Roman and Goncharova Oblomov's originality of typification. Artistic features of the novel by I. A. Goncharov “Oblomov

In the novel "Oblomov" with full force Goncharov's skill as a prose writer manifested itself. Gorky, who called Goncharov “one of the giants of Russian literature,” noted his special, flexible language. Goncharov’s poetic language, his talent for figuratively reproducing life, the art of creating typical characters, compositional completeness and the enormous artistic power of the picture of Oblomovism and the image of Ilya Ilyich presented in the novel - all this contributed to the fact that the novel “Oblomov” took its rightful place among the masterpieces of the world classics.

The portrait characteristics of the heroes play a huge role in the work, with the help of which the reader gets to know the characters and gets an idea about them and their character traits. The main character of the novel, Ilya Ilyich Oblomov, is a man of thirty-two to thirty-three years old, of average height, pleasant appearance, with dark gray eyes in which there is no idea, with a pale complexion, plump hands and a pampered body. Already from this portrait characteristic we can get an idea of ​​the hero’s lifestyle and spiritual qualities: the details of his portrait speak of a lazy, immobile lifestyle, of his habit of aimlessly spending time. However, Goncharov emphasizes that Ilya Ilyich is a pleasant person, gentle, kind and sincere. Portrait characteristics as if preparing the reader for the collapse of life that inevitably awaited Oblomov.

In the portrait of Oblomov's antipode, Andrei Stolts, the author used different colors. Stolz is the same age as Oblomov, he is already over thirty. He is in motion, all made up of bones and muscles. Getting acquainted with the portrait characteristics of this hero, we understand that Stolz is a strong, energetic, purposeful person who is alien to daydreaming. But this almost ideal personality resembles a mechanism, not a living person, and this repels the reader.

In the portrait of Olga Ilyinskaya, other features predominate. She “was not a beauty in the strict sense of the word: she had neither whiteness nor bright color of her cheeks and lips, and her eyes did not glow with rays of inner fire, there were no pearls in her mouth and corals on her lips, there were no miniature hands with fingers in the form of grapes." Some tall The size of the head and the oval and size of the face strictly corresponded, all this, in turn, was in harmony with the shoulders, the shoulders with the figure... The nose formed a barely noticeable graceful line. Lips that are thin and compressed are a sign of a searching thought directed at something. This portrait indicates that before us is a proud, intelligent, slightly vain woman.

In the portrait of Agafya Matveevna Pshenitsyna, such traits as gentleness, kindness and lack of will appear. She is about thirty years old. She had almost no eyebrows, her eyes were “grayish-obedient,” like her entire facial expression. The hands are white, but hard, with knots of blue veins protruding outward. Oblomov accepts her for who she is and gives her an apt assessment: “How... simple she is.” It was this woman who was next to Ilya Ilyich before his last minute, last breath, bore him a son.

The description of the interior is equally important for characterizing the character. In this, Goncharov is a talented continuer of Gogol’s traditions. Thanks to the abundance of everyday details in the first part of the novel, the reader can get an idea of ​​the hero’s characteristics: “How Oblomov’s home suit suited his deceased facial features... He was wearing a robe made of Persian fabric, a real oriental robe... He had shoes on long, soft and wide, when, without looking, he lowered his legs from the bed to the floor, he certainly fell into them right away...” Describing in detail the objects surrounding Oblomov in everyday life, Goncharov draws attention to the hero’s indifference to these things. But Oblomov, indifferent to everyday life, remains his captive throughout the novel.

The image of a robe is deeply symbolic, repeatedly appearing in the novel and indicating a certain state of Oblomov. At the beginning of the story, a comfortable robe is an integral part of the hero's personality. During the period of Ilya Ilyich’s love, he disappears and returns to the owner’s shoulders on the evening when the hero’s breakup with Olga occurred.

The lilac branch picked by Olga during her walk with Oblomov is also symbolic. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end. Another important detail is the raising of bridges on the Neva. The bridges were opened at a time when in the soul of Oblomov, who lived on the Vyborg side, there was a turning point towards the widow Pshenitsyna, when he fully realized the consequences of life with Olga, was afraid of this life and again began to plunge into apathy. The thread connecting Olga and Oblomov broke, and it cannot be forced to grow together, therefore, when the bridges were built, the connection between Olga and Oblomov was not restored. The snow falling in flakes is also symbolic, which marks the end of the hero’s love and at the same time the decline of his life.

It is no coincidence that the author describes in such detail the house in Crimea in which Olga and Stolz settled. The decoration of the house “bears the stamp of thought and personal taste of the owners”; there were many engravings, statues, books, which speaks of education, high culture Olga and Andrey.

An integral part of those created by Goncharov artistic images And ideological content the works as a whole are the proper names of the characters. The surnames of the characters in the novel “Oblomov” carry a great meaning. The main character of the novel, according to the primordial Russian tradition, received his surname from the Oblomovka family estate, the name of which goes back to the word “fragment”: a fragment of the old way of life, patriarchal Rus'. Reflecting on Russian life and its typical representatives of his time, Goncharov was one of the first to notice a failure of internal national traits, fraught with a cliff, or a bummer. Ivan Aleksandrovich foresaw the terrible state into which people began to fall in the 19th century. Russian society and which by the 20th century had become a mass phenomenon. Laziness, the lack of a specific goal in life, passion and desire to work has become a distinctive national feature. There is another explanation for the origin of the main character’s surname: in folk tales the concept of “dream-oblomon” is often found, which enchants a person, as if crushing him with a gravestone, dooming him to slow, gradual extinction.

