And Goncharov’s artistic originality of Oblomov’s novel. The essay “The artistic originality of Goncharov’s novel “Oblomov”

In the novel “Oblomov” Goncharov reflected part of his contemporary reality, showed types and images characteristic of that time, explored the origins and essence of contradictions in Russian society mid-19th V. The author used a number of artistic techniques that contributed to a more complete disclosure of the images, themes and ideas of the work.
Construction literary work plays important role, and Goncharov used composition as an artistic device. The novel consists of four parts; in the first, the author describes Oblomov’s day in detail, without omitting a single detail, so that the reader gets a complete and detailed picture whole life the main character, because all the days in Oblomov’s life are approximately the same. The image of Oblomov himself is carefully outlined, and when the way of life and the features of the hero’s inner world are revealed and become clear to the reader, the author introduces “Oblomov’s Dream” into the fabric of the work, in which he shows the reasons for the emergence of such a worldview in Oblomov, social conditioning his psychology. Falling asleep, Oblomov asks himself: “Why am I like this?” - and in a dream he receives an answer to his question. “Oblomov’s Dream” is an exposition of the novel, located not at the beginning, but inside the work; Using such an artistic technique, showing first the character of the hero, and then the origins and conditions of his formation, Goncharov showed the foundations and depths of the soul, consciousness, and psychology of the protagonist.
To reveal the characters' characters, the author also uses the technique of antithesis, which forms the basis for constructing a system of images. The main antithesis is the passive, weak-willed, dreamy Oblomov and the active, energetic Stolz. They are opposed to each other in everything, down to the details: in appearance, in upbringing, attitude to education, lifestyle. If Oblomov in childhood lived in an atmosphere of general moral and intellectual hibernation, which drowned out the slightest attempt to show initiative, then Stolz’s father, on the contrary, encouraged his son’s risky antics, saying that he would make a “good gentleman.” If Oblomov’s life proceeds monotonously, filled with conversations with uninteresting people, squabbles with Zakhar, copious amounts of sleep and food, endless lying on the sofa, then Stolz is always on the move, always busy, constantly in a hurry somewhere, full of energy. Actually, Stolz’s life, in his expression, is a stormy, rushing river, while Oblomov’s life is a “swamp.” These are two completely opposite characters; Goncharov uses antithesis to more fully reveal the images of Oblomov and Stolz. In general, there are many oppositions in the novel, but the main ones are Oblomov and Stolz, Oblomov and Olga, Olga and Pshenitsha. The antithesis of Oblomov - Olga is similar to the antithesis of Oblomov - Stolz, only here the lethargy and indifference of Ilya Ilyich is contrasted with the liveliness and insatiable mind of Olga, which constantly requires new food for thought. Such curiosity and breadth of thinking, in turn, are contrasted with Pshenitsyna’s limitations and indifference. To show the sublimity of Olga and the down-to-earthness of Agafya Matveevna, in describing the heroines, Goncharov uses the following technique: speaking about Olga, he pays little attention to her appearance, dwelling in more detail on her inner world; in the description of Pshenitsyna, elbows, shoulders, neck are constantly mentioned - details appearance; thus showing the insignificance and narrowness of her inner world and thinking. The comparison reveals the most typical and significant features character; This creates a bright and relief image.
The psychologism of the novel lies in the fact that the author explores inner world all the heroes. To do this, he introduces internal monologues - the hero's reasoning, which he does not say out loud. It’s like a dialogue between a person and himself; So, before “Dream...” Oblomov thinks about his behavior, about how someone else would behave in his place. The monologues show the hero's attitude towards himself and others, towards life, love, death - towards everything; thus again psychology is explored.
Artistic techniques, used by Goncharov, are very diverse. Throughout the novel there is a technique artistic detail, detailed and accurate description of human appearance, nature, interior decoration rooms, that is, everything that helps create in the reader full picture what's happening. How literary device The symbol is also important in the work. Many items have symbolic meaning, for example, Oblomov’s robe is a symbol of his everyday, familiar life. At the beginning of the novel main character does not part with his robe; when Olga temporarily “pulls Oblomov out of the swamp” and he comes to life, the robe is forgotten; at the end," in Pshenitsyna's house, it again finds use, until the end of Oblomov's life. Other symbols - a branch of lilac (Olga's love), Oblomov's slippers (almost like a robe) and others also have great importance in the novel.
“Oblomov” is not only a socio-historical work, but also a deeply psychological one: the author set himself the goal not just to describe and examine, but to explore the origins, reasons for the formation, features, influence of a certain psychology on others social type. I. A. Goncharov achieved this by using a variety of artistic media, creating with their help the most suitable form for the content - composition, system of images, genre, style and language of the work.

Andrei Stolts is Oblomov’s closest friend; they grew up together and carried their friendship through life. It remains a mystery how such dissimilar people, with such different views on life, could maintain deep affection. Initially, the image of Stolz was conceived...

Oblomov’s image consists of two parts. There is Oblomov, “moldy, almost disgusting,” “a greasy, awkward piece of meat.” There is Oblomov, in love with Olga, Oblomov, who is “deeply touching and sympathetic in his sad comedy.” Between these Oblomovs...

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 creators of the future. However, no less important aspect for understanding ideological meaning work is the composition “Oblomov”, built from four main parts, reflecting different stages 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 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 at Pshenitsyna’s, which 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 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 indicates 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 he dies home village. On a philosophical scale, the composition of the novel indicates 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

The novel “Oblomov” was written by Ivan Aleksandrovich Goncharov in the mid-19th century. In it the author touches current 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 over a son comes down to protecting him from vivid impressions, 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 does not receive 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 of Oblomov’s true character, 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 true character hero with further efforts to change.

