afraid that he will be sent to prison for not paying the innkeeper, and the Governor himself is afraid of prison for bribery. Wanting to avoid arrest, Khlestakov lies that he is a respected official, and the Mayor takes this as a hint that he is the auditor.
In the "lying scene" all the officials are very scared because they think that the drunk will tell the truth. They have never met such selfless liars as Khlestakov. He seems to believe himself. In addition, everyone is very afraid of him, because they all broke the law. The stage directions show how at first they did not dare to sit down, and then jumped up and shook 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 stunned 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 the words that Gogol himself would like to say: “Why are you laughing? You’re laughing at yourself!” He speaks these words not so much to officials, but to all of us. Because the auditor is not the conscience of officials, but ours.
6. Read the definitions of the main stages of plot development. What comedy scenes do you think correspond to these stages? (exposition, beginning, climax, resolution)
The exhibition is a reading and discussion of the letter received by the Mayor.
The beginning is a message from the landowners that they have found the auditor and the conversation of the Governor with him.
The climax is the scene where the Mayor boasts that he is leaving for St. Petersburg.
The denouement is the reading of Khlestakov’s letter.
7. It is known that Nicholas 1, after the first performance of the play, said: “What a play! Everyone got it, and I got it more than anyone else!” And Gogol exclaimed: “Everyone is against me!” How can we explain the indignation of all classes by the play?
Everyone was offended by the comedy because people of all classes were depicted satirically. The whole of Russia is depicted under the guise of a district town.
N.V. Gogol
Applications to the "Inspector"
N.V. Gogol. Collection of works of art in five volumes.
Volume four.
M., Publishing House of the USSR Academy of Sciences, 1952 An excerpt from a letter written by the author shortly after the first performance of The Inspector General to a writer. Two scenes turned off as slowing down the flow of the play. The denouement of The Inspector General. disappeared: that's what I thought. Dur didn't understand one bit what Khlestakov was. Khlestakov became something like Alnaskarov, something like a whole line of vaudeville rascals who came to visit us from Parisian theaters. He became just an ordinary liar - a pale face, appearing in the same suit for two centuries. Is it really not clear from the role itself what Khlestakov is? Or did blind pride take 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? But it seemed clear to me. Khlestakov is not cheating at all; he is not a liar by trade; he himself forgets that he is lying, and already almost believes what he says. He turned around, he is in spirit, he sees that everything is going well, they are listening to him - and for this reason alone he speaks more smoothly, more freely, speaks from the heart, speaks completely frankly and, speaking a lie, shows himself exactly as he is. In general, our actors don’t know how to lie at all. They imagine that lying means simply talking. To lie means to tell a lie in a tone as close to the truth, as natural, as naive as one can only speak the truth; and this is precisely where all the comic lies lie. I am almost sure that Khlestakov would have benefited more if I had assigned this role to one of the most mediocre actors and would have told him only that Khlestakov is a clever man, a perfect comme il faut, intelligent and even, perhaps, virtuous, and what remains for him imagine it that way. Khlestakov lies not at all coldly or in a fanfare-theatrical way; 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. And at least some of this was expressed! Poor Khlestakov was definitely not given any character, that is, face, that is, visible appearance, that is, physiognomy. Of course, it is incomparably easier to caricature old officials in shabby uniforms with frayed collars; but to grasp those features that are quite specious and do not come out sharp corners from an ordinary secular circle - the work of a strong master. With Khlestakov, nothing should be expressed sharply. He belongs to that circle, which, apparently, is no different from other young people. He sometimes even carries himself well, sometimes even speaks with weight, and only in cases where either presence of mind or character is required does his somewhat mean, insignificant nature appear. The features of the role of some mayor are more fixed and clear. He is already sharply designated by his own, unchangeable, callous appearance and partly confirms his character. The features of Khlestakov’s role are too fluid, more subtle and therefore more difficult to discern. What is, if you really look at it, Khlestakov? A young man, an official, and empty, as they call it, but containing many qualities belonging to people whom the world does not call empty. To expose these qualities in people who, by the way, are not without good virtues, would be a sin on the part of the writer, for he would thereby raise them to universal laughter. It’s better to let everyone find a piece of himself in this role and at the same time look around without fear or fear, lest someone point a finger at him and call him by name. In a word, this person must be a type of much that is scattered in different Russian characters, but which here was united by chance in one person, as very often comes across in nature. Everyone, at least for a minute, if not for several minutes, was or is becoming Khlestakov, but, naturally, he just doesn’t want to admit it; he even loves to laugh at this fact, but only, of course, in the skin of another, and not in his own. And a clever guards officer will sometimes turn out to be Khlestakov, and a statesman will sometimes turn out to be Khlestakov, and our brother, a sinful writer, will sometimes turn out to be Khlestakov. In a word, it is rare that someone will not be one at least once in their life - the only thing is that after that they will very cleverly turn around, and as if it were not him. Inside myself I heard reproaches and murmurs against my own play, which drowned out all the others. And the public was generally happy. Half of her accepted the play even with participation; the other half, as usual, scolded her - for reasons, however, not related to art. How she scolded us, we will talk about this on our first date with you; There is a lot of instructive and a lot of funny stuff here. I even wrote something down; but that's an aside. Respecting a rather subtle remark, which has its fair sides, I, however, did not see a reason why Khlestakov, being Khlestakov, could not ask first. But the point was made; “So,” I said to myself, “I performed this scene poorly”; and sure enough, now, during the performance, I saw clearly that the beginning of the fourth act was pale and bore a sign of some kind of fatigue. Returning home, I immediately set about redoing it. Now it seems to come out a little stronger, at least more natural and more to the point. But I don’t have the strength to bother about including this passage in the play. I'm tired; and when I remember that for this you need to travel, ask and bow, then God bless him - it would be better with the second edition or renewal of The Inspector General. living pictures. But they answered me that this would tie up the actors, that the group would need to be entrusted to a choreographer, which was even somewhat humiliating for the actor, etc., etc., etc. Many others others I saw mines that were more annoying than verbal ones. Despite all these others, me I stand my ground and say a hundred times: no. This is not at all binding, it is not humiliating; even let the choreographer compose and form a group, if only he is able to feel the real position of each person. Talent will not be stopped by the boundaries indicated to him, just as granite banks will not stop a river: on the contrary, having entered them, it moves its waves faster and more completely. And in the pose given to him, the feeling actor can express everything. No one put shackles on his face here, only one group was stationed; his face will freely express any movement. And in this numbness of diversity there is an abyss for him. The fear of each characters one is not similar to the other, just as their characters and the degree of fear and fear are not similar, due to the greatness of the sins committed by each. In a different way the mayor remains stricken, in a different way his wife and daughter are stricken. The judge will be especially frightened, the trustee, the postmaster, etc. will be especially frightened. Bobchinsky and Dobchinsky will remain especially amazed, and here they have not betrayed themselves and turned to each other with a numb question on their lips. Only the guests can be stunned in the same way, but they are distant in the picture, which is outlined with one stroke of the brush and covered with one color. In a word, everyone will mimically continue their role and, despite the fact that, apparently, they have subjugated themselves to the choreographer, they can always remain tall actor. But I don’t have the strength to fuss and argue anymore. I am tired both in soul and body. I swear, no one knows or hears my suffering. God be with them all. I was disgusted with my play. I would like to run away now to God knows where, and the journey ahead of me, the ship, the sea and other distant skies can only refresh me. I crave them like God knows what. For God's sake, come quickly. I won't go without saying goodbye to you. I still need to tell you a lot of things that this unbearable, cold letter cannot say... 1836, May 25. St. Petersburg.
TWO SCENES TURNED OFF AS Slowing Down the Progress of the Play
Anna Andreevna and Marya Antonovna.
Marya Antonovna. But I don’t know, Mama, why it seems to you that your eyes are the best... Anna Andreevna. It seems nonsense to you. You are talking nonsense, madam. When the colonel lived with us, who was such a fashionista, what kind of fashionista I don’t know exactly, ordered all the clothes from Moscow - she used to repeat to me several times: “Do me a favor, Anna Andreevna, tell me this secret: why (your eyes are simply talking. ..” And everything would happen in one voice: “It’s enough to be with you, Anna Andreevna, for a minute to forget all the circumstances due to your kindness.” And what about the headquarters captain Stavrokopytov, who was standing at that time? I don’t remember, he lived for repairs , or what? Handsome! His face is fresh, I don’t know what it is; his eyes are black, black, and the collar of his shirt is the kind our merchants have never brought to us. He told me several times: “I swear to you.” , Anna Andreevna, that not only have I not seen, I have not even read such eyes; I don’t know what happens to me when I look at you.”... Even then I was wearing a tulle cape, embroidered with grape leaves with spikelets and all covered with blonde. , with a tank, no more than a finger - it was just enchantment! That’s what he says, it happened; “I, Anna Andreevna, feel such pleasure when I look at you, like my heart,” he says... I can’t now remember what he told me. Where to go! After that, he brought up this story: he definitely wanted to shoot himself; Yes, somehow the pistols got lost somewhere; and if there had been pistols, he would not have been in the world long ago. Marya Antonovna. I don’t know, mamma, but it seems to me that the lower part of your face is much better than your eyes.
Anna Andreevna. Never ever! This cannot be said. What nonsense is nonsense.
Marya Antonovna. No, really, mama: when you talk like that, or sit in profile, your lips are all... Anna Andreevna. Please don't make too much sense! So truly unbearable! So that she doesn’t argue somehow... God forbid! It’s because her mother has good eyes that she’s so jealous. Behind these arguments, behind all this nonsense, I started chatting with you. And then just look, he’ll come and find us dressed God knows how. (She leaves quickly; Marya Antonovna follows.) Oh, so you deign to know Zadanubisky? Khlestakov. Which Transdanubian? Rastakovsky. Count Rumyantsev-Zadunaisky, Pyotr Alexandrovich: after all, this is my former boss. Khlestakov. Yes... so you served for a long time?.. Rastakovsky. Was there during the siege of Silistria in 773. It was a very hot affair. The Turk was like this table, in front of us. I was a sergeant then, and the second-major was in our regiment - would you like to know: Gvozdev Pyotr Vasilievich? Listen, however, can you lend me some money? I wasted money on the road.
Rastakovsky. Who asked for money: the official from the guardsman or the guardsman from the official?
