The value of comedy is the auditor. The social significance of N. Gogol's comedy “The Government Inspector. Topic: - The social significance of N.V. Gogol's comedy "The Government Inspector"

The Inspector General was of great public importance as a true picture of ignorance, arbitrariness and abuse, which were often found in Russia at that time, especially in the provincial outback, where people like the mayor and Strawberry felt safe from control and could calmly oppress the subject and do their dark deeds. .

The author himself clearly understood this social significance of The Inspector, and therefore chose the proverb as the epigraph for his comedy: “there is nothing to blame on the mirror if the face is crooked.” But it was precisely this denunciation of social shortcomings that provoked numerous attacks and accusations against the author, both from those who felt hurt by the comedy, and from Gogol's literary enemies.

Gogol depicted all these rumors and gossip of the public in a special play "Theatrical tour after the presentation of a new comedy." Here, in a number of vividly outlined types, representatives of various social strata pass. Among them there are also people who are completely indifferent to comedy and the issues it raises, who have no judgment of their own and are waiting for "what they will say in the magazines."

But the majority, touched to the core by comedy, talk about it animatedly and attack it and the author with bitterness. Writers (in their person Gogol portrayed Bulgarin and Senkovsky and even put into their mouths phrases borrowed from their own articles) are embittered by the success of the comedy and are called a dirty farce, an incredible caricature.

Others are unhappy with the comedy in literary terms, do not find in it either a real connection or a denouement. Finally, the moral and social purpose of the play is attacked most of all, and some find it lacking in the fact that all vicious faces are displayed in it and there is not a single noble one, that the comedy therefore makes too depressing an impression; others find it downright dangerous, suspect the author of a secret intention to undermine respect for the government, say that nothing is sacred to him, that the whole play is a mockery of Russia.

Gogol objects to all the rumors and accusations in Theatrical Journey, and in his defense he forces some
from withdrawn persons; so, for example, one of the spectators explains the peculiarity of the comedy plot, which unites all persons into one whole, and,
referring to the example of Aristophanes, he points to the serious social significance that a comic work can have. Another
the spectator, "a very modestly dressed person", objects to the accusation that the author, by imagining officials in a bad way, had
in order to undermine respect for authority, and that his comedy may therefore have a bad influence on the people; in response to these accusations, he cites the words of one of the spectators from the common people: “I suppose the governors were quick, but everyone turned pale when the royal massacre came!”

Respect is lost not for officials and positions, but for those who do their duty badly; in this respect, comedy even has an educational value, since it shows that official abuses do not go unpunished. Finally, “a modestly dressed person” expresses the idea that comedy should have a beneficial moral effect on everyone in general, since it should make everyone look back at themselves and ask themselves if they themselves have those defects that the author has deduced.

The same idea about the moral and educational significance of art is repeated by Mr. B., who finds that exposing social vices and shortcomings to disgrace is a necessary confession and the first step towards correction. Finally, at the end of the play, the author himself speaks and expresses his views on the meaning of laughter and on the role of the writer-humorist.

Laughter is a powerful force: “Even the one who is no longer afraid of anything in the world is afraid of ridicule.” Laughter in comedy is not idle fun: “It deepens the subject, makes something that would slip through brightly, without whose penetrating power the trifle and emptiness of life would not frighten a person like that; insignificant and contemptible, by which a person passes indifferently every day, ”becomes clear, being illuminated by the laughter of a poet-humorist.

Laughter has a serious educational value, because it makes a person look back at himself, because it shows that a person can rise above his shortcomings, ridicule his vices.

The task of the poet-humorist is to teach with negative images. Ridiculing vice, he thereby opposes it to the ideal of virtue. He is a doctor of social shortcomings: ridiculing them, he at the same time mourns over the moral fall of man. “In the depths of cold laughter, hot sparks of eternal, mighty love can be found, and who often sheds spiritual, deep tears, he seems to laugh more than anyone else in the world” ...

