Speech characteristics of Bobchinsky and Dobchinsky from the auditor. N. V. Gogol. Auditor. Have you noticed the difference between Dobchinsky and Bobchinsky? See what "Bobchinsky and Dobchinsky" is in other dictionaries

Bobchinsky and Dobchinsky, both short, short, very curious; extremely similar to each other: both with small bellies; both speak in a patter and help tremendously with gestures and hands. Dobchinsky is a little taller and more serious than Bobchinsky, but Bobchinsky is more cheeky and livelier than Dobchinsky.

- "Inspector", Characters and costumes. Notes for gentlemen actors.

In Gogol's interpretation, these images are absurd and helpless, they want to mean something in the public sense, but are doomed to get into trouble, they are funny and tragic - they are not included in the structure of the bureaucratic diocese, so they are trying to prove their participation in the life of the city; if they don’t appear on their own, no one will remember them, that’s why they fuss.

Bobchinsky and Dobchinsky were the first to link the incognito warning from Petersburg to the real Khlestakov:

... yes, on the road, Pyotr Ivanovich says to me: "Today, I know, they brought fresh salmon to the tavern, so let's go have a bite." We had just arrived at the hotel, when suddenly a young man...

- "Inspector", the first act.

There is a version that in Gogol's time these surnames were perceived as Polish and were pronounced with an emphasis on the second syllable: Bobchinsky and Dobchinsky. This is confirmed by the verses of P. A. Vyazemsky ("Khlestakov", 1866):

Dobchinsky publicity, he wants
To know that Dobchinsky is:
He is torn, rushing about, fussing,
To get into people and print.
…
All this is nonsense, but here is the grief:
Bobchinsky and Dobchinsky family,
With stupid faith in your eyes
They stand in front of him with their mouths open.

Character Analysis

Here is how Gogol himself spoke about Bobchinsky and Dobchinsky in his “Forewarning for those who would like to play The Government Inspector properly” (N.V. Gogol, 1842):

But two city talkers Bobchinsky and Dobchinsky especially demand that it be played well. The actor must define them very well for himself. These are people whose life consisted entirely of running around the city with a testimony of respect and exchanging news. All they had was a visit. The passion to tell swallowed up every other occupation. And this passion became their driving passion and aspiration of life. In a word, these are people thrown out by fate for other people's needs, and not for their own. You need to see that pleasure when, finally, he achieves that he will be allowed to talk about something. Curious - from the desire to have something to talk about. From this, Bobchinsky even stutters a little. They are both short, short, extremely similar to each other, both with small bellies. Both are round-faced, neatly dressed, with slicked back hair. Dobchinsky even has a small bald spot in the middle of his head; it is clear that he is not a single man, like Bobchinsky, but already married. But for all that, Bobchinsky gets the better of him because of his greater liveliness and even somewhat controls his mind. In a word, an actor needs to get sick with glanders of curiosity and an itch of the tongue if he wants to play this role well, and he must imagine that he himself has got the itch of the tongue. He must forget that he is a completely insignificant person, as it turns out, and throw aside all the small attributes, otherwise he will fall just into caricatures.

Role performers

On the poster of the first performance (staged on April 19, 1836, St. Petersburg), among other performers are: Pyotr Ivanovich Dobchinsky - Mr. Cromolei; Pyotr Ivanovich Bobchinsky - Mr. Petrov. It was not possible to establish anything about these actors - most likely, information about them has not been preserved. However, the Theatrical Encyclopedia names the performer of the role of Bobchinsky in 1836 (the year of the first performance of The Inspector General) Alexander Evstafievich Martynov. It is possible that Martynov, still a novice artist in 1836, just enlisted in the troupe in the same year, was in the second cast of the premiere performance. It is thoroughly known that Gogol did not fully accept this production, he was oppressed by the vaudeville decision of a serious play. The play of the performers Bobchinsky and Dobchinsky especially outraged Gogol: "... they turned out to be such an ugly person that it was simply unbearable ...".