Khlestakov. No, this is what I ask of you. You see, so as not to forget later, it’s better now. Rastakovsky. So you need money! How strange! I thought that the guardsman asked for an anecdote. As sometimes happens in conversation! So do you need money? And I admit, for my part I came to bother you with a most convincing request. Khlestakov. What, about what? Rastakovsky. I must receive an additional pension, so I would ask that they say it to the senators or anyone else. thoughts, an eternal nail sitting in the head. Having caught this main concern of the person he has taken, the actor must be filled with it himself in such a force that the thoughts and aspirations of the person he has taken are assimilated to him and remain in his head inseparably during the entire performance of the play. He doesn't have to worry much about private scenes and little things. They will come out of their own accord successfully and cleverly, if only he does not for a moment throw out of his head this nail that has lodged itself in the head of his hero. All these particulars and various small accessories - which even such an actor who knows how to tease and capture gait and movement, but not create the whole, knows how to use so happily. roles - the essence nothing more than paints that need to be applied only when the drawing is composed and done correctly. They are the dress and body of the role, not its soul. So, first of all, it is this role’s soul that should be grasped, and not its dress. One of the main roles is the mayor. This person is most concerned about not missing out on what is floating in his hands. Because of this concern, he had no time to look more strictly at life or to take a better look at himself. Because of this concern, he became an oppressor, without himself feeling that he was an oppressor, because there was no evil desire to oppress in him; there is only a desire to tidy up everything that the eyes see. , because these tempting blessings of life overwhelmed him and made him hardened and coarsened the instinct to hear the situation and suffering of another. He feels that he is a sinner, he goes to church, he even thinks that he is firm in his faith, he even thinks about repenting someday later. But the temptation of everything that floats into his hands is great, and the blessings of life are tempting, and grabbing everything without missing anything has become, as it were, just a habit for him. He was struck by the rumor that had spread about the auditor; What was even more striking was that this inspector was incognito: it was unknown when he would be, or from which side he would approach. From the beginning to the end of the play, he is in positions beyond those in which he happened to be in other days of his life. His nerves are tense. Moving from fear to hope and joy, his gaze became somewhat inflamed as a result, and he became more susceptible to deception, and he, who at another time would not have been easily deceived, becomes possible. Seeing that the inspector in his hands is not terrible and has even become related to him, he indulges in wild joy at the mere thought of how his life will henceforth rush through feasts and drinking bouts, how he will distribute places, demand horses at stations and force wait in the front mayors, put on airs, set the tone. That is why the sudden announcement of the arrival of a real auditor is more of a thunderclap for him than for everyone else, and the situation becomes truly tragic. Despite its clumsiness and thickness, it is always agile. Therefore, a smart actor will never miss all those cases where the service of a fat person will be especially funny in the eyes of the audience, without any desire to make a caricature out of it. He just forgot that this is a burden to the other and that it makes the other’s back ache. He suddenly forgave the merchants who were plotting to destroy him when they offered to pass the time, which he reads in printed letters. There is nothing left for the actor to do other than to be as simple-minded as possible. Everyone is busy with the auditor. The fears and hopes of all the characters swirl around the auditor. Some have hope of getting rid of bad mayors and all kinds of grabbers. Other's -- tempting offer interesting stories panic fear seeing that the most important dignitaries and advanced people . Hitherto cut off and cut off in everything, even in his attempt to walk with his trump card along Nevsky Prospekt, he felt the spaciousness and suddenly turned around, unexpectedly for himself. Everything about it is surprise and surprise. For a very long time he cannot even guess why there is such attention and respect for him. He felt only pleasantness and pleasure, seeing that they were listening to him, pleasing him, doing everything he wanted, greedily catching everything he said." He began to talk, not knowing from the beginning of the conversation where his speech would lead. Topics for They give him conversations, they seem to put everything in his mouth and create a conversation. He only feels that he can show off well everywhere if nothing interferes. He feels that he is a master both in literature and at balls. and he himself gives balls, and, finally, that he is a statesman. He is not averse to anything, no matter what he lies about. The dinner with all sorts of labardans and wines gave his language more expressiveness and eloquence. with all his feelings in what he says, and therefore expresses a lot almost with fervor. Without any desire to deceive, he himself forgets that he is lying. It already seems to him that he really did all this. about a statesman, can definitely embarrass an official. Especially at the time when he talks about how he scolded everyone in St. Petersburg, the importance and all the attributes and everything appears in his face. Having been scolded himself many times, he must masterfully portray this in speeches: at that time he felt a special pleasure in finally scolding others himself, albeit in stories. He would have gotten further in his speeches, but his language was no longer suitable, for which reason the officials were forced to take him, with respect and fear, to the allotted lodging for the night. Waking up, he is the same Khlestakov as he was before. He doesn't even remember what scared everyone. There is still no consideration in him and stupidity in all his actions. He falls in love with both mother and daughter almost at the same time. He asks for money because it somehow rolls off the tongue and because he already asked the first one and he readily offered. Only towards the end of the act does he realize that he is being mistaken for someone higher. But if it weren’t for Osip, who somehow managed to explain to him somewhat that such a deception could not last long, he would have calmly waited for the pushes and farewells from the yard without honor. Although this face is phantasmogorical, a face that, like a lying, personified deception, was carried away along with the troika to God knows where, it is nevertheless necessary that this role go to the best actor, whatever there is, because it is the most difficult of all. This empty person and insignificant character contains a collection of many of those qualities that are not found in insignificant people. The actor especially should not lose sight of this desire to show off, which all people are more or less infected with and which is most reflected society is in fear. Others, who look at all the affairs of the world calmly, cleaning their noses, have curiosity, not without some secret fear of finally seeing that face that has caused so much anxiety and, therefore, must inevitably be too unusual and important face. Khlestakov, the desire is childish, but it happens to many smart and old people, so that a rare person in his life has never had the opportunity to find it in any matter. In a word, an actor for this role must have a very versatile talent, who would be able to express different human traits, and not some constant, one and the same ones. He must be a very dexterous socialite, otherwise he will not be able to express naively and innocently that empty secular frivolity that carries a person in all directions on top of everything, which Khlestakov inherited in such significant quantities. The last scene of The Inspector General must be especially cleverly played. This is no longer a joke, and the situation of many people is almost tragic. The position of the mayor is most striking of all. Be that as it may, but to see oneself suddenly deceived so rudely and, moreover, by the most empty, most insignificant boy, who did not even take on the appearance and figure, being like a match (Khlestakov, as you know, is thin, the others are all fat)... to be deceived by him. - this is not a joke. To be deceived so rudely to one who knew how to deceive and even the most skillful rogues. The announcement of the arrival, finally, of a real auditor is a thunderclap for him. He was petrified. His outstretched arms and thrown back head remained motionless, and around him the entire active group in an instant formed a petrified group in different positions. This whole scene is a silent picture, and therefore must be composed in the same way as living pictures are composed. Each person should be assigned a position consistent with his character, with the degree of fear of him and with the shock that the words announcing the arrival of the real auditor should produce. It is necessary that these poses should not meet each other in any way and should be varied and distinct; and therefore it follows that everyone remembers his own and can suddenly accept it as soon as his ears are struck by the fatal news. At first it will come out forced and will look like an automaton, but then, after several rehearsals, as each actor enters deeper into his position, this pose will be assimilated to him and will become natural and belonging to him. The woodenness and awkwardness of the machines will disappear, and it will seem as if a numb picture has emerged by itself. Mayor Strawberry with raised eyebrows and fingers raised to his mouth, like a man who has been badly burned by something. Behind him is the judge, who crouched almost to the ground and made a grimace with his lips, as if saying: “Here’s to you, grandma, and St. George’s Day.” Behind them, Dobchinsky and Bobchinsky, with their eyes fixed and their mouths open, look at each other. The guests are in the form of two groups on both sides: one unites in one common movement, trying to look into the mayor’s face. To start a group more skillfully and easily, it is best to entrust an artist who knows how to compose groups to make a drawing and stick to the drawing. If only each of the actors entered at least to some extent into all the positions of their roles throughout the entire performance of the play, then they will also express in this silent scene the striking position of their roles, crowning with this scene even more perfection of their acting. If they were cold and tense during the performance, then they will remain just as cold and tense here, with the difference that in this silent scene their lack of art will be revealed even more.
THEATER TRAVEL AFTER THE PRESENTATION OF A NEW COMEDY
Theater canopy. On one side are visible stairs leading to boxes and galleries; in the middle is the entrance to the chairs and the amphitheater; on the other hand there is a way out. A distant roar of applause can be heard.
Two, comme il faut dense properties, descend from the stairs.
First comme il faut. It would be good if the police had driven my carriage not far away. What is the name of this young actress, do you know? Second comme il faut. No, but she’s very pretty. First comme il faut. Yes, not bad; but something is still missing. Yes, I recommend: new restaurant: yesterday they served us fresh green peas (kisses the ends of the fingers)
- lovely!
(Both leave.) An officer is running, another one is holding his hand. First officer. Let's stay! Another officer. No, brother, you can’t lure him into vaudeville even with a roll. We know these plays that are given as an appetizer: lackeys instead of actors, and women are freaks after freaks.(They leave.) A socialite, smartly dressed(coming down the stairs). The rogue tailor made me some trousers in a terrible way; all the time I was afraid of sitting awkwardly. For this I intend to drag him out for another year and I won’t pay my debts for two years.(Leaves.) Also a secular person, tighter(speaks with liveliness to another). (walking out with arms outstretched). It's just, the devil knows what it is! This... this!.. This is like nothing else. (Gone.) Gentleman, somewhat carefree about literature (addressing another). After all, this, however, seems to be a translation? Another. For mercy's sake, what a translation! The action takes place in > Russia, even our customs and ranks. Gentleman, carefree about literature. I remember, however, there was something in French, not quite like that. (Both leave.) One of two spectators (also going out). Now nothing can be known yet. Wait, what will they say in the magazines, then you will find out. Two bekes(one another). How are you? I would like to know your opinion about comedy. Another bekesha An officer is running, another one is holding his hand.(making significant movements with lips). Also a secular person, tighter Yes, of course, it cannot be said that it didn’t happen... in its own way... Well, of course, who is against it, so that it doesn’t happen again and... where, so to speak... but anyway. ..
(Pressing his lips affirmatively.)
Yes Yes. Author Well, these haven't said much yet. However, there will be talk: I see people waving their arms wildly ahead. Two officers.First. I've never laughed so hard before.Second. I think it's a great comedy. First. Well, no, we’ll see what they say in the magazines, we need to subject ourselves to criticism... Look, look (Pushes him by the arm.) Second. What? First (pointing finger at one from two coming from the stairs). I cannot judge literary merit; I just noticed that the play was funny and enjoyable. Another. For mercy's sake, what a translation! The action takes place in > Russia, even our customs and ranks. Writer. And it's not funny. For mercy's sake, what's so funny and what's the fun? The plot is incredible; all the inconsistencies; no plot, no action, no consideration whatsoever. It is unknown what kind of person. Well, I’m not saying anything against this. In a literary sense, yes, in a literary sense it is not funny; but in relation, so to speak, from the outside, she has... A writer. So what is there? For mercy's sake, this isn't even there! Well, what kind of spoken language is this? Who talks like that in high society? Well, tell me, are we talking like that? It is unknown what kind of person. This is true; You noticed this very subtly. Exactly, I was thinking about this myself: there is no nobility in conversation. All faces seem as if they cannot hide their base nature - this is true. Writer. Well, you still praise! It is unknown what kind of person. Who is praising? I'm not praising. I myself now see that the play is nonsense. But suddenly it’s impossible to find out; I can't judge from a literary point of view. Another writer
(enters accompanied by listeners, to whom he speaks, waving his arms).
First. This is fair, this is absolutely fair: it is a farce; I've said this before, a stupid farce supported by friends. I admit, a lot of it was even disgusting to look at.
Second. But you said that you’ve never laughed so much before?
First. And this is again another matter. You don't understand, you need to explain. What's in this play? Firstly, there is no plot, no action, absolutely no considerations, all improbability and, moreover, all caricatures. Two other officers are behind. One (to another). Who is talking about this? It seems like one of yours? An officer is running, another one is holding his hand.
Another,
First. I am not at all one of those who resort only to the words: dirty! disgusting, in bad taste and the like. It is almost a proven fact that such words mostly come from the mouths of those who themselves are of a very dubious tone, talk about living rooms and are only allowed into the hallways. But this is not about them. What I'm saying is that there's definitely no ending to the play. Second. Yes, if we take the plot in the sense that it is usually taken, that is, in the sense of a love affair, then it definitely doesn’t exist. But, it seems, it’s time to stop relying so far on this eternal tie. It's worth taking a closer look around. Everything changed a long time ago in the world. Now the drama is more strongly tied to the desire to get an advantageous place, to shine and outshine, at all costs, the other, to avenge neglect, for ridicule. Isn’t it now more important to have electricity, money capital, and a profitable marriage than love? First. This is all good; but even in this regard, I still don’t see the plot in the play. Second. Now I will not say whether the play has a plot or not. I will only say that in general they are looking for a private connection and do not want to see a general one. People are innocently accustomed to these incessant lovers, without whose marriage the play cannot end. Of course, this is a tie, but what kind of tie? - an exact knot on the ember of a scarf. No, the comedy should knit itself, with its entire mass, into one large, common knot. The tie should embrace all faces, and not one or two, - - touch on what worries, more or less, all the actors. Here, every hero; the flow and course of the play produces a shock to the whole machine: not a single wheel should remain as rusty and not included in the matter. First, they cannot be heroes. One or two should control the others? Second. Not to control at all, but to dominate. And in the machine, only the wheels move more noticeably and powerfully; but the idea, the thought, rules the play. everything can happen: the very horror, the fear of anticipation, the thunderstorm of the law moving in the distance... First, but this means giving comedy some more universal meaning. Second, isn’t this its direct and real meaning? , How insignificant are these theatrical lovers with their cardboard love! Third(walking up and hitting him lightly on the shoulder). You're wrong: love, like other feelings, can also enter into comedy. Second. I'm not saying she can't come in. But only love and all other feelings, more sublime, will only make a high impression when they are developed in all their depth. Having occupied yourself with them, you must inevitably sacrifice everything else. All that is precisely the side of comedy will then fade, and the meaning of social comedy will certainly disappear. Third. Therefore, the subject of comedy must necessarily be the base? The comedy will be of a low order. Second. For someone who will look at the words and not delve into the meaning, this is so. But can't positive and negative serve the same purpose? Can't comedy and tragedy express the same high thought? Is everything, down to the slightest crook of the soul, vile and demonic? honest man What can serve as something beautiful? and what are you talking about? An officer is running, another one is holding his hand.
