Features of the composition of the novel “Oblomov. Abstract: Artistic features of the novel by Goncharov Oblomov

Ilya Ilyich Oblomov. A name that has become a household name. Each of us has a piece of Oblomov. This is probably why I. A. Goncharov’s novel is so memorable, leaving a deep mark on the reader’s soul. Although the novel's narrative is a little drawn out, it attracts the reader, first of all, bright images, comic and tragic situations, makes you think about the meaning of life. Speaking about the novel, one cannot help but declare and about its artistic features. After all, it is the writer’s skill that makes us take the fate of the main character to heart.

The role of portrait characteristics in a work is great, since it is with its help that we get to know the characters, form an idea about them, about their character traits.

How does the author draw the main character? This 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. Complexion is pale. Oblomov has plump arms and a pampered body. Already from this characteristic it is possible declare about the hero’s lifestyle and spiritual qualities: the features and details of his portrait speak of a lazy, immobile lifestyle, of his habit of “doing nothing.” However, Goncharov emphasizes that Ilya Ilyich is a pleasant person, gentle, kind and sincere. And at the same time, it is the portrait characterization that, as it were, precedes and prepares the reader for the collapse in life that inevitably awaited Oblomov.

The portrait of Oblomov’s antipode, Andrei Stolts, is written in a completely different way. Stolz is the same age as Oblomov, he is already over thirty. He is constantly in motion, all made up of bones and muscles. Getting acquainted with Andrei Ivanovich Stolts, the reader understands that before him is a strong, energetic, purposeful person who is alien to daydreaming. But Stolz somehow repels us. It resembles a mechanism rather than a living person.

In the portrait characteristics of Olga Ilyinskaya, other features emerge. Olga Ilyinskaya “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 shaped like 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. From the portrait we can judge that before us is a proud, intelligent, and a little vain woman. Such a heroine is in no way suitable for the lordly and lazy Oblomov.

In the portrait of Agafya Matveevna Pshenitsyna, gentleness, kindness and lack of will appear. She was about thirty. 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. The hero himself gives an assessment of this woman: “How... simple she is.” And in this assessment we see that Oblomov accepts her for who she is. It was this woman who was able to brighten up last years life of Ilya Ilyich, bear him a son, be with him until last minute, last breath.

No less important for characterizing the character is the description of the interior. Here Goncharov uses the traditions of Gogol. This is especially noticeable in the first part of the novel. The richness of everyday details in this part of the novel gives a fairly accurate idea of the characteristics of the hero: “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 he, without looking, lowered his legs from the bed to the floor, he certainly fell into them immediately..." It is important to note that, describing in detail the objects surrounding him Everyday life hero, correlating them with Oblomov’s character, the author draws attention to the latter’s indifference to these things. Oblomov, it seems, does not like everyday life, is careless towards it, but throughout the entire novel he still remains its prisoner.

The image of a robe is symbolic, which appears several times in the novel and indicates a certain state of its owner. At first, such a beloved and comfortable robe is then abandoned by its owner at the moment of falling in love and suddenly returns to the owner’s shoulders on the evening when the breakup with Olga occurs. The lilac branch is symbolic, with the help of which the author emphasizes the romance of Oblomov’s feelings. The snow falling in flakes is also symbolic, which means for the hero the end of his love and at the same time the decline of his life.

But probably the most important compositional technique in the novel there is an antithesis. Goncharov contrasts images (Oblomov - Stolz, Olga Ilyinskaya - Agafya Pshenitsyna), and feelings (Olga’s love, selfish, proud, and Agafya Matveevna’s love, selfless, all-forgiving), and lifestyle, and portrait characteristics, and character traits. So, Oblomov is plump, plump; Stolz consists entirely of bones and muscles; Olga is refined, while Agafya Matveevna is simple and narrow-minded.

To show the feelings and way of thinking of the characters, the author resorts to such a technique as an internal monologue. Especially good the same one The technique is 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.”

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.

Goncharov's skill as a prose writer was most fully reflected in the novel "Oblomov". Gorky, who called Goncharov “one of the giants of Russian literature,” noted his special, flexible language. He sculpted figures and images of people from words, like from clay.

I. A. Goncharov’s novel “Oblomov” was published in 1859, at a time when the issue of abolition of serfdom was extremely acute in the country, when Russian society was already fully aware of the destructiveness of the existing order. Deep knowledge of life and accuracy social analysis characters allowed the writer to find amazing correct definition The way of Russian life of that time was Oblomovism.

