The Inspector-General, by Nikolai Gogol

INTRODUCTION

The Inspector-General is a national institution. To place a purely literary valuation upon it and call it the greatest of Russian comedies would not convey the significance of its position either in Russian literature or in Russian life itself. There is no other single work in the modern literature of any language that carries with it the wealth of associations which the Inspector-General does to the educated Russian. The Germans have their Faust; but Faust is a tragedy with a cosmic philosophic theme. In England it takes nearly all that is implied in the comprehensive name of Shakespeare to give the same sense of bigness that a Russian gets from the mention of the Revizor.

That is not to say that the Russian is so defective in the critical faculty as to balance the combined creative output of the greatest English dramatist against Gogol’s one comedy, or even to attribute to it the literary value of any of Shakespeare’s better plays. What the Russian’s appreciation indicates is the pregnant role that literature plays in the life of intellectual Russia. Here literature is not a luxury, not a diversion. It is bone of the bone, flesh of the flesh, not only of the intelligentsia, but also of a growing number of the common people, intimately woven into their everyday existence, part and parcel of their thoughts, their aspirations, their social, political and economic life. It expresses their collective wrongs and sorrows, their collective hopes and strivings. Not only does it serve to lead the movements of the masses, but it is an integral component element of those movements. In a word, Russian literature is completely bound up with the life of Russian society, and its vitality is but the measure of the spiritual vitality of that society.

This unique character of Russian literature may be said to have had its beginning with the Inspector-General. Before Gogol most Russian writers, with few exceptions, were but weak imitators of foreign models. The drama fashioned itself chiefly upon French patterns. The Inspector-General and later Gogol’s novel, Dead Souls, established that tradition in Russian letters which was followed by all the great writers from Dostoyevsky down to Gorky.

As with one blow, Gogol shattered the notions of the theatre-going public of his day of what a comedy should be. The ordinary idea of a play at that time in Russia seems to have been a little like our own tired business man’s. And the shock the Revizor gave those early nineteenth-century Russian audiences is not unlike the shocks we ourselves get when once in a while a theatrical manager is courageous enough to produce a bold modern European play. Only the intensity of the shock was much greater. For Gogol dared not only bid defiance to the accepted method; he dared to introduce a subject-matter that under the guise of humor audaciously attacked the very foundation of the state, namely, the officialdom of the Russian bureaucracy. That is why the Revizor marks such a revolution in the world of Russian letters. In form it was realistic, in substance it was vital. It showed up the rottenness and corruption of the instruments through which the Russian government functioned. It held up to ridicule, directly, all the officials of a typical Russian municipality, and, indirectly, pointed to the same system of graft and corruption among the very highest servants of the crown.

What wonder that the Inspector-General became a sort of comedy-epic in the land of the Czars, the land where each petty town-governor is almost an absolute despot, regulating his persecutions and extortions according to the sage saying of the town-governor in the play, “That’s the way God made the world, and the Voltairean free-thinkers can talk against it all they like, it won’t do any good.” Every subordinate in the town administration, all the way down the line to the policemen, follow — not always so scrupulously — the law laid down by the same authority, “Graft no higher than your rank.” As in city and town, so in village and hamlet. It is the tragedy of Russian life, which has its roots in that more comprehensive tragedy, Russian despotism, the despotism that gives the sharp edge to official corruption. For there is no possible redress from it except in violent revolutions.

That is the prime reason why the Inspector-General, a mere comedy, has such a hold on the Russian people and occupies so important a place in Russian literature. And that is why a Russian critic says, “Russia possesses only one comedy, the Inspector-General.”

The second reason is the brilliancy and originality with which this national theme was executed. Gogol was above all else the artist. He was not a radical, nor even a liberal. He was strictly conservative. While hating the bureaucracy, yet he never found fault with the system itself or with the autocracy. Like most born artists, he was strongly individualistic in temperament, and his satire and ridicule were aimed not at causes, but at effects. Let but the individuals act morally, and the system, which Gogol never questioned, would work beautifully. This conception caused Gogol to concentrate his best efforts upon delineation of character. It was the characters that were to be revealed, their actions to be held up to scorn and ridicule, not the conditions which created the characters and made them act as they did. If any lesson at all was to be drawn from the play it was not a sociological lesson, but a moral one. The individual who sees himself mirrored in it may be moved to self-purgation; society has nothing to learn from it.

