The Evolution of the Text: The Author’s Comment by N. V. Gogol on the Poetics of the Comedy “The Government Inspector”

<p>The article touches upon the analysis of the historical and literary circumstances of the appearance of one of the numerous author&rsquo;s comments by Gogol on the comedian &ldquo;The Government Inspector&rdquo;, such as the article &ldquo;The Prenotification for those who would like to play &ldquo;The Government Inspector&rdquo; as it should be&rdquo;. A&nbsp;whole number of facts indicate that the origin of the &ldquo;The Prenotification&hellip;&rdquo; is related to the history of the creation by Gogol of the second edition of &ldquo;The Government Inspector&rdquo; in late December 1840&nbsp;&mdash; February 1841. Together with the new edition, Gogol, unsatisfied with the staging of his comedy in St.&nbsp;Petersburg and Moscow theatres, first of all with the impersonation of Khlestakov, conceived a new presentation of &ldquo;The Government Inspector&rdquo;, believing that the revised edition would contribute to the theatrical updating of the play&nbsp;&mdash; performed &ldquo;as it should be&rdquo;. The text of the &ldquo;The Prenotification&hellip;&rdquo; precedes the creation of those fragments of &ldquo;The Government Inspector&rdquo; that Gogol sent for the new edition of the play in spring 1841 from Rome to Moscow for M.&nbsp;P.&nbsp;Pogodin and S.&nbsp;T.&nbsp;Aksakov and is a kind of a test experiment, a &ldquo;rough draft&rdquo; for &ldquo;The excerpt from a letter written by the author shortly after the first presentation of &ldquo;The Government Inspector&rdquo; to one writer&rdquo;, sent at that time to Aksakov, and simultaneously it is a preliminary description for subsequent explanations of the &ldquo;silent scene&rdquo; of &ldquo;The Government Inspector&rdquo; in the text of the very comedy. In addition, there is a connection between the &ldquo;The Prenotification&hellip;&rdquo; with drawings made by the artist A.&nbsp;A.&nbsp;Ivanov for the same final scene of &ldquo;The Government Inspector&rdquo;, which were created during the author&rsquo;s reading of the comedy in Rome in February 1841. Thus, it is established that the &ldquo;The Prenotification for those who would like to play &ldquo;The Government Inspector&rdquo; as it should be&rdquo; properly was written not in the autumn 1846, as it is common to think, but five and a half years earlier, in early 1841. It is an opening article in the manuscript for the second edition of &ldquo;The Government Inspector&rdquo; in 1841, instead of which Gogol published here an accompanying article &ldquo;The excerpt from a letter written by the author shortly after the first presentation of &ldquo;The Government Inspector&rdquo; to one writer&rdquo;. The study allows us to conclude that Gogol&rsquo;s interpretations are deeply organic to the original religious concept of comedy. The plot stem of the &ldquo;The Government Inspector&rdquo; is the &ldquo;thunderstorm&rdquo; of a distant government law, and of the even more inevitable Last Judgment. &ldquo;The Prenotification&hellip;&rdquo; addressed to the actors, and containing an appeal to take seriously and conscientiously the performance of the roles they were cast in, to pay special attention to the final scene, is an important component of Gogol&rsquo;s strategy to bring back to his play the meanings lost due to inept staging. The presence of a number of motifs in the &ldquo;The Prenotification&hellip;&rdquo;, traditionally attributed only to the &ldquo;late&rdquo; Gogol, in the light of a new dating allows asserting the idea of the indissoluble unity and integrity of the artist&rsquo;s creative path.</p>

Intertype evolution of the Black Dog composition in Robert Plant’ musical legacy

The article is devoted to the analysis of Led Zeppelin’s composition Black Dog and its compositional and performing versions. This musical material is a good example of the interaction of music in fundamentally different areas – rock music and ethnic music of Africa. Initially having related directly to rock music, the Black Dog composition in the 21st century became the object of numerous author interpretations that transformed this composition into an ethnic format. The article traces the process of such a transformation over a long period and reveals a definite pattern. The degree of interaction of the elements of the musical language of two different areas is increasing towards the predominance of the ethnic field in the most recent versions of the composition. To determine the degree of mixing ethnic and rock music, expressive means are differentiated in three levels: intonation, timbre and composition.