The action of "Oblomov" covers, at intervals, the period of time from 1819 (when Ilyusha was 7 years old) to 1856. The actual action of the novel takes place over eight years, while counting its “prehistory” and “posthistory” - thirty-seven years. Until then, no Russian novel had covered such a wide span of time. A person's entire life has passed before us. And along with it, in Oblomov, the processes of great historical period, an entire era Russian life.(3)

Goncharov explored and revealed in artistic images the origin of Oblomovism, its development and destructive influence on the human personality. It was precisely this sociological “monographic quality” that distinguished “Oblomov” from a number of works similar in theme to Tolstoy’s “Childhood” and “Adolescence” and Aksakov’s “Family Chronicle” - and to some extent brought “Oblomov” closer to such works of Shchedrin as “Poshekhon Antiquity” and especially “Messrs. Golovlevs”. (27)

This novel resolves a broad, universal psychological problem that could arise only in purely Russian, national phenomena, possible only with our way of life, under those historical circumstances that shaped the national character, under those conditions under the influence of which it developed and is partly developing before still our younger generation. The author touches on vital issues and shortcomings of society in order to show the full picture of life as it is, and a person with his feelings, thoughts and passions. Complete objectivity, calm, dispassionate creativity, the absence of narrow temporary goals and lyrical impulses that violate the clarity and distinctness of the epic narrative - these are the hallmarks of Goncharov’s talent. His thought, carried out in the novel, belongs to all centuries and peoples, but has special meaning for Russian society. The author decided to trace the deadening, destructive influence that mental apathy and sleep have on a person, which little by little takes possession of all the forces of the soul, embracing and fettering all the best, human, rational movements and feelings. This apathy is a universal human phenomenon, it is expressed in the most diverse forms and is generated by the most diverse causes; but plays in it everywhere main role scary question: "why live? Why bother? - a question to which a person often cannot find a satisfactory answer. This unresolved question, this unsatisfied doubt, drains strength and ruins activity. A person gives up and gives up work without finding a goal for it. One will throw away the work with indignation and bile, the other will put it aside quietly and lazily. One will break out of his inaction, be indignant at himself and at people, look for something with which to fill the inner emptiness, his apathy will take on a shade of gloomy despair and will be interspersed with feverish impulses to disorderly activity, but it will remain apathy, because which will take away his strength to act, feel and live. For another, indifference to life will be expressed in a softer, colorless form, animal instincts will quietly float to the surface of the soul, the highest aspirations will freeze without pain, the person will sink into a soft chair and fall asleep, enjoying his meaningless peace. Instead of life, vegetation will begin and stagnant water will form in the human soul, which will not be touched by any disturbance of the external world, which will not be disturbed by any internal revolution. In the first case, it is forced apathy. At the same time, we are seeing a struggle against it, an excess of forces asking for action and slowly fading away in fruitless attempts. This is Byronism, a disease strong people. In the second case, we are dealing with submissive apathy, peaceful, smiling, without the desire to get out of inaction. This is Oblomovism, as Goncharov himself called it, a disease whose development is promoted by both Slavic nature and the entire life of our society. It was precisely this kind of apathy, its development, that Goncharov described in the novel and showed with incredible accuracy, tracing it from origins to completion. (1)

The entire plan of the novel is constructed according to this idea in such a deliberate manner. There is not a single accident in it, not a single introductory person, not a single unnecessary detail. Everything is strictly natural and, at the same time, quite meaningful, imbued with an idea; there are almost no events or actions. The content of a novel can be told in two or three lines, just as the life of any person who has not experienced strong shocks can be told in a few words. The interest of such a novel, the interest of such a life, lies not in the intricate combination of events, but in observing the inner world of a person. This world is always interesting, always attracts attention, and is especially accessible for study in quiet moments, when the person who is the subject of our observation is left to himself, does not depend on external events, and is not placed in an artificial position resulting from a random coincidence of circumstances. In such quiet moments of life, a person concentrates, collects his thoughts and looks into his inner world. It is then that an invisible, silent internal struggle occurs, a thought matures and develops, or a turn to the past occurs, an assessment of one’s own actions, one’s own personality. Such mysterious moments, especially dear to the artist, are especially interesting to the enlightened observer. In Goncharov's novel inner life characters open before the reader's eyes. (3)

Ilya Ilyich Oblomov, the hero of the novel, personifies that mental apathy to which Goncharov gave the name Oblomovism. The word Oblomovism will not die in our literature: it is composed so successfully and so tangibly characterizes one of the significant vices of our Russian life that, in all likelihood, from literature it will penetrate into the language and come into general use (1).