Yet the play lives because of the social message it carries. The creation proved greater than the creator. The author of the Revizor was a poor critic of his own work. The Russian people rejected his estimate and put their own upon it. They knew their officials and they entertained no illusions concerning their regeneration so long as the system that bred them continued to live. Nevertheless, as a keen satire and a striking exposition of the workings of the hated system itself, they hailed the Revizor with delight. And as such it has remained graven in Russia’s conscience to this day.

It must be said that “Gogol himself grew with the writing of the Revizor.” Always a careful craftsman, scarcely ever satisfied with the first version of a story or a play, continually changing and rewriting, he seems to have bestowed special attention on perfecting this comedy. The subject, like that of Dead Souls, was suggested to him by the poet Pushkin, and was based on a true incident. Pushkin at once recognized Gogol’s genius and looked upon the young author as the rising star of Russian literature. Their acquaintance soon ripened into intimate friendship, and Pushkin missed no opportunity to encourage and stimulate him in his writings and help him with all the power of his great influence. Gogol began to work on the play at the close of 1834, when he was twenty-five years old. It was first produced in St. Petersburg, in 1836. Despite the many elaborations it had undergone before Gogol permitted it to be put on the stage, he still did not feel satisfied, and he began to work on it again in 1838. It was not brought down to its present final form until 1842.

Thus the Revizor occupied the mind of the author over a period of eight years, and resulted in a product which from the point of view of characterization and dramatic technique is almost flawless. Yet far more important is the fact that the play marked an epoch in Gogol’s own literary development. When he began on it, his ambitions did not rise above making it a comedy of pure fun, but, gradually, in the course of his working on it, the possibilities of the subject unfolded themselves and influenced his entire subsequent career. His art broadened and deepened and grew more serious. If Pushkin’s remark, that “behind his laughter you feel the sad tears,” is true of some of Gogol’s former productions, it is still truer of the Revizor and his later works.

A new life had begun for him, he tells us himself, when he was no longer “moved by childish notions, but by lofty ideas full of truth.” “It was Pushkin,” he writes, “who made me look at the thing seriously. I saw that in my writings I laughed vainly, for nothing, myself not knowing why. If I was to laugh, then I had better laugh over things that are really to be laughed at. In the Inspector-General I resolved to gather together all the bad in Russia I then knew into one heap, all the injustice that was practised in those places and in those human relations in which more than in anything justice is demanded of men, and to have one big laugh over it all. But that, as is well known, produced an outburst of excitement. Through my laughter, which never before came to me with such force, the reader sensed profound sorrow. I myself felt that my laughter was no longer the same as it had been, that in my writings I could no longer be the same as in the past, and that the need to divert myself with innocent, careless scenes had ended along with my young years.”

With the strict censorship that existed in the reign of Czar Nicholas I, it required powerful influence to obtain permission for the production of the comedy. This Gogol received through the instrumentality of his friend, Zhukovsky, who succeeded in gaining the Czar’s personal intercession. Nicholas himself was present at the first production in April, 1836, and laughed and applauded, and is said to have remarked, “Everybody gets it, and I most of all.”

Naturally official Russia did not relish this innovation in dramatic art, and indignation ran high among them and their supporters. Bulgarin led the attack. Everything that is usually said against a new departure in literature or art was said against the Revizor. It was not original. It was improbable, impossible, coarse, vulgar; lacked plot. It turned on a stale anecdote that everybody knew. It was a rank farce. The characters were mere caricatures. “What sort of a town was it that did not hold a single honest soul?”