Analyzing his contemporary life, Goncharov looked for the antipode of Oblomov among the Alekseevs, Petrovs, Mikhailovs and other people. As a result of these searches, a hero with a German surname emerged Stolz(translated from German - “proud, full of self-esteem, aware of his superiority”).

Ilya Ilyich spent his entire adult life striving for an existence “that would be both full of content and flow quietly, day after day, drop by drop, in silent contemplation of nature and the quiet, barely creeping phenomena of a peaceful, busy family life.” He found such an existence in Pshenitsyna’s house. “She was very white and full in the face, so that the color did not seem to be able to break through her cheeks (like a “wheat bun”). The name of this heroine is Agafya- translated from Greek language means “kind, good.” Agafya Matveevna is a type of modest and meek housewife, an example of female kindness and tenderness, whose life interests were limited only to family concerns. Oblomov's maid Anisya(translated from Greek - “fulfillment, benefit, completion”) is close in spirit to Agafya Matveevna, and that is why they quickly became friends and became inseparable.

But if Agafya Matveevna loved Oblomov thoughtlessly and selflessly, then Olga Ilyinskaya literally “fought” for him. For the sake of his awakening, she was ready to sacrifice her life. Olga loved Ilya for his own sake (hence the surname Ilyinskaya).

Last name of “friend” Oblomov, Tarantieva, carries a hint of the word ram. In Mikhei Andreevich’s relationships with people, such qualities as rudeness, arrogance, persistence and unprincipledness are revealed. Isai Fomich Worn out, to whom Oblomov gave power of attorney to manage the estate, turned out to be a fraudster, grated roll. In collusion with Tarantyev and brother Pshenitsyna, he skillfully robbed Oblomov and erased your tracks.

Speaking about the artistic features of the novel, one cannot ignore landscape sketches: for Olga, walking in the garden, a branch of lilac, flowering fields - all this is associated with love and feelings. Oblomov also realizes that he is connected with nature, although he does not understand why Olga constantly drags him out for walks and enjoys surrounding nature, spring, happiness. The landscape creates the psychological background of the entire narrative.

To reveal the feelings and thoughts of the characters, the author uses a technique such as an internal monologue. This technique is most clearly revealed in the description of Oblomov’s feelings for Olga Ilyinskaya. The author constantly shows the thoughts, remarks, and internal reasoning of the characters.

Throughout the entire novel, Goncharov subtly jokes and sneers at his characters. This irony is especially noticeable in the dialogues between Oblomov and Zakhar. This is how the scene of placing the robe on the owner’s shoulders is described. “Ilya Ilyich almost did not notice how Zakhar undressed him, pulled off his boots and threw a robe over him.

What is this? - he asked only, looking at the robe.

The hostess brought it in today: they washed and repaired the robe,” said Zakhar.

Oblomov sat down and remained in the chair.”

The main compositional device of the novel is antithesis. The author contrasts images (Oblomov - Stolz, Olga Ilyinskaya - Agafya Pshenitsyna), feelings (Olga’s love, selfish, proud, and Agafya Matveevna’s love, selfless, forgiving), lifestyle, portrait characteristics, character traits, events and concepts, details (branch lilac, symbolizing hope for a bright future, and a robe as a quagmire of laziness and apathy). Antithesis makes it possible to more clearly identify the individual character traits of the heroes, to see and understand two incomparable poles (for example, Oblomov’s two colliding states - stormy temporary activity and laziness, apathy), and also helps to penetrate into the hero’s inner world, to show the contrast that is present not only in the external , but also in the spiritual world.

The beginning of the work is built on the collision of the bustling world of St. Petersburg and the isolated inner world Oblomov. All visitors (Volkov, Sudbinsky, Alekseev, Penkin, Tarantiev) who visit Oblomov are prominent representatives of a society living according to the laws of falsehood. The main character seeks to isolate himself from them, from the dirt that his friends bring in the form of invitations and news: “Don’t come, don’t come! You're coming out of the cold!

The whole system of images in the novel is built on the device of antithesis: Oblomov - Stolz, Olga - Agafya Matveevna. The portrait characteristics of the heroes are also given in contrast. So, Oblomov is plump, plump, “with the absence of any definite idea, any concentration in his facial features”; Stolz consists entirely of bones and muscles, “he is constantly in motion.” Two completely different types character, and it’s hard to believe that there could be anything in common between them. And yet it is so. Andrey, despite his categorical rejection of Ilya’s lifestyle, was able to discern in him traits that are difficult to maintain in the turbulent flow of life: naivety, gullibility and openness. Olga Ilyinskaya fell in love with him for his kind heart, “dovelike tenderness and inner purity.” Oblomov is not only inactive, lazy and apathetic, he is open to the world, but some invisible film prevents him from merging with it, walking the same path with Stolz, living an active, full life.

Two key female characters of the novel - Olga Ilyinskaya and Agafya Matveevna Pshenitsyna - are also presented in opposition. These two women symbolize two life path, which are given to Oblomov as a choice. Olga is a strong, proud and purposeful person, while Agafya Matveevna is kind, simple and thrifty. Ilya would only have to take one step towards Olga, and he would be able to immerse himself in the dream that was depicted in “The Dream...”. But communication with Ilyinskaya became the last test for Oblomov’s personality. His nature is incapable of merging with the cruel outside world. He abandons the eternal search for happiness and chooses the second path - he plunges into apathy and finds peace in the cozy house of Agafya Matveevna.

