complete guide to the government inspector

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The Government Inspector

By Nikolai Gogol


Background to the Author

Nikolai Gogol was born in 1809 in the Ukraine and died in 1852. After finishing high school,

he tried to work as a government official in St Petersburg, but could not find work. He tried

his hand at writing, but was initially unsuccessful. However, after taking time off, he began

writing again and was met with great success.

When The Government Inspector was written, Tsar Nicholas I was in

power, an autocratic leader. He censored literature, ensuring that no

socialist or liberal ideas could be spread. He employed secret police to

monitor the people and maintain his authority. The large size of Russia,

and the absence of railways, travel throughout the country was slow,

causing small towns like the one in the play to be very isolated.

The inspiration for the play came from the writer Pushkin, who had a similar experience of

mistaken identity. It reached the stage very quickly by chance. At that time, the Tsarist

regime in Russia meant very strict censorship of theatre. At first, the play was rejected.

However, Gogol showed the play to one of the Tsar’s higher employees, which meant that it

got through faster. The Government Inspector was first performed in 1836, and was

immediately successful. The Tsar himself was in the audience, and later commented

“Everyone has received his due, myself most of all.”

Gogol said of the play:

“In The Government Inspector I resolved to gather together into one heap everything that

was bad in Russia, which I was aware of at that time, all the injustices being perpetrated in

those places and circumstances that especially cried out for justice, and tried to hold them

all up to ridicule, at one fell swoop. However, as is well known, that produced a tremendous

effect. Through the laughter, which I had never before vented with such force, the reader

could feel my deep sorrow...”

During that time period in Russia, civil servants were divided into fourteen ranks. Khlestakov

was of the lowest, fourteenth rank. On the other hand, all the other people in the town are

of higher ranks, such as 6th for the Mayor and 8th for the Judge. The social ranks were


identified based on dress, and many of the higher-ranking people spoke French. Hence,

Khlestakov’s use of French at certain points in the play contributes to his deception.

His life did not end pleasantly: he burnt the manuscripts of many of his works. Towards the

end, he would starve himself as part of ascetic practices, eventually leading to death from

malnutrition and exhaustion.

Characters

Mayor (Skvoznik-Dmukhanovsky)

Gogol wrote of the Mayor: A man grown old in the service, and in his own way extremely shrewd.

Despite bribe-taking, he conducts himself with dignity; grave in demeanour, even rather

sententious; speaks neither loudly nor softly, neither too much nor too little. His every word is

significant. His features are coarse and hard, someone who has worked his way up from the ranks.

Rapid transitions from fear to joy, from servility to arrogance, reveal a man of crudely developed

instincts. Routinely dressed in official uniform, with braided facings, top-boots and spurs. Short

grizzled hair.

As the head of the town, his corruption shows that the behaviour was institutionalised and

widespread. Given that he governs a small, remote town, such actions would go unnoticed

and unpunished.

Khlestakov

Gogol wrote of Khlestakov: A young man of about twenty-three, slim-built, almost skinny; a little

scatterbrained, with, as they way, not a great deal upstairs; one of those people in government

service referred to as ‘nitwits’. Speaks and acts without a thought. Quite incapable of concentrating

on any particular idea. His delivery is rather staccato, and he says the first thing that comes into his

head. The more naivety and simplicity the actor brings to this role, the more successful he will be.

Dressed in the height of fashion.

Khlestakov is quick to take advantage of any situation to benefit himself. In the inn, the

moment he is given some food, he complains and demands more. After the Mayor arrives

and he realises that they intend to treat him well, he takes everything they offer,

exaggerating his own stories to build a better picture of himself. The prime example of this


is when the various officials meet with him in Act IV, and he asks them for increasingly large

sums of money.

He focuses on pleasing himself, as seen through the motif of food. Khlestakov indulges

himself as much as possible, showing a tendency for self-gratification. He is also extremely

superficial, valuing his appearance in order to maintain the facade of wealth. He insists on

having the best of everything, even though he really cannot afford it.

His stupidity is revealed in the fact that he does not realise that the townspeople have

mistaken his identity until near the end of the play. On the other hand, Osip, his servant,

realises early on.

Judge (Lyapkin-Tyapkin)

Gogol wrote of the Judge: A man who has read five or six books and fancies himself a free-thinker.