Gogol’s sensitive nature shrank before the tempest that burst upon him, and he fled from his enemies all the way out of Russia. “Do what you please about presenting the play in Moscow,” he writes to Shchepkin four days after its first production in St. Petersburg. “I am not going to bother about it. I am sick of the play and all the fussing over it. It produced a great noisy effect. All are against me . . . they abuse me and go to see it. No tickets can be obtained for the fourth performance.”

But the best literary talent of Russia, with Pushkin and Bielinsky, the greatest critic Russia has produced, at the head, ranged itself on his side.

Nicolay Vasilyevich Gogol was born in Sorochintzy, government of Poltava, in 1809. His father was a Little Russian, or Ukrainian, landowner, who exhibited considerable talent as a playwright and actor. Gogol was educated at home until the age of ten, then went to Niezhin, where he entered the gymnasium in 1821. Here he edited a students’ manuscript magazine called the Star, and later founded a students’ theatre, for which he was both manager and actor. It achieved such success that it was patronized by the general public.

In 1829 Gogol went to St. Petersburg, where he thought of becoming an actor, but he finally gave up the idea and took a position as a subordinate government clerk. His real literary career began in 1830 with the publication of a series of stories of Little Russian country life called Nights on a Farm near Dikanka. In 1831 he became acquainted with Pushkin and Zhukovsky, who introduced the “shy Khokhol” (nickname for “Little Russian”), as he was called, to the house of Madame O. A. Smirnov, the centre of “an intimate circle of literary men and the flower of intellectual society.” The same year he obtained a position as instructor of history at the Patriotic Institute, and in 1834 was made professor of history at the University of St. Petersburg. Though his lectures were marked by originality and vivid presentation, he seems on the whole not to have been successful as a professor, and he resigned in 1835.

During this period he kept up his literary activity uninterruptedly, and in 1835 published his collection of stories, Mirgorod, containing How Ivan Ivanovich Quarreled with Ivan Nikiforovich, Taras Bulba, and others. This collection firmly established his position as a leading author. At the same time he was at work on several plays. The Vladimir Cross, which was to deal with the higher St. Petersburg functionaries in the same way as the Revizor with the lesser town officials, was never concluded, as Gogol realized the impossibility of placing them on the Russian stage. A few strong scenes were published. The comedy Marriage, finished in 1835, still finds a place in the Russian theatrical repertoire. The Gamblers, his only other complete comedy, belongs to a later period.

After a stay abroad, chiefly in Italy, lasting with some interruptions for seven years (1836-1841), he returned to his native country, bringing with him the first part of his greatest work, Dead Souls. The novel, published the following year, produced a profound impression and made Gogol’s literary reputation supreme. Pushkin, who did not live to see its publication, on hearing the first chapters read, exclaimed, “God, how sad our Russia is!” And Alexander Hertzen characterized it as “a wonderful book, a bitter, but not hopeless rebuke of contemporary Russia.” Aksakov went so far as to call it the Russian national epic, and Gogol the Russian Homer.

Unfortunately the novel remained incomplete. Gogol began to suffer from a nervous illness which induced extreme hypochondria. He became excessively religious, fell under the influence of pietists and a fanatical priest, sank more and more into mysticism, and went on a pilgrimage to Jerusalem to worship at the Holy Sepulchre. In this state of mind he came to consider all literature, including his own, as pernicious and sinful.

After burning the manuscript of the second part of Dead Souls, he began to rewrite it, had it completed and ready for the press by 1851, but kept the copy and burned it again a few days before his death (1852), so that it is extant only in parts.

THOMAS SELTZER.

CHARACTERS OF THE PLAY

ANTON ANTONOVICH SKVOZNIK-DMUKHANOVSKY, the Governor.
ANNA ANDREYEVNA, his wife.
MARYA ANTONOVNA, his daughter.
LUKA LUKICH KHLOPOV, the Inspector of Schools.
His Wife.
AMMOS FIODOROVICH LIAPKIN-TIAPKIN, the Judge.
ARTEMY FILIPPOVICH ZEMLIANIKA, the Superintendent of Charities.
IVAN KUZMICH SHPEKIN, the Postmaster.
PIOTR IVANOVICH DOBCHINSKY and PIOTR IVANOVICH BOBCHINSKY, Country Squires.
IVAN ALEKSANDROVICH KHLESTAKOV, an official from St. Petersburg.
OSIP, his servant.
CHRISTIAN IVANOVICH HÜBNER, the district Doctor.