First. We started arguing about comedy. We're all talking about comedy in general, but no one has said anything about a new comedy yet. What do you say?
Fourth. But I’ll say this: you can see talent, observation of life, a lot of funny, true, taken from life; but in general there is something missing in the whole play. Somehow you don’t see either the beginning or the ending. It's strange that our comedians can't do without the government. Without him, not a single comedy will unfold. A socialite, smartly dressed Third. This is true. But, on the other hand, it is very natural. We all belong to the government, we all almost serve; the interests of all of us are more or less united with the government. Therefore, it is not surprising that this is reflected in the works of our writers. A socialite, smartly dressed
Fourth. So. Well, let this connection be heard. But the funny thing is that the play cannot end without the government. It will certainly appear, like an inevitable fate in the tragedies of the ancients.
Mr. A. That's not what I'm talking about; on the contrary, we need to show abuses, we need to see our misdeeds; and I do not at all share the opinions of many overly excited patriots; but it just seems to me that there isn’t too much of something sad here... Mr. B. I would really like you to hear the remark of one very modestly dressed man who was sitting next to me in the chair... Oh, here he is himself ! Mister A. Who? Mr. B. It is this very modestly dressed man. (Turning to him.) You and I have not finished the conversation, the beginning of which was so interesting to me. A very modestly dressed man. And I admit, I’m very happy to continue it. Just now I heard rumors, namely: that this is all untrue, that this is a mockery of the government, of our customs, and that this should not be imagined at all. This made me mentally remember and embrace the entire play, and I confess that the expression of comedy now seemed even more significant to me. In it, it seems to me, hypocrisy is most powerfully and deeply affected by laughter, a decent mask, under which is baseness and meanness, a rogue making a face at a well-meaning person. I confess that I felt joy when I saw how ridiculous the well-intentioned words were in the mouth of the rogue and how hilariously funny the mask he put on became for everyone, from the chairs to the paradise. And after that there are people who say that there is no need to put this on stage! I heard one remark made, as it seemed to me, however, by a rather decent person: “What will the people say when they see that we have these kinds of abuses?” Mr. A. I confess, you will excuse me, but I myself also involuntarily asked the question: what will our people say, looking at all this? A very modestly dressed man. What will the people say? A very modestly dressed man. This is what the people will say, have you heard? the one with porridge. No, now it seems to me that it’s even good that an honest person was not brought onto the stage. A person is proud: show him one good side despite many bad sides, and he will proudly leave the theater. No, it’s good that only exceptions and vices are exposed, which now prick eyes to such an extent that they do not want to be their compatriots, they are ashamed to even admit that this could be. Mister A. But is it really possible that exactly such people exist among us? A very modestly dressed man. Let me tell you this: I don't know why I feel sad every time I hear a question like this. I can speak to you frankly: in the features of your faces I see something that predisposes me to frankness. The first thing a person does is ask: “Do such people really exist?” But when was it seen that a person asked the following question: “Am I really clean from such vices?” Never ever! Well, tell you what, I will speak to you frankly. I have a kind heart, there is a lot of love in my chest, but if you knew what mental efforts and shocks I needed in order not to fall into many vicious inclinations that you fall into unwittingly when living with people! And how can I say now that this very minute I do not have those same inclinations that everyone just laughed at ten minutes ago and at which I myself laughed? Mister A. I admit, your words will make you think about it. And when I remember, I’ll imagine how proud our European upbringing made us, in general how it hid us from ourselves, how haughtily and with what contempt we look at those who have not received the same external polish as us, how each of us puts ourselves a little not to saints, but always speaks about evil in the third person - then, I admit, my soul involuntarily becomes sad... But, forgive my immodesty, you, however, are to blame for it yourself; Let me ask: who do I have the pleasure of talking to? If you liked the play - praise it, but he - he just fulfilled his duty. In our country, really, it has come to such a point that not only on the occasion of some heroic deed, but simply, unless someone does harm to anyone in life or in the service, he already considers himself God knows what a virtuous person; gets seriously angry if he is not noticed or rewarded. “For mercy,” he says, “I lived honestly for a whole century, almost did no mean things at all—how come they don’t give me either a rank or an order?” No, for me, whoever is unable to be noble without encouragement - I don’t believe his nobility, his mouse nobility is not worth a penny. (after some silence);(He leaves quickly.) A socialite, smartly dressed Mister A. (turning the card over in his hands). I look at this card and this unknown surname, and somehow my soul feels full. This initially sad impression dissipated by itself. God bless you, our little-known Russia! In the wilderness, in your forgotten corner, a similar pearl is hiding, and, probably, he is not alone. They, “like sparks of gold ore, are scattered among its rough and dark granites. There is a deeply comforting feeling in this phenomenon, and my soul was illuminated after meeting with this official, as his own was illuminated after the performance of the comedy. Farewell! Thank you for delivering me this meeting. Mr. V.(approaching Mr. B.) Who was that For mercy, brother, what is this, how can it really be?.. Mister B. What? Mr. P. Well, how can we derive this?? A socialite, smartly dressed Mr. B. Why? strange question: why? There are a lot of “why” things you can do. Why did one father, wanting to tear his son out of a disorderly life, did not waste words and instructions, but brought him to the infirmary, where the terrible traces of a disordered life appeared before him in all horror? Why did he do this? Mr. V. But let me point out to you: these are in some ways our social wounds that need to be hidden, not shown. Mr. P. It's true. I completely agree with this. With us, bad things need to be hidden, not shown. Mr. B. If these words were spoken by someone else, and not by you, I would say that they were driven by hypocrisy, and not by true love for the fatherland. In your opinion, you just need to close, somehow heal these, as you call, social wounds from the outside, as long as they are not visible for now, and let the disease rage inside - there is no need for that. There is no need that it can explode and show up with such symptoms when any treatment is already too late. There is no need before that. You don’t want to know that without a deep heartfelt confession, without a Christian consciousness of our sins, without exaggerating them in our own eyes, we are not able to rise above them, we are not able to fly in soul above the despicable in life. You don't want to know this. Let a person remain deaf, let him go through his life sleepily, let him not tremble, let him not cry in the depths of his heart, let him reduce his soul to such a state of sleep that nothing can shock it! No... forgive me. Cold selfishness moves the lips that utter such speeches, and not holy, pure love for humanity. Mr. B. Why? strange question: why? There are a lot of “why” things you can do. Why did one father, wanting to tear his son out of a disorderly life, did not waste words and instructions, but brought him to the infirmary, where the terrible traces of a disordered life appeared before him in all horror? Why did he do this? Mister P.(after some silence). Why are you silent? What? What didn’t you say, huh? Mr. V. (silent). Take them for yourself. Let them be your wounds, not mine! Why are you poking them at me, it’s time for me to go home. A socialite, smartly dressed Mr. B. Why? strange question: why? There are a lot of “why” things you can do. Why did one father, wanting to tear his son out of a disorderly life, did not waste words and instructions, but brought him to the infirmary, where the terrible traces of a disordered life appeared before him in all horror? Why did he do this? Mister P. And then again, what kind of nonsense did he say here? He says that an actual state councilor may be a goose. Well, even if it’s titular, that can be allowed... Mr. V. However, let’s go and fully interpret; I think that everyone passing by has already learned that you are a valid state councilor. (To the side.) There are people who have the art of criticizing everything. Having repeated your thought, they know how to make it so vulgar that you yourself blush. You say something stupid; she might have slipped away unnoticed - no, an admirer and friend will be found who will certainly use her and make her even stupider than she already is. It’s even annoying, really, it’s like he’s landed me in the dirt. An officer is running, another one is holding his hand.
The military man and the civilian come out together.
State. After all, that’s what you are, military gentlemen! You say this needs to be brought to the stage; you are ready to have a good laugh at some civil official, but somehow bring up the military, just say that there are officers in such and such a regiment, not to mention vicious inclinations, but just say: there are officers of bad taste, with indecent manners, - Yes, because of this alone you are ready to go to the very State Council with a complaint. Why are you silent? What? What didn’t you say, huh? Military. Well, listen: who do you think I am? Of course, there are such Donquishots among us; but believe also that there are many truly reasonable people who will always be glad if someone who discredits his rank is brought to public ridicule. And what is the offense here? Serve it, give it to us! We are ready to watch every day. An officer is running, another one is holding his hand.
State
This is how a person always shouts: “Give it to me! Give it to me!”, and if you give it to him, he’ll get angry. An officer is running, another one is holding his hand. socialite (accompanied by two men: one in a tailcoat, the other in a uniform). But what kind of people, what kind of faces are drawn! at least one attracted... Well, why don’t we write like the French write, for example, like Dumas and others? I do not demand paragons of virtue; bring me a woman who would be mistaken, who would even cheat on her husband, who would indulge, let’s say, in the most vicious and unauthorized love, but present it in an exciting way, so that I would be motivated by her pity, so that I would love her... But here’s everything faces - one more disgusting than the other. An officer is running, another one is holding his hand.
A man in a uniform. Yes, trivial, trivial.
Society lady. Tell me: why is it still so trivial here in Russia? A man in a tailcoat. My soul, later you will tell me why it is trivial: they are shouting for our carriage.). It’s always like this in the world: laugh at what is truly noble, at what constitutes the highest shrine of the soul, no one will become an intercessor. Laugh at the vicious, vile and base, everyone will shout: “He is laughing at the holy thing!” An officer is running, another one is holding his hand. First. Well, you see, I see you are now convinced: don’t say a word. Believe me, you can’t help but be convinced that this is the truth. I myself am an impartial person and I’m not saying that... but, simply, this is not an author’s business, this is not a subject for comedy. Also a secular person, tighter Second A socialite, smartly dressed
I admit, I would never want to be in the author’s place. Please please! Choose unimportant secular cases, everyone will say: “He writes nonsense, there is no deep moral purpose”; choose a subject that has any serious moral purpose, they will say: “It’s none of his business, write nonsense!” Young lady big world
accompanied by her husband. Husband. Our carriage should not be far away, we can leave soon. Mister N.
(approaching the lady).
What do I see! You have come to watch a Russian play! Young lady. What's wrong with that? Am I no longer a patriot? First lady. I saw from afar how you laughed. I’m ready to say two hundred times - no. This is a vulgar, old idea that you constantly impose on us. A woman has more true generosity than a man. A woman cannot, a woman is not able to do the meanness and nasty things that you do. A woman cannot be a hypocrite where you are a hypocrite, she cannot turn a blind eye to the baseness that you look at. There is enough nobility in her to say all this without looking around whether anyone will like it or not - because it needs to be said. What is vile is vile, no matter how you hide it and what kind of appearance you give it. This is mean, mean, mean! Mr. N. Well, if so, then you haven’t really satisfied your patriotism. You probably criticize the play. Young lady. Not at all. I find a lot to be very true: I laughed heartily. Mr. N. Why were you laughing? Is it because you like to laugh at everything that is Russian?Young lady. Because it was just funny. Because that meanness, baseness was brought out, which, no matter what dress she dressed up in, even if it was not in a provincial town, but here, around us, it would be the same meanness or baseness: that’s why she laughed. Listen, advise the author to bring out a noble and honest person in comedy. Mr. N. How can I do this? Well, if he brings out an honest man, and this honest man will look like a theatrical knight. Second lady. No, if he feels strongly and deeply, then his hero will not be a theatrical knight. Mr. N. But I think it’s not so easy to do. Second lady. Simply, say better that your author does not have deep and strong heart movements.Mr. N. Why is this so? Second lady. Well, he who laughs incessantly and eternally cannot have too high feelings; he cannot know what only a tender heart feels. Mister N. That's good! Therefore, in your opinion, the author should not be a noble person? Mr. N. Why were you laughing? Is it because you like to laugh at everything that is Russian?Young lady. Because it was just funny. Because that meanness, baseness was brought out, which, no matter what dress she dressed up in, even if it was not in a provincial town, but here, around us, it would be the same meanness or baseness: that’s why she laughed. Well, tell me, didn’t I say the truth: after all, a comedian’s soul must certainly be cold? The second lady's husband. Or hot, because irritability of character also excites to ridicule and satire. Second lady. Well, or irritable. But what does this mean? This means that the cause of such works was still bile, bitterness, indignation, perhaps fair in all respects. But there is nothing that would show that this was generated by a high love for humanity... in a word, love. Is not it? Mr. N. It's true. Second lady. Well, tell me: does the author of the comedy resemble this portrait? Mr. N. How can I tell you? I don’t know him so briefly that I can judge his soul. But, considering everything I heard about him, he definitely must be either an egoist or a very irritable person. Second lady. Well, you see, I knew this well.
