Pyotr Ivanovich Bobchinsky Pyotr Ivanovich Dobchinsky city landowners. Characteristics of Bobchinsky and Dobchinsky; comparative characteristics of images. Bobchinsky and Dobchinsky are similar to each other.
Dobchinsky
Pyotr Ivanovich Dobchinsky is one of the characters in N.V. Gogol’s comedy “The Inspector General,” a city landowner. Along with Pyotr Ivanovich Bobchinsky, he is not an official and does not depend in any way on the mayor of the city. However, for some unknown reason, he also decides to pay a bribe to the auditor who came to the city. Dobchinsky and Bobchinsky are wealthy landowners, they have something to live on and they do not serve for a salary. They are both short, very curious and extremely similar to each other. They even have the same name.
Most
The character of these heroes is clearly manifested in the scene when, interrupting each other, they try to convey to the officials the news they heard about the arrival of the auditor. Despite their outward similarity, they often argue over trifles and bicker. By giving a bribe to a false auditor, they want to seem like necessary and important representatives of the city. In fact, they have no need to pay a bribe and nothing for it. They themselves don’t know why they do it. Perhaps just to keep up with others. The author shows these heroes as ridiculous and helpless. They always try to seem socially significant, but they get into trouble. They are funny and tragic at the same time.
Unlike Bobchinsky, Dobchinsky is less cheeky and lively. And also Dobchinsky is a little taller and more serious. Their stories with a huge amount of unnecessary information only indicate that they are ordinary gossips. Anna Andreevna says about Dobchinsky: “until he enters the room, he will not tell anything.” This phrase once again emphasizes the hero’s solidity and greater seriousness in comparison with Bobchinsky.
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(, 1866):
Dobchinsky glasnost, he wants
So that they know that Dobchinsky exists:
He is torn, rushing about, fussing,
To get in with people and the press.
…
All this is nonsense, but here's the thing:
Bobchinsky and Dobchinsky family,
With dull faith in his eyes
They stand in front of him with their mouths open.
Bobchinsky and Dobchinsky, both short, short, very curious; extremely similar to each other: both with small bellies; Both speak quickly and are extremely helpful with gestures and hands. Dobchinsky is a little taller and more serious than Bobchinsky, but Bobchinsky is more cheeky and lively than Dobchinsky.
- “The Inspector General”, Characters and Costumes. Notes for gentlemen actors.
Both Pyotr Ivanovich Bobchinsky and Dobchinsky are not officials, they are landowners, they have something to live on, they do not serve for a salary and, because of this, it would seem that they do not depend on the mayor, he is not their decree. In fact, they are inextricably linked with everything that happens in their provincial county town. And adjusting to the general unity with the town officials - they say, they are not the last people here, they also pay bribes to Khlestakov. What are they responsible for, why should they bribe the auditor? It is possible that they themselves will not answer: just so that they can be with everyone, not fall behind others, and not find themselves out of work. In Gogol’s interpretation, these images are absurd and helpless, they want to mean something in a social 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 didn’t appear themselves, no one would remember about them, that’s why they fuss.
Bobchinsky and Dobchinsky were the first to connect the incognito warning from St. Petersburg with the real Khlestakov:
... and 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...
- “The Inspector General”, act one.
Character Analysis
This is how Gogol himself spoke about Bobchinsky in his “Warning for those who would like to play “The Inspector General” properly” (N.V. Gogol, 1842):
But the 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 entire life consisted of running around the city paying respects and exchanging news. Everything they had became a visit. The passion to tell swallowed up every other activity. And this passion became their driving passion and aspiration in life. In a word, these are people thrown out by fate for the needs of others, and not for their own. It is necessary that one can see the pleasure when he finally achieves that he is allowed to talk about something. Curious - from the desire to have something to talk about. This even makes Bobchinsky stutter a little. They are both short, short, extremely similar to each other, both with small bellies. Both are round-faced, cleanly dressed, with smoothed hair. Dobchinsky is even equipped with 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 despite all this, Bobchinsky gains the upper hand over him due to his greater liveliness and even somewhat controls his mind. In a word, an actor needs to get sick with the glanders of curiosity and itchy tongue if he wants to play this role well, and he must imagine that he himself is sick with itchy 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 end up just like caricatures.