Much given to conjecture, he weighs carefully his every word. The actor playing him must maintain a

portentous expression at all times. Speaks in a deep bass voice, with a drawling delivery, and a

throaty wheeze, like one of those antique clocks that hiss before they strike.

He represents the law, showing how people at that time abused the system to suit

themselves. He keeps geese in the courthouse and hunts on the property of those appearing

before him.

Warden (Zemlyanika)

Gogol wrote of the Warden: A rather fat, sluggish and cumbersome person, but a sly rogue

nonetheless. Extremely servile and officious.

He runs the charity institutions. His uncaring attitudes are epitomised in the line: “That’s

why we don’t bother with expensive medicines. Man is a simple creature: if he’s going to

recover, he’ll recover” (Act I). He is essentially the same as the other minor characters,

serving to highlight the corrupt, self-serving nature of people at that time.

Postmaster (Shpyokin)

Gogol wrote of the Postmaster: Simpleminded to the point of naivety.

He openly reads other people’s mail, highlighting the corruption of the townspeople.


Osip

Gogol wrote of Osip: Khlestakov’s manservant, like the generality of servants who are getting on in

years: sober-sided, eyes downcast most of the time; something of a moraliser, fond of repeating

little maxims to himself, but for the benefit of his master. His voice is almost always level, but in

conversation with Khlestakov occasionally takes on a harsh, abrupt tone, to the point of rudeness.

He is more intelligent than his master and thus quicker on the uptake, but doesn’t say much, and

craftily keeps his own counsel. Wears a shabby grey or dark blue coat.

As a serf, Osip is essentially owned by Khlestakov - able to be bought and sold. He appears

to considerably more observant and intelligent than Khlestakov.

Anna Andreyevna

Gogol wrote of Anna: The Mayor’s wife, a provincial coquette of a certain age, educated partly out

of romantic novels and album verse, and partly from bustling around, overseeing the pantry and the

maid’s room. She is extremely inquisitive, and displays her vanity at every turn. Occasionally has the

upper hand over her husband, but only when he is stuck for a reply, and her dominance extends no

further than trivial matters, expressed in nagging and mockery. She has four complete changes of

costume in the course of the play.

The wife of the Mayor, she can be very vain and focuses greatly on her appearance. She

openly flirts with Khlestakov, even though she is a married woman. When she learns of her

daughter’s engagement to Khlestakov, her focus is on the benefits it will bring her in terms

of social status and being able to live in St Petersburg.

Marya

She is marginalised by her mother. It is ridiculous that she must compete with her mother,

highlighting the extent of her superficiality. She spends her time and effort focusing on

improving her appearances to please the men in the town.

Superintendent (Khlopov)

Just like the other minor characters, he serves to illustrate the corruption and self-serving

nature of people at the time.

Bobchinsky and Dobchinsky

Gogol wrote of Bobchinsky and Dobchinsky: Both men are short and squat and intensely

inquisitive; their resemblance to one another is quite extraordinary; both have pot-bellies, both


gabble at high speed, helped along by gestures and hand-waving. Dobchinsky is slightly taller and

more sedate than Bobchinsky, but the latter is jollier and more animated.

They are landowners of the town. Both are very alike, characterised similar to Tweedle-dee

and Tweedle-dum, being short, fat and speaking in tandem. They can almost be seen as two

halves of the same person.

Techniques

Dramatic Irony

When the Mayor arrives at the inn in act one, both Khlestakov and the Mayor are clearly

terrified of one another. However, the audience knows that there is no reason for either to

be scared: the Mayor is not there to imprison Khlestakov, and Khlestakov is not actually the

government inspector.

The irony continues throughout the play during the interactions of the townspeople and

Khlestakov. In particular, when Khlestakov proposes to both Anna and Marya - they are both

deceived into thinking he is an upper class man.

Asides

These reveal the inner thoughts of the characters which they cannot share with other

characters. They may also give insight to a situation when another character is lying.

Slapstick Humour

In act one, during the commotion, the Mayor tries to put a box on his head, instead of his

hat. This makes his panic clear to the audience, showing that he is desperate to hide his

corruption.

In act two, Bobchinsky falls down when the door goes off its hinges. The audience sees that

he was listening at the door.