First lady. I don't know why, but I wouldn't want him to be selfish.
First. Explain this to me: why, looking separately at each action, face and character, you see: all this is true, alive, taken from life, but together it already seems like something huge, exaggerated, caricatured, so that, leaving the theater, you involuntarily ask : Do such people really exist? And yet they are not exactly villains. Second. Not at all, they are not villains at all. They are exactly what the proverb says: “They are not bad at heart, but simply a rogue.”; humanity is heard everywhere. This makes the heart tremble even deeper. And, laughing, the viewer involuntarily turns back, as if feeling that what he laughed at is close to him, and that every minute he must stand guard so that it does not burst into his own soul. I think the funniest thing is to hear reproaches to the author: why are his faces and characters not attractive, while he did everything to push them away. Yes, if at least one honest person were placed in a comedy, and placed with all the fascination, then everyone would go over to the side of this honest person and would completely forget about those who now frightened them so much. These images, perhaps, would not appear incessantly, as if alive, after the end of the performance; the viewer would not carry away the sad feeling and say: do such people really exist? First. Yes. Well, this, however, will not suddenly be understood. Second. Very natural. The inner meaning is always comprehended later. And the more alive, the brighter the images in which he has clothed himself and into which he has fragmented, the more everyone’s attention is focused on the images. Only by adding them together will you get the result and meaning of creation. But not everyone can disassemble and put together such letters quickly, read from top to bottom. Until then, they will see only letters for a long time. And you will see, I’m telling you this ahead: first of all, everyone will get angry An officer is running, another one is holding his hand. county town
Ishka in Russia and will claim that this is an evil satire, a vulgar, low invention aimed specifically at him.
One official. This is a vulgar, low invention, this is satire, libel! Another. For mercy's sake, what a translation! The action takes place in > Russia, even our customs and ranks. The noise increases; There is a sound of running up and down all the stairs. They are running army coats, sheepskin coats, caps, German long-brimmed merchant caftans, triangular hats and plumes, overcoats of all kinds: frieze, military, second-hand and dandy with beavers. The crowd pushes against the gentleman who is putting on his overcoat; The gentleman steps aside and continues to put it on to the side. Gentlemen and officials of all kinds and varieties appear in the crowd. Footmen in livery clear the way for the ladies. A woman's cry is heard:“Fathers, they pushed in from all sides!” A young official of an evasive nature(running up to the gentleman putting on his overcoat). Your Excellency, let me hold it for you! A gentleman in an overcoat. Ah, hello! Are you here? Have you come to watch? A young official. Yes, your Excellency, a funny point. A gentleman in an overcoat. Nonsense! There's nothing funny!
A young official. It's true, Your Excellency, there is nothing at all.
A gentleman in an overcoat. For such things you need to be flogged, not praised. A young official. It's true, Your Excellency! A gentleman in an overcoat. So, they let young people into the theater. They will get a lot of useful things out of it! Here you are: now, tea, will you come to the office and become downright rude? A young official. How is it possible, Your Excellency!.. Let me clear the way forward for you!(To the people, pushing one and the other.) An officer is running, another one is holding his hand. Hey, step aside, the general is coming! A socialite, smartly dressed(Approaching with extraordinary courtesy the two smartly dressed.) Gentlemen, do me a favor and let the general pass! Well dressed, standing aside and giving way: First. Don’t know which general, should there be some famous one?). You yourself, father, have a lady!
A voice from the crowd. So she turned around, see, see? She’s still ugly now, but three years ago... Different voices. Yes, three hryvnias, did you hear, took change from him. - A vile, nasty play! - A funny play! - You, you go straight to the throat!
A voice at one end of the crowd. This is all nonsense! Where could such an incident happen? This kind of incident could only have happened on Chukotka Island. Voice on the other end. Well, exactly this kind of event happened in our town. I suspect that the author, if he was not there himself, then probably heard it. Morality, morality suffers, that’s what’s important! Why are you silent? What? What didn’t you say, huh? The gentleman is short and nondescript, but of a poisonous nature. But morality is a relative thing. A handsome and dense gentleman. What do you mean by "relative"? A nondescript, but poisonous gentleman. The fact that everyone measures morality in relation to himself. One calls it moral to take off his hat in the street; another calls it morality to turn a blind eye to how he steals; the third calls the services provided to his mistress moral. After all, what does each of our brothers usually say to his subordinates? He says from above: “Dear sir, try to fulfill your duty in relation to God, the sovereign, the fatherland,” and you, they say, have an understanding of what. However, this only happens in the provinces; This doesn’t happen in capitals, does it? Here, if someone shows up at someone’s house when they’re three years old, why is that? It's all about honesty, isn't it? Handsome and dense gentleman He's as nasty as the devil, and his tongue is like a snake's. Unprepossessing, but poisonous gentleman(pushing the arm of a man completely unfamiliar to him, he tells him, nodding at the handsome gentleman). Four houses on one street; everyone is next to each other, they grew up at six years old! What effect does honesty have on the vegetative force, huh?
Stranger
(leaving hastily). Sorry, I didn't hear enough. No, it wasn't in the prison, it was on the tower. Those who passed by saw this. They say it was something extraordinary. Imagine: a poet on the highest tower, around the mountain, the location is amazing, and he reads poetry from there. Isn't it true that there is some special feature of the writer here? Positive gentleman. The author must be an intelligent person. The devil knows who to believe! And he was in prison, and he climbed the tower, and he was kicked out of the service, and he was given a place!
A gentleman of a cold-blooded nature. But this is all said impromptu.
A good-natured gentleman. How to impromptu? Mister cold-blooded. So. After all, they don’t even know for two minutes what they will hear from themselves. Without the owner's knowledge, their tongue suddenly blurts out the news, and the owner is happy - he returns home, as if he had eaten enough. And the next day he forgot about what he himself had invented. It seems to him that he heard from others and went to pass it around the city to everyone., and raise such an alarm, shout, call the author - well, what is this! Second. However, the play amused and entertained. Good-natured official. And everything would be fine, really, so that at least one honest person could be put out. All rogues and rogues. One of the people. Listen, wait for me at the crossroads. I'll run in and grab some mittens. One of the gentlemen A socialite, smartly dressed(looking at the clock). However, it's almost time. I have never left the theater so late. Retired official. Only time was wasted! No, I will never go to the theater again! (He leaves; the hallway is empty.) Author of the play (leaving). He was noble because he decided to speak out, despite the low importance given to him in the world. He was noble because he decided to speak, despite the fact that he gave the comedian an offensive nickname, the nickname of a cold egoist, and even made him doubt the presence of the tender movements of his soul. No one stood up for this laughter. I am a comedian, I served him honestly and therefore I must become his intercessor. No, laughter is more significant and deeper than people think. Not the kind of laughter that is generated by temporary irritability, a bilious, painful disposition of character; It is also not that light laughter that serves for the idle amusement and amusement of people, but that laughter that flows entirely from the bright nature of man, flows out of it because at its bottom lies an ever-bubbling spring of it, which deepens the subject and makes it appear brightly. something that would slip through, without whose penetrating power the triviality and emptiness of life would not frighten a person so much. The despicable and insignificant thing that he indifferently passes by every day would not have grown before him in such a terrible, almost caricatured force, and he would not have cried out, shuddering: are there really such people? whereas, according to his own consciousness, there are worse people. No, those who say that laughter is outrageous are unfair. The only thing that outrages you is that it is dark, but laughter is bright. Many things would outrage a person if they were presented in their nakedness; but, illuminated by the power of laughter, it already brings reconciliation to the soul. And the one who would take vengeance against an evil person almost makes peace with him, seeing the base movements of his soul ridiculed. Those who say that laughter has no effect on those against whom it is directed, and that the rogue is the first to laugh at the rogue brought on stage, are unjust; The rogue descendant will laugh, but the rogue contemporary cannot laugh! He hears that everyone already has an irresistible image, that one low movement on his part is enough for this image to become his eternal nickname; and even those who are no longer afraid of anything in the world are afraid of ridicule. No, only one deeply kind soul can laugh with a kind, bright laugh. But they do not hear the mighty power of such laughter: “what is funny is low,” says the light; Only what is pronounced in a stern, tense voice is only given the name high. But, oh my! How many people pass by every day for whom there is nothing lofty in the world! Everything that was created by inspiration is trifles and fables for them; The works of Shakespeare are fables for them, the holy movements of the soul are fables for them. No, it is not the writer’s offended petty pride that makes me say this, not because my immature, weak creations have now been called fables. No, I see my vices and see that I am worthy of reproach. But my soul could not bear it indifferently when the most perfect creations were honored with the names of my trifles, when I saw how many right there, in the midst of life itself, there were unresponsive, dead inhabitants, terrible, immovable by the coldness of their souls and the barren desert of their hearts; my soul ached when on their insensitive faces not even the ghost of an expression flinched from what plunged a deeply loving soul into heavenly tears, and their tongue did not touch the utterance of its eternal word: “fables!” Fables!.. And look: centuries passed, cities and peoples were swept away and disappeared from the face of the earth, everything that was was carried away like smoke, and fables live and are repeated to this day, and wise kings, deep rulers, a wonderful old man, full of noble aspirations, listen to them young man Fables!.. And there the balconies and railings of the theaters groan; everything was shaken from top to bottom, turning into one feeling, in one moment, into one person, everything, people met like brothers, in one spiritual movement, and a grateful hymn to the one who has not been in the world for five hundred years thunders with friendly applause. Can his decaying bones hear this in the grave? Does his soul, which has endured the harsh grief of life, respond? Fables!.. And look: among the same ranks of the shocked crowd, he came, depressed by grief and the unbearable weight of life, ready to desperately raise his hand against himself, and suddenly fresh tears splashed from his eyes, and he came out reconciled with life and again asks the sky for grief and suffering, just to live and burst into tears again from such fables. Fables!.. But the world would fall asleep without such fables, life would become shallow, souls would be covered with mold and mud. Fables!.. Oh, may the names of those who favorably listened to such fables remain eternally holy in posterity: the wonderful finger of providence was inseparable from the heads of their creators. In moments of even troubles and persecution, everything that was noblest in the states became, first of all, their intercessor: the crowned monarch overshadowed them with his royal shield from the heights of the inaccessible throne.
Cheer up and hit the road! And may the soul not be embarrassed by condemnation, but may it gratefully accept the indications of shortcomings, without being darkened even if it were denied high movements and holy love for humanity! The world is like a whirlpool: opinions and rumors move in it forever, but time grinds everything. False ones fall off like husks, and motionless truths remain like hard grains. What was recognized as empty may later appear armed with strict meaning. In the depths of cold laughter, hot sparks of eternal, powerful love can be found. And why, perhaps, will later be recognized by everyone, that by virtue of the same laws, why a proud and strong person is insignificant and weak in misfortune, and the weak grows like a giant in the midst of troubles, by virtue of the same laws who pour often emotional, deep tears, he seems to laugh more than anyone else in the world!..
THE "AUDITOR'S" DECOUNTING
CHARACTERS The first comic actor is Mikhailo Semenovich Shchepkin. Pretty actress. Another actor. Fyodor Fedorych, theater lover. Pyotr Petrovich, a man of great society. Mikhailo Semenych, this is not the audience, we are presenting you with a wreath. The public does not always distribute wreaths with strict discrimination; he gets a wreath from her and not for great services; but if one’s brothers and comrades, who are sometimes both envious and unjust, if one’s brothers and comrades present a wreath to someone with a unanimous verdict, then it means that such a person is definitely worthy of a wreath. First comic actor(accepting the wreath). Comrades, I know how to appreciate this wreath. Another actor. No, not in your hand; put it on your head! All actors and actresses. A wreath on your head! Pretty actress (speaking forward,
with an imperative gesture).