FIODR ANDREYEVICH LlULIUKOV, IVAN LAZAREVICH RASTAKOVSKY, STEPAN IVANOVICH KOROBKIN: ex-officials, esteemed personages of the town.
STEPAN ILYICH UKHOVERTOV, the Police Captain.
SVISTUNOV, PUGOVITZYN, DERZHIMORDA: Police Sergeants.
ABDULIN, a Merchant.
FEVRONYA PETROVA POSHLIOPKINA, the Locksmith’s wife.
The Widow of a non-commissioned Officer.
MISHKA, the Governor’s Servant.
Servant at the Inn.
Guests, Merchants, Citizens, and Petitioners.

CHARACTERS AND COSTUMES

DIRECTIONS FOR ACTORS

THE GOVERNOR. — A man grown old in the service, by no means a fool in his own way. Though he takes bribes, he carries himself with dignity. He is of a rather serious turn and even given somewhat to ratiocination. He speaks in a voice neither too loud nor too low and says neither too much nor too little. Every word of his counts. He has the typical hard stern features of the official who has worked his way up from the lowest rank in the arduous government service. Coarse in his inclinations, he passes rapidly from fear to joy, from servility to arrogance. He is dressed in uniform with frogs and wears Hessian boots with spurs. His hair with a sprinkling of gray is close-cropped.

ANNA ANDREYEVNA. — A provincial coquette, still this side of middle age, educated on novels and albums and on fussing with household affairs and servants. She is highly inquisitive and has streaks of vanity. Sometimes she gets the upper hand over her husband, and he gives in simply because at the moment he cannot find the right thing to say. Her ascendency, however, is confined to mere trifles and takes the form of lecturing and twitting. She changes her dress four times in the course of the play.

KHLESTAKOV. — A skinny young man of about twenty-three, rather stupid, being, as they say, “without a czar in his head,” one of those persons called an “empty vessel” in the government offices. He speaks and acts without stopping to think and utterly lacks the power of concentration. The words burst from his mouth unexpectedly. The more naiveté and ingenousness the actor puts into the character the better will he sustain the role. Khlestakov is dressed in the latest fashion.

OSIP. — A typical middle-aged servant, grave in his address, with eyes always a bit lowered. He is argumentative and loves to read sermons directed at his master. His voice is usually monotonous. To his master his tone is blunt and sharp, with even a touch of rudeness. He is the cleverer of the two and grasps a situation more quickly. But he does not like to talk. He is a silent, uncommunicative rascal. He wears a shabby gray or blue coat.

BOBCHINSKY AND DOBCHINSKY. — Short little fellows, strikingly like each other. Both have small paunches, and talk rapidly, with emphatic gestures of their hands, features and bodies. Dobchinsky is slightly the taller and more subdued in manner. Bobchinsky is freer, easier and livelier. They are both exceedingly inquisitive.

LIAPKIN-TIAPKIN. — He has read four or five books and so is a bit of a freethinker. He is always seeing a hidden meaning in things and therefore puts weight into every word he utters. The actor should preserve an expression of importance throughout. He speaks in a bass voice, with a prolonged rattle and wheeze in his throat, like an old-fashioned clock, which buzzes before it strikes.

ZEMLIANIKA. — Very fat, slow and awkward; but for all that a sly, cunning scoundrel. He is very obliging and officious.

SHPEKIN. — Guileless to the point of simplemindedness. The other characters require no special explanation, as their originals can be met almost anywhere.

The actors should pay especial attention to the last scene. The last word uttered must strike all at once, suddenly, like an electric shock. The whole group should change its position at the same instant. The ladies must all burst into a simultaneous cry of astonishment, as if with one throat. The neglect of these directions may ruin the whole effect.

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