Peculiarities of reading Oblomov's novel in the 20th century. Essay “Artistic features of the 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 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.
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 reader’s way of life and features become clear inner world hero, 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, 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 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 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.
Artistic techniques, used by Goncharov, are very diverse. Throughout the novel there is a technique of artistic detail, a 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, 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 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 means, creating with their help the most suitable form for the content - composition, system of images, genre, style and language of the work.
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 the “loop” nature of the protagonist’s internal state. 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
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 full image subject. 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 his 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”, which is 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.
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 the “ graceful love" 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 principle of humanity, introduces the work into the circle 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.
- New!
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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 the true character of the 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!”
Subject: Artistic originality novel by I.A. Goncharova "Oblomov" 10th grade 10/22/2015
Goals:
summarize material known from previous lessons about artistic features
determine the originality of the style and language of the work;
develop the ability to analyze text and draw conclusions.
There is a quote on the board: “The author of Oblomov, together with other first-class representatives of native art, is an artistpure and independent, an artist by vocation and by the entire integrity of what he has done. He is a realist, but his realism is constantly warmed by deep poetry..."
(A. V. Druzhinin “Oblomov”. A novel by I. A. Goncharova)
I. The teacher's word
– Contemporary to Goncharov, the critic Alexander Vasilyevich Druzhinin notes an important feature of the writer’s talent - realism, warmed by deep poetry. This integrity is artistic merit novel. Therefore, the goal of the lesson is to find and show the artistic features of the novel “Oblomov”, revealing the psychology of the characters, thereby proving the critic right.
II. Conversation
– Goncharov’s work is a wonderful example of a socio-psychological and philosophical novel, in which the characteristics of “Oblomovism” are fully and deeply described.
What is characteristic of this genre?
This philosophical novel, which gives three types life philosophy:
life is vanity (Oblomov’s guests);
Oblomovka (and Pshenitsyna’s house, as a kind of continuation of Oblomovka);
Life of Andrei Stolts.
– Main character Oblomov encounters all types of life philosophies. What type of life can Oblomov be classified as?
Main question the novel is philosophical: what is the meaning and content human life. Did Goncharov answer this question?
No, he only showed three types of life philosophy, therefore the novel is characterized by objectivism - a phenomenon when the writer does not directly express his position in the work. It shows several points of view, and the reader must choose between them. The author examines personality in the context of the era, reveals the influence of everything that surrounds him on the formation of a person. Goncharov spoke of interest not in personality as such, but in “the history of the human soul,” i.e. He does not understand personality as something unchangeable. For the author, a person is interesting in his dynamics spiritual development, for the soul and character of a person are formed throughout his life in constant struggle: on the one hand, according to his own desires and beliefs, on the other – society and era. The image of Oblomov is truly deep and voluminous precisely because the author explores the psychology of his hero and considers him as a social phenomenon. The psychologism of the novel lies in the revelation of the inner world of the characters. To reveal the character of the heroes, Goncharov uses a wide variety of techniques.
– Only then does the artist create true image when it is completely true to reality. Critics have always noted Goncharov’s exceptional skill in depictingeveryday life
.
Give examples of descriptions of the characters' lives.
a) Oblomov’s St. Petersburg apartment (part one, chapter 1) b) Patriarchal Oblomovka (part one, chapter 9) c) The economic atmosphere in Pshenitsyna’s house (part four, chapter 1) The description of Oblomov’s apartment is given by Goncharov with all the characteristic details indicating the passivity and apathy of the owner, his complete inactivity, mismanagement, spiritual dying and disintegration of his personality. The writer knows how to describe the life of the era with such bright and expressive colors that the reader not only sees this life, but, as it were, feels and touches it. Goncharov’s description of everyday life breathes such vital truth and naturalness that Oblomov’s Rus' emerges from the pages of the novel, as if alive. Looking at Oblomovism objectively, Goncharov was able to expose its social worthlessness and corrupting influence on people.
– Due to the completeness and thoroughness of Goncharov’s sketches of everyday life, it is worthattention to detail
and depicted life. N.A. Dobrolyubov notes: “Small details, constantly introduced by the author and drawn by him with love and extraordinary skill, finally produce some kind of charm.”
Name the details of everyday life that have grown into real symbols. What role do these artistic details play?