To understand the essence of Oblomovism and describe the life of Ilya Ilyich, Goncharov skillfully describes first everything that surrounded the main character, his place of life, his parents, who symbolically act as guides in the novel. (9.24)

Oblomovka was depicted by Goncharov with amazing completeness and versatility. He showed the isolation and isolation of this social environment: “their interests were focused on themselves and did not intersect or come into contact with anyone else.” Oblomovka appeared before us in its silence and “in imperturbable calm,” so characteristic of this patriarchal outback. The inhabitants of Oblomovka were characterized by the undivided power of tradition: “The norm of life was ready and taught to them by their parents, and they accepted it, also ready from their grandfather, and grandfather from their great-grandfather, with a covenant to preserve its value and inviolability.” Patriarchal Oblomovka is the kingdom of laziness. Here live people whose souls “sank peacefully, without interference, into a soft body” (10)

When analyzing the chapter “Oblomov’s Dream,” Goncharov’s position in relation to the “ideal of calm and inaction” as the main character of the novel imagines the existence of the inhabitants of Oblomovka is clearly clarified. It is not without reason that in Oblomovka’s description, the images of sleep and death are not only endlessly repeated but are also equated to each other, for peace and silence serve as characteristics of both “twins,” as F.I. Tyutchev called these states of the human soul:

“everything there promises a peaceful long life until the hair turns yellow and an imperceptible death like a dream”

“Everything in the village is quiet and sleepy... It will be in vain to call loudly: dead silence will be the answer.”

“Dead silence reigned in the house. The time for everyone's afternoon nap has arrived."

“In Oblomovka everyone rests so soundly and peacefully”

Moreover, symbolic designations of life and death often collide in context:

“everything promises a peaceful, long-term life there”

"life is like a calm river"

“three main acts of life - homeland, weddings and funerals”

"sleep, the eternal silence of a sluggish life"

The concepts of life, death, sleep, peace, peace, silence - essentially do not have independent characteristics, and these states themselves are no different for Oblomovites. “Sleepy Oblomovka is an afterlife, this is the absolute peace of a person...”

Oblomovism, according to Goncharov himself, corrupted not only the landowner class, but also a certain part of the Russian peasants, who were torn away from productive work. The Oblomovs' servants inevitably became a type of boibak - this was exactly Zakhar's life path. Zakhar is the same inert person as Oblomov, but if in the former this trait is dramatic, here it became only comic: Zakhar’s consciousness did not suffer from inertia at all. Everything that Oblomov is clothed in the poetic attire of a “dream” appeared in Zakhar in all its prosaic nakedness

However, a comprehensive display of Oblomovka was not a goal, but a means. The focus of his attention was the fate of the boy raised in this well-fed and inert environment. Goncharov's novel amazes us with the depth of penetration into the spiritual world of Ilyusha Oblomov. With the skill of a true psychologist, Goncharov posed the problem of the destructive impact of the reactionary environment on a living and inquisitive child, in whom it, however, fostered anemia, an inability to live and act.

Oblomovka broke the will of the person it raised. Oblomov admits this, telling Stoltz: “I know everything, I understand everything, but there is no strength and will. Give me your will and mind and guide me (10).

The author's main task in the novel is to show how a person gradually dies in a person, how unadapted a landowner is to life, not accustomed to doing anything. The main qualities of the kind, sweet Ilya Ilyich Oblomov are his inertia, apathy, and aversion to any activity. True to the traditions of realism, I. A. Goncharov shows that these qualities were the result of Oblomov’s upbringing; they were born from the confidence that any of his desires would be fulfilled and no effort needed to be made for this. Oblomov is a nobleman, he does not have to work for a piece of bread - hundreds of Zakharov serfs work for him on the estate and completely ensure his existence.

