Modernization of classics in the drama of the 1920’s (“Companion Hlestakov” by Dm. Smolin)

Modernization of classics is one of the major tendency of artistic process of the 1920's. As the form of the dialogue with predecessors it was prepared by symbolist interpretations of works of Pushkin, Lermontov, Gogol, Dostoevskij. The body of work of Gogol was read by symbolists as instinct with originative meanings, as prediction about the fate of Russia. D.S.Merezhkovskij removed of Hlestakov on stage of the modern reality in the book "Gogol and devil"(1906):immortal character of Gogol write his "vaudevillchiki" in the theatre, journalism, "on pages of world history". N.Berdyaev in the article "Geniuses of Russian revolution"(1918), thinking about rootedness of Gogol characters in modern, by now postrevolutionary reality, sees in these characters exponents of remote manifestation of Russian soul, its demonical sides. Berdyaev confirms after Merezhkovskij:"...the work of Gogol is the artistic revelation of evil as the beginning of metaphysical and inner, and not social and external evil...And now after the all reforms and revolutions, Russia is fulled by deadheads and inspectors...". In sophist opinion, "immortal characters of Hlestakov, Petr Verhovenskij, Smerdjakov are met at every step in the Revolutionary Russia...they got access to some of the most summit of power". Conclusion: play by Dm.Smolin is conceived as transposition of text of Gogol, and it grows its genre. And certain retorts of characters,situations, artistical devices anticipate magnificent satirics of the 1920's.