The Inspector General does not leave the stage even today. Why has Gogol's comedy not lost its significance even now? Firstly, because it recreates the era in highly artistic images, which helps to understand the past; secondly, because even today it is not alien to
some aspects of reality and with his laughter, as a convicting force, fights against the remnants of the past.

Comparing Gogol with Pushkin, Lermontov, it is easy to see that Gogol differs from them not only ideologically, but also in the manner of writing, in literary skill. Gogol himself well understood the peculiarities and originality of his artistic writing and defined it briefly but clearly: "Laughter through tears invisible to the world."

Gogol's humor is not the same in all works. In some cases, he is soft, in others he is angry and even, perhaps, poisonous. For example, in "Old World Landowners" the author has more pity and love for the heroes of the story than the desire to laugh at their plant life; in The Inspector General, however, mockery clearly prevails over pity for rogue officials; as a result, the reader easily perceives comedy as satire.

In the dead of night of reaction, it sounded like a mercilessly harsh sentence on the whole of old, feudal-feudal Russia. This
thanks to the fact that Gogol was able to show the most disgusting phenomena in the life of his fatherland with amazing power of generalization and vividness of description. The writer's contemporaries, who saw a terrible abscess in the images of The Inspector General, had something to seriously think about.

The question was posed point-blank, and it was necessary to look for a way out of the impasse into which pre-reform Russia had entered. The best of Gogol's contemporaries did just that. The representatives of the revolutionary democrats, Belinsky and Chernyshevsky, placed Gogol extremely highly, mainly because he managed, with the exceptional force of artistic skill, to rip off all masks of outward propriety from official Russia, Russia, and show bestial "snouts" Skvoznik-Dmukhanovsky and other "pillars" of the fatherland. And they were right in their assessment of Gogol.

None of the Russian writers before Gogol came so close to the depiction of "vile racial reality", in the words of Belinsky, no one so truthfully and faithfully sketched it, as did Gogol.

This truthful depiction of life in the conditions of the 30-40s was of particular importance. Russia in this era stood on the threshold
reforms; the restructuring of her life could only be carried out on the basis of a thorough and comprehensive study of all her sore spots; For this, a preliminary deep revision was necessary. Such a revision was made by Gogol, creating his immortal work.

Such was Gogol's verdict on noble and bureaucratic Russia, and this is the artist's greatest socio-historical merit.
Along with this, the outstanding role of Gogol in the history of the development of Russian literature should be noted. Pushkin's direct and immediate successor, Gogol, with amazing skill, continued and strengthened in Russian literature the direction that required the writer to show the truth of life, a wide coverage of reality.

Gogol rendered invaluable merits as modern society, and all subsequent Russian literature. He paved the way for subsequent dramatic writers; he created Russian artistic comedy. Before Gogol, melodrama and vaudeville dominated the Russian stage.

The melodrama, filled with artificial effects, not only had nothing to do with real life, but was also devoid of any artistic merit. The so-called comedies (vaudevilles, farces, etc.) could hardly be called full-fledged works of art. They were all based on various accidents and extraordinary coincidences. There was a comedy not of content, but of provisions.

Only in relatively rare cases did comedy have social significance, was it a satire on the structure of Russian life. Sometimes such satire reached a very great force. But artistically they stood very low. The actors are usually walking vices, having nothing to do with real people. Gogol put his satire into a perfect art form.

In The Inspector General for the first time before the eyes of the Russian reader stood in such a broad epic image, with such a merciless
filled with accuracy and strength, an image of Russian provincial life. Kosneya in a dull, dirty swamp, Rus' was sleeping, and suddenly this
the swamp itself, in all its horror, appeared before the spiritual eyes of the Russian intellectual by the power of the word of the satirist artist. Excitement
the unthinkable began.

The author was cursed, they did not want to believe that the characters in The Inspector General were part of the surrounding reality, they wanted to close their eyes to the cruel truth. But everything depicted was too truthful and apt; the artist, as a weapon against the terrible reality, exposed laughter. Thus, the ulcers of reality were healed by laughter, and Gogol's immortal merit lies in the vivid recreation of the whole truth of life.