“Oblomov” (1859) is a novel of critical realism, that is, it depicts a typical character in typical circumstances with correct details (this formulation of critical realism is given by F. Engels in a letter to M. Harkness in April 1888). Each talented writer expresses these principles of critical realism in his own way, creating an original literary work that is unlike any other. In “Oblomov,” Goncharov presented his understanding not of an individual side, but of the entire Russian life at a turning point in history - on the eve of the abolition of serfdom, when both social and moral contradictions became especially acute. To reveal the chosen topic, Goncharov describes in the novel the life of one character - Oblomov, a landowner and retired official, in whose life nothing special happens: he sleeps or dreams almost all the time, lying on the sofa, first in an apartment on Gorokhovaya Street, then on the Vyborg side , and when he’s not sleeping, he’s eating. Thus, there is very little action in the novel, there is no entertaining plot, no cunning intrigues, it even seems drawn out.

The exhibition occupies the first and the beginning of the second part of the novel (before Oblomov met Olga) and depicts almost one ordinary morning in the life of Ilya Ilyich. The main character's life is limited to one room, where he cannot get off the couch for the whole morning. But in the first part, in “Oblomov’s Dream,” the formation of Ilya Ilyich’s character is shown in detail. Noble origins and the position of the landowner, for whom three hundred Zakharovs work, as well as the greenhouse upbringing turned the lively and inquisitive boy into a “superfluous person”, good for nothing, unable to do anything.

The plot of the novel is the acquaintance of the main character with Olga. The love story of Oblomov and Olga constitutes the main plot-forming line of the novel, but a second storyline develops in parallel - the story of the friendship of Oblomov and Stolz. The love story in the life of the main character was short-lived and at first glance very calm: there were no external obstacles to this love (except for the broken bridges that separated the lovers for two weeks - 3, VI), nothing prevented the union of the young and loving people, except for Oblomov’s laziness and apathy. There are two climaxes in the love storyline: an explanation-confession in the lilac alley (2, VI) and the final explanation (3, XI), when both understand that they must separate. This second climax practically coincides with the denouement of the love story. However, the novel (Oblomov’s life) continues even after the break: in the fourth part, Goncharov depicts the sleepy existence of Ilya Ilyich in the house of the widow Pshenitsyna and his quiet death. Here is the culmination of the friendship story: Stolz takes control of Oblomovka and deals with the fake loan letter drawn up by the clever swindlers Mukhoyarov and Tarantiev. So Stolz actually proves his friendly disposition towards the main character, and Oblomov proves his complete helplessness, for the hero’s life interests have narrowed to a hearty dinner and a long sleep. Consequently, there is nothing original in the plot of the novel: through the story of love and friendship, the character of both Onegin and Pechorin is revealed. However, these “older brothers” of Oblomov, as Dobrolyubov called them in the article “What is Oblomovism?” (1859), they commit at least some actions: they fight in a duel, try their luck, rush through life, trying to find a worthy occupation for themselves. In "Eugene Onegin" and "Hero of Our Time" clashes of characters are shown in specific circumstances, and in "Oblomov" a sleepy life reigns, which requires the author to special techniques artistic embodiment. Goncharov found original way images of his hero - through details and objects, since Oblomov has neither actions nor deeds where he could express himself.

Dobrolyubov noted that the peculiarity of Goncharov’s style is the thoroughness of the description: “The author is not amazed by one side of an object, one moment of existence, but turns the object from all sides, which allows him to capture the full image of the object, mint it, sculpt it” (“What is Oblomovism? "). Goncharov draws in detail the robe, shoes, Ilya Ilyich’s sofa, his dusty room, his awkward, inept servant Zakhar.

Objects become symbolic for Oblomov’s character. There are books on the table in his room, but they are pretty covered with dust. When main character falls in love with Olga, he locks his wonderful robe, wide and warm, in the chest, which in the novel becomes a symbol of dead peace and sleep. But when Oblomov settles down on the Vyborg side, the robe is taken out of the chest, washed, darned by the hands of the caring housewife Agafya Matveevna, and this is already a signal that sleepy life has again defeated Ilya Ilyich. In “Oblomov’s Dream” the author talks in detail about one day in Oblomovka: worries about lunch, arrangement manor house, dead sleep after lunch, evening gatherings of the noble family.

Gogol was also brilliant at showing the character of a hero through objects. Landowners in “Dead Souls” are portrayed satirically; the writer reduces the description of their dead souls to one main feature. For example, Sobakevich emphasizes thriftiness, thoroughness, and clumsiness. These similar features are manifested in the appearance of the village and in interior decoration a landowner's house: the huts, fences, even the well were built from such thick logs as are used only for ship masts, and the furniture in Sobakevich's living room was simple, but strong and stable, like the owner himself, who looked like a medium-sized bear.

Goncharov does not repeat, but develops Gogol’s depiction techniques. Oblomov may be somewhat similar to Gogol’s landowners, but it is impossible to simplify his character and see in him only a primitive nature (“dead soul”). Goncharov shows thinking man who wants to understand himself, dreams, loves. Main feature Oblomov's character - laziness - is revealed in many ways, that is, it is illuminated in different ways, from different points of view. As a result, the writer creates a complete and complex character of the main character, not limiting himself to the satirical sharpening of one or two traits.

