Speech genre reality within the context of the stated topic turns us to the comparative analysis of literary and every day, casual nature of communication. Genrogenic situation (the term of V. V. Dementyev) is understood as a necessary background of a speech genre discovery and is a key to the analysis of a multilevel repertoire of speech genres in N. V. Gogol’s play “The Government Inspector”. Both the title and the epigraph demonstrate a premonition of such speech genres as reminder, denouncement, warning and
prevention. A visible and unintentional competition of innocence and artfulness permeate the comedy plot and subjugate the complicated dynamics of speech genre formations. In the above-mentioned competition, the universal nature of innocence and cunning claims of the mind seem to be missing each other upsetting the applecart and covering up the tracks without much effort. The same can be found in real life, when one party cunningly and scrupulously strives to the favorable for themselves outcome whereas the other one is ready to conciliatorily evade any obvious communication tightening without deviating from their rules and opportunities. In Gogol’s text we find the examples of the author’s epiphany of what makes the structural and functional basis of dialogic speech genre confessions and slips of the tongue, statements and perplexity, discrepancies and inconsistencies. The comedy’s finale is called upon to combine into one whole the theatrical performance and the audience in silent thoughts about secret strings of essentiality, strange intersections of innocence and craftiness in this world. It is remarkably interesting how pieces of informative and phatic communication in the comedy’s text both alternate and often cunningly combine. Informative dialogues belong as a rule to the
characters with clearly cunning intentions whereas phatic communication is often born in the state of some detachment from a series of urgent worries and estimations and, from the point of view of the comedy’s cunning characters, is directly associated with inappropriate and immoderate chatter. From the point of view of the author’s strategy, free alternation of informative and phatic states of the characters is an important principle of forming a comedian genre. Our observations of the complicated speech genre composition of the comedy allow us to assume that genrogenic situations and organically generated by them speech genres from the point of view of their real reliability and highly desired feasibility are under noticeable influence of dominant psychological characteristics of those who participate in communication events. The research interest to the relationship of different characters in texts of dramas moves us towards understanding of personal psychological strings and sources of many genrogenic situations in their real-life implementations.