Comedy NV Gogol's "Inspector General" has not lost the significance of modernity to this day. All the horror of the lack of rights of the townsfolk, all the arbitrariness
authorities, which the author so vividly portrayed in his immortal comedy, still hangs over Russia like a heavy nightmare.

Of course, those forms in which power manifested itself have changed, but its essence, in itself, giving the right to arbitrariness to those invested with it, has remained and remains unchanged to this day.

If you think about that sad picture of the state of society, which Gogol, laughing through tears, painted in The Inspector General, discard for a while the entire comic side of this "comedy", you can see the terrible drama of Russian reality, the last act of which has not yet been played.

The time when N.V. Gogol lived and worked was marked by major social and historical events.
The childhood years of the writer coincided with the defeat of Napoleon in Patriotic War 1812, Russia's entry into the broad international arena. The youthful years of Nikolai Gogol belong to the period when the Decembrists made plans for the revolutionary reorganization of Russia, and then openly opposed autocracy and serfdom. In the literary field, N.V. Gogol entered the time of cruel political reaction. His creative activity develops

In the 30-40s of the XIX century, when the ruling circles of Nicholas I sought to eradicate any free-thinking, social independence.
The appearance of the comedy The Inspector General in 1836 acquired social importance not only because the author criticized and ridiculed the vices and shortcomings of Tsarist Russia, but also because with his comedy the writer called on viewers and readers to look into their souls, to think about universal values. Gogol did not share the ideas of the revolutionary reorganization of society, but he firmly believed in the purifying power of laughter, believed in the triumph of justice, which will certainly win as soon as people realize the whole fatality of evil. So, in his play, N.V. Gogol sets himself the goal of “laughing hard” at everything that is “worthy of the ridicule of the universal”.
In the comedy The Inspector General, the author chooses a small provincial town as the scene of action, from which “if you ride for three years, you won’t reach any state.” N.V. Gogol makes city officials and the “phantasmagoric face”, Khlestakov, the heroes of the play. The genius of the author allowed him, using the example of a small island of life, to reveal those features and conflicts that characterized the social development of an entire historical era. He managed to create artistic images huge social and moral range. The small town in the play captures everything character traits social relations of that time The main conflict on which the comedy is built lies in the deep contradiction between what city officials are doing and ideas about the public good, the interests of city residents. Lawlessness, embezzlement, bribery - all this is depicted in The Inspector General not as individual vices of individual officials, but as generally recognized "standards of life", outside of which those in power cannot imagine their existence. Readers and viewers do not doubt for a minute that somewhere life goes according to other laws. All the norms of relations ‘between people in the city of the “Inspector General” look like universal in the play. Where, for example, do officials have such confidence that an inspector who has come from St. Petersburg will agree to take part in a dinner at the mayor's, will not refuse to take obvious bribes? Yes, because they know this from the experience of their city, but is it really so different from the capital?
Gogol is occupied not only with the social vices of society, but also with its moral and spiritual state. In The Inspector, the author drew terrible picture internal disunity of people who are able to unite only for a while under the influence of a common feeling of fear for all. In life, people are led by arrogance, arrogance, servility, the desire to take a more advantageous place, to get better. People have lost the idea of the true meaning of life. One can sin, it is enough just, like a mayor, to regularly attend church every Sunday. To hide the true essence of their actions, officials are also helped by a fantastic lie, which is in many ways akin to Khlestakov's. Lyapkin-Tyapkin takes bribes with greyhound puppies and calls it "a completely different matter." In the city's hospitals, people are "recovering like flies." The postmaster opens other people's letters only because "death loves to know what's new in the world."
It is no coincidence that N.V. Gogol completely reverses the traditional stage plot and plot development in his play, saying that “do they now have more electricity, money capital, a profitable marriage than love?” True Values human nature for city officials are replaced by ideas about rank. Khlopov, the superintendent of the schools, a modest titular adviser, frankly admits that if someone of a higher rank speaks to him, he “has no soul, and his tongue is stuck in the mud.” It is the reverent fear of the “significant person” that leads to the fact that officials, who perfectly understand all the emptiness and stupidity of Khlestakov, portray the utmost respect, and not only portray, but really experience it.
Describing his play The Inspector General as a public comedy, N.V. Gogol repeatedly emphasized the deep generalizing content of its images. The unpunished arbitrariness of the mayor, the dull diligence of Derzhimorda, the caustic innocence of the postmaster - all these are profound social generalizations. Each of the characters in the comedy symbolizes a certain range of human qualities, allowing the author to show how modern man, as far as ideas of heroism and nobility remained in him.
Huge creative luck the writer can also be considered the image of Khlestakov, whom the author did not accidentally consider the main character of the work. It was Khlestakov who most fully expressed the essence of the era in which there is no normal human logic, in which a person is judged not by his spiritual qualities, and according to it social standing. And in order to take a high position, just a case is enough that will take you “from rags to riches”, you do not need to make any efforts, take care of the public good.
Thus, it can be argued that, having brought out generalized types of people and relations between them in comedy, N.V. Gogol was able to reflect the life of contemporary Russia in his work with great power. Inspired by the ideas of the high vocation of man, the writer spoke out against everything low, vicious and unspiritual, against the fall of social norms and human morality. The enormous social significance of the play lies in the power of its impact on the audience, who must realize that everything they see on the stage takes place around them and in real life.