In act three: “In his excitement, Khlestakov slips and almost crashes to the floor, but the

officials respectfully keep him upright.” He gets overexcited when telling his lies, creating

humour at his stupidity, despite his claims to the opposite.


Symbolism

Cards are used to represent immoral behaviours such as gambling. The Mayor mentions

how he likes to build a house of cards, which represents the government - multi-layered,

fragile and easily destroyed due to its structure.

Motif

The use of food throughout the play, especially in relation to Khlestakov, highlights the self-

serving nature of people at the time, seeking their own pleasure.

Dialogue

The dialogue between Khlestakov and the other characters reveals obvious indications of

mistaken identity, but being misinterpreted.

Language

Khlestakov is seen to speak differently from the townspeople, which sets him apart and

leads them to believe he is of the upper class. On the other hand, the language of the

townspeople is more colloquial, reflecting the fact that they belong to the lower orders.

Sarcasm

The Mayor’s questioning of Khlestakov is dripping with sarcasm, as he does not believe

Khlestakov’s story, but is trying to lead him to lie.

Hyperbole

Khlestakov’s description of the food that he receives at the inn is greatly exaggerated,

especially considering he was so hungry at the time. This highlights his desire for self-

gratification, seeking only the best, even though he doesn’t deserve it.

Dobchinsky, in act two, also exaggerates aspects of Khlestakov’s character when he is

talking to Anna and Marya. He changes Khlestakov’s words to make him seem even more

appealing to them. The audience sees how this adds to Khlestakov’s mistaken identity,

convincing more characters that he belongs in the higher ranks.


Conflict

There is ongoing conflict between Anna and Marya as they compete for the attention of the

men in the play. Anna frequently hushes Marya and scolds her for saying anything that goes

against her.

Stage directions

The use of timing creates much of the humour in the play, especially in terms of entrances

and exits. For example, Bobchinsky and Dobchinsky burst into the room in act one just as

the Mayor says he expects the inspector to arrive any second.

The movement of characters and their position on the stage also highlights how some a

marginalised.

The stage directions are crucial to the impact of the dumb show at the end of the play,

showing the impact the news of the real government inspector had on the townspeople. It

also highlights the fact that they have been caught out on all their corruption.

Themes

Deception

“OSIP: Oh, he’s a general all right, and then some” (Act III)

Osip knowingly lies to the servant, building a false picture of Khlestakov that will suit

his own needs. Osip realises that in doing so, he will receive better treatment,

contributing to the idea of the self-serving nature of people at the time. He was

willing to deceive others for his personal gain.

There is also irony in this quote, since Osip has obviously realised that the people

have mistaken Khlestakov, yet Khlestakov himself has not realised this yet. It is ironic

that it is the lowly servant that has the most awareness of the true situation,

contributing to Gogol’s satire of the upper class.


“KHLESTAKOV: I even try to slip into some places incognito. But it’s quite impossible, you

simply can’t hide.” (Act III)

The dramatic irony of this statement is that the audience realises how the other

characters will take it: they think that he is the government inspector, and that he is

revealing how he likes to do his inspections under an alias. In reality, Khlestakov is

simply trying to exaggerate his rank and status.

“WARDEN: It was if some sort of fog came down on us, the devil must’ve lead us astray.”

(Act V)

This is a repetition of symbols, with the devil representing Khlestakov, and the fog

representing deception at the conclusion of the play. The Warden is attempting to

blame external sources for their confusion and misunderstanding, when the reality is

that it was the result of their corruption.

“KHLESTAKOV: I do enjoy hospitality, and all the more so when it’s out of people’s hearts,

and not some ulterior motive” (Act IV)

This statement contains dramatic irony, since the audience are aware that it is

certainly not out of the goodness of their hearts that the townspeople give

Khlestakov special treatment. Khlestakov is stupid not to realise yet that their

kindness has not been due to their own goodness, especially when he is from the

lowest class and is by no means deserving of such royal treatment.

“KHLESTAKOV: (aside) I think I’ll tap this Postmaster for a loan!” (Act IV)

Khlestakov becomes increasingly greedy here, abusing his situation and taking

advantage of the misunderstanding. Gogol uses this to represent how the

inefficiency of the tall hierarchy of the government allowed people to take

advantage of the system for their own benefit.