This means that he can lie on the sofa all day long, not because he is tired, but because “it was his normal condition" He almost merged with his soft, comfortable robe and long, wide shoes, which he masterfully slipped into the first time, as soon as he dangled his feet from the sofa. (27)

In his youth, Oblomov “was full of all sorts of aspirations, hopes, he expected a lot from fate and himself, he was always preparing for some field, for some role.” (10) But time passed, and Ilya Ilyich kept getting ready, preparing to start a new life, but did not advance a single step towards any goal. In Moscow he received a good education, but his head “was like a library, consisting of only knowledge scattered in parts.” Entering the service, which previously seemed to him in the form of some kind of family activity, he did not even imagine that life would immediately be divided into two halves for him, one of which would consist of work and boredom, which for him were synonymous, and the other of peace and peaceful fun. He realized that “it would take at least an earthquake to prevent a healthy person from coming to work,” and therefore he soon resigned, then stopped going out into the world and completely shut himself up in his room. If Oblomov recognizes some kind of work, it is only the work of the soul, since dozens of generations of his ancestors “endured labor as a punishment imposed on our forefathers, but they could not love, and where there was a chance, they always got rid of it, finding it possible and due."

There were moments in Oblomov’s life when he thought about the reasons that prompted him to lead such a life, when he asked himself the question: “Why am I like this?” In the climactic chapter of the novel “Oblomov’s Dream,” the writer answers this question. (1, 17)

He creates a picture of provincial landowner life and shows how lazy hibernation gradually becomes the normal state of a person.

The chapter “Oblomov’s Dream” has independent meaning. In the preface to the novel, literary critic V.I. Kuleshov writes: “Goncharov decided to insert the previously published “Oblomov’s Dream” in its entirety, giving it general composition some kind of symbolic meaning. As part of the novel Oblomov, this early sketch began to play the role of a preliminary story, an important message about the hero’s childhood... The reader receives important information, thanks to what upbringing the hero of the novel became a couch potato. Since lazy hibernation became “the hero’s lifestyle and more than once dreams appeared to him, dreams that transported him to the world of dreams, imaginary kingdoms, then “Oblomov’s Dream” turned out to be natural for him. His unique presence with a special title in the composition of the novel acquired a certain symbolic meaning, giving the reader the opportunity to realize where and in what way this life “broke off.” But that's not all there is to a great episode.

From a medical point of view, such long and clear dreams do not exist, and Goncharov did not have the task of describing a real dream. Here the dream is a dream, it is conditional, and also logically constructed.

Chapter IX of the novel, entitled “Oblomov’s Dream,” shows an idyll of childhood. Childhood is a special page of Russian classical literature, soulful, poetic; the joys and sorrows of a child learning the world, nature, and himself were described by S. T. Aksakov, L. N. Tolstoy, A. N. Tolstoy, V. V. Nabokov. We can say that the theme of childhood is nostalgic, especially in Nabokov, for whom childhood is also a lost homeland that he carries within himself.

In a dream, Oblomov is transported to his parents’ estate Oblomovka, “to a blessed corner of the earth,” where there is “no sea, no high mountains, rocks, abysses, or dense forests“There is nothing grandiose, wild and gloomy.” An idyllic picture appears before us, a series of beautiful landscapes. “The annual circle is performed there correctly and calmly. Deep silence lies in the fields. Silence and calm of life also reign in the morals of the people in that region,” writes Goncharov. Oblomov sees himself as a little boy, trying to look into the unknown, to ask more questions and get answers to them. But only caring for food becomes the first and main concern of life in Oblomovka. And the rest of the time is occupied by “some kind of all-consuming, invincible dream,” which Goncharov makes a symbol characterizing people like Oblomov, and which he calls “the true likeness of death.” From childhood, Ilya was accustomed to the fact that he did not have to do anything, that for any job there was “Vaska, Vanka, Zakharka,” and at some point he himself realized that it was “much calmer” this way. And therefore, all those “seeking manifestations of strength” in Ilyusha “turned inward and sank, withering away.” Such a life deprived the hero of the novel of any initiative and gradually turned him into a slave of his position, his habits, and even a slave of his servant Zakhar.

Ilyusha Oblomov has everything that is typical of a normal child: liveliness, curiosity. “He passionately wants to run up to the hanging gallery that goes around the whole house...” “With joyful amazement, as if for the first time, he looked around and ran around parents' house...” “His child’s mind observes all the phenomena taking place in front of him; they sink deep into his soul, then grow and mature with him.” And the nanny? There is always a nanny who tells fairy tales. And here are the significant words: “...his fairy tale is mixed with life, and he sometimes unconsciously feels sad, why is a fairy tale not life, and why is life not a fairy tale.” Here, in childhood, everything that will remain with him until his death is already laid down.