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The time when N.V. Gogol lived and worked was marked by major social and historical events. The childhood years of the writer coincided with the defeat of Napoleon in the Patriotic War of 1812, Russia's entry into the broad international arena. The youthful years of Nikolai Gogol belong to the period when the Decembrists made plans for the revolutionary reorganization of Russia, and then openly opposed autocracy and serfdom. In the literary field, N.V. Gogol entered the time of cruel political reaction. His creative activity develops in the 30-40s

years of the 19th century, when the ruling circles of Nicholas I sought to eradicate any free-thinking, social independence.
The appearance in 1836 of the comedy The Inspector General acquired social importance not only because the author criticized and ridiculed the vices and shortcomings of Tsarist Russia, but also because with his comedy the writer called on viewers and readers to look into their souls, to think about universal values. Gogol did not share the ideas of the revolutionary reorganization of society, but he firmly believed in the purifying power of laughter, believed in the triumph of justice, which would certainly win as soon as

people are aware of the fatality of evil. So, in his play, N.V. Gogol sets himself the goal of “laughing hard” at everything that is “worthy of the ridicule of the universal”.
In the comedy The Inspector General, the author chooses a small provincial town as the scene of action, from which “if you ride for three years, you won’t reach any state.” N.V. Gogol makes city officials and “a phantasmagoric face”, Khlestakov, the heroes of the play. The genius of the author allowed him, using the example of a small island of life, to reveal those features and conflicts that characterized the social development of an entire historical era. He managed to create artistic images of a huge social and moral range. The small town in the play captured all the characteristic features of social relations of that time.
The main conflict on which the comedy is built lies in the deep contradiction between what city officials are doing and ideas about the public good, the interests of city residents. Lawlessness, embezzlement, bribery - all this is depicted in The Inspector General not as individual vices of individual officials, but as generally recognized "norms of life", outside of which those in power cannot imagine their existence. Readers and viewers do not doubt for a minute that somewhere life goes according to other laws. All the norms of relations between people in the city of the “Inspector General” look like universal in the play. Where, for example, do officials have such confidence that an inspector who has come from St. Petersburg will agree to take part in a dinner at the mayor's, will not refuse to take obvious bribes? Yes, because they know this from the experience of their city, but is it really so different from the capital?
Gogol is occupied not only with the social vices of society, but also with its moral and spiritual state. In The Inspector General, the author painted a terrible picture of the internal disunity of people who are able to unite only for a while under the influence of a common feeling of fear for all. In life, people are led by arrogance, arrogance, servility, the desire to take a more advantageous place, to get better. People have lost the idea of the true meaning of life. One can sin, it is enough just, like a mayor, to regularly attend church every Sunday. To hide the true essence of their actions, officials are also helped by a fantastic lie, which is in many ways akin to Khlestakov's. Lyapkin-Tyapkin takes bribes with greyhound puppies and calls it "a completely different matter." In the city's hospitals, people are "recovering like flies." The postmaster opens other people's letters only because "death loves to know what's new in the world."