“OSIP: (aside) What’ll I say? If they’re feeding me well now, they might feed me even better.”

(Act III)

Like every other character in the play, Osip takes advantage of his situation to

benefit himself, with no problem deceiving others. The use of the aside gives the

audience insight into his thoughts, allowing them to see how he is also amoral: he is

not malicious, but still put himself first.

“KHLESTAKOV: They must’ve mistaken me for some high Government official. True enough, I

did put on the dog a bit yesterday. What imbeciles!” (Act IV)

During this soliloquy, the audience sees that Khlestakov has finally realised the

mistake. He even admits to have exaggerated his lifestyle to them, with the intent of

deceiving them, although in his stupidity he did not realise the full extent of the

misunderstanding. He acknowledges their stupidity, but at the same time, his

delayed realisation reveals his own stupidity.

Corruption

“If your face is twisted, it’s no use blaming the mirror - Popular saying” (Title page)

This saying makes the point that corruption cannot be blamed on someone else.

Throughout the play, the characters blame flaws and inefficiencies on external

sources - other people, fate, the devil.

“JUDGE: I tell people quite openly that I accept bribes, but what sort of bribes, eh?

Greyhound pups, that’s all” (Act I)

Here Gogol uses symbolism, where the judge in a town represents the town’s

notions of justice, and thus the openly corrupt judge highlights internalized

corruption. Furthermore, this quote shows the amoral nature of the characters - the

Judge believes that the “type” of bribes he accepts is different and less corrupt. He is

not out to do evil, but simply tries to profit from any situation.


“MAYOR: There’s nobody who hasn’t got some sin to answer… that’s how the good Lord

made us” (Act I)

This illustrates the institutionalization and acceptance of the corruption in the town.

The Mayor believes that there is no harm in having faults, and that they are part of

being human. He does not appear to think there is anything to be done about it,

since God created him that way. He rationalises that he is no worse than anyone

else.

“MAYOR: Listen, Postmaster, couldn’t you just… stop every letter that passes through your

post office… and melt the seal a tiny bit?” (Act I)

The aside develops the character of the Mayor, and highlights his apparent paranoia

of the government. If they were accused of corruption, it would threaten his job and

livelihood. However, he has no real issue with corrupt behaviour, telling the

Postmaster to open private mail is order to watch his back.

“MAYOR: You know, I had a premonition: The whole of last night I kept dreaming about two

extraordinary rats… huge, black, things, monsters. They came up and started sniffing

around, then cleared off” (Act I)

This is an example of symbolism, since the black rats could either represent

Khlestakov and the Mayor, illustrating how they are both corrupt; or they could

alternatively represent Khlestakov and the actual government inspector,

foreshadowing the fact there will be two.

“MAYOR: You don’t believe in God, for a start. And you never go to church. At least I’ve still

got my faith, and go to church every Sunday” (Act I)

It is ironic that the Mayor claims to be more righteous than the judge because of his

religion, as it is apparent to the audience that he is similarly corrupt. The action of

going to Church seems to hold more value than any deep-rooted beliefs or moral.

This contributes to the idea that outward appearances held more value than true

character.


“MAYOR: You could gallop out of here for three years, and still not reach a foreign country!”

(Act I)

This hyperbole establishes how isolated the town is, far away from other authorities.

It also emphasizes the institutionalized corruption, partially due to its separation

from other societies. The distance of the town to the capital also means that

communication is difficult. Furthermore, there would be very little supervision of the

actions of the people, so they could continue in corruption without any outsiders

knowing.

“WARDEN: Although he’s *the Judge+ my own kith and kin, and a friend - well, his conduct is

utterly reprehensible.” (Act IV)

The Warden is willing to undermine his own family for his own benefit. This shows

how the people sought to protect and benefit themselves, and abused the system as

such.

“MAYOR: So what are you laughing at, eh? You’re laughing at yourselves, that’s what!”

(Act V)

At this point at the end of the play, Gogol makes it very clear that people in the small

town and all their flaws are meant to reflect those in Russia itself. Although Gogol’s

criticism is made palatable through the humour, the audience is still invited to see

that he is critiquing the problems caused by the structure of the government and the

consequent corruption that was able to exist.