The idyll of local life, peace, sweet sleep, frozen life, the sleep of all Oblomovka... How was life understood in Oblomovka? " Good people they understood it only as an ideal of peace and inaction, disturbed from time to time by various troubles, such as illness, losses, quarrels and, among other things, labor. They endured labor as a punishment imposed on our forefathers, but they could not love...” And death here was like an imperceptible transition from a state of sleep to eternal sleep. But there is also endless charm in this idyll.

“The annual circle was completed there correctly and calmly.” Nature itself, soft, calm, where there are no mountains, but only hills that smoothly turn into plains, embodies “deep silence and peace.” “Silence and imperturbable calm reign in the morals of people.” In all this there is both joy and... death. No matter how much charm and poetry these paintings contain, they are about frozen time.

The adult Ilya Ilyich Oblomov would like to live in this frozen time. He sighs heavily when “life gets to him.”

Oblomov's dream plays an important role in the novel compositional role. Starting from Chapter II, Goncharov brings visitors to Oblomov’s apartment. Volkov, a narcissistic dandy who needs to get into “ten places.” “Ten places in one day - unfortunate! - thought Oblomov. - And this is life!.. Where is the person here? What does it crush and crumble into?” And Oblomov rejoices, “turning over on his back, that he does not have such empty desires and thoughts, that he does not rush around, but lies here, maintaining his human dignity and his peace.” The next visitor is Sudbinsky, a former colleague of Oblomov who has made a career. “I got stuck, dear friend, I got stuck up to my ears... And when he comes out into the world, he will eventually manage his affairs and grab ranks... And how little a person needs here: his mind, his will, his feelings...” Next comes the writer Penkin. Oblomov’s conclusion after Penkin’s departure: “Yes, write everything, waste your thought, your soul on trifles... trade in your mind and imagination... know no peace... When to stop and rest? Unhappy!" A man without qualities arrives, no one even knows his last name for sure: either Ivanov, or Vasilyev, or Alekseev, who is also fussing, always calling Oblomov somewhere. Finally, Ilya Ilyich’s fellow countryman, Tarantiev, appears, a personality no less vain than the others. He is a master at talking, he makes a lot of noise, but he is not enough for action.

A doctor comes for a visit and gives practical advice to Oblomov: move more, walk “eight hours a day.” After all, Ilya Ilyich had already developed early obesity.

Not accepting all this empty activity (the pursuit of a career, money, social entertainment), Oblomov subjects himself to a “secret confession” and comes to the conclusion that “some secret enemy laid a heavy hand on him at the beginning of his journey...”. His thoughts ended with the fact that “sleep stopped the slow and lazy flow of his thoughts.”

“Oblomov’s Dream” explains why the path of his visitors is unacceptable for Ilya Ilyich. A dream separates these visits from the arrival of Stolz, who played a huge role in Oblomov’s life.

With difficulty, at the beginning of five o'clock, Oblomov comes out of sleep, and then, like a fresh wind from the outside, Stolz bursts in. He has nothing in common with previous visitors. Stolz is honest, smart, active. He sincerely wants to bring Oblomov out of hibernation. But it turned out that his childhood friend Stolz also does not know the true purpose of life, and his activities are largely mechanical. Oblomov, in essence, realizing that Stolz sincerely wants to help him, turns out to be unable to join life, to go his own way, and Stolz’s activities are not for him. However, the arrival of Stolz brought Oblomov out of his immobility, as if giving him a chance. Oblomov seemed to come to life when he fell in love with Olga. But even here he saved.

Oblomov’s days end on Vasilyevsky Island near Pshenitsyna. This is also a kind of Oblomovka, but without the feeling of the poetry of childhood, nature, or the expectation of a miracle. Almost imperceptibly our hero passes into his eternal sleep.

What is the reason that Oblomov’s possibilities were not realized? internal forces left unused? Of course, it is rooted in Oblomovka. “Oblomov’s Dream” explains why he did not want and could not follow either the path of the early visitors or the path of Stolz: Ilya Ilyich had neither specific purpose, no energy to implement it. Thus, Oblomov’s dream is, as it were, the focus of the novel.