• May 25, 1836, Maly Theater (first production in Moscow): Bobchinsky - N. M. Nikiforov, Dobchinsky - S. V. Shumsky.
• 1908, Alexandrinsky Theatre, St. Petersburg: Bobchinsky - A.P. Petrovsky, Dobchinsky - S.V. Bragin (see photo of performers (unavailable link)).
• December 18, 1908, Moscow Art Theater, Moscow: Bobchinsky - I. M. Moskvin, Dobchinsky - P. A. Pavlov (see photo from the performance).
• December 9, 1925 - State Theater named after Vs. Meyerhold - Meyerhold's production, Dobchinsky - N. K. Mologin, Bobchinsky - S. V. Kozikov.
• 1949, Maly Theatre: Bobchinsky - Nikolai Svetlovidov, Dobchinsky - Pavel Olenev.
• 1982,

Petr Ivanovich Bobchinsky and Dobchinsky act as city jesters who live on provincial gossip. People around them treat them with contempt or patronizing. They are tolerated like pets. The heroes subconsciously understand this and do their best to curry favor by telling the news and gossip that form the basis of the life of the county town. They are treated without any ceremony, and as soon as their company is bored, they are instantly disposed of. Having collected as much fresh gossip as possible, they begin to be proud of their own “achievement”. As a result, they grow up in their own eyes and go rather to visit acquaintances, who, as they are sure, will receive them with joy.

Telling this or that story, Bobchinsky and Dobchinsky constantly interrupt each other, trying to pull the blanket over themselves, enjoy their own importance, draw everyone's attention exclusively to themselves. The story from their mouths is sorted out in the most detailed way from the very beginning to the end. Self-affirming in this way, officials occupy themselves, fill their empty content with the same emptiness. In their story, they want to get to its “grand” finale as soon as possible, but at the same time, they are overcome by an indefatigable desire to continue the story indefinitely, thereby prolonging their triumph. Every time they want to retell the news from the very beginning and with even more details. To become the sole narrator, Bobchinsky points out Dobchinsky's diction problems. The latter can only actively gesticulate and throw short phrases in rare moments. These phrases are instantly intercepted by Bobchinsky and the story continues with even greater enthusiasm.

The story suddenly began talking about "a young man of not bad appearance, in a particular dress." On the mayor, tortured heavy expectation auditor, this remark made a terrifying impression. Further, after analyzing the behavior of the "official from St. Petersburg", Bobchinsky comes to the final and indisputable conclusion: "It is, indeed, none other than the same official." It is obvious that the mayor is extremely dumbfounded by all this. He cannot believe the truth of these words. This simply cannot be! You thought! This is a completely different person. Bobchinsky in response asks: how can it not be him? He does not give money, he does not go on the road. Why should he be here if his destination is the Saratov province.

The mayor is aware of the horror of the whole situation, but with empty questions he tries to alienate the terrible truth from himself. Bobchinsky, on the contrary, goes out of his way to prove the veracity of his words, which gave him confidence and such great importance.

The actions and words of these heroes are fully consistent with their essence. And none of them raises doubts or surprises. Everything in this comedy is natural. Bobchinsky, like his friend, with the same certainty and obviousness, asserts the immutability of the fact of the auditor's arrival, and that he is the same "young man from St. Petersburg."

And he is so observant, attentive, picky: he looked into every corner, looked at all the plates, asked what they were eating. And he is interested in everything and is so circumspect that it is terrible to imagine.

After such clarifications, there is simply no room for doubt. So observant that he examined all the plates! And if at that moment the mayor had been told about the prudence of his coachman, he would have counted him as an auditor. After all, observation, in his opinion, is the main distinctive feature supervisory officer...

Option 2

Gogol, creating such characters as Bobchinsky and Dobchinsky, showed all his subtle typological skill. Despite the fact that they always walk together, each is endowed with its own, different character. For example, Bobchinsky is more agile than Dobchinsky, while Dobchinsky has some solidity and seriousness - he can spread rumors with dignity, thinking that he is doing something important.