Stupidity

“WARDEN: I daresay we can stick clean night-caps on them” (Act I)

The diction in this quote is important, using uncaring and dehumanising language -

“stick” - to show that the Warden had no real concern for the welfare of his patients.

He was only willing to do enough to save face, no more. The reality is that putting

clean night-caps on the patients would do very little, if anything, for the health of

their patients, illustrating how the townspeople were only concerned for themselves


and how they could benefit themselves. It is quite stupid to suggest this as a

measure for improving the conditions of the hospital.

“MAYOR: (aside) Oh, this is a crafty devil! You can see what he’s after, but what a

smokescreen he puts up, you can barely figure him out… Well, I’ll put him to the test” (Act II)

The use of asides is used throughout the play to demonstrate miscommunication

and allow the audience insight into the thoughts of the Mayor. There is dramatic

irony here, since the audience knows that Mayor is deluded about the identity of

Khlestakov. The symbolism of smoke (repeated later as fog) is used here to represent

deception. It is interesting that the Mayor knows Khlestakov will try to deceive him,

yet he is still deceived because of his own stupidity.

“BOBCHINSKY: And if you should happen to run into the Emperor, then tell him too. Say: ‘You

know, Your Imperial Majesty, there’s a certain town, and there’s a chap called Bobchinsky’”

(Act IV)

This statement is amusing because, even if Khlestakov did this, it would have no

benefits whatsoever for Bobchinsky. This reveals the stupidity of the people, making

requests that could not possibly help them.

Government Inefficiency

“MAYOR: The streets are filthy, the whole town’s like a dungheap! It’s a disgrace!” (Act I)

Exclamation and emotive language emphasize Mayor’s distress over his situation.

The audience sees how the government structure, and the way everyone abuses ht

system to suit themselves, has led to the town being in a literal mess.

“DOBCHINSKY: (interrupting): Not at all bad-looking, and wearing an ordinary suit…

BOBCHINSKY: Not at all bad-looking, and wearing an ordinary suit…” (Act I)

Their tandem-like speech and repetition of each other represents the confusion and

miscommunication that is central to the play. Bobchinsky and Dobchinsky also

provide comic relief from the tension building due to the Mayor’s paranoia


“Khlestakov and the Mayor stare at each other, both goggle-eyed with fright, for a few

moments”

The miscommunication has led to everyone being deceived about the intentions of

the others. There is dramatic irony in this quote, since the audience knows that

neither man has reason to be frightened of the other.

“Bobchinsky peeps round the door, straining to listen” (Act II)

The stage directions are important here, showing the spread of misinformation, as

Bobchinsky and Dobchinsky relay the occurrences to others. The fact that he is

“straining” illustrates that he is having difficulty listening, and probably misheard

much of what is said. Consequently, when he bring news to others, it will not be

completely reliable.

“WARDEN: In a well-ordered society people don’t do these things” (Act IV)

The Warden points out that such corrupt behaviour, like giving and taking bribes, is

not the kind of thing that should happen in a well-ordered society. Since this

translates to the real situation in Russia, the audience can see the Gogol was

showing the flaws in the social structure, suggesting that if it was better-organised,

the inefficiencies and corruption would not exist. However, since the hierarchy of

society at the time was so tall, and communication inefficient, it allowed for people

to abuse the system for their own benefit with serious consequences.

Class

“OSIP: He’s *Khlestakov+ only a jumped-up clerk!” (Act II)

During Osip’s soliloquy, he reveals that, unlike the townspeople expect, Khlestakov

belongs to the lowest ranks of society. The only reason he appears to belong to the

higher orders is because of his tendency to live beyond his means to maintain a

facade of wealth. The use of the words “jumped-up” are important because it has

connotations of someone trying to move up in the world.


“BOBCHINSKY: The way he expresses things... he’s obviously had a good education” (Act III)

This shows how people judged class: based on outward appearances, expression and

behaviour. Bobchinsky assumes that Khlestakov can from an upper class family who

could afford a good education on the basis of the way he speaks. Considering the

audience knows he belongs to the lowest class, this creates dramatic irony. As such,

Gogol exposes the superficial judgements of class, and how the appearance of

wealth can be deceiving.