In his article “What is Oblomovism?” N.A. Dobrolyubov wrote “Oblomov is not a stupid apathetic figure without aspirations and feelings, but a person who is also looking for something in life, thinking about something.” (17) He is endowed with many positive qualities, and he is not stupid. His judgments contain sad truth- also a consequence Russian life. What are all these Sudbinskys, Volkins, Penkovs striving for? Indeed, is it worth getting up from the couch for the sake of the petty fuss that his former comrades are busy with?

In the extremely simple plot of “Oblomov”, which did not shine with any external effects, Dobrolyubov saw deep social content. He wrote: “Apparently, Goncharov did not choose a vast sphere for his own. The story of how the good man lies and the good-natured sloth Oblomov sleeps, and how neither friendship nor love can awaken and raise him, God knows what important story. But it reflects Russian life, in it a living, modern Russian type appears before us, minted with merciless severity and truthfulness; a new word of ours was reflected in it social development, pronounced clearly and firmly, without despair and without childish hopes, but with a full consciousness of the truth. This word - “Oblomovism”, serves as the key to unraveling many phenomena of Russian life and it gives Goncharov’s novel much more public importance, than how many of our accusatory stories have it. In the type of Oblomov and in all this “Oblomovism” we see something more than just the successful creation of a strong talent; we find in it a work of Russian life, a sign of the times.” (17)

Turning to the image of Oblomov, Dobrolyubov insightfully saw the source of his life drama, partly in Oblomov’s external position, and partly “in the image of his mental and moral development.” Dobrolyubov saw in Oblomov an image of those “supposedly talented natures” whom they had previously admired “before they covered themselves with different robes, adorned themselves with different hairstyles, attracted different talents. But now Oblomov appears before us exposed as he is, silent, brought down from a beautiful pedestal onto a soft sofa, covered instead of a robe only with a spacious robe. The question is what does he do? What is the meaning and purpose of his life? - delivered directly and clearly, not filled with any side questions.” (27)

Oblomov was destroyed by serfdom, lordly upbringing and the entire system of Russian landowner life, which slowly but surely turned this man out of life, turning him into “a warehouse filled with all sorts of rubbish.” (18)

The antithesis of Obolomova is Andrei Ivanovich Stolts. He is introduced into the novel to emphasize Oblomov’s character, to show the difference between them; without him, the picture of Oblomovism would not be complete, so we will not ignore Stolz.

Andrei Ivanovich Stolts is such a person as there were very few in that society. He was not spoiled by home education; from a young age he began to enjoy reasonable freedom, learned life early and knew how to bring practical activities strong theoretical knowledge.

Elaboration of convictions, strength of will, a critical view of people and life, as well as faith in truth and goodness, respect for everything beautiful and sublime - these are the main character traits of Stolz.

It was after analyzing the two heroes of the novel that we saw a clear difference.

In conclusion of this part of the diploma, I would like to summarize what Oblomovism really is, what its place is in Goncharov’s work and the life of a Russian person.

Let us turn to the words of Gorky, who wrote that the generalizing power of the image created by Goncharov is enormous “... in the person of Oblomov we have before us the most truthful image of the nobility” (16). Oblomovites are not only small provincial nobility, this is all the Russian nobility of that time, which was experiencing a process of deep, social and moral crisis. Oblomov is the widest image in its range, covering the entire noble-landowner class, a synthesis of the most significant features of its psyche and, above all, deep inertia, convinced bigotry. In the fate of Oblomov, the process of degradation and degeneration of the serf system with its characteristic features of savagery and stagnation was shown with exhaustive completeness. Oblomov is the personification of the entire landowner way of life on the eve of the 60s.

Artistic features of I. A. Goncharov’s novel “Oblomov”

I. A. Goncharov’s novel “Oblomov” was published in 1859. In it, the writer truthfully depicted the contemporary life of Russian society. It is hardly possible to find another work that so clearly showed the reader the process of degeneration of the nobility. In the novel, the author asks questions about the meaning of life, the purpose of existence, and considers the problem positive hero, the problem of love and friendship. Goncharov was the first to reveal the problem of the nobility in such detail (“The great chain broke, broke, broke with one end for the master, the other for the peasant,” wrote N. A. Nekrasov). After its publication, many did not like the novel, since the first part was too long, there was no action, and there was no intrigue. Perhaps this was a deliberate author's device to show the reader to what extent the life of even a good person, kind in all respects, can be monotonous and aimless. I think the novel “Oblomov” would not have been remembered and, perhaps, would have been forgotten, if not for its artistic originality and artistic mastery.