Performers
On the poster for the first performance (staged on April 19, 1836, St. Petersburg), among others, the performers include: Pyotr Ivanovich Dobchinsky - Mr. Cromoley; Pyotr Ivanovich Bobchinsky - Mr. Petrov. It was not possible to establish anything about these actors - most likely, information about them was not preserved. However, the Theater Encyclopedia names the performer of the role of Obninsky in 1836 (the year of the first performance of “The Inspector General”!) Alexander Evstafievich Martynov. It is possible that Martynov, who was still a beginning artist in 1836 and had just joined the troupe in the same 1836, was in the second cast of the premiere performance. It is well known that Gogol did not fully accept this production; he was depressed by the vaudeville approach to a serious play. The performance of the performers Bobchinsky and Dobchinsky especially outraged Gogol: “...they turned out to be such antics that it was simply unbearable...”.
- May 25, 1836, Maly Theater (first production in Moscow): Bobchinsky - N. Nikiforov, Dobchinsky - S.V. Shumsky.
- 1908, Alexandrinsky Theater, St. Petersburg: Bobchinsky - A.P. Petrovsky, Dobchinsky - S.V. Bragin (see).
- December 18, 1908, Moscow Art Theater, Moscow: Bobchinsky - I.M. Moskvin, Dobchinsky - P.A. Pavlov (see).
- December 9, 1925 - GosTIM (State Theater named after Meyerhold) - production by Meyerhold, Dobchinsky - N.K. Mologin, Bobchinsky - S.V. Kozikov.
- 1949, Maly Theater: Bobchinsky - Nikolai Svetlovidov, Dobchinsky - Pavel Olenev.
- 1982, Moscow Academic Theater of Satire: Bobchinsky - Mikhail Derzhavin, Dobchinsky - Alexander Shirvindt.
- 1990, Studio Theater directed by O. Tabakov, dir. S. Gazarov; Bobchinsky-Dobchinsky - Avangard Leontiev.
Filmography
- The Inspector General (film, 1952): Alexander Polinsky - Pyotr Ivanovich Dobchinsky, V. Kornukov - Pyotr Ivanovich Bobchinsky.
- Incognito from St. Petersburg: Leonid Kharitonov - Pyotr Ivanovich Dobchinsky; Oleg Anofriev - Pyotr Ivanovich Bobchinsky.
- The Inspector General (film, 1996): Dobchinsky and Bobchinsky - Avangard Leontiev.
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Notes
An excerpt characterizing Bobchinsky and Dobchinsky
The Emperor also said something that Rostov did not hear, and the soldiers, pushing their breasts, shouted: Hurra! Rostov also screamed, bending down to the saddle as much as he could, wanting to hurt himself with this cry, only to fully express his admiration for the sovereign.The Emperor stood for several seconds against the hussars, as if he was undecided.
“How could the sovereign be indecisive?” thought Rostov, and then even this indecision seemed to Rostov majestic and charming, like everything that the sovereign did.
The sovereign's indecisiveness lasted for an instant. The sovereign's foot, with a narrow, sharp toe of a boot, as was worn at that time, touched the groin of the anglicized bay mare on which he was riding; the sovereign's hand in a white glove picked up the reins, he set off, accompanied by a randomly swaying sea of adjutants. He rode further and further, stopping at other regiments, and, finally, only his white plume was visible to Rostov from behind the retinue surrounding the emperors.
Among the gentlemen of the retinue, Rostov noticed Bolkonsky, sitting lazily and dissolutely on a horse. Rostov remembered his yesterday's quarrel with him and the question presented itself whether he should or should not be summoned. “Of course, it shouldn’t,” Rostov now thought... “And is it worth thinking and talking about this at a moment like now? In a moment of such a feeling of love, delight and selflessness, what do all our quarrels and insults mean!? I love everyone, I forgive everyone now,” thought Rostov.
When the sovereign had visited almost all the regiments, the troops began to pass by him in a ceremonial march, and Rostov rode in the Bedouin newly purchased from Denisov in the castle of his squadron, that is, alone and completely in sight of the sovereign.
Before reaching the sovereign, Rostov, an excellent rider, spurred his Bedouin twice and brought him happily to that frantic trot gait with which the heated Bedouin walked. Bending his foaming muzzle to his chest, separating his tail and as if flying in the air and not touching the ground, gracefully and high throwing up and changing his legs, the Bedouin, who also felt the sovereign’s gaze on him, walked excellently.
Rostov himself, with his legs thrown back and his stomach tucked up and feeling like one piece with the horse, with a frowning but blissful face, the devil, as Denisov said, rode past the sovereign.