In the novel, Goncharov shows the dying soul of the main character, therefore he conveys in detail the experiences of Ilya Ilyich. Goncharov’s psychologism is also special: through the description of objects and everyday details, the author depicts not the soullessness of Oblomov (as was the case with Gogol), but the contradictory struggle of his feelings and thoughts. The originality of the psychological disclosure of Oblomov’s image is manifested in the fact that Goncharov does not show the thinking process, like Tolstoy and Dostoevsky, but the hero’s already established stereotype of thoughts, which, like the surrounding objects, characterizes Ilya Ilyich. Indicative in this sense is the emergence of his interest, and then love for Agafya Matveevna: Oblomov began to take a closer look at his landlady after she treated him to a very delicious pie“with chickens and fresh mushrooms” (3, III). The pie reminded Ilya Ilyich of Oblomovka.

The hero’s mental well-being is often conveyed through his physical state. Anxiety, for example, is expressed by the fact that Oblomov is spinning on his sofa: “At times he was lost in the tide of everyday worries, he lay, tossing and turning from side to side, at times his abrupt exclamations could be heard: “Oh, my God! Life touches you, touches you everywhere.” (1,I). As if wanting to hide from hectic life, Oblomov “wrapped himself in a robe or wrapped his head completely in a blanket.” But then a thought awoke, a moment of self-criticism came, and “Oblomov freed his head from under the blanket” (1, VIII). Usually, Ilya Ilyich’s emotional experiences are accompanied by a painful physical state: he talks to Olga, and his “arms and legs grew cold,” “he lost heart,” “a slight fever was already breaking out inside him” (2, XII).

One of the artistic features of the novel is the interweaving of lyrical, tragic and comic images. Dobrolyubov noted that Goncharov’s writing style is unobtrusive; he does not teach the reader how to understand the character or situation described in the novel: Goncharov “doesn’t care about the reader and the conclusions you draw from the novel - that’s your business” (“What is Oblomovism?”). But with all the objectivity of the description, Goncharov feels deep sympathy for the main character, condescension towards him, dictated by a clear understanding of the evil that destroyed him. It is known that at first the novel was called “Oblomovshchina,” that is, the ideological emphasis was placed on the social circumstances that shaped the lazy, worthless character of the hero. However, in final version Goncharov changed the title to “Oblomov,” thereby emphasizing the importance of the hero’s personal drama.

There is comedy in the first part of the novel, when Oblomov cannot get up from the sofa, although he has already lowered his feet to his slippers several times. Every time some thought stopped the hero and, in order to think about it, he again lay down on the pillow. Already in the first part, Oblomov poses a cardinal question: “Why am I like this?” (1,VIII). From this moment on, a tragic mood arises in the novel, which gradually intensifies towards the end: Oblomov, an intelligent, conscientious and sensitive person, but weak-willed and passive, cannot overcome his nature and quickly moves towards a tragic ending, fully aware of it. The author shows Oblomov through the struggle of opposing aspirations: this struggle from time to time leads the hero to a painful awareness of his helplessness and the desire to change his life, but all impulses end in apathy, sleep, and the victory of laziness. Unfortunately, of the two possible paths that Oblomov himself sees before himself (“Now or never! To be or not to be!” 2, V), the second one wins - “never”, “not to be”. Oblomov refuses active life, voluntarily limits his existence to concerns about delicious lunch and peace in a house on the Vyborg side. The author's lyrical notes sound most strongly in the fourth part of the novel: here the author's sympathy for the helpless hero is clearly expressed.

To summarize, it should be said that the novel “Oblomov” is highest degree a unique work, deep in ideological content and unique in its artistic embodiment of this content. The novel is constructed very simply, without spectacular plot twists. Its value does not lie in its outward entertainingness, but in the depth of its understanding of Goncharov’s contemporary Russian reality and human life in general. After all, Oblomov is shown simultaneously as a product of certain social conditions (Oblomovism) and as a person who is trying to resist them, not accepting the empty and vain surrounding reality. Social status (landowner), improper upbringing (from childhood it was instilled in him that work is punishment, and rest and peace are fabulous bliss) predetermined, according to Goncharov, the tragic fate of the protagonist. However, rejection of life led to tragic end in all eras: circumstances prevailed proud man, who opposed himself to the unfair world around him. It is not for nothing that Hamlet’s dilemma is repeated in Oblomov, and Oblomov himself and Zakhar resemble Don Quixote and Sancho Panza. The Spanish knight also went “against the flow” and because of this he caused laughter among “normal” people who know in advance that going against the flow is stupid - you will still lose.

Goncharov’s novel “Oblomov” was published in 1859 and immediately attracted the interest of the writer’s contemporaries due to the depth of the issues revealed in the work. In the novel, the author first described such tendentious for Russian society phenomenon as “Oblomovism,” acutely identifying the conflict between heroes living in the past and heroes who are the creators of the future. However, an equally important aspect to understand ideological meaning work is the composition “Oblomov”, built from four main parts, reflecting different stages of personality development and state of mind Ilya Ilyich.

The plot and compositional structure of "Oblomov"

To understand the ideological and semantic functions of the composition of the novel “Oblomov” by Goncharov, it is necessary to briefly retell the main storylines works.

