Gogol's The Inspector General is of central importance to the development of 19^th-century Russian comedy. Soviet, Russian, and Western scholars all agree that Gogol's plays represent the high point of the Russian "satirical comedy" tradition, which began with Fonvizin in the eighteenth century and continued through Griboedov in the early nineteenth.

However, literary criticism of nineteenth-century Russian comedy has overlooked the role of "society vaudeville" in Gogol's frame of reference. In the most comprehensive study of national theater of the time, Russian Drama from Its Beginnings to the Age of Pushkin (1985), Simon Karlinsky called for a revision of the comedic canon, noting the relevance of vaudeville but overlooking its impact on nineteenth-century Russian comedies, most notably those of Gogol.

A close study of The Inspector General provides abundant evidence of the significance of this tradition. My dissertation examines Gogol's The Inspector General in the context of the "society vaudeville" and the literature of "familiar associations." Identifying implicit and explicit signs of the influence of the "society vaudeville" in the play serves several purposes. It reinforces the importance of the "society vaudeville" to the literary situation of the age, offers the contemporary reader a new way to read the play as a whole, and underscores Gogol's preoccupation with the literary culture of "familiar associations".

Gogol, however, transcends that "familiarity" in the way the formal features of his play shape the meaning of the spectator's experience. Both "society vaudeville" and "satirical comedy" as well as their respective "audiences" are embedded into the linguistic texture of The Inspector General. It is the argument of my thesis that Gogol includes two interpretations of one and the same "play" within the structure of the play itself: first, Khlestakov's "society vaudeville," and second, the provincial "audience's" interpretation of Khlestakov's play as "satirical comedy." While Khlestakov performs "society vaudeville," the provincial "audience" fails to read the codes of his performance, and in this misreading creates its own "satirical comedy," The Inspector General.