Takes on a symbolic meaning
robe
“made of Persian fabric, a real oriental robe”, as well as
lilac branch
, which are mentioned many times in the novel.
Robe
had for Oblomov “a host of invaluable merits” (part one, chapter 1), since it fully corresponded to the type of “occupation” of its owner - lying on the sofa. Olga mentions the robe as a symbol of shameful idleness: “A? propos, where is your robe? - What robe? I didn’t have any,” Oblomov is offended, having abandoned his once favorite thing as soon as his mental apathy subsided (part two, chapter 9).
It is deeply symbolic that Pshenitsyn’s widow “returns” a robe convenient for doing nothing to Ilya Ilyich’s life: “I also took your robe out of the closet... it can be repaired and washed, the material is so nice! It will last a long time” (part four, chapter 5). And although Oblomov refuses this service - “I don’t wear it anymore” - the reader has a premonition that Ilya Ilyich will not resist the temptation of returning to his former life. And so it happened - the hero remains on the Vyborg side in the widow’s house until the end of his days, where the robe on him “was worn out, and no matter how carefully the holes in it were sewn up, it was crawling everywhere and not at the seams: a new one was needed a long time ago” ( part four, chapter 5).
The relationship between the robe and Oblomov is the relationship between master and slave.
Lilac branch
Olga Ilyinskaya broke during a meeting with Oblomov (part two, chapter 6). As a hint of reciprocity and hope for the possibility of happiness, active life. Oblomov picked it up and showed up at the next meeting (in the evening) with this branch in his hand (part two, chapter 7). As a symbol of revitalization, a blossoming feeling, Olga embroiders lilacs on canvas, pretending that she “chose the pattern at random” (part two, chapter 8). However, on the next date, she “casually picked a branch of lilac, without looking at him, and gave it to him.” -What does it mean? – Color of life<…>Life is opening up to me again,” he said as if in delirium, “here it is, in your eyes, “at full height, with a branch of lilac in his hands” (part two, chapters 8, 9). For the heroes of the novel, love sounded in Castadiva, “carried in the scent of a lilac branch” (part two, chapter 10). This is how the heroes themselves determine symbolic meaning lilac branches. When life “shut up” for Oblomov, the memory of the lilac branch becomes a painful reproach for him (part four, chapter 2). The author also mentions lilac branches as a symbol of continuing life in the final lines: “Lilac branches, planted by a friendly hand, doze over the grave, and wormwood smells serenely...” (part four, chapter 10).
Thus, Goncharov showed in the novel a deep connection between things and the psychology of the characters.
– I. A. Goncharov is a first-class portrait painter.Portraits
are so expressively depicted that the characters appear in the reader’s mind as if they were alive. Find portraits of the main characters in the text and determine their role.
Portrait of Oblomov (part one, chapter 1): white hands, soft shoulders and obesity characterize his lordly effeminacy, the absence of any definite thought on his face reveals his carelessness, passive attitude towards life, lack of a living seeking thought and the habit of working; by selecting apt verbs, Goncharov was able to show that Oblomov was not used to thinking about anything serious, was not used to working purposefully; he lives thoughtlessly and carelessly at the expense of his “three hundred Zakhars.” Repeatedly, the author emphasizes the “softness” of Ilya Ilyich, “the gentleness that was the dominant expression not only of the face, but of the whole soul,” “soft shoulders, soft movements,” his shoes are “soft and wide.” In the manner of description, in the selection of details of the portrait, Goncharov reveals Gogol tradition: detailed description faces, clothes, revealing character through external details. Contrasting portrait of Stolz (part two, chapter 2): Stolz’s figure, made up of bones, muscles and nerves, emphasizes his energetic nature as a businessman, strength, calmness, and confidence. Portrait of Olga (part two, chapter 5): noting that Olga was not a beauty in the strict sense, the author notes that “if she were turned into a statue, it would be a statue of grace and harmony.” Olga is charming, like Pushkin’s Tatiana. Every detail in her portrait, nose, lips, etc. - a sign of some internal quality. Opposite portrait of Pshenitsyna (part three, chapter 2): in contrast to the poetic portrait of Olga, this is an everyday portrait: a colorless face with simple-minded eyes, simplicity, modesty. Wed: if Olga is a statue of grace and harmony, then the bust of Agafya Matveevna is a model of