In the first part, the author depicts one day in the life of Ilya Ilyich for the reader. Lazy, mired in “Oblomovism,” Oblomov spends the whole day in bed, never daring to get up and do any business. Moreover, he does not even get up to greet Volkov, Sudbinsky and Penkin, and then Alekseev and Tarantiev, who came to him. The first part ends with the chapter “Oblomov’s Dream” - the only chapter in the novel that has a title. This is due not only to the history of the creation of the work (the idea for the book appeared back in 1847, and in 1849 Goncharov published “Oblomov’s Dream” as an independent work, which then formed the basis of the novel “Oblomov”), but also the importance of sleep for understanding the phenomenon of “Oblomovism” ", its influence on Ilya Ilyich as the central goal of his life.

The second part begins with the arrival of Stolz, who pulls Oblomov out of his half-asleep state and takes him with him to his guests. Ilya Ilyich’s life changes dramatically - Andrei Ivanovich introduces him to Olga Ilyinskaya, with whom Oblomov falls in love. The girl also fell in love with Ilya Ilyich and the second part ends with their confessions and plans for a happy future.

The third part is devoted to the development of relations between Olga and Oblomov. Goncharov describes both the happiness of lovers and the difficulties of mutual understanding. At the end of the third part, Oblomov and Olga break up because they realize that the idealized images of each other with which they fell in love do not correspond to reality.

The fourth part talks about later life Olga and Oblomov. Oblomov finds his family happiness with Pshenitsyna, who creates for him that very desired atmosphere of Oblomovka. Olga marries Stolz. The novel ends with the death of Oblomov.

Semantic features of the composition “Oblomov”

In the novel "Oblomov" the composition is divided into four main parts, symbolizing the four stages of the hero's life, corresponding to the seasons. It is not surprising that the theme of nature in the novel occupies one of the central places– all events seem to be complemented by landscapes, weather or images of nature.

“Spring” and “Summer” by Oblomov

The novel begins with “winter” in Oblomov’s life - a state of half-asleep, almost “dying,” when a person practically does not get out of bed, waiting for his death. The next stage - the second part - is the “spring” of Ilya Ilyich - the revival from the “winter” sleep and steps towards a new life and new love. The borderline moment between the “winter” of the first part and the “spring” of the second is Oblomov’s dream, which tells about the actual “spring” of the hero’s life - his childhood in his native village. The functional role of sleep in the composition of the novel is a smooth transition from apathy and “winter” to “spring” through memories of youth, joy and life through a dream - that is, in fact, Oblomov’s dream is prophetic, since then his life again becomes similar to his youth - filled with the enchanting beauty of nature, new impressions and love. On the other hand, the arrival of the hero’s “spring” in a dream indicates that the following events are a continuation of this dream, and not actually happening to the hero. This is also indicated by Olga’s words during their separation that she is not able to change Oblomov, since he is already dead. That is, starting the novel with Oblomov’s “winter,” the author points out that the hero is already irrevocably immersed in a sleepy state, leading to the collapse of “Oblomovism.”

The spring love of the heroes, symbolized by a fragile lilac branch, is replaced by “summer” (the third part of the novel) both in the hero’s soul and in the relationship between Olga and Oblomov. They think about the need to get married, but Oblomov’s lack of initiative and fear of the future prevents this from happening. The separation of the lovers represents the end of “summer”, emphasized by the snowfall that Oblomov falls into on his way home - as if a reminder that the hero had again fallen into a winter deathly sleep and apathy, from which only Olga and Stolz could bring him out.

“Autumn” and “Winter” by Oblomov

The fourth part of the novel represents the “autumn” and “winter” of Oblomov’s personality - calm, deathly quiet life at Pshenitsyna's. Before Ilya’s death, Ilyich seems to be returning to his native Oblomovka, while becoming more and more immersed in dreams that are not destined to come true. At the time of actual death, Oblomov’s personality was already dead - he had long existed outside real world, immersed in illusory world“winter” half-asleep.

At the same time, the real calendar of events is somewhat shifted in relation to the development of events, which begin in May and end in late autumn, thus symbolizing the period of the hero’s life corresponding to his real age - from 30 years old (late spring) to late autumn– about 50 years old.

conclusions

The main feature of the composition of the novel “Oblomov” is its “circularity” internal state Main character. At the beginning of the work, Ilya Ilyich is not only immersed in “Oblomovism,” he himself is part of this distant, divorced from big world Oblomovki. We see the same thing at the end of the work - Oblomov dies spiritually and physically, just as his native village dies. On a philosophical scale, the composition of the novel points to the inevitability of the passage of time, the changing seasons and stages of life, the finitude of not only a person and a village, but also the entire history of a family with its traditions, which are sure to be replaced by something new.

This characteristic and description of the features of the novel’s composition are recommended for study by 10th graders before writing an essay on the topic “Compositions of the novel “Oblomov”.”

Work test

In the novel “Oblomov” the skill of Goncharov as a prose writer was fully demonstrated. Gorky, who called Goncharov “one of the giants of Russian literature,” noted his special, flexible language. Goncharov’s poetic language, his talent for figuratively reproducing life, the art of creating typical characters, compositional completeness and the enormous artistic power of the picture of Oblomovism and the image of Ilya Ilyich presented in the novel - all this contributed to the fact that the novel “Oblomov” took its rightful place among the masterpieces of the world classics.