Mikhail Semenych, a wreath on your head! The first comic actor. No, comrades, I’ll take the wreath from you, but I won’t put it on my head. It’s another thing to accept a wreath from the public as a usual expression of greeting, which she rewards anyone who has been honored to please her; not to wear such a wreath would mean to show disdain for her attention. But to wear a wreath among your equal comrades, gentlemen, for this you need to have too much arrogant self-confidence. Mikhail Semenych! I don’t remember myself, I don’t know what to say about your game: you’ve never played like that before. Petr Petrovich. Do not consider my words to be flattery, Mikhailo Semenych, but I must admit, I have not seen - and I can say without boasting, I have been to all the first-class theaters in Europe, I have seen the best actors - I have not seen such a game, do not take my words for flattery. Semyon Semenych. Mikhailo Semenych... (powerless to express in words, expresses with hand movement) you're just Asmodeus! Nikolai Nikolaich. To fulfill one’s role in such perfection, in such finality, so consciously and in such consideration of everything—no, this is something beyond ordinary transmission. This is the second creation, creativity. leaving all this aside; make me a comment about; the play itself, the same remark that I made ten years ago, during its first performance: I do not see in The Inspector General, even in the form in which it is given now, any significant benefit for society so that it can be to say that this play is needed by society. This time is rushing at full speed on the post offices, God knows in what parts. The author had no intention of giving exactly the meaning you are talking about: I am telling you this because I know the little secret of this play. But let me make a request on my part: well, what if the writer definitely had a goal to show the viewer that he was laughing at himself? Semyon Semenych. Thank you for the compliment! At least I don’t find anything in common with the people depicted in The Inspector General. Sorry. I don’t boast that I am not without vices, just like all people, but still I am not like them. This is too much! The epigraph states: “There is nothing to blame for the mirror if the face is crooked!” Pyotr Petrovich, I ask you: is my face crooked? Fyodor Fedorych, I ask you: is my face crooked? Nikolai Nikolaich, I ask you: is my face crooked?(To everyone else) Khlestakov. Which Transdanubian? It’s not that it’s bad that they show us what’s bad in what’s bad, and you see that it’s bad in all respects; but it’s bad if they present it to us in such a way that you don’t know whether it’s evil or not; it is bad when they make evil attractive to the viewer; what is bad is that it is mixed with good to such an extent that you don’t know which side to stick to; It is bad that good is shown to us in such a way that you do not see good in good. The first comic actor. I swear, Nikolai Nikolaich! You said what I was always convinced of, but I just didn’t know how to express it so well. It is bad that you do not see good in good. And this sin is behind all the fashionable dramas with which we must entertain the public. The viewer leaves the theater and does not know for himself what he saw: whether the person in front of him was evil or good. It does not attract him to good, does not push him away from evil, and he remains just as in a dream, without having drawn from what he saw any rule for himself that would be suitable for anything in life, having even lost his way from the path along which he was walking. , ready to follow the first one to lead, without asking where or why. Fyodor Fedorych. And add, Mikhailo Semenych, what torture for an actor to play such a role, if only he is a true artist at heart. which others give him. It is necessary that it be palpably clear why such and such a work was undertaken, what exactly it aims at, what it is heading towards, what new it wants to prove. That's what, Nikolai Nikolaich, and not what you say about art in general. Nikolai Nikolaich. Pyotr Petrovich, how can you say what it’s heading towards... because it’s... it’s obvious. Petr Petrovich. Mikhail Semenych, explain: this is something unclear. I found this key, and my heart tells me that it is the one; The box opened in front of me, and my soul tells me that the author himself could not have had any other thought. At the beginning of life, take an auditor and, hand in hand, look at everything that is in us, a real auditor, not a fake one, not Khlestakov! Khlestakov is a clicker, Khlestakov is a flighty secular conscience, a corrupt, deceptive conscience, Khlestakov will be bribed by our own passions that dwell in our souls. With Khlestakov on your arm, you won’t see anything in our soulful city. Look how every official in a conversation with him cleverly turned out and justified himself. Almost a saint came out. Do you think that every passion of ours is no more cunning than any rogue official, and not only passion, even some empty, vulgar habit? She will turn around and justify herself so cleverly in front of us that you will still honor it as a virtue, and you will even boast to your brother and tell him: “Look what a wonderful city I have, how tidy and clean everything is in it!” Hypocrites are our passions, I tell you, hypocrites, because I myself have dealt with them. No, with a flighty secular conscience you won’t see anything in yourself: they will deceive her, and she will deceive them, like Khlestakov’s officials, and then she will disappear herself, so that you won’t find a trace of her. You will remain like a foolish mayor, who had already rushed into God knows where, and became a general, and probably began to proclaim that he would become the first in the capital, and began to promise places to others, and then suddenly saw that he was deceived and fooled all around by a boy, a superlative, a helipad, in which there was no resemblance to a real auditor. No, Pyotr Petrovich, no, Semyon Semyonich, no, gentlemen, everyone who holds the same opinion, abandon your secular conscience. Not with Khlestakov, but with a real auditor, let’s look at ourselves! I swear, our soulful city is worth thinking about it, as a good sovereign thinks about his state. Noble and strictly, as he expels the covetous from his land, let us expel our spiritual covetous people! There is a remedy, there is a scourge that can drive them out. Laughter, my noble compatriots! Laughter, which all our base passions are so afraid of! Laughter, which was created to laugh at everything that disgraces the true beauty of a person. Let's return laughter to its true meaning! Let us take it away from those who turned it into frivolous secular blasphemy over everything, without discerning either good or bad! In exactly the same way as we laughed at the abomination in another person, let us laugh generously at the abomination of our own, whatever we find in ourselves! Not just this comedy, but everything that appears from the pen of any writer laughing at the vicious and base, let us take it directly into our own account, no matter how it was written on us personally: you will find everything in yourself , if only you descend into your soul not with Khlestakov, but with a real and incorruptible auditor. Let us not be disturbed in spirit if some angry mayor or, more justly, the unclean spirit himself whispered through his lips: “Why are you laughing? Are you laughing at yourself!” We will proudly tell him: “Yes, we laugh at ourselves, because we hear our noble Russian breed, because we hear the highest command to be better than others!” Compatriots! After all, I also have Russian blood in my veins, just like you. Look: I'm crying! Comic actor, I used to make you laugh, now I cry. Let me feel that my career is as honest as any of you, that I serve my land just as I serve all of you, that I am not some empty buffoon created for the amusement of empty people, but an honest official the great state of God and aroused laughter in you - not that dissolute laughter with which man laughs at man in the world, which is born from the idle emptiness of idle time, but laughter born from love for man. Together we will prove to the whole world that in the Russian land everything that exists, from small to large, strives to serve the same one to whom everything should serve, whatever is on the whole earth rushes there Petr Petrovich. Nikolai Nikolaich, it’s not visible. I do not see any special purpose for this comedy found in the work itself; or perhaps the author hid it for some purpose; in that case, it would be a crime against art, Nikolai Nikolaich, no matter what you tell yourself. Let's take a serious look at this comedy: after all, "The Inspector General" does not at all make the impression that the viewer will be refreshed after it; on the contrary, I think you yourself know that some felt fruitless irritation, others even embitterment, but in general everyone was carried away by some kind of painful feeling. Despite all the pleasure that cleverly found scenes excite, even the comical position of many faces, even the masterful treatment of some characters, in the end there remains something like... I can’t even explain to you - something monstrously gloomy, some kind of fear from our unrest. This very appearance of the gendarme, who, like some kind of executioner, appears at the door, this is the petrification that his words induce on everyone, announcing the arrival of a real inspector who must exterminate them all, wipe them off the face of the earth, destroy them in the end - everything This is somehow inexplicably scary! I confess to you reliably, a la lettre, not a single tragedy has produced such a sad, such a painful, such a joyless feeling on me, so that I am even ready to suspect whether the author had some special intention to produce such an effect with the last scene of his comedy. It can't just happen that way. The first comic actor. But, finally, they decided to make this request. "The Inspector General" has been playing on stage for ten years. Everyone, more or less, attacked the painful impression it produced, but no one asked why it was necessary to produce it - just as if the author had to write his comedy, headlong and not knowing himself what it was for and what will come out of it. Give him at least a drop of intelligence, which you do not deny to any person. After all, it’s true that there is a reason for every action, even in a stupid person.
(Everyone looks at him in amazement.)
(looking up)
To the publication of the comedy “The Inspector General” in 1841, Gogol included “An excerpt from a letter written by the author shortly after the first performance of “The Inspector General” to a writer” and “Two scenes excluded as slowing down the flow of the play.” Sending the supplement for publication, Gogol wrote to S. T. Aksakov: “This letter, under the title given in it, must be placed at the end of the play, and it is immediately followed by two attached scenes excluded from the play.” In the same letter, Gogol explains to Aksakov that "Excerpt" is an abbreviated letter to Pushkin, written in 1836, after the first performance of "The Inspector General". Pushkin, according to Gogol, wanted to write a complete analysis of the comedy for Sovremennik and asked Gogol to “notify how it was / performed on stage.” The letter, according to Gogol, remained unsent. It didn't reach us. Rough sketches of this text, preserved in Gogol’s papers, date back to the end of 1840 or the beginning of 1841. One of the scenes, excluded during the first edition and included in the “Appendices” (Khlestakov’s conversation with Rastakovsky), was published in “Moskvityanin” in 1841, and then both scenes were appended to the 1841 edition of The Inspector General. Pp. 123. “Dur didn’t understand one bit…” Nikolai Osipovich Dur (1807--1839) - comic actor of the St. Petersburg Theater. Page 123. Alnaskarov - the hero of I. Khmelnitsky's comedy "Castles in the Air", a liar and a dreamer. Page 124. corame il faut - a person who knows how to behave in society.
Rastakovsky. Who asked for money: the official from the guardsman or the guardsman from the official?
Page 127.
THEATER TRAVEL AFTER THE PRESENTATION OF A NEW COMEDY
Shchepkin and Ryazantsev - Gogol is referring to the ideal, from his point of view, comic actors: the famous M. S. Shchepkin, who played at the Moscow Theater, and the then deceased V. I. Ryazantsev (1800-1831)."under the impression of the first production of The Inspector General, but then, preparing the publication of his works, he decided to rework this play for publication. He wrote to his friend N. Ya. Prokopovich, who oversaw the publication, that the play was “written in haste, soon after the performance of The Inspector General "and therefore is a little immodest in relation to the author. It needs to be made a little more ideal, that is, so that it can be applied to any play that raises public abuses, and therefore I ask you not to hint and not to pass it off as written on the occasion of “The Inspector General”" (letter dated 27/15 June 1842). Work on remaking the play continued until the beginning of September 10, 1842. Gogol wrote to Prokopovich: “... I had the most trouble with the rest of the play - “Theater Road Trip.” There was so much that needed to be changed that I swear it would have been easier for me to write two new ones. But it is the final article of the “Collection” and therefore is very important and required careful finishing. I am very glad that I did not touch her in St. Petersburg and was in no hurry with her. It would be very far from the current meaning." The play is a kind of response from Gogol to the critics of The Inspector General. It included some real reviews of the comedy published in magazines and newspapers. Page 153. Another writer repeated the words of Senkovsky, who wrote in the “Library for Reading” that “Gogol did not produce anything dirtier than The Inspector General.” In "Theatrical Travel" Bulgarin's mocking comments about Gogol's talent are introduced into the dialogues, as if exaggerated by Pushkin, who compared Gogol with Fonvizin and Walter Scott. Along with the negative criticism of “The Inspector General,” “Theatrical Travel” contains positive judgments by P. A. Vyazemsky (in Pushkin’s “Contemporary”) and V. P. Androsov (in “Moscow Observer”). V. G. Belinsky, in his enthusiastic review of “Theatrical Travel,” noted the fundamental significance of Gogol’s statements. He wrote that “Theater Road” “contains a deeply conscious theory social comedy
Cheer up and hit the road! And may the soul not be embarrassed by condemnation, but may it gratefully accept the indications of shortcomings, without being darkened even if it were denied high movements and holy love for humanity! The world is like a whirlpool: opinions and rumors move in it forever, but time grinds everything. False ones fall off like husks, and motionless truths remain like hard grains. What was recognized as empty may later appear armed with strict meaning. In the depths of cold laughter, hot sparks of eternal, powerful love can be found. And why, perhaps, will later be recognized by everyone, that by virtue of the same laws, why a proud and strong person is insignificant and weak in misfortune, and the weak grows like a giant in the midst of troubles, by virtue of the same laws who pour often emotional, deep tears, he seems to laugh more than anyone else in the world!..