Even through small details of everyday life, the author reveals 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 setting, 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 people decided government 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!”

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. Poetic language Goncharov, his talent for figurative reproduction of life, the art of creating typical characters, compositional completeness and enormous artistic power The picture of Oblomovism presented in the novel and the image of Ilya Ilyich - 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 arms 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 protruding knots blue veins. 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, her 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 the 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, absence specific purpose in life, passion and desire to work have become distinctive national trait. There is another explanation for the origin of the main character’s surname: in folk tales The concept of “sleep-oblomon” is often encountered, 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 emerged with German surname 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.”

Main compositional technique the novel is an 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 personality traits characters' characters, 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) paying visits to Oblomov are prominent representatives a society living by 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 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 images of the novel - Olga Ilyinskaya and Agafya Matveevna Pshenitsyna - are also given in contrast. 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 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.

In the novel “Oblomov,” Goncharov reflected part of his contemporary reality, showed types and images characteristic of that time, and explored the origins and essence of contradictions in Russian society of the mid-19th century. The author used a number of artistic techniques that contributed to a more complete disclosure of the images, themes and ideas of the work.
The construction of a literary work plays an important role, and Goncharov used composition as an artistic device. The novel consists of four parts; in the first, the author describes Oblomov’s day in detail, without omitting a single detail, so that the reader gets a complete and detailed picture of the main character’s whole life, because all the days in Oblomov’s life are approximately the same. The image of Oblomov himself is carefully outlined, and when the way of life and the features of the hero’s inner world are revealed and become clear to the reader, the author introduces “Oblomov’s Dream” into the fabric of the work, in which he shows the reasons for the emergence of such a worldview in Oblomov, the social conditioning of his psychology. Falling asleep, Oblomov asks himself: “Why am I like this?” - and in a dream he receives an answer to his question. “Oblomov’s Dream” is an exposition of the novel, located not at the beginning, but inside the work; Using such an artistic technique, showing first the character of the hero, and then the origins and conditions of his formation, Goncharov showed the foundations and depths of the soul, consciousness, and psychology of the protagonist.
To reveal the characters' characters, the author also uses the technique of antithesis, which forms the basis for constructing a system of images. The main antithesis is the passive, weak-willed, dreamy Oblomov and the active, energetic Stolz. They are opposed to each other in everything, down to the details: in appearance, in upbringing, attitude to education, lifestyle. If Oblomov in childhood lived in an atmosphere of general moral and intellectual hibernation, which drowned out the slightest attempt to show initiative, then Stolz’s father, on the contrary, encouraged his son’s risky antics, saying that he would make a “good gentleman.” If Oblomov’s life proceeds monotonously, filled with conversations with uninteresting people, squabbles with Zakhar, abundant food and sleep, endless lying on the sofa, then Stolz is always on the move, always busy, constantly in a hurry somewhere, full of energy. Actually, Stolz’s life, in his words, is a stormy, rushing river, while Oblomov’s life is a “swamp.” These are two completely opposite characters; Goncharov uses antithesis to more fully reveal the images of Oblomov and Stolz. In general, there are many oppositions in the novel, but the main ones are Oblomov and Stolz, Oblomov and Olga, Olga and Pshenitsyna. The antithesis of Oblomov - Olga is similar to the antithesis of Oblomov - Stolz, only here the lethargy and indifference of Ilya Ilyich is contrasted with the liveliness and insatiable mind of Olga, which constantly requires new food for thought. Such curiosity and breadth of thinking, in turn, are contrasted with Pshenitsyna’s limitations and indifference. To show the sublimity of Olga and the down-to-earthness of Agafya Matveevna, in describing the heroines, Goncharov uses the following technique: speaking about Olga, he pays little attention to her appearance, dwelling in more detail on her inner world; in the description of Pshenitsyna, elbows, shoulders, neck are constantly mentioned - details of the external appearance; thus showing the insignificance and narrowness of her inner world and thinking. The comparison reveals the most typical and significant character traits; This creates a bright and relief image.
The psychologism of the novel lies in the fact that the author explores the inner world of all the characters. To do this, he introduces internal monologues - the hero's reasoning, which he does not say out loud. It’s like a dialogue between a person and himself; So, before “Dream...” Oblomov thinks about how someone else would behave in his place. The monologues show the hero's attitude towards himself and others, towards life, love, death - towards everything; thus again psychology is explored.
The artistic techniques used by Goncharov are very diverse. Throughout the novel, one encounters the technique of artistic detail, a detailed and accurate description of human appearance, nature, the interior decoration of rooms, that is, everything that helps the reader create a complete picture of what is happening. As a literary device in a work, symbol is also important. Many objects have symbolic meaning, for example, Oblomov’s robe is a symbol of his everyday, familiar life. At the beginning, the main character does not part with his robe; when Olga temporarily “pulls Oblomov out of the swamp” and he comes to life, the robe is forgotten; at the end, in Pshenitsyna’s house, he again finds use for it, and for the rest of Oblomov’s life. Many symbols - a branch of lilac (Olga's love), Oblomov's slippers (almost like a robe) and others are also of great importance in the novel.
“Oblomov” is not only a socio-historical work, but also a deeply psychological one: the author set himself the goal not just to describe and examine, but to explore the origins, reasons for the formation, features, and influence of a certain social type of psychology on others. I.A. Goncharov achieved this by using a variety of artistic means, creating with their help the most suitable form for the content - composition, system of images, genre, style and language of the work.