An important detail: Dobchinsky, as soon as he tells a rumor, will immediately run into the street to collect more rumors. Anna Andreevna each time sends him to the street so that he fulfills his destiny. That is why, despite the fact that one Bobchinsky told about the arrival of the auditor, the mayor of the city is taking not only Bobchinsky, but also Dobchinsky to him. Like, it will turn out more impressive and more serious. And let the first one stay in the role of a clown, as usual.

Bobchinsky and Dobchinsky are nobles who separated themselves from their lands. They lead a vile and petty-bourgeois existence and are therefore portrayed by the authors as empty shells. The bureaucratic society with its hobbies for gambling, licentiousness, depravity, alcoholism turned Dobchinsky and Bobchinsky into empty mannequins, which, like ghosts, whisper implausible and partly false rumors into the ears of the population.

Gogol showed this in some detail using the example of his meager speech. Bobchinsky's speech is structured as follows. He cannot divide all the information into main and secondary parts, and therefore, as soon as he opens his mouth, he tries to say instantly and about everything. And this, of course, leaves an imprint on his speech: it consists entirely of short, always unfinished phrases, only alliedly interconnected. We draw a logical conclusion that the spiritual degradation of the hero gives rise to the stinginess of the language.

Bobchinsky and Dobchinsky are a single structure. Together they observe, study, tell. But there are clearly differences in their character, as we found out above. This suggests that friends gradually turned into rivals, self-nominators, oppositionists in an indivisible, as it seemed earlier, organism. Suffice it to recall the situation that prevailed a few days before Khlestakov's arrival in the tavern. She was nervous, sick, feverish, competitive, since Dobchinsky and Bobchinsky at that moment could gnaw each other's throats, if only to inform the townspeople of an important message ahead of the opponent. Consequently, we begin to gradually understand that the peculiar competition of two former friends played an important, if not the main, role in the great deception.

Have you noticed the difference between Dobchinsky and Bobchinsky? Does the viewer need to see them? And if it is not necessary, then why are there these amusing twins in the play? What is their role?
In “Remarks for gentlemen actors”, Gogol notes the appearance, behavior, manner of speaking of Bobchinsky and Dobchinsky: “... both are short, short, very curious; extremely similar to each other; both with small bellies; both speak in a patter ... Dobchinsky is a little taller and more serious than Bobchinsky, but Bobchinsky is more cheeky and livelier than Dobchinsky. Already in "Remarks ..." the author of the comedy reveals their slight difference from each other. In the article “Forewarning for those who would like to play The Government Inspector properly”, Gogol specifically dwells on the characterization of these “two city talkers”, as he calls Bobchinsky and Dobchinsky, and says that they must be played especially well.

What does the author of the article note in them? These are people whose life consisted of running around the city and reporting the news they heard. “The passion to tell has swallowed up every other occupation, and this passion has become their driving passion and aspiration of life,” writes Gogol. “Hurry and fussiness they have is only from fear that someone would not interrupt and prevent him from telling.”

In senseless haste, vanity, idle curiosity - their whole life. Bobchinsky and Dobchinsky are extremely naive and narrow-minded in their general development, they are very similar to each other, even outwardly. They are inseparable and always appear together in comedy, and it is no coincidence that their surnames almost sound the same and their names and patronymics are the same, they are always in a hurry, “speak in a patter”, interrupting each other. Already at the first appearance in the comedy, Bobchinsky reports about his usual pastime: “ran in to Korobkin”, “turned around to Rastakovsky”, “went ... to Ivan Kuzmich”, “met with Pyotr Ivanovich”. Later, the mayor will say about Bobchinsky and Dobchinsky: “You just scour the city and confuse everyone ... Sow gossip ...”