Having started reading the novel, we immediately pay attention to the detailed portrait description and description of the interior. Here the author uses the technique of complementarity: the interior complements the portrait of the hero. From the very first sentences you can form your opinion about the hero and give him an assessment. Let us remember the portrait of Oblomov: “A man of thirty-two or three years old, of average height... The body is matte, too white, small plump arms, soft shoulders...” Before us is a pampered man, not accustomed to WORK. Stolz is the exact opposite of Oblomov, “all composed of bones, muscles and nerves.” Stolz is thin, he has almost no cheeks at all, “that is, bone and muscle, but not a sign of fatty roundness.” Of course, it is difficult to imagine such a person lying on the sofa in a soft Persian robe.

Let us pay attention to the description of Ilya Ilyich’s room. It complements the previously drawn portrait of Oblomov. “At first glance, the room seemed beautifully decorated: a mahogany bureau, two sofas, beautiful screens upholstered in silk, silk curtains, several paintings, many beautiful little things.” But an experienced person with pure taste, with one quick glance at everything that was there, would only read a desire to somehow observe the decorum of inevitable decency, “just to get rid of them.” From this description it also becomes clear to us who Oblomov represents. Once upon a time there was a man who lived normal life taking care of himself and environment; now we have a sloth in front of us, unable to even force the servant to clean the room.

I. A. Goncharov uses detailed descriptions, detailing everything, this makes the novel more colorful. But this is not the only goal the author pursues. So, the first part in reality lasts only one day, however, this day in Goncharov’s description seems like an eternity. And this day of Oblomov really is eternity, is his life. How will the next day change for Oblomov? No way. It will be just as boring, just as endless and joyless as the previous one. The technique of delaying the action in the first part of the novel helps to understand the essence of Ilya Ilyich’s life. Oblomov's life is a series of monotonous actions and events, one dimmer than the other.

In the novel, the author uses the technique of antithesis. The most significant contrast is, of course, the contrast between Stolz and Oblomov. By and large, the entire novel is built on this opposition; it is the compositional core of the novel. These heroes are opposed to each other in everything: in origin (Stolz is half-German, the son of a manager, Oblomov is a descendant of a noble family), in upbringing (Stolz’s father raised him in a Spartan way, taught him to work, instilled in him a sense of purpose - Oblomov grew up in ease and bliss, was accustomed to an idle life, to a life without work and hassle), in his lifestyle (Stolz is always busy with some useful activity, however, Goncharov does not write about it in detail, Oblomov is sybaritic, lies on the sofa, dreams, builds unrealizable “projects” "). The only thing in which these heroes are close is age, but this is also a necessary part of the contrast.

The novel also contrasts female characters: Olga Ilyinskaya and Agafya Matveevna Pshenitsyna. Let's compare them. Agafya Pshenitsyna is the widow of a minor official, “a woman with a bare neck and elbows, plump, barefoot, without a cap.” “She had almost no eyebrows at all, but in their place there were two slightly swollen, shiny stripes with sparse hair.” Such a portrait involuntarily repels and does not evoke sympathy. Olga Ilyinskaya is a noblewoman living with her aunt and servants. She is not a beauty: “There was no whiteness in her, 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 grape-shaped fingers. The somewhat tall height was matched by the size of the head and the oval of the face, all of which was in harmony with the shoulders. She could be called the goddess of grace.” Agafya Matveevna is a typical housewife, busy in the kitchen, raising children. Olga is an elevated, educated girl. She goes to theaters, knows and reads a lot. Naturally, Agafya Matveevna is much closer to Oblomov’s idea of family happiness.

Musicality plays a special role in the novel. Oblomov falls in love with Olga, listening to her singing, unusually inspired and beautiful. The love of music is the common principle that caused the feeling to arise and brought these completely different people closer together for a short time.

Goncharov is a master of landscape sketches. Images of patriarchal Oblomovka, a shady alley in the park, blooming garden make an impression. The beauty of the spring landscape is in harmony with the growing feeling in the hero’s soul. And Oblomov’s soul falls asleep in the same way after breaking up with Olga, just as the streets and houses are covered in snow falling in flakes.

To reveal in more detail the psychology of his characters, Goncharov uses internal monologues and remarks. This is how the writer shows us the character’s attitude towards certain events, actions, actions.