- Well done Pavlograd residents! - said the sovereign.
"My God! How happy I would be if he told me to throw myself into the fire now,” thought Rostov.
When the review was over, the officers, the newly arrived ones and the Kutuzovskys, began to gather in groups and began talking about awards, about the Austrians and their uniforms, about their front, about Bonaparte and how bad it would be for him now, especially when the Essen corps would approach, and Prussia will take our side.
But most of all, in all circles they talked about Emperor Alexander, conveyed his every word, movement and admired him.
Everyone wanted only one thing: under the leadership of the sovereign, to quickly march against the enemy. Under the command of the sovereign himself, it was impossible not to defeat anyone, Rostov and most of the officers thought so after the review.
After the review, everyone was more confident of victory than they could have been after two won battles.
The next day after the review, Boris, dressed in his best uniform and encouraged by wishes of success from his comrade Berg, went to Olmutz to see Bolkonsky, wanting to take advantage of his kindness and arrange for himself the best position, especially the position of adjutant to an important person, which seemed especially tempting to him in the army . “It’s good for Rostov, to whom his father sends 10 thousand, to talk about how he doesn’t want to bow to anyone and won’t become a lackey to anyone; but I, who have nothing but my head, need to make my career and not miss opportunities, but take advantage of them.”
He did not find Prince Andrei in Olmutz that day. But the sight of Olmütz, where the main apartment stood, the diplomatic corps and both emperors lived with their retinues - courtiers, entourage, only further strengthened his desire to belong to this supreme world.
He knew no one, and, despite his smart guards uniform, all these high-ranking people, scurrying through the streets, in smart carriages, plumes, ribbons and orders, courtiers and military men, seemed to stand so immeasurably above him, a guards officer, that he did not They just didn’t want to, but also couldn’t acknowledge its existence. In the premises of Commander-in-Chief Kutuzov, where he asked Bolkonsky, all these adjutants and even orderlies looked at him as if they wanted to convince him that there were a lot of officers like him hanging around here and that they were all very tired of them. Despite this, or rather as a result of this, the next day, the 15th, after lunch he again went to Olmutz and, entering the house occupied by Kutuzov, asked Bolkonsky. Prince Andrei was at home, and Boris was led into a large hall, in which, probably, they had danced before, but now there were five beds, assorted furniture: a table, chairs and a clavichord. One adjutant, closer to the door, in a Persian robe, sat at the table and wrote. The other, red, fat Nesvitsky, lay on the bed, with his hands under his head, laughing with the officer who sat down next to him. The third played the Viennese waltz on the clavichord, the fourth lay on the clavichord and sang along with him. Bolkonsky was not there. None of these gentlemen, having noticed Boris, changed their position. The one who wrote, and to whom Boris addressed, turned around in annoyance and told him that Bolkonsky was on duty, and that he should go left through the door, into the reception room, if he needed to see him. Boris thanked him and went to the reception area. There were about ten officers and generals in the reception room.
While Boris came up, Prince Andrei, narrowing his eyes contemptuously (with that special look of polite weariness that clearly says that if it were not for my duty, I would not talk to you for a minute), listened to the old Russian general in orders, who, almost on tiptoe, at attention, with a soldier's obsequious expression on his purple face, reported something to Prince Andrei.
“Very good, if you please wait,” he said to the general in that French accent in Russian, which he used when he wanted to speak contemptuously, and, noticing Boris, no longer addressing the general (who ran after him pleadingly, asking him to listen to something else) , Prince Andrey with a cheerful smile, nodding to him, turned to Boris.
Boris at that moment already clearly understood what he had foreseen before, namely, that in the army, in addition to the subordination and discipline that was written in the regulations, and which was known in the regiment, and he knew, there was another, more significant subordination, the one that forced this drawn-out, purple-faced general to wait respectfully, while the captain, Prince Andrei, for his own pleasure, found it more convenient to talk with ensign Drubetsky. More than ever, Boris decided to serve henceforth not according to what is written in the regulations, but according to this unwritten subordination. He now felt that only due to the fact that he had been recommended to Prince Andrei, he had already become immediately superior to the general, who in other cases, at the front, could destroy him, the guards ensign. Prince Andrei came up to him and took his hand.