“ANNA: All I could see was a cultured, well-bred young man, the very last word in

refinement, and I couldn’t care less about his rank” (Act III)

Similarly, Anna judges Khlestakov based on his appearances. She views him as the

height of upper class mannerisms. The use of the word “refinement” suggests

someone who has been well-educated and developed proper behaviour. The

dramatic irony is that the audience knows that Khlestakov is only a lower class man,

with very little refinement, which especially becomes clear in the way he proposes to

both Anna and Marya. This also shows his lack of morality.

“ANNA: But with such a refined manner. You can tell instantly he’s the Petersburg type. His

bearing, the way he holds himself...” (Act III)

Anna judges Khlestakov based on outward mannerisms, and thereby assumes him to

be a member of the upper class. She is so caught up in her fantasies of meeting a rich

man from St Petersburg that she readily assigns him better characteristics than he

has.

Superficiality

“ANNA: Has he got a moustache?” (Act I)

This demonstrates superficiality and obliviousness of Anna’s character. Rather than

caring about his personality or purpose for being in the town, she is focused on what

he looks like.


“OSIP: He has to make a show of himself every place we stop. [Mimics him] {Khlestakov}”

(Act II)

The soliloquy allows Osip to express his feelings against his lowly social class and is

evidence of Gogol’s satire of the upper classes. Osip is merely a serf, yet is makes a

mockery of Khlestakov’s manners. Furthermore, he reveals the superficiality of the

upper class through his criticism of Khlestakov’s behaviour.

“KHLESTAKOV: I’d rather starve than go home in anything other than my best Petersburg

outfit” (Act II)

This is symbolic of his materialistic, superficial values. He was willing to give up his

most basic needs in order to maintain the appearance of wealth and class. In this

way, Gogol critiques the triviality of the upper class.

“KHLESTAKOV: Yes, I must confess that’s one of my weaknesses - I do like good food” (Act IV)

The motif of food is used to represent how he is more concerned with self-

gratification. While this shows the superficial nature of the classes, it also highlights

how people would seek to please themselves and their desires.

“ANNA: Oh, what a charming man! MARYA: An absolute darling!” (Act III)

The audience sees that Anna and Marya are focused on appearance, caught up in

their fantasies of meeting a higher-ranking man. Her superficial attitudes reflect the

superficiality of the social class system.

Act I

This act is integral for establishing the setting of the play, the corruption and self-serving

nature of the townspeople. The remoteness of the town is highlighted. The officials discuss

how they can make their departments look efficient and hide the problems, showing how

corrupt the entire town had become. Furthermore, we see how self-serving they are, with

the postmaster opening mail to read for his own enjoyment and the Judge taking advantage


of two landowners who are suing each other, each trying to win him over by letting him

hunt on their land.

There is an amusing use of timing in this act:

“MAYOR: I’ve got that damned incognito preying on my mind. I’m expecting the door

to open any second, and wham!

Enter BOBCHINSKY and DOBCHINSKY”

The idea of stupidity is introduced through the tandem speech of Bobchinsky and

Dobchinsky, causing communication to be slow and painful. This highlights how

communication problems were frequent in Russia at the time, with messages becoming

distorted. This contributes to the inefficiency of the government.

In addition, there is a great deal of confusion at the end of the first act, with everyone

running everywhere, the Mayor constantly changing his orders, realising what a disgraceful

state the town is in. Overall, this reinforces the inefficiency of the government, showing a

clear lack of order in the town.

In the final part, Anna and Marya enter, portrayed as superficial woman and highlighting the

triviality of people at the time. Marya had spent ages getting ready, just to impress the

Postmaster, and Anna was desperately trying to gain information about the appearances of

the inspector.

Act II

Osip’s soliloquy at the start of the act reveals Khlestakov’s true status - “a jumped up clerk.”

The audience sees that he is in the lowest ranks of the hierarchy, and is by no means the

government inspector that the Mayor expects. It is also revealed that Khlestakov lives

beyond his means, maintaining the facade of upper-class living. As a result, he cannot even

afford a meal.

When Khlestakov returns, the characteristics described by Osip are confirmed, as well as his

tendency to gamble away his money. Despite his poverty, Khlestakov complains about the


meal that he is given, continuing with the facade of deserving more. He is completely caught

up in the desire to maintain appearances, despite the high cost.