The portrait characteristics of the characters play a huge role in the work, with the help of which the reader gets to know the characters and gets an idea about them and their character traits. The main character of the novel, Ilya Ilyich Oblomov, is a man of thirty-two to thirty-three years old, of average height, pleasant appearance, with dark gray eyes in which there is no idea, with a pale complexion, plump hands and a pampered body. Already from this portrait characteristic we can get an idea of ​​the hero’s lifestyle and spiritual qualities: the details of his portrait speak of a lazy, immobile lifestyle, of his habit of aimlessly spending time. However, Goncharov emphasizes that Ilya Ilyich is a pleasant person, gentle, kind and sincere. The portrait description, as it were, prepares the reader for the collapse in life that inevitably awaited Oblomov.

In the portrait of Oblomov's antipode, Andrei Stolts, the author used different colors. Stolz is the same age as Oblomov, he is already over thirty. He is in motion, all made up of bones and muscles. Getting acquainted with the portrait characteristics of this hero, we understand that Stolz is a strong, energetic, purposeful person who is alien to daydreaming. But this almost ideal personality resembles a mechanism, not a living person, and this repels the reader.

In the portrait of Olga Ilyinskaya, other features predominate. She “was not a beauty in the strict sense of the word: she had neither whiteness nor bright color of her cheeks and lips, and her eyes did not burn with rays of inner fire, there were no pearls in her mouth and corals on her lips, there were no miniature hands with fingers in the form of grapes." The somewhat tall stature was strictly consistent with the size of the head and the oval and size of the face, all of this, in turn, was in harmony with the shoulders, the shoulders with the waist... The nose formed a slightly noticeable graceful line. Lips that are thin and compressed are a sign of a searching thought directed at something. This portrait indicates that before us is a proud, intelligent, slightly vain woman.

In the portrait of Agafya Matveevna Pshenitsyna, such traits as gentleness, kindness and lack of will appear. She is about thirty years old. She had almost no eyebrows, her eyes were “grayish-obedient,” like her entire facial expression. The hands are white, but hard, with knots of blue veins protruding outward. Oblomov accepts her for who she is and gives her an apt assessment: “How... simple she is.” It was this woman who was next to Ilya Ilyich until his last minute, his last breath, and gave birth to his son.

The description of the interior is equally important for characterizing the character. In this, Goncharov is a talented continuer of Gogol’s traditions. Thanks to the abundance of everyday details in the first part of the novel, the reader can get an idea of ​​the hero’s characteristics: “How Oblomov’s home suit suited his late facial features... He was wearing a robe made of Persian fabric, a real oriental robe... His shoes were long, soft and wide, when, without looking, he lowered his legs from the bed to the floor, he certainly fell into them right away...” Describing in detail the objects surrounding Oblomov in everyday life, Goncharov draws attention to the hero’s indifference to these things. But Oblomov, indifferent to everyday life, remains his captive throughout the novel.

The image of a robe is deeply symbolic, repeatedly appearing in the novel and indicating a certain state of Oblomov. At the beginning of the story, a comfortable robe is an integral part of the hero's personality. During the period of Ilya Ilyich’s love, he disappears and returns to the owner’s shoulders on the evening when the hero’s breakup with Olga occurred.

The lilac branch picked by Olga during her walk with Oblomov is also symbolic. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end. Another important detail is the raising of bridges on the Neva. The bridges were opened at a time when in the soul of Oblomov, who lived on the Vyborg side, there was a turning point towards the widow Pshenitsyna, when he fully realized the consequences of life with Olga, was afraid of this life and again began to plunge into apathy. The thread connecting Olga and Oblomov broke, and it cannot be forced to grow together, therefore, when the bridges were built, the connection between Olga and Oblomov was not restored. The snow falling in flakes is also symbolic, which marks the end of the hero’s love and at the same time the decline of his life.

It is no coincidence that the author describes in such detail the house in Crimea in which Olga and Stolz settled. The decoration of the house “bears the stamp of thought and personal taste of the owners,” there were many engravings, statues, and books, which speaks of the education and high culture of Olga and Andrey.

An integral part of the artistic images created by Goncharov and the ideological content of the work as a whole are the proper names of the characters. The surnames of the characters in the novel “Oblomov” carry a great meaning. The main character of the novel, according to the primordial Russian tradition, received his surname from the Oblomovka family estate, the name of which goes back to the word “fragment”: a fragment of the old way of life, patriarchal Rus'. Reflecting on Russian life and its typical representatives of his time, Goncharov was one of the first to notice a failure of internal national traits, fraught with a cliff, or a bummer. Ivan Aleksandrovich foresaw the terrible state into which Russian society began to fall in the 19th century and which by the 20th century had become a mass phenomenon. Laziness, the lack of a specific goal in life, passion and desire to work has become a distinctive national feature. There is another explanation for the origin of the main character’s surname: in folk tales the concept of “dream-oblomon” is often found, which enchants a person, as if crushing him with a gravestone, dooming him to slow, gradual extinction.

Analyzing his contemporary life, Goncharov looked for the antipode of Oblomov among the Alekseevs, Petrovs, Mikhailovs and other people. As a result of these searches, a hero with a German surname emerged Stolz(translated from German - “proud, full of self-esteem, aware of his superiority”).