It is no coincidence that N.V. Gogol completely alters the traditional stage plot and plot development in his play, saying that “do they not now have more electricity, money capital, a profitable marriage than love?” The true values of human nature for city officials have been replaced by ideas of rank. Khlopov, the superintendent of the schools, a modest titular adviser, frankly admits that if someone of a higher rank speaks to him, he “has no soul, and his tongue is stuck in the mud.” It is the reverent fear of a “significant person” that leads to the fact that officials, who perfectly understand all the emptiness and stupidity of Khlestakov, portray the utmost respect, and not only portray, but really experience it.
Describing his play "The Inspector General" as a public comedy, N.V. Gogol repeatedly emphasized the deep generalizing content of its images. The unpunished arbitrariness of the mayor, the dull diligence of Derzhimorda, the caustic innocence of the postmaster - all these are deep social generalizations. Each of the characters in the comedy symbolizes a certain range of human qualities, allowing the author to show how small modern man is, how much ideas of heroism and nobility remain in him. Thus, the author prepares us to understand one of the main ideas of the poem "Dead Souls", in which he will show that there is nothing more terrible than ordinary, crushing evil.
The image of Khlestakov, whom the author did not accidentally consider the main character of the work, can also be considered a huge creative success of the writer. It was Khlestakov who most fully expressed the essence of the era in which there is no normal human logic, in which a person is judged not by his spiritual qualities, but by his social position. And in order to take a high position, just a case is enough that will take you “from rags to riches”, you do not need to make any efforts, take care of the public good.
Thus, it can be argued that, having brought out generalized types of people and relations between them in comedy, N.V. Gogol was able to reflect the life of contemporary Russia in his work with great power. Inspired by the ideas of the high vocation of man, the writer spoke out against everything low, vicious and unspiritual, against the fall of social norms and human morality. The enormous social significance of the play lies in the power of its impact on the audience, who must realize that everything they see on the stage takes place around them and in real life.

Works on Literature: The Public Significance of N. V. Gogol's Comedy The Inspector General"Inspector" belongs to those works that capture readers and viewers instantly and as if by surprise. It seemed that all reading Russia was thinking, talking and arguing about the play. The Inspector General immediately became a fact not only of literary, but also of social life. In the discordance of rumors and disputes about the play, there have been three dominant opinions. Some saw in the comedy a daring slander of the order that existed in Russia, undermining the authority of nobles and officials. Others saw the play as an amusing and unassuming farce. Finally, advanced Russian criticism saw in The Government Inspector, in the words of Herzen, "a terrible confession modern Russia", a protest against injustice and arbitrariness through suffering. The Inspector General broke the usual ideas about comedy and the comic. It seemed that there was some kind of secret in Gogol's play.

It was felt by both the audience and the readers of the comedy. Many of them were relentlessly pursued by the question: how to explain the strength of the "Inspector"? It was striking, for example, that Gogol did not have inveterate villains, who were usually brought out by the comedy of the XVIII- early XIX century. Each of the characters in The Inspector General, in Gogol's words, "is not a bad soul, but simply a rogue." Meanwhile, everything “together seems already something huge, exaggerated, caricatured”, so that, leaving the theater, many involuntarily asked: “Do such people really exist?” Or one more "contradiction" of the "Auditor". Gogol's comedy is hilariously funny: it really came out "funnier than the devil," as the playwright promised Pushkin (who, as you know, suggested to him the plot of the comedy). But, like an undercurrent, a sad, languorously dreary feeling arises in The Inspector General; it rises the higher, the more carefree and lighter the comedy's laughter seems. Finally, in the last, "silent scene" it breaks out, falling on actors, and on the audience with a powerful wave.