Bobchinsky and Dobchinsky, both short, short, very curious; extremely similar to each other: both with small bellies; Both speak quickly and are extremely helpful with gestures and hands. Dobchinsky is a little taller and more serious than Bobchinsky, but Bobchinsky is more cheeky and lively than Dobchinsky.
- “The Inspector General”, Characters and Costumes. Notes for gentlemen actors.
In Gogol’s interpretation, these images are absurd and helpless, they want to mean something in a social 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 didn’t appear themselves, no one would remember about them, that’s why they fuss.
Bobchinsky and Dobchinsky were the first to connect the incognito warning from St. Petersburg with the real Khlestakov:
... and 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...
- “The Inspector General”, act one.
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 poems of P. A. Vyazemsky (“Khlestakov”, 1866):
Dobchinsky glasnost, he wants
So that they know that Dobchinsky exists:
He is torn, rushing about, fussing,
To get in with people and the press.
…
All this is nonsense, but here's the thing:
Bobchinsky and Dobchinsky family,
With dull faith in his eyes
They stand in front of him with their mouths open.
Character Analysis
This is how Gogol himself spoke about Bobchinsky and Dobchinsky in his “Warning for those who would like to play The Inspector General properly” (N.V. Gogol, 1842):
But the 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 entire life consisted of running around the city paying respects and exchanging news. Everything they had became a visit. The passion to tell swallowed up every other activity. And this passion became their driving passion and aspiration in life. In a word, these are people thrown out by fate for the needs of others, and not for their own. It is necessary that one can see the pleasure when he finally achieves that he is allowed to talk about something. Curious - from the desire to have something to talk about. This even makes Bobchinsky stutter a little. They are both short, short, extremely similar to each other, both with small bellies. Both are round-faced, cleanly dressed, with smoothed hair. Dobchinsky is even equipped with 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 despite all this, Bobchinsky gains the upper hand over him due to his greater liveliness and even somewhat controls his mind. In a word, an actor needs to get sick with the glanders of curiosity and itchy tongue if he wants to play this role well, and he must imagine that he himself is sick with itchy 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 end up just like caricatures.
Performers
On the poster for the first performance (staged on April 19, 1836, St. Petersburg), among other performers, there are: Pyotr Ivanovich Dobchinsky - Mr. Cromoley; Pyotr Ivanovich Bobchinsky - Mr. Petrov. It was not possible to establish anything about these actors - most likely, information about them was not preserved. However, the Theater Encyclopedia names Alexander Evstafievich Martynov as the performer of the role of Bobchinsky in 1836 (the year of the first performance of The Inspector General). It is possible that Martynov, still a novice artist in 1836, who had just joined the troupe that 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 solution of a serious play. The performance of the performers Bobchinsky and Dobchinsky especially outraged Gogol: “...they turned out to be such antics that it was simply unbearable...”.
- May 25, 1836, Maly Theater (first production in Moscow): Bobchinsky - N. M. Nikiforov, Dobchinsky - S. V. Shumsky.
- 1908, Alexandrinsky Theater, St. Petersburg: Bobchinsky - A.P. Petrovsky, Dobchinsky - S.V. Bragin (see photo of the performers (unavailable link)).
- December 18, 1908, Moscow Art Theater, Moscow: Bobchinsky - I.M. Moskvin, Dobchinsky - P.A. Pavlov (see photograph from the performance).
- December 9, 1925 - State Theater named after Vs. Meyerhold - production by Meyerhold, Dobchinsky - N.K. Mologin, Bobchinsky - S.V. Kozikov.
- 1949, Maly Theater: Bobchinsky - Nikolai Svetlovidov, Dobchinsky - Pavel Olenev.
- 1982,
“.The doors open with a noise, and Peter 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 might, they behave in front of everyone and, in order to only be tolerated, like dogs or cats in a room, they serve everyone with news and gossip that make up. life of county towns. In general, they are treated without rank, like dogs or cats: if they get bored, they are kicked out. Their days are spent wandering around and collecting news and gossip. Having been enriched by such a find, they suddenly grow in consciousness of their importance and already run to their friends boldly, in the confidence of a good reception. "Emergency!" - Bobchinsky shouts. "Unexpected news!" - Dobchinsky exclaims, running into the mayor’s room, where everyone is in the same mood, especially the mayor himself. What's happened?" - “We’re coming to the hotel,” Dobchinsky exclaims. “We’re coming to the hotel.” - Bobchinsky interrupts him.