Act III

Dobchinsky returns with news of Khlestakov for Anna and Marya. He greatly exaggerates his

description, making Khlestakov appear more aristocratic than he really is. As such, Gogol

demonstrates the faults in communication. This is reinforces by the unclear message on the

Mayor’s note, which Anna struggles to read.

The officials do their best to deceive Khlestakov of their morals: the Mayor even claims to

abhor gambling, even though the audience is made aware that he regularly gambling

through an aside from the Superintendent. The Warden also gives an aside that reveals that

the Superintendent has also been lying to Khlestakov. As such, it is clear that they are all

trying to cover up the corruption of the town.

Khlestakov, however, is just as deceptive as the other characters. When Anna and Marya

arrive, he knows no limits to the exaggerations he makes about his lifestyle in St Petersburg,

claiming to live like a king and have close relationships with the Emperor himself. Although

the audience knows that this is absolute rubbish, the other characters are deceived into

believing his stories.

Act IV

The Mayor organises another bribe (“backhander”) to give to Khlestakov, reinforcing the

corruption of the town. Their efforts are turn back on them, though, when Khlestakov takes

advantage of them by asking them for increasing sums of money. Each official goes in to

speak with him individually, each putting forward their case to cover up their corrupt

behaviour. The dialogue each time is practically the same, which reflects how each

character is the same, too. However, it soon gets to the point where Khlestakov demands

“(abruptly) Got any money on you?... For a loan of a thousand roubles.” The audience sees

that Khlestakov has become overconfident and determined to milk the townspeople for all


he can. In turn, the townspeople ask Khlestakov for favours, such as overlooking their flaws

and putting in a good word for them with the higher ranks. Each demonstrates a desire to

improve their own lives, even if it is at the expense of others.

Osip, in his greater wisdom than Khlestakov, advises him to take advantage of his current

situation to leave while he was still on top, before the others realised his true identity.

Before he goes, however, he takes the time to write a letter to his journalist friend,

ridiculing the townspeople. The way he finds enjoyment at their expense reinforces the way

he seeks to please himself, and gives no regard for others.

The shopkeepers arrive with their complaints to Khlestakov, revealing the extent of the

town’s problems. They tell him of all the Mayor’s dealing with the people, stealing from

shopkeepers, conscripting married men - all this behaviour has gone without consequence

because the government was too far away to get any word of what was going on. The

audience clearly sees how the Mayor completely abuses his position of authority to take

everything he wants.

To seal his grand deception, Khlestakov asks both Anna and Marya to marry him, even

though he has no intention of returning to fulfil either promise. The audience also sees the

ridiculousness of the situation, with him switching between the women. The timing of the

entrances adds to the humour of the situation. Khlestakov leaves with a string of empty

promises.

Act V

In this short act, everything unravels. The Mayor and his wife brag about the “engagement”

of Marya and Khlestakov, talking themselves up to the other townspeople and imagining

their new, better lives as part of the higher ranks in St Petersburg. The audience clearly sees

the desire of the people to move up in the social sphere, especially given the resentment of

the other officials. Anna pre-emptively dismisses the other people as far below their social

rank and no longer worthy of their company. The audience knows, however, that she is

gravely mistaken, and will have to face the disappointment of the real situation eventually.


The use of asides is important for revealing the resentment of the people, showing their

congratulations to be empty and sarcastic. The people give false wishes to prevent any

negative consequences once the Mayor joins the higher ranks. Furthermore, they hope for

benefits from being connected to him, reinforcing how the characters had no real care for

each other, but only sought their own advantage.

The Postmaster makes the revelation of Khlestakov’s true identity after he reads through

the outgoing mail. The characters are each insulted, and the Mayor realises his great

mistake, and the disappointment of his real situation. The audience sees that their stupidity,

failures in communication and corruption led them to be in this situation.

The climax is reached when a Gendarme enters and announces the arrival of the real

inspector. The realisation hits the characters that their corruption will be completely

exposed this time. At this point, they freeze in a dumb show, highlighting their ridiculous

situation. The play ends here, since Gogol only intended to expose the corruption of Russia

and the inefficiency of the social structure: he did not intend to show how this should be

punished or fixed. Furthermore, the audience is invited to question how such inefficiency

could have consequences for them.