Ilya Ilyich spent his entire adult life striving for an existence “that would be both full of content and flow quietly, day after day, drop by drop, in silent contemplation of nature and the quiet, barely creeping phenomena of a peaceful, busy family life.” He found such an existence in Pshenitsyna’s house. “She was very white and full in the face, so that the color did not seem to be able to break through her cheeks (like a “wheat bun”). The name of this heroine is Agafya– translated from Greek means “kind, good.” Agafya Matveevna is a type of modest and meek housewife, an example of female kindness and tenderness, whose life interests were limited only to family concerns. Oblomov's maid Anisya(translated from Greek - “fulfillment, benefit, completion”) is close in spirit to Agafya Matveevna, and that is why they quickly became friends and became inseparable.

But if Agafya Matveevna loved Oblomov thoughtlessly and selflessly, then Olga Ilyinskaya literally “fought” for him. For the sake of his awakening, she was ready to sacrifice her life. Olga loved Ilya for his own sake (hence the surname Ilyinskaya).

Last name of “friend” Oblomov, Tarantieva, carries a hint of the word ram. In Mikhei Andreevich’s relationships with people, such qualities as rudeness, arrogance, persistence and unprincipledness are revealed. Isai Fomich Worn out, to whom Oblomov gave power of attorney to manage the estate, turned out to be a fraudster, grated roll. In collusion with Tarantyev and brother Pshenitsyna, he skillfully robbed Oblomov and erased your tracks.

Speaking about the artistic features of the novel, one cannot ignore the landscape sketches: for Olga, walking in the garden, a lilac branch, flowering fields - all this is associated with love and feelings. Oblomov also realizes that he is connected with nature, although he does not understand why Olga constantly drags him out for walks, enjoying the surrounding nature, spring, and happiness. The landscape creates the psychological background of the entire narrative.

To reveal the feelings and thoughts of the characters, the author uses a technique such as an internal monologue. This technique is most clearly revealed in the description of Oblomov’s feelings for Olga Ilyinskaya. The author constantly shows the thoughts, remarks, and internal reasoning of the characters.

Throughout the entire novel, Goncharov subtly jokes and sneers at his characters. This irony is especially noticeable in the dialogues between Oblomov and Zakhar. This is how the scene of placing the robe on the owner’s shoulders is described. “Ilya Ilyich almost did not notice how Zakhar undressed him, pulled off his boots and threw a robe over him.

- What is this? – he asked only, looking at the robe.

“The hostess brought it in today: they washed and repaired the robe,” said Zakhar.

Oblomov sat down and remained in the chair.”

The main compositional device of the novel is antithesis. The author contrasts images (Oblomov - Stolz, Olga Ilyinskaya - Agafya Pshenitsyna), feelings (Olga's love, selfish, proud, and Agafya Matveevna's love, selfless, forgiving), lifestyle, portrait characteristics, character traits, events and concepts, details (branch lilac, symbolizing hope for a bright future, and a robe as a quagmire of laziness and apathy). Antithesis makes it possible to more clearly identify the individual character traits of the heroes, to see and understand two incomparable poles (for example, Oblomov’s two colliding states - stormy temporary activity and laziness, apathy), and also helps to penetrate into the hero’s inner world, to show the contrast that is present not only in the external , but also in the spiritual world.

The beginning of the work is built on the collision of the bustling world of St. Petersburg and the isolated inner world of Oblomov. All visitors (Volkov, Sudbinsky, Alekseev, Penkin, Tarantiev) who visit Oblomov are prominent representatives of a society living according to the laws of falsehood. The main character seeks to isolate himself from them, from the dirt that his friends bring in the form of invitations and news: “Don’t come, don’t come! You're coming out of the cold!

The whole system of images in the novel is built on the device of antithesis: Oblomov - Stolz, Olga - Agafya Matveevna. The portrait characteristics of the heroes are also given in contrast. So, Oblomov is plump, plump, “with the absence of any definite idea, any concentration in his facial features”; Stolz consists entirely of bones and muscles, “he is constantly in motion.” Two completely different types of character, and it’s hard to believe that there could be anything in common between them. And yet it is so. Andrey, despite his categorical rejection of Ilya’s lifestyle, was able to discern in him traits that are difficult to maintain in the turbulent flow of life: naivety, gullibility and openness. Olga Ilyinskaya fell in love with him for his kind heart, “dovelike tenderness and inner purity.” Oblomov is not only inactive, lazy and apathetic, he is open to the world, but some invisible film prevents him from merging with it, from walking the same path with Stolz, from living an active, full life.

Two key female characters of the novel - Olga Ilyinskaya and Agafya Matveevna Pshenitsyna - are also presented in opposition. These two women symbolize two life paths that are given to Oblomov as a choice. Olga is a strong, proud and purposeful person, while Agafya Matveevna is kind, simple and thrifty. Ilya would only have to take one step towards Olga, and he would be able to immerse himself in the dream that was depicted in “The Dream...”. But communication with Ilyinskaya became the last test for Oblomov’s personality. His nature is not able to merge with the cruel outside world. He abandons the eternal search for happiness and chooses the second path - he plunges into apathy and finds peace in the cozy house of Agafya Matveevna.

Oblomov's perception of the world collides with Stolz's perception of the world. Throughout the novel, Andrei does not lose hope of resurrecting Oblomov, and cannot understand the situation in which his friend found himself: “He died... he died forever!” Later, he disappointedly tells Olga that “Oblomovism” reigns in the house where Ilya lives. Oblomov's whole life, which consisted of moral ups and downs, eventually turns into nothing. The tragic ending of the novel is contrasted with Stolz's optimistic mood. His motto: “Now or never!” opens up new horizons, while Oblomov’s position: “Life is nothing, zero” - destroys all plans and dreams and leads the hero to death. This final contrast encourages readers to think about the fact that the quagmire of apathy disfigured the hero’s personality, absorbed everything living and pure in him, and gave birth to such a wild phenomenon as “Oblomovism.”