The famous "silent scene" is another mystery of The Inspector General. It fundamentally contradicted all the poetic norms that existed at that time. Could it be expected that the play, which began as a comedy - the mayor's story about two rats of "unnatural size", the fussy preparations of officials for the reception of the auditor, etc., etc., would end tragically - a terrible stupor of "the whole group"?

Of course, Gogol had a "special intention" - both in relation to the last scene, and to the whole comedy as a whole. But this "intention" cannot be revealed outside the play, having acquired the so-called key to it. You can see the "intention" of the playwright only in the comedy itself, in the development of its action in the features of its construction. Subsequently, revealing the history of its "authorship". Gogol wrote - "I decided to collect all the bad things that I knew, and at one time they would laugh at him - this is the origin of The Inspector General. It is worth paying attention to the breadth of the task set by the playwright: they will laugh at everything at once ... The artist always generalizes, he always attaches a broader meaning to the particular fact captured in the work.

But the generalization in The Examiner reaches a particularly high degree. Some of Gogol's contemporaries believed that the playwright, for censorship reasons, wrote an allegory that, under the guise of a county town, he depicted the capital of the Russian Empire, Petersburg. This is hardly true: Gogol according to the warehouse of his creative manner. allegory was alien.

The strength of the play is not in allegorical hints, but in the special principle of selecting life phenomena. The writer once called his county town “the prefabricated city of the entire Dark Side.” In particular, he paid attention to its structure. This city has everything like in a small state. represented by the trustee of charitable institutions) and, of course, the police.

Gogol largely departed from the real structure of the then county town: he transferred a number of similar functions to one person, introduced new "POSITIONS", which even gave reason to reproach the writer for anachronisms and "ignorance" of Russian life. But Gogol took advantage of this right of the artist for the sake of the breadth and universality of the task. Gogolevsky the city is consistently hierarchical and, so to speak, pyramidal: on top of it, a kik little king, sits - the mayor There is a beau monde in the city; And its ladies' society, in which again the family of the mayor excels; and its public opinion; and its news providers in the linden of foolish landowners Bobchinsky and Dobchinsky. And below, under the heel of officials And policemen, the life of ordinary people flows. We feel this life behind the scenes more than we see it. But in the fourth act, those whom the mayor somewhat generically calls "merchants and citizenship" break through on the stage Following the merchants who can still get off with bribes, defenseless before the authorities, a locksmith and a non-commissioned officer go, and there, as the remark says, “some figure in a frieze overcoat, with an unshaven beard, a swollen lip and a bandaged cheek, appears behind her several others are shown in perspective." If not for the resistance of Khlestakov, tired of the "reception", we would have seen many more of those. to whom the authorities fall "solono".

Gogol leaves an open "perspective" into the depths of urban life Until the last lines of the comedy. At least according to the mayor's remark: "What are you laughing at" "- You are laughing at yourself" "and up to the very "silent" scene in the play there is nothing that would indicate her symbolic meaning. Gogol is emphatically "local" everywhere, he seems to be completely captured only by the events taking place in the city. But the depth of the perspective of these events gradually leads to a generalization. There is an image more terrible than the broadest allegory. Thanks to its integrity and organicity, Gogol's city seemed to have healed independent life. It has become the minimum necessary "model", correlated with other, sometimes larger phenomena.