Important Quotes

A summary of those analysed in this document:

“ANNA: Oh, what a charming man! MARYA: An absolute darling!” (Act III)

“MAYOR: I’ve got that damned incognito preying on my mind. I’m expecting the door

to open any second, and wham!

Enter BOBCHINSKY and DOBCHINSKY”

“OSIP: Oh, he’s a general all right, and then some” (Act III)

“KHLESTAKOV: I even try to slip into some places incognito. But it’s quite impossible,

you simply can’t hide.” (Act III)

“WARDEN: It was if some sort of fog came down on us, the devil must’ve lead us

astray.” (Act V)


“KHLESTAKOV: I do enjoy hospitality, and all the more so when it’s out of people’s

hearts, and not some ulterior motive” (Act IV)

“KHLESTAKOV: (aside) I think I’ll tap this Postmaster for a loan!” (Act IV)

“OSIP: (aside) What’ll I say? If they’re feeding me well now, they might feed me even

better.” (Act III)

“KHLESTAKOV: They must’ve mistaken me for some high Government official. True

enough, I did put on the dog a bit yesterday. What imbeciles!” (Act IV)

“If your face is twisted, it’s no use blaming the mirror - Popular saying” (Title page)

“JUDGE: I tell people quite openly that I accept bribes, but what sort of bribes, eh?

Greyhound pups, that’s all” (Act I)

“MAYOR: There’s nobody who hasn’t got some sin to answer… that’s how the good

Lord made us” (Act I)

“MAYOR: Listen, Postmaster, couldn’t you just… stop every letter that passes through

your post office… and melt the seal a tiny bit?” (Act I)

“MAYOR: You know, I had a premonition: The whole of last night I kept dreaming

about two extraordinary rats… huge, black, things, monsters. They came up and

started sniffing around, then cleared off” (Act I)

“MAYOR: You don’t believe in God, for a start. And you never go to church. At least

I’ve still got my faith, and go to church every Sunday” (Act I)

“MAYOR: You could gallop out of here for three years, and still not reach a foreign

country!” (Act I)

“WARDEN: Although he’s *the Judge+ my own kith and kin, and a friend - well, his

conduct is utterly reprehensible.” (Act IV)

“MAYOR: So what are you laughing at, eh? You’re laughing at yourselves, that’s

what!” (Act V)

“WARDEN: I daresay we can stick clean night-caps on them” (Act I)

“MAYOR: (aside) Oh, this is a crafty devil! You can see what he’s after, but what a

smokescreen he puts up, you can barely figure him out… Well, I’ll put him to the test”

(Act II)


“BOBCHINSKY: And if you should happen to run into the Emperor, then tell him too.

Say: ‘You know, Your Imperial Majesty, there’s a certain town, and there’s a chap

called Bobchinsky’” (Act IV)

“MAYOR: The streets are filthy, the whole town’s like a dungheap! It’s a disgrace!”

(Act I)

“DOBCHINSKY: (interrupting): Not at all bad-looking, and wearing an ordinary suit…

BOBCHINSKY: Not at all bad-looking, and wearing an ordinary suit…” (Act I)

“Khlestakov and the Mayor stare at each other, both goggle-eyed with fright, for a

few moments”

“Bobchinsky peeps round the door, straining to listen” (Act II)

“WARDEN: In a well-ordered society people don’t do these things” (Act IV)

“OSIP: He’s *Khlestakov+ only a jumped-up clerk!” (Act II)

“BOBCHINSKY: The way he expresses things... he’s obviously had a good education”

(Act III)

“ANNA: All I could see was a cultured, well-bred young man, the very last word in

refinement, and I couldn’t care less about his rank” (Act III)

“ANNA: But with such a refined manner. You can tell instantly he’s the Petersburg

type. His bearing, the way he holds himself...” (Act III)

“ANNA: Has he got a moustache?” (Act I)

“OSIP: He has to make a show of himself every place we stop. [Mimics him]

{Khlestakov}” (Act II)

“KHLESTAKOV: I’d rather starve than go home in anything other than my best

Petersburg outfit” (Act II)

“KHLESTAKOV: Yes, I must confess that’s one of my weaknesses - I do like good food”

(Act IV)

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