The novel “Oblomov” was written by Ivan Aleksandrovich Goncharov in the mid-19th century. In it, the author touches on a pressing topic of his time - serfdom. People see that it has outlived its usefulness. There must be a restructuring of society, because serfdom will no longer be able to give the country progressive development.

Expand all historical process Goncharov is unable to do so. That's why he shows this using the example of the Oblomov type.

Landowner Ilya Ilyich Oblomov is the main character of the novel “Oblomov”. He spent his childhood in the village of Oblomovka. The life of the Oblomovites was similar to nature. From it, as well as from the life around them, all movements were removed. All educational supervision of a son comes down to protecting him from vivid impressions and from any stress. There is no place for genuine spirituality in Oblomov’s life. The only form of spiritual existence available to Oblomovites is fairy tales, legends, and myths. Developing daydreaming, the fairy tale tied Ilyusha more to the house, causing inaction.

As a child, Oblomov could not dress himself; servants always helped him. As an adult, he also resorts to their help. In the novel, Goncharov describes Oblomov’s servant named Zakhar.

Oblomov lies on the sofa and does nothing. He knows that “he has Zakhar and three hundred more Zakharovs.” This is where Oblomovism is born - inaction. The country is not receiving further development. As a result, it turns out that serfdom is ruining Russia.

Olga Ilyinskaya and Stolz are trying to correct Oblomov. They make it work. But it's all in vain. It is impossible to remake a person if his laziness, inaction, apathy towards everything that is done in the world are inherent in his character and actions from childhood.

All this once again proves that serfdom should no longer exist in the country of Russia; something is needed that, perhaps, will correct people like Oblomov.

When revealing the artistic features of the novel, you need to pay attention to its composition. The novel consists of four parts.

The first part reveals a picture of Oblomov’s life. The hero is inscribed in a motionless everyday interior, given in all its features and details. Here the hero is introduced to the reader.

In the second part, the narrative loses its static nature. Olga Ilyinskaya appears, is coming love drama. IN dramatic action the true character of the protagonist is revealed.

The third part talks about the trials of love. All the vulnerability of Oblomov’s romantic feeling was revealed.

In the fourth part love story ended. Everything that follows is “commentary” to it, clarifying the essence of the drama.

Why does the novel consist of four parts? Goncharov doesn’t need any more. One part is a description of the hero’s life, the second is a description genuine character Oblomov, the third is a description of the hero’s feelings, the fourth is the hero’s return to everyday life. Four parts are enough for Goncharov to prove that there is no way to change Oblomov’s character.

At the end of the first part, the author places “Oblomov’s Dream”. This episode describes the hero's childhood and upbringing. All this helps to recognize Oblomov’s character. Why does Goncharov place this episode at the end of the first part? The author wanted to introduce us to the hero at the beginning of the novel, so that later, while reading the novel, we could compare the true character of the hero with further efforts to change.

Even through small details of everyday life, the author reveals a deep topic. Robe, sofa, slippers, elbows - these details are specially enlarged. They become symbols of Oblomov's affections. The “negligent” topic was explored not only by Goncharov, but also by many other poets and writers. Each author tried to reflect this theme in his work.

Goncharov skillfully uses the description of individual objects in the environment surrounding the hero. The description of his things helps to reveal the main idea of ​​the novel. Goncharov, like Gogol, shows the character of the hero, the main idea of ​​the novel, through detail.

Goncharov brings the theme to us through images.

A writer, Penkin, came to Oblomov and invited him to read his articles. But Oblomov did not read them, but told Penkin that he was only denouncing, showing dirt, and rejoicing from it. Oblomov said: “Where is humanity?.. Extend your hand to a fallen man to lift him up, or cry bitterly over him if he dies, and do not mock. Love him, remember yourself in him, and treat him as yourself - then I will begin to read you and bow my head before you.” Goncharov thereby appeals to other writers so that they do not criticize serfdom, but, on the contrary, offer a way out of this situation and look for new ways to transform Russia. In Oblomov, Goncharov only proves that Russia needs to change. He does not criticize serfdom. But it doesn’t offer anything yet. I think that Goncharov specifically wanted to first set up and convince the people so that they would later help him find a way to rebuild society.

The title of the novel also contains little meaning. Goncharov at first wanted to call the novel “Oblomovshchina.” But why did he still call it “Oblomov”?

It seems to me because the word “Oblomovism” means the whole of Russia. But not the whole country was Oblomovism. Not all landowners were like Oblomov. This is one of the types of landowner. But everything could come to the point that the Oblomovs would be in power. And if such people rule the country, then the country will not strive for the best, for progress.

Thanks to Goncharov’s skill, we have before us a novel that allows us, our descendants, to see what thoughts occupied Russians a hundred and fifty years ago, how the people solved state problems. And such writers and artists as Goncharov and Gogol help the generation of the twenty-first century to recognize the character of the Russian people through artistic descriptions the life of one hero, symbolizing by him the Russian people in a certain era of time.

Goncharov is a master of words who can show us the beginning of the nineteenth century with just one pen. We get there as if in reality. The Russian people must know the history of the Fatherland. Writers help us with this. And we must tell them: “Thank you!”