The years of the 19th century, when the ruling circles of Nicholas I sought to eradicate any free-thinking, social independence.
The appearance in 1836 of the comedy The Inspector General acquired social importance not only because the author criticized and ridiculed the vices and shortcomings of Tsarist Russia, but also because with his comedy the writer called on viewers and readers to look into their souls, to think about universal values. Gogol did not share the ideas of the revolutionary reorganization of society, but he firmly believed in the purifying power of laughter, believed in the triumph of justice, which will certainly win as soon as people realize the whole fatality of evil. So, in his play, N.V. Gogol sets himself the goal of “laughing hard” at everything that is “worthy of the ridicule of the universal”.
In the comedy The Inspector General, the author chooses a small provincial town as the scene of action, from which “if you ride for three years, you won’t reach any state.” N.V. Gogol makes city officials and “a phantasmagoric face”, Khlestakov, the heroes of the play. The genius of the author allowed him, using the example of a small island of life, to reveal those features and conflicts that characterized the social development of an entire historical era. He managed to create artistic images of a huge social and moral range. The small town in the play captured all the characteristic features of social relations of that time.
The main conflict on which the comedy is built lies in the deep contradiction between what city officials are doing and ideas about the public good, the interests of city residents. Lawlessness, embezzlement, bribery - all this is depicted in The Inspector General not as individual vices of individual officials, but as generally recognized "norms of life", outside of which those in power cannot imagine their existence. Readers and viewers do not doubt for a minute that somewhere life goes according to other laws. All the norms of relations between people in the city of the “Inspector General” look like universal in the play. Where, for example, do officials have such confidence that an inspector who has come from St. Petersburg will agree to take part in a dinner at the mayor's, will not refuse to take obvious bribes? Yes, because they know this from the experience of their city, but is it really so different from the capital?
Gogol is occupied not only with the social vices of society, but also with its moral and spiritual state. In The Inspector General, the author painted a terrible picture of the internal disunity of people who are able to unite only for a while under the influence of a common feeling of fear for all. In life, people are led by arrogance, arrogance, servility, the desire to take a more advantageous place, to get better. People have lost the idea of the true meaning of life. One can sin, it is enough just, like a mayor, to regularly attend church every Sunday. To hide the true essence of their actions, officials are also helped by a fantastic lie, which is in many ways akin to Khlestakov's. Lyapkin-Tyapkin takes bribes with greyhound puppies and calls it "a completely different matter." In the city's hospitals, people are "recovering like flies." The postmaster opens other people's letters only because "death loves to know what's new in the world."
It is no coincidence that N.V. Gogol completely alters the traditional stage plot and plot development in his play, saying that “do they not now have more electricity, money capital, a profitable marriage than love?” The true values of human nature for city officials have been replaced by ideas of rank. Khlopov, the superintendent of the schools, a modest titular adviser, frankly admits that if someone of a higher rank speaks to him, he “has no soul, and his tongue is stuck in the mud.” It is the reverent fear of a “significant person” that leads to the fact that officials, who perfectly understand all the emptiness and stupidity of Khlestakov, portray the utmost respect, and not only portray, but really experience it.
Describing his play "The Inspector General" as a public comedy, N.V. Gogol repeatedly emphasized the deep generalizing content of its images. The unpunished arbitrariness of the mayor, the dull diligence of Derzhimorda, the caustic innocence of the postmaster - all these are deep social generalizations. Each of the characters in the comedy symbolizes a certain range of human qualities, allowing the author to show how small modern man is, how much ideas of heroism and nobility remain in him. Thus, the author prepares us to understand one of the main ideas of the poem "Dead Souls", in which he will show that there is nothing more terrible than ordinary, crushing evil.
The image of Khlestakov, whom the author did not accidentally consider the main character of the work, can also be considered a huge creative success of the writer. It was Khlestakov who most fully expressed the essence of the era in which there is no normal human logic, in which a person is judged not by his spiritual qualities, but by his social position. And in order to take a high position, just a case is enough that will take you “from rags to riches”, you do not need to make any efforts, take care of the public good.
Thus, it can be argued that, having brought out generalized types of people and relations between them in comedy, N.V. Gogol was able to reflect the life of contemporary Russia in his work with great power. Inspired by the ideas of the high vocation of man, the writer spoke out against everything low, vicious and unspiritual, against the fall of social norms and human morality. The enormous social significance of the play lies in the power of its impact on the audience, who must realize that everything they see on the stage takes place around them and in real life.

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