The viewer and the reader notice that Bobchinsky, who, according to the author, is "cheerer and livelier" and even "somewhat controls the mind" of Dobchinsky, shows great initiative in the story of the young man who has arrived. It is he who defines the “signs” of a “noble person: not bad appearance, in a particular dress ... and in the face of such a reasoning ... physiognomy ... actions, and here (twirling his hand near his forehead) there is a lot, a lot of everything. Both Pyotr Ivanovichs strive to take the initiative in pronouncing the famous e, expressing their ingenuity that the young man in the particular dress is the visiting auditor.

Then hail will fall on them swear words officials in the fifth act, when they remember that it was the “city talkers” who brought the gossip about the visiting auditor: “damned liars”, “damned rattles”, “short-tailed magpies”, “damned muddlers”, “city gossips”, “short-bellied morels” . Bobchinsky and Dobchinsky are trying to absolve themselves of responsibility, to blame each other. "Honest to God, it's not me, it's Pyotr Ivanovich," Bobchinsky says in fright. “Oh, no, Pyotr Ivanovich, you are the first to…” Dobchinsky replies. Their bickering is interrupted by the appearance of a gendarme.

Answers (2)

“. The doors open with a noise, and Petr Ivanovich Bobchinsky and Dobchinsky run in. These are city jesters, county gossips; everyone knows them as fools and treats them either with an air of contempt or with an air of patronage. They unconsciously feel this and therefore, with all their urine, they subdue everyone and, so that only they are tolerated, like dogs or cats in a room, they serve everyone with news and gossip, components. life of county towns. In general, they are treated without rank, like dogs or cats: if they get bored, they kick them out. Their days are spent wandering and collecting news and gossip. Enriched by such a find, they suddenly grow up in the consciousness of their importance and already run to their acquaintances boldly, in the confidence of a good reception. "Emergency!" shouts Bobchinsky. "Unexpected news!" Dobchinsky exclaims, running into the mayor's room, where everyone is in the same mood, and especially the mayor himself. What's happened?" - “We are coming to the hotel,” exclaims Dobchinsky. "Let's go to the hotel." Bobchinsky interrupts him.

The story begins the most detailed, the most detailed, from beginning to end: why did they go to the hotel, where, how, when, under what circumstances. Finally got to young man good-looking in a particular dress. Imagine what an impression this “young man of not bad appearance in a particular dress” must have made on the imagination of the mayor, already tuned in with the expectation of the accursed “incognito”! And finally, Bobchinsky passes the report of the innkeeper Vlas. A witty insight from the insightful Bobchinsky follows: “Why should he sit here when the road to him lies God knows where - to the Saratov province? It is true none other than that same official.” Isn't the mayor's horror natural after this? Do you understand, even if it is possible, this marvelous logic, these reasons, these arguments? What laws of reason are they based on? The mayor already believes the terrible news. Bobchinsky. he tries with all his might to maintain in others and in himself confidence in the justice of the news, which suddenly gave him such importance. Yes, in this comedy there is not a single word, the strict and immutable necessity of which could not be proved from the very essence and reality of the characters.
You see, with what skill the poet was able to tie this dramatic intrigue in the soul of a person, with what obviousness he was able to present the necessity of the mayor's mistake.

Read carefully: Belinsky nowhere says about Bobchinsky and Dobchinsky: “I don’t like it,” “I condemn it.” To express his attitude, the critic uses direct assessments (city jesters, county gossips), uses verbs that accurately characterize the actions of the characters (begrudging, servile), gives satirical comparisons (with cats and dogs in the house). He also speaks about the attitude of those around them: "they treat them either with a look of contempt, or with a look of patronage." The technique of irony is also used (“a witty note by the insightful Bobchnsky”), rhetorical questions (“Is not the horror of the mayor natural after this?”).

The cited excerpt from Belinsky's article (abridged) is in many ways similar to a miniature essay: a small scene is analyzed; its content is not retold, but the rhythm, tempo, selection of verbs (shouts, exclaims, interrupts, intercepts, continues) well conveys the hurried, choking speech of an insignificant little man, who for a moment finds himself in the center of events. Belinsky also points out the place of the scene in the ideological content and plot of the whole comedy: the plot of intrigue, the origins of the mistake of the mayor and other actors.

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