In 1846, Gogol decided to publish two editions of The Inspector General for the benefit of the poor: one in St. Petersburg, the other in Moscow. At the same time, he wrote “The Inspector General’s Denouement” for these publications. It was assumed that at the same time “The Inspector General” would be shown in St. Petersburg for Sosnitsky’s benefit performance and in Moscow for Shchepkin’s benefit performance. Gogol invited Shchepkin to stage “The Government Inspector” together with “Denouement” in this performance, and Shchepkin was supposed to play the role of himself in this play.
“The denouement of The Inspector General was written simultaneously with Selected Passages from Correspondence with Friends and bears full traces of the author’s painful moods. Close friends (in particular, S. T. Aksakov) opposed both the publication and the production of The Denouement The Inspector"", fearing that this play "will make Gogol the laughing stock of all of Russia" (letter from S. T. Aksakov to I. S. Aksakov) Gogol gave in and postponed the publication of the play and its production until the publication of "Selected Places ...". Shchepkin also protested against the allegorical interpretation of the play, not imagining the heroes of The Inspector General as anything other than “living people.” He wrote to Gogol: “... I became completely close to these at the age of ten, and you want to take them away from me. No, I won't give them to you! I won’t give it while I exist." Thus, neither the publication of the play nor its production was carried out. "The Denouement of the Inspector General" was published only after Gogol's death, in 1856. Page 205. a la lettre - literally.
How Gogol himself read the comedy
Bribes with greyhound puppies, a non-commissioned officer who flogged herself, “brother Pushkin, ... a great original” - many expressions from Gogol’s comedy “The Inspector General” have lived in the Russian language for almost two centuries. The play at one time was deservedly stolen for quotes. On stage, The Inspector General was staged in different ways, sometimes hilariously funny. Emperor Nicholas I attended the premiere in St. Petersburg, laughed loudly and, according to contemporaries, concluded: “What a play! Everyone got it, and I got it more than anyone else!” From that moment on, her triumphal march began across the stages of various theaters in Russia. They played and watched the play willingly and with pleasure. Apart from a number of officials, perhaps only the author was dissatisfied. Very displeased.
Triumph and denouement
Gogol wrote “The Inspector General” in 1835-1836, this was the heyday of his work. The idea, as you know, was suggested to him by Pushkin, who had heard about a similar case and himself found himself in similar story, which amused him greatly. At first, the censorship strictly treated the new opus of the famous writer, but then gave the play a go. Her contemporaries loved her, although much about her seemed strange to them. A decent comedy should have positive hero, but in “The Inspector General,” no matter how you look at it, it’s not there. Any self-respecting play had to start with a beginning and have a clear ending. And in “The Inspector General” the action unfolds literally right off the bat: “I invited you, gentlemen, in order to tell you the most unpleasant news: an auditor is coming to us,” and nothing more. But there are two endings: the first is when they read Khlestakov’s letter, the second is when they find out about the real auditor. In addition, since we are talking about a district city, all the proper officials must be represented in it, but in the “Inspector General” there is not even a police officer. But there is, for example, a strange character - a trustee of charitable institutions... What does all this mean? What did the author want to say?
The answer to this question is not so easy. It would have been easy if Gogol had only written a play and left no explanations for it. Then everything would be on the surface, it would be an excellent comedy. But he also wrote “Theatrical Travel”, “A warning for those who would like to play “The Inspector General” properly”, voiced a number of other comments in letters to the actor Mikhail Shchepkin and other persons... And finally, ten years after “The Inspector General” itself (and during this time the play was performed in many theaters in Russia), he created a work that completely confused everyone. It’s called “The Inspector General’s Denouement” and has been preserved in two original editions. And it's worth delving into.
A real auditor
But first you need to pay attention to one thesis that is often heard in relation to this writer. The thesis is that there were, as it were, two different Gogols. The first became the author, for example, of “Evenings on a Farm near Dikanka” and “The Inspector General,” the second of “Selected Places from Correspondence with Friends.” The second one also threw the sequel of “Dead Souls” into the fire and starved himself to death, as a result of which he went to an early grave. This thesis is probably partly true. Early and late Gogol at first glance really seem different people. The first is extremely cheerful, the second is thoughtful and very religious. But such changes happen to ordinary people, let alone geniuses. Most likely, there were no “two Gogols” after all. And there was one - a very smart, subtle, searching person. Who asked himself very important questions. And if the mature Gogol rethought his own earlier play, then he had it in mind every right. So what did he say about The Inspector General?
As if responding to the reproaches of critics, ten years later Gogol began to interpret his author's intention. The author of the comedy put the following words into the mouth of the First Comic Actor, the hero of “The Inspector General’s Denouement,” which was understood as the artist Mikhail Shchepkin:
“Take a close look at this city, which is depicted in the play: everyone agrees that there is no such city in all of Russia, it is unheard of that where we have officials, every single one of them is such monsters; at least two, at least three are honest, but here there are none. In short, there is no such city. Is not it? Well, what if this is our spiritual city, and it sits with each of us? No, let's look at ourselves not through the eyes of a secular person - after all, it is not a secular person who will pronounce judgment on us - let's look at least a little at ourselves through the eyes of the One who will call all people to a confrontation, before Whom are the best of us, do not forget this, They will cast their eyes down to the ground in shame, and let’s see if any of us will then have the courage to ask: “Is my face crooked?” (“The Inspector General’s Denouement”).
In other words, Gogol offered readers a symbolic understanding of his play. Of course, other readings of it are possible. For example, this: “The Inspector General” is just a very funny comedy, in fact a comedy of the absurd, because each character here speaks about his own things, the characters do not hear each other, hence the comic effect arises. Or: “The Inspector General” is a comedy of a social nature, because it shows different types of people that can be found in society. But still... Mature Gogol insisted that “The Inspector General” also has a deeper meaning. Officials are human passions that tear apart and ruin the city - the human soul. Khlestakov is a false, “secular,” as Gogol said, conscience. Any of our passions is capable of “agreeing” with her, giving her a bribe so that she turns a blind eye to inappropriate actions. Well, the real auditor who appears at the end of the play is the true conscience, which was pushed into the far corner of the soul so as not to interfere with life. And which, with the inevitability of a catastrophe, will appear at the very last moment of our lives, when nothing can be changed:
“Whatever you say, the inspector who waits for us at the door of the coffin is terrible. As if you don’t know who this auditor is? Why pretend? This auditor is our awakened conscience, which will force us to suddenly and at once look at ourselves with all our eyes. Nothing can be hidden from this inspector, because he was sent by the Named Supreme Command and will be announced when it is no longer possible to take a step back. Suddenly, such a monster will be revealed to you, within you, that your hair will stand up in horror. It’s better to make an audit of everything that is in us at the beginning of life, and not at the end of it” (“The Denouement of The Inspector General”).
Apocalypse
From a Christian point of view, Gogol is absolutely right. Moreover, he calls upon the Gospel when he talks about the need for repentance, a change of heart and mind. For the sake of this change and the salvation of every person, Christ ascends to Calvary, dies and is resurrected. The Apostle Paul writes about the same thing when he reminds you: You were bought with a price, and calls you to remain slaves of Christ, and not slaves of people or passions. Yes, all this requires a huge amount of internal work. But it must be done, and it is better not to delay it until the last moment of life. Otherwise... a silent scene will happen, like in The Inspector General. And nothing can be changed.
By the way, Gogol compared his play with Karl Bryullov’s painting “The Last Day of Pompeii.” This is a disaster work, which depicts the inhabitants of the city a moment before death. On Bryullov’s canvas, unfortunate people are trying to escape from the red-hot lava of a volcano - but it is impossible to escape from it. Their faces express horror, they are paralyzed with fear. They can’t go anywhere, nothing can change. And although Pompeii at that moment was probably filled with thunder and screams, Bryullov also captured a kind of silent scene, like Gogol. That is, the apocalypse.
Laughter and that's it...
But here the question arises: does the author of “The Inspector General” give any answer to his thoughts and interpretations? What should a poor man, torn by passions, do, who has caught himself in bribing the “auditor”, that is, in dealing with his own conscience? Actually, yes, Gogol has the answer. And it is the same as always with this author: you need to laugh at yourself. Gogol's laughter is not only a valuable characteristic that is used in school essays. This is also a universal recipe for saving the soul. There, in “The Inspector General’s Denouement,” there are these words: “I swear, our soulful city is worth thinking about it, as a good sovereign thinks about his state. Noble and strictly, as he expels the covetous from his land, let us expel our spiritual covetous people! There is a remedy, there is a scourge that can drive them out. Laughter, my noble compatriots! Laughter, which all our base passions are so afraid of! Laughter, which was created to laugh at everything that disgraces the true beauty of a person. Let's return laughter to its true meaning!<…>In exactly the same way as we laughed at the abomination in another person, let us laugh generously at the abomination of our own, whatever we find in ourselves!” (“The Inspector General” denouement).
Gogol encourages you to laugh at your own passions. This does not mean becoming frivolous towards them. This means not giving them the importance that important officials in a county town can count on. And don't serve them. And then... these officials will simply lose power in the city. Ridiculed for their deeds, they will no longer be able to conclude a single deal and will be discredited. This means that fear of the “auditor” also has no place in the human soul: after all, what is there to be afraid of when passions are disarmed? This is the author's method.
Perhaps someone, after reading “The Inspector General” like this, will shrug their shoulders, be indignant and say: “Of course, Alexander the Great is a hero, but why break chairs?” Well, the reader has every right to do so. Mikhail Shchepkin, who was among the first to play in The Government Inspector, also, by the way, did not agree with Gogol. And this play in our time is often staged as simply very good comedy. However, Gogol decided differently for himself. And the author always has his own deep vision and the right to interpretation.
"Inspector"
A comedy in five acts by Nikolai Vasilyevich Gogol (1809–1852), written in 1835-1836. In the district town of N, various officials live their usual lives - accepting bribes and dodging their duties. The comedy begins with the arrival in the city of an adventurer named Khlestakov, whom everyone takes for the capital's auditor. The following action shows how easy it is to come to an agreement with the “inspecting authority” and what this leads to.
In the most common reading, “The Inspector General” is a satire on Russian reality, and the district town of N is a symbolic designation of all of Russia.
The premiere of the play took place in May 1836 at the Alexandrinsky Theater in St. Petersburg, Emperor Nicholas I was present at the performance. In the same month, “The Inspector General” was presented to the Moscow public by the Maly Theater, where Gorodnichy played great actor Mikhail Shchepkin.
Alla Mitrofanova
Inspector's denouement
Characters
The first comic actor is Mikhailo Semenovich Shchepkin.
Pretty actress.
Another actor.
Fyodor Fedorych, theater lover.
Pyotr Petrovich, a man of great society.
Semyon Semyonich is also a man of considerable society, but in his own way.
Nikolai Nikolaich, literary man.
Actors and actresses.
First comic actor (coming on stage). Well, there's no need to be modest now. I can say that this time I definitely played well, and it was not without reason that the audience applauded. If you feel it yourself, if you are not ashamed of yourself, then it means the job was done properly.
A crowd of actors and actresses enters.
Another actor (with a wreath in his hand). Mikhailo Semenych
It’s not the audience, it’s us who are presenting you with a wreath. The public does not always distribute wreaths with strict discrimination; she gets a wreath from her and not for great services, but if her brothers and comrades, who are sometimes envious and unjust, if her brothers and comrades present a wreath to someone with a unanimous verdict, then it means that such a person is definitely worthy of a wreath.
First comic actor (accepting a wreath). Comrades, I know how to appreciate this wreath.