The ability to capture a complete image, an object, mint it, sculpt it lies the strongest side of Goncharov’s talent. And such a phenomenon among the nobility as “Oblomovism,” which the author comprehensively covers in the novel, serves as the key to unraveling many phenomena of Russian life.

A realist writer, Goncharov believed that an artist should be interested in stable forms in life, that the job of a true writer is to create stable types that are composed “of long and many repetitions or moods of phenomena and persons.” These principles determined the basis of the novel “Oblomov”.

Dobrolyubov gave exact description Goncharov the artist: “objective talent.” In the article “What is Oblomovism?” he noticed three characteristic signs Goncharov's writing style. First of all, this is the absence of didacticism: Goncharov does not draw any ready-made conclusions on his own behalf, he depicts life as he sees it, and does not indulge in abstract philosophy and moral teachings. The second feature of Goncharov, according to Dobrolyubov, is the ability to create a complete image of an object. The writer is not carried away by any one aspect of it, forgetting about the others. He “turns the object from all sides, waits for all moments of the phenomenon to occur.” Finally, Dobrolyubov sees the uniqueness of the writer in a calm, unhurried narrative, striving for the greatest possible objectivity.

The writer’s artistic talent is also distinguished by depiction, plasticity and detailed descriptions. The picturesque quality of the image allows comparison with Flemish painting or everyday sketches of the Russian artist P.A. Fedotova. These are, for example, in “Oblomov” the descriptions of life on the Vyborg side, in Oblomovka, or the St. Petersburg day of Ilya Ilyich.

In this case, they begin to play a special role artistic details. They not only help to create bright, colorful, memorable pictures, but also acquire the character of a symbol. Such symbols are Oblomov’s shoes and robe, the sofa from which Olga lifts him and to which he returns again, having completed his “poem of love.” But, depicting this “poem”, Goncharov uses completely different details. Instead of mundane household items Poetic details appear: against the background of the poetic image of a lilac bush, the relationship between Oblomov and Olga develops. Their beauty and spirituality is emphasized by the beauty of the sound of the aria casta diva from V. Bellini’s opera “Norma”, performed by Olga, endowed with the gift of singing.

The writer himself emphasized musical beginning in his works. He argued that in Oblomov itself love feeling, in its declines, rises, unisons and counterpoints, develops according to the laws of music, the relationships of the characters are not so much depicted as played out by “nerve music.”

Goncharov is also characterized by a special humor, designed not to execute, but, as the writer said, to soften and improve a person, exposing him to “an unflattering mirror of his stupidities, ugliness, passions, with all the consequences,” so that with their consciousness there would also appear “the knowledge of how to beware " In “Oblomov,” Goncharov’s humor is manifested both in the depiction of the servant Zakhar, and in the description of the occupations of the Oblomovites, the life of the Vyborg side, and often concerns the depiction of the main characters. Material from the site

But the most important quality of a work for Goncharov is its special novelistic poetry. As Belinsky noted, “poetry... in Mr. Goncharov’s talent is the first and only agent.” The author of “Oblomov” himself called poetry “the juice of the novel” and noted that “novels... without poetry are not works of art,” and their authors are “not artists,” but only more or less gifted writers of everyday life. In Oblomov, the most important of the “poetic principles” is “graceful love” itself. Poetry is created by the special atmosphere of spring, the description of the park, the lilac branch, alternating pictures of the sultry summer and autumn rains, and then the houses and streets covered with snow, which accompany the “poem of love” by Oblomov and Olga Ilyinskaya. We can say that poetry “permeates” the entire novel structure of Oblomov and is its ideological and stylistic core.

This special novel poetry embodies the universal human principle and introduces the work into the circle of eternal themes and images. Thus, in the character of the main character of Oblomov’s novel, the features of Shakespeare’s Hamlet and Cervantes’ Don Quixote vary. All this not only gives the novel amazing unity and integrity, but also determines its enduring, timeless character.

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that the type is made up of long repetitions
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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. Main character novel - Ilya Ilyich Oblomov - 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." The somewhat tall stature was strictly consistent with the size of the head and the oval and size of the face; all this, in turn, was in harmony with the shoulders, the shoulders with the figure... 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 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 Russian society began to fall in the 19th century and which by the 20th century had become a mass phenomenon. Laziness, lack of a specific goal in life, passion and desire to work has become a distinctive feature national trait. 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 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 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.

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 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 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.