The most thorough, most detailed story begins, from beginning to end: why did they go to the hotel, where, how, when, under what circumstances. Finally they came to “a young man of good appearance in a private dress.” Imagine what an impression this “young man of good appearance in a private dress” must have made on the mayor’s imagination, already tuned by the expectation of the damned “incognito”! And finally, Bobchinsky conveys the report of the innkeeper Vlas. What follows is the witty remark of the insightful Bobchinsky: “Why should he sit here when his road lies God knows where - to the Saratov province? This is true no other than that very official.” Isn’t the mayor’s horror natural after this? Do you even understand the possibility of this wonderful 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 both in others and in himself confidence in the justice of the news that suddenly gave him such importance. Yes, in this comedy there is not a single word whose strict and immutable necessity could not be proven 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 (being mean, fawning), and makes satirical comparisons (with cats and dogs in the house). He also speaks about the attitude of those around them: “they treat them either with an air of contempt or with an air of patronage.” The technique of irony (“a witty note from the insightful Bobchensky”) and rhetorical questions (“Isn’t the mayor’s horror natural after this?”) are also used.
The above excerpt from Belinsky’s article (abbreviated) is in many ways similar to a miniature essay: a small scene is analyzed; its content is not retold, but the rhythm, pace, selection of verbs (screams, exclaims, interrupts, intercepts, continues) well conveys the hasty, choking speech of an insignificant little man who for a minute finds himself in the center of events. Belinsky also indicates the place of the scene in the ideological content and plot of the entire comedy: the beginning of the intrigue, the origins of the mistake of the mayor and other characters.
The most striking image of comedy is Khlestakov, the one who was the culprit of extraordinary events. Gogol immediately makes it clear to the viewer that Khlestakov is not an auditor (preceding Khlestakov’s appearance with Osip’s story about him). However, the whole point of this character and his attitude...
1. General features of the heroes. 2. Differences in the character of Nozdryov and Khlestakov. 3. Characteristics of the characters from the author’s point of view. 4. The timelessness of their existence. This catchphrase, put by N.V. Gogol into the mouth of Khlestakov from The Inspector General, with full...
The theme of the city is one of the main themes in Gogol's work. In his works we meet different types of cities: the capital - St. Petersburg - in “The Overcoat”, “Dead Souls”, “Evenings on a Farm near Dikanka”; district in “The Inspector General”, provincial in “The Dead...
“In some town...,” Bulgarin outlines the content of the comedy, “the mayor, the zemstvo judge, the postmaster, the superintendent of schools, the trustee of charitable institutions are represented by the greatest rogues and fools. Landowners and retired officials are below human...
The superintendent of schools, Luka Lukich Khlopov, is the most sinless and at the same time the most intimidated official in the city. He would be glad, but he cannot influence either the teacher who makes a grimace when he ascends the pulpit, or the one who explains passionately, without remembering himself. Meanwhile, Khlopov’s fear of his superiors reaches its extreme limits. “If someone of a higher rank spoke to me, I simply don’t have a soul, and my tongue is stuck in the mud,” he admits.
Postmaster Ivan Kuzmich Shpekin is a surprisingly simple-minded person.
All his sins lie in the fact that he reads other people's letters out of curiosity. The postmaster naively perceives what he reads, equating some of it to works of art. Shpekin's attitude towards people of higher rank differs from the blind worship of other officials. In a conversation with Khlestakov, only he controls himself and even studies his interlocutor: “However, he is not at all proud - he asks about everything.”
Pyotr Ivanovich Bobchinsky and Pyotr Ivanovich Dobchinsky are fussy, ridiculously similar city gossips. The only difference between them is that Dobchinsky has “a tooth in his mouth whistling.” This, however, does not prevent Pyotr Ivanovich from sometimes being the first to convey important news. Landowners are curious, but this curiosity is not due to the desire to know, but to the desire to be interesting to others for at least an hour. It is no coincidence that Bobchinsky asks Khlestakov: “When you go to St. Petersburg, tell everyone there that Peter Ivanovich Bobchinsky lives in such and such a city.”
However, because of their stupidity, awkwardness and emptiness, no one takes them into account. And Peter Ivanovich blends in so well with his surroundings that even, like everyone else, they are afraid of the auditor. Meanwhile, they have nothing to fear. Bobchinsky and Dobchinsky do not serve. Simply, as one of the landowners admits: “When a nobleman speaks, you feel fear.”
Updated: 2018-11-01
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