Another actor. No, not in your hand; put it on your head!
All actors and actresses. A wreath on your head!
Pretty actress (stepping forward with an imperious gesture). Mikhailo Semenych, a wreath on your head!
First comic actor. No, comrades, I’ll take the wreath from you, but I won’t put it on my head. It is another thing to accept a wreath from the public as a usual expression of greeting, which she rewards anyone who has been honored to please her; not to wear such a wreath would mean to show disdain for her attention. But to wear a wreath among your equal comrades, gentlemen, for this you need to have too much arrogant self-confidence.
All . Diadem!
Pretty actress. A wreath on your head, Mikhailo Semenych!
Another actor. This is our business; We are the judges, not you. If you please, put it on first, and then we will tell you why you were crowned. Like this. Now listen: for this you have a wreath, because it’s already been too twenty years since you have been among us, and there is not one of us who has ever been offended by you; for the fact that you did your job more zealously than all of us and thereby inspired the desire not to get tired in your field, without which we would hardly have had enough strength. What outside force can push as much as a comrade will push by his example? Because you didn’t think about yourself alone, you didn’t bother about just playing your role well, but so that everyone didn’t make the same mistake in their role, and didn’t refuse advice to anyone, didn’t neglect anyone. Because, finally, they loved the work of art as much as none of us ever loved it. - And that’s why we present you with every single wreath now.
The first comic actor (touched). No, comrades, it was not so, but I would like it to be so.
Enter Fyodor Fedorych, Semyon Semyonitch, Pyotr Petrovich and Nikolai Nikolaich.
Fyodor Fedorych (rushing to hug the first actor). Mikhailo Semenych! I don’t remember myself, I don’t know what to say about your game: you’ve never played like that before.
Petr Petrovich. Do not consider my words to be flattery, Mikhailo Semenych, but I must admit, I have not seen, and I can say without boasting, I have been to all the first-class theaters in Europe, I have seen the best actors, I have not seen such a game, do not take my words for flattery.
Semyon Semenych. Mikhailo Semenych Petr Petrovich. Do not consider my words to be flattery, Mikhailo Semenych, but I must admit, I have not seen - and I can say without boasting, I have been to all the first-class theaters in Europe, I have seen the best actors - I have not seen such a game, do not take my words for flattery., you're just Asmodeus!
Nikolai Nikolaich. To fulfill one’s role in such perfection, in such finality, so consciously and in such consideration of everything - no, this is something above ordinary transmission. This is the second creation, creativity.
Fyodor Fedorych. The crown of art - and nothing more! Here you will finally find out high meaning art. Well, what is, for example, attractive about the face you just imagined? How can you give pleasure to the viewer in the skin of some rogue? - and you delivered it. I cried; but he did not cry from fate or the position of his face, he cried from pleasure. The soul became light and easy. It’s light and bright because they exposed all the shades of the rogue’s soul, because they made it clear to see what a rogue is.
Petr Petrovich. Allow me, however, leaving aside the masterful setting of the play, the likes of which, I admit, I have never seen - and I can say without boasting, I have been to the best theaters - I don’t know to whom the author is indebted for this: whether you, gentlemen, or the management of our theaters , - probably both together, but such a situation will bear at least some play. Do not take my words for flattery, gentlemen. Allow me, however, leaving all this aside, to make me a remark about the play itself, the same remark that I made ten years ago, during its first performance: I don’t see in “The Inspector General,” even in that form, in as it is given now, there is no significant benefit for society, so that it can be said that this play is needed by society.
Semyon Semenych. I even see the harm. The play shows us our humiliation; I don’t see love for the fatherland in the one who wrote it. And besides, what disrespect, what even insolence... I don’t even understand it: how dare you say to everyone’s face: “Why are you laughing? “You’re laughing at yourself!”
Fyodor Fedorych. But, my friend, Semyon Semyonich, you forgot: it’s not the author who speaks, it’s the mayor who speaks; this is said by an angry, frustrated rogue, who, of course, is annoyed that they are laughing at him.
Petr Petrovich. Allow me, Fyodor Fyodoritch, let me note to you, however, that these words definitely had a strange effect; and, probably, it seemed to more than one of those sitting in the theater that the author seemed to be addressing these words to himself: “You’re laughing at yourself!” I’m saying this... you, gentlemen, will not take my words for any personal dislike towards the author, or prejudice, or... in a word, it’s not that I have anything against him, you understand; but I’m telling you my own feeling: it seemed to me as if at this moment there was a man standing in front of me who was laughing at everything that we have: at morals, at customs, at orders, and, having made us laugh at all this, He tells us to our face: you are laughing at yourself.
First comic actor. Let me say a word here: it came out naturally. In a monologue addressed to himself, the actor usually addresses the audience. Although the mayor was unconscious and almost delirious, he could not help but notice the grin on the faces of the guests, which he aroused with his ridiculous threats to Khlestakov, who had deceived everyone, who at that time was rushing at full speed on his postal service, God knows in what parts. The author had no intention of giving exactly the meaning you are talking about: I am telling you this because I know the little secret of this play. But let me make a request on my part: well, what if the writer definitely had a goal to show the viewer that he was laughing at himself?
Semyon Semenych. Thank you for the compliment! At least I don’t find anything in common with the people featured in The Inspector General. Sorry. I do not boast that I am not without vices, just like all people; but still I am not like them. This is too much! The epigraph states: “There is nothing to blame for the mirror if your face is crooked!” Pyotr Petrovich, I ask you: is my face crooked? Fyodor Fedorych, I ask you: is my face crooked? Nikolai Nikolaich, I ask you: is my face crooked?
Semyon Semenych. Thank you for the compliment! At least I don’t find anything in common with the people depicted in The Inspector General. Sorry. I don’t boast that I am not without vices, just like all people, but still I am not like them. This is too much! The epigraph states: “There is nothing to blame for the mirror if the face is crooked!” Pyotr Petrovich, I ask you: is my face crooked? Fyodor Fedorych, I ask you: is my face crooked? Nikolai Nikolaich, I ask you: is my face crooked? Gentlemen, I’m asking you all, tell me: is my face crooked?
Fyodor Fedorych. But, my friend, Semyon Semyonich, is strange, and you asked the question again. After all, you are again not handsome, just like we are all sinners. It’s impossible to say so bluntly that your face is a model. No matter how you look at it, it’s a little askew, but what’s askew is also crooked.
Petr Petrovich. Gentlemen, you have gone into a completely different question. This lies on the conscience of every person; It’s funny for us to talk about who has a crooked face and who doesn’t. But here’s the main point, let me return to the same thing again: I don’t see much intelligence in comedy, I don’t see the purpose, at least this is not revealed in the composition itself.
Nikolai Nikolaich. But what other goal do you want, Pyotr Petrovich? Art already contains its purpose in itself. The desire for the beautiful and sublime is art. This is an indispensable law of art; Without this, art is not art. Therefore, in no case can it be immoral. It certainly strives for good, positively or negatively: whether it shows us the beauty of all the best that is in a person, or laughs at the ugliness of all the worst in a person. If you expose all the rubbish that is in a person, and display it in such a way that every spectator will receive complete disgust for it, I ask: is this not already praise for everything good? I ask: is this not praise for good?
Petr Petrovich. Undoubtedly, Nikolai Nikolaich; but let me tell you...
Nikolai Nikolaich (not listening). It’s not that it’s bad that they show us what’s bad in what’s bad, and you see that it’s bad in all respects; but it’s bad when they present it to us in such a way that you don’t know whether it’s evil or not, then it’s bad when they make evil attractive to the viewer, then it’s bad when they mix it up with good to such an extent that you don’t know which side to stick to , then it is bad that good is shown to us in such a way that you do not see good in good.
First comic actor. I swear, the true truth, Nikolai Nikolaich! you said what I was always convinced of, but I just didn’t know how to express it so well. It is bad that you do not see good in good. And this sin is behind all the fashionable dramas with which we must entertain the public. The spectator leaves the theater and does not know for himself what he saw: whether the person in front of him was evil or good. It does not attract him to good, does not push him away from evil, and he remains just as in a dream, without having drawn from what he saw any rule for himself that would be suitable for anything in life, having even lost his way from the road along which he was walking. , ready to follow the first one to lead, without asking where or why.
Fyodor Fedorych. And add, Mikhailo Semenych, what torture for an actor to play such a role, if only he is a true artist at heart.
First comic actor. Don't say it; your words hit the heart. You cannot comprehend how bitter it can be sometimes. You learn and unlearn this role, and you don’t know what expression to give it. Sometimes you forget yourself, you get into the position of your face, you become animated, you shock the viewer, and when you remember what you shocked him with, you become disgusted with yourself, you would like to simply fall into the ground, and you burn from applause as if from your own shame. I really don’t know what is worse: to present crimes in such a way that the viewer is ready to almost reconcile with them, or to present deeds of goodness in such a way that the viewer does not boil with the desire to make friends with them? For me, both are rotten, not art. Nikolai Nikolaich said deeply: it is bad when you do not see good in good.
Another actor. Fair, fair: it is bad when you do not see good in good.
Petr Petrovich. I can say absolutely no objection to this. Nikolai Nikolaich said deeply; Mikhailo Semenych developed even more. But all this does not answer my question. What you just said, that is, so that the good should really be exhibited with a magical force, captivating not only a good person, but even a bad one, and the bad should be depicted in such a contemptuous form that the viewer not only does not feel the desire to reconcile with the deduced faces, but, on the contrary, I would like to quickly push them away from myself - all this, Nikolai Nikolaich, should be an indispensable condition for any composition. It's not even a goal. Every work must have, above all this, its own, personal expression, Nikolai Nikolaich, otherwise its originality will disappear, Nikolai Nikolaich - do you understand this? That’s why I don’t see in “The Inspector General” the great importance that others attach to it. It is necessary that it be palpably clear why such and such a work was undertaken, what exactly it aims at, what it is heading towards, what new it wants to prove. That's what, Nikolai Nikolaich, and not what you say about art in general.
Nikolai Nikolaich. Pyotr Petrovich, how can you say what it’s heading towards... because it’s... it’s obvious.
Petr Petrovich. Nikolai Nikolaich, it’s not visible. I do not see any special purpose for this comedy found in the work itself; or perhaps the author hid it for some purpose; in that case, it would be a crime against art, Nikolai Nikolaich, no matter what you tell yourself. Let’s take a serious look at this comedy: after all, “The Inspector General” does not at all make the impression that the viewer will be refreshed after it; on the contrary, I think you yourself know that some felt fruitless irritation, others even embitterment, but in general everyone was carried away by some kind of painful feeling. Despite all the pleasure that cleverly found scenes excite, the even comical position of many faces, even the masterful treatment of some characters, in the end there remains something like... I can’t even explain to you - something monstrously gloomy, somehow... then fear from our unrest. This very appearance of the gendarme, who, like some kind of executioner, appears at the door, this petrification that his words instill in everyone, announcing the arrival of a real inspector who must exterminate them all, wipe them off the face of the earth, destroy them in the end - all this somehow inexplicably scary! I confess to you reliably, à la lettre, not a single tragedy has produced such a sad, such a painful, such a joyless feeling on me. So I’m even ready to suspect whether the author had any special intention to produce such an effect with the last scene of his comedy. It can't just happen that way.
First comic actor. But, finally, they decided to make this request. “The Inspector General” has been playing on stage for ten years. Everyone, more or less, attacked the painful impression he made, but no one asked why it was necessary to make it? - just as if the author had to write his comedy headlong and not knowing himself what it was about and what would come out of it. Give him at least a drop of intelligence, which you do not deny to any person. After all, it’s true that there is a reason for every action, even in a stupid person.
(Everyone looks at him in amazement.)
Petr Petrovich. Mikhailo Semenych, explain: this is something unclear.
Semyon Semenych. This smells like some kind of mystery.
First comic actor. But how did you really not notice that “The Inspector General” is endless?
Nikolai Nikolaich. How endless?
Semyon Semenych. What kind of ending would that be? Five actions; Comedy doesn't happen at six. - Is there a new scolding to boot?
Petr Petrovich. Allow me, however, to point out to you, Mikhailo Semyonich, what kind of play is this that has no end? I'm asking you. Is this really the law of art? Nikolai Nikolaich! After all, this, in my opinion, means bringing and placing a locked box in front of everyone and asking what is in it?
First comic actor. Well, yes, if it is placed in front of you precisely so that you take the trouble to unlock it yourself?
Petr Petrovich. In this case, you need to at least say this or just give the key in your hands.
First comic actor. Well, what if the key lies right next to the box?
Nikolai Nikolaich. Stop speaking in riddles! Do you know anything? That’s right, the author gave you this key, and you keep it and keep it secret.
Fyodor Fedorych. Announce, Mikhailo Semenych; I'm seriously interested in knowing what could really be hidden here! To my eyes, I don't see anything.
Semyon Semenych. Let us open this mysterious box. What kind of strange box is this, which, for unknown reasons, was brought to us, for unknown reasons, was placed in front of us, and, for unknown reasons, was locked from us?
First comic actor. Well, what if it opens in such a way that you begin to wonder why you didn’t open it yourself, and if in the box there is a thing that for some is like an old penny that has fallen out of use, and for others, like a bright chervonets that has been valuable for centuries , no matter how the stamp on it changes?
Nikolai Nikolaich. So full of your riddles! Give us the key and nothing more!
Semyon Semenych. The key, Mikhailo Semenych!
Fyodor Fedorych. Key!
Petr Petrovich. Key!
All actors and actresses. Mikhailo Semenych! key!
First comic actor. Key? Will you, gentlemen, accept this key? Maybe you'll throw it away along with the box?
Nikolai Nikolaich. Key! we don't want to hear anything more. Key!
All . Key!
First comic actor. If you please, I'll give you the key. You may not be used to hearing such words from a comic actor, but what can you do? On this day my heart warmed up, I felt at ease, and I am ready to say everything that is in my soul, no matter how you accept my words. No, gentlemen, the author did not give me the key, but there are moments of mental state when something that was previously incomprehensible becomes clear to oneself. I found this key, and my heart tells me that it is the one; The box opened in front of me, and my soul tells me that the author himself could not have had any other thought.
Take a close look at this city, which is depicted in the play: everyone agrees that there is no such city in all of Russia, it is unheard of that where we have officials, every single one of them is such monsters; at least two, at least three are honest, but here there are none. In short, there is no such city. Is not it? Well, what if this is our spiritual city, and it sits with each of us? No, let's look at ourselves not through the eyes of a secular person - after all, it is not a secular person who will pronounce judgment on us - let's look at least at least at ourselves through the eyes of the one who will call all the people to a confrontation, before whom are the best of us, do not forget this, They will lower their eyes to the ground in shame, and let’s see if any of us then has the courage to ask: “Is my face crooked?” So that he would not be as afraid of his own crookedness as he was not afraid of the crookedness of all these officials, whom I just saw in the play. No, Pyotr Petrovich, no, Semyon Semyonich, don’t say: “These are old speeches,” or “We already know that ourselves,” - finally, let me say the word. Well, really, as if I live only for buffoonery? Those things that are given to us in order to remember them forever should not be old: they must be accepted as news, as if we are hearing them for the first time - no matter who pronounces them to us - there is no need to look at the face of the one who says them. No, Semyon Semyonich, we should not be talking about our beauty, but about ensuring that our life, which we are accustomed to revere as a comedy, does not end in such a tragedy as this comedy that we just played did not end. Whatever you say, the inspector who waits for us at the door of the coffin is terrible. As if you don’t know who this auditor is? Why pretend? This auditor is our awakened conscience, which will force us to suddenly and at once look at ourselves with all our eyes. Nothing will be hidden from this inspector, because he was sent by a specific supreme command and will be announced about it when it is no longer possible to take a step back. Suddenly, such a monster will be revealed to you, within you, that your hair will stand up in horror. It’s better to revise everything that is in us at the beginning of life, and not at the end of it. In place of empty ranting about ourselves and boasting about ourselves, and now visit our ugly spiritual city, which is several times worse than any other city, in which our passions run rampant, like ugly officials, stealing the treasury of our own soul! At the beginning of life, take an auditor and, hand in hand, look at everything that is in us, a real auditor, not a fake one! not Khlestakova! Khlestakov is a clicker, Khlestakov is a flighty secular conscience, a corrupt, deceptive conscience, Khlestakov will be bribed by our very own passions that dwell in our souls. With Khlestakov on your arm, you won’t see anything in our soulful city. Look how every official in a conversation with him cleverly turned out and justified himself. Almost a saint came out. Do you think that every passion of ours is no more cunning than any rogue official, and not only passion, even some empty, vulgar habit? He will turn out so cleverly in front of us and justify himself that you will still consider it a virtue and even boast to your brother and tell him: “Look what a wonderful city I have, how everything is tidy and clean in it!” Hypocrites are our passions, I tell you, hypocrites because I dealt with them myself. No, with a flighty secular conscience you won’t see anything in yourself: they will deceive her, and she will deceive them, like Khlestakov’s officials, and then she will disappear herself, so that you won’t find a trace of her. You will remain like a foolish mayor, who had already rushed into God knows where, and became a general, and probably began to proclaim that he would become the first in the capital, and began to promise places to others, and then suddenly saw that he was deceived and fooled all around by a boy, a superlative, a helipad, in which there was no resemblance to a real auditor. No, Pyotr Petrovich, no, Semyon Semyonich, no, gentlemen, everyone who holds the same opinion, abandon your secular conscience. Not with Khlestakov, but with a real auditor, let’s look at ourselves! I swear, our soulful city is worth thinking about it, as a good sovereign thinks about his state. Noble and strictly, as he expels the covetous from his land, let us expel our spiritual covetous people! There is a remedy, there is a scourge that can drive them out. Laughter, my noble compatriots! Laughter, which all our base passions are so afraid of! Laughter, which was created to laugh at everything that disgraces the true beauty of a person. Let's return laughter to its true meaning! Let us take it away from those who turned it into frivolous secular blasphemy over everything, without discerning either good or bad! In exactly the same way as we laughed at the abomination in another person, let us laugh generously at the abomination of our own, whatever we find in ourselves! Not just this comedy, but everything that appears from the pen of any writer who laughs at the vicious and base, let us take it directly into our own account, no matter how it was written for us personally: you will find everything in yourself , if only you descend into your soul not with Khlestakov, but with a real and incorruptible auditor. Let us not be disturbed in spirit if some angry mayor, or, more accurately, an unclean spirit himself, whispered through his lips: “Why are you laughing? You’re laughing at yourself!” We’ll tell him proudly: “Yes, we’re laughing at ourselves, because we hear our noble Russian race, because we hear the highest order to be better than others!” Compatriots! After all, I also have Russian blood in my veins, just like you. Look: I'm crying! Comic actor, I used to make you laugh, now I cry. Let me feel that my career is as honest as any of you, that I serve my land just as you all serve, that I am not some empty buffoon created for the amusement of empty people, but an honest official the great state of God and aroused laughter in you - not that dissolute laughter with which man laughs at man in the world, which is born from the idle emptiness of idle time, but laughter born from love for man. Together we will prove to the whole world that in the Russian land everything that exists, from small to large, strives to serve the same one to whom everything should serve, everything on the whole earth rushes there (looking up) to the top! to the supreme eternal beauty!
The author did not include some scenes of the fourth act in printed publications. Among them is phenomenon VIII, in which the doctor of charitable institutions Gibner manages not to give a bribe to Khlestakov. Why was such a plot excluded by the author?
As you know, in scene I of the fourth act, Dr. Gibner did not participate, the judge, Strawberry, the postmaster, Luka Lukich, Dobchinsky and Bobchinsky stood in a “semicircle” and agreed on how to behave with Khlestakov, how to “slip” him money.
If you read in the faces of all Khlestakov’s meetings with officials who came to him one by one, then you can see how Khlestakov becomes impudent from scene to scene. He directly addresses Dobchinsky and Bobchinsky, without any preamble about the “strange incident” that happened on the road, with the question: “You don’t have any money?.. Borrow a thousand rubles,” but he agrees to 65 rubles and sends them away.
Next there was supposed to be a scene with Dr. Gibner, but Gogol removed it from the printed edition. Why? Doctor Gibner, who did not understand Russian, was not prepared for this meeting by the frightened officials, and was not present in the mayor’s house. All his phrases are given in German, in them one can feel respect for the visiting auditor, but not fear, he does not “shake his body”, does not feel “on hot coals”, like a judge and postmaster, does not hold prepared money in his fist. Dr. Gibner behaves calmly with a person who is “authorized by power,” and Khlestakov cannot shout to him, like Strawberry: “Hey you! As you?" Khlestakov is forced to politely thank the doctor for the cigar (Gibner didn’t have any money: “No money... no money. Sehen Sie!”)
Gogol removes this scene not only because Doctor Gibner’s words require translation on stage, but most importantly because in this scene, compared to the previous ones, Khlestakov behaves completely differently. This violates Khlestakov’s line of behavior and the content of the subsequent monologue: “There are a lot of officials here. It seems to me, however, that they take me for a statesman. That's right, I let them get dirty yesterday. What a fool! I’ll write about everything to Tryapichkin in St. Petersburg...”
Where is the ending in comedy?
Although the third act of the comedy “The Inspector General” is the climax, the tension in the development of the action does not subside, as mentioned above, it only slows down somewhat in the first phenomena (Khlestakov’s meetings with officials and merchants).
In subsequent appearances, Khlestakov appears in new role- passionately in love with both Anna Andreevna and her daughter Marya Antonovna, to whom he offers his hand and heart. The hero's emptiness and frivolity are especially evident in these scenes. The news that the horses are ready forces the groom to say goodbye to his new relatives: “to go to his uncle for one day, and back tomorrow.”
The last fifth act finds the mayor in a state of complacency and, most importantly, triumph. In phenomenon I, his secret dreams, his views on life and his position as mayor are especially clearly revealed. Now he will live in St. Petersburg and, thanks to his son-in-law, who “goes to the palace every day,” will become a general. He invites officials with their wives and other guests to his house to tell them that he is marrying his daughter not to an ordinary person, “but to someone who has never existed in the world, who can do everything, everything, everything, everything.” !
And the mayor, like Khlestakov, strives to play a role higher than that in reality - he already feels like a general and has no doubts about the realization of his dream. The mayor “indulges in exuberant joy,” writes Gogol in the already mentioned article “A warning for those who would like to play “The Inspector General” properly,” “at the mere thought of how his life will now rush, how he will distribute places, demand at stations horses and make them wait in the front mayors, put on airs, set the tone.” And at this moment of triumph for the mayor and his wife, the denouement of the comedy comes (scene VIII) - the postmaster rushes in with a printed letter and announces to everyone gathered that the official, whom everyone took for an auditor, was not an auditor. The mayor and all the officials present cannot recover from the surprise. The officials, led by the mayor, were not deceived, but were deceived themselves, mistaking the “icicle, rag” with a St. Petersburg physiognomy and in a private dress for an auditor. It turned out that each of the officials “returned” him three to four hundred rubles. “How did we really make such a mistake?” - asks the judge. “Killed, killed, completely killed,” says the mayor in despair.
How much anger and what fury is felt in the words addressed by the mayor to himself (this is also emphasized by the author’s remarks): he hits himself on the forehead, in his hearts, in a frenzy, shakes his fist at himself, knocks his feet on the floor in anger. He blames himself for mistaking the “helicopter”, the “icicle” for an auditor: “... he deceived swindlers on swindlers, swindlers and swindlers such that they are ready to rob the whole world, he cheated on them. He deceived three governors!..” “Why are you laughing? “You’re laughing at yourself!..” - this famous remark of the mayor is addressed to the hall, to the seated audience.
He does not blame Khlestakov, he blames himself and those who first started the rumor about the auditor who had already arrived in the city. The culprits have been discovered - these are Bobchinsky and Dobchinsky, “city gossips, damned liars.” Everyone surrounds them, scolding and reproaching them. At this moment, a gendarme appears (he is not even listed among the characters in the poster) and informs the confused audience about the arrival of an auditor by personal order from St. Petersburg. This sudden announcement becomes for everyone, especially for the mayor, akin to a thunderclap, and his situation becomes “truly tragic.” The words of the gendarme complete the action of the comedy, and “the whole group, having suddenly changed their position, remains petrified” (author’s remark). What follows is a “silent scene.”
