Marriage Gogol Biography

To view this lecture, it is necessary to log in on the site to view this lecture, you must log in on the site 0 2 4. Gogol: Pure element of mockery Gogol's comedy GG. Indeed, the theme of this comedy is the most traditional topic for the comedic genre, namely what is called in the title, marriage. Marriage and matchmaking are a traditional theme of comedy. There is a goal, there is a desire for this goal of the characters, there are obstacles and energy to overcome these obstacles, worship, misunderstandings of all kinds of and prosperous denouement.

Spouses in the comedy must connect, loving must converge. How far from this scheme is the comedy of Gogol. In it, everything turns out to be inverted, the opposite is true. Who is in the place of the protagonist of this comedy? What does subclesin want? He wants to marry, all his thoughts about it. When he asks his servant Stepka about clothes, which is at the tailor, about shoes, he always turns into marriage even in a conversation.

He is waiting for the matchmaker Feklu and rejoices in her arrival. He cannot think about anything else. This is the main subject of his worries, marriage. But every time he gets to the case, to the act, to the movement to marry, he turns back, he runs away. We must pay a visit-not today, I must say some words-not now. By the will of his fate, a friend Kochkarev is taken for him, everything suits him, pushes him in the back and even makes an offer for him, and still the hero at the last moment, precisely at the moment when he fully appreciated the charms of marriage, when he most wants to marry, at the very climax of his understanding of the need to marry, then he runs out, jumping out the window, thereby crossing out all the feasts.

If he still went out the door, notes Fekla, the matchmaking could be saved, but no way out the window. That is, when the groom should strive for his goal, his desires, his intentions are inversely proportional to his actions. This is on the one hand. On the other hand, we have a traditional comedic character, a certain plow, an intermediary, such an analogue of Figaro, Skapen, a character who is designed to resolve everything, put in place, using different tricks, cunning, dexterity, which will make all the ends meet.

And it seems to be close to this by the nature of Kochkarev, but only one “but”: any hero of the European comedy, such a tricster, intermediary, rogue always knows why he is trying and where he is busy, he always has his own goal, his own interest. Kochkarev does not have this interest, he himself does not understand why he does all this, why he was busy for Podskolein.

This is absolutely irrational. The lack of interest, personal interest, is also inversely proportional to Kochkarev’s efforts: the less his personal interest, the more he tries. He even kneels in front of Podolesin, begs, persuades him to do something for marriage, but the more skill, dexterity, ingenuity he showed, the more deplorable the result. Nothing happens, the result of all the efforts of Kochkarev is a zilch.

The ending is absurd.

This is a complete failure of all aspirations, it is a zero result of all Kochkarev’s reaches. At the same time, if in our field of vision there are characters who have a clear goal, imagining marriage very definitely, characters who know well what they need, their efforts will end in failure, due to the most absurdity of the situation. The heroine, to whom everyone is getting married, Agafya Tikhonovna, apparently, is ready to go out for everyone who will show persistence.

She is unable to choose. Of the six grooms, she cannot choose the very one, except that the merchant Starikova immediately rejects, but if the nobleman, then everyone is good. And in the end, she remains with nothing, because Kochkarev boiled all the suitors. Again zero result. This marriage is reset. This is a marriage on the contrary. Here the result is a bagel, zero, this is an open window.

Khuls of the plot, what Yuri Mann calls the “mirage intrigue” - I would say, the mockery of Gogol over the genre of comedy itself. In “Marriage” there remains naked laughter, laughter without the result, laughter, which turns into an absurdity. Before us, perhaps, is one of the first or first play of the absurdity in world drama, a play without result, a play that ends with nothing, the finale of which is a continuous perplexity.

This is the first negative circumstance related to the role of marriage in the history of the European comedy. The second - the element of bullying prevails in this comedy. An example of this is at least an episode with one of the grooms, scrambled eggs. We remember how the name for Bashmachkin was chosen in the Gogol "overcoat" why he turned out to be Akakim Akakievich. So mother tried to avoid the name of the Akaki, but the saints came across even worse names, Varahasi, for example.

There was nothing to go anywhere, she is forced to call him Akakim Akakievich. In this game, the names read the author’s mockery of the character, his ridicule, malicious and unmotivated. This is what the reader Makar Devil from Roman F.Dostoevsky “Poor People”, who cannot forgive the author of such a mocking-inherent attitude towards the hero, and he is not able to understand the complex logic of this Gogol mockery, which is paradoxically to break through the Christian fraternity.

But in “Marriage” there is no Christian fraternity, but there is a pure element of mockery. The hero of the scrambled eggs seems to them, what they say to him that nothing, too, also ate already. And the fried egg explains that he tried to change his surname to Yaichnitsyn, but they did not accept this in the regiment, it is painfully similar to a “dog son”.

Wherever you go, an ambush everywhere. The scrambled eggs cannot even be called differently, or an egg, or a “dog son”. This game of names, one another is funnier, is an example of the elements of pure mockery of the characters. And, in fact, all grooms fall into this field of bullying, they find themselves in ridiculous, idiotic situations and the most ridiculous and idiotic way should be retreated.

And the pure element of bullying is not closed to any exalted message. The absurdity of the intrigue and zero result in “marriage” with an even more mysterious play than the “auditor”, and make us think that the direction, comedy vector of this play is even more negative than in the “Examiner”. So in the history of the Russian comedy "Marriage" is not an inflatable exception.

A cheerful, very funny comedy “Marriage”, in which there are no hidden tragic provisions, in which a continuous farce, a continuous game of absurdities, so “Marriage” causes deep bewilderment among the viewer, cheerful, but bewilderment. Obviously, one of the results of the Russian comedy can serve as this bewilderment - why? The answer will be, obviously, then that Russian life is absurd.

The absurdity of Russian life is the result of Gogol’s comedy “Marriage”. Absolutely incredible event. In 2 actions. From 13 Fig. Erast Garin in the role of subclesin. The film "Marriage". Presidential Library, St. Petersburg 3. Action II. The phenomenon of the XXI N. Phenomenon XIX N. Action I. Phenomenon XII N. Akaki Akakievich in the new overcoat. Illustration for N. Gogol’s novel “Overcoat”.

Russian Museum, St. Petersburg 7. Phenomenon IV N. Frame from the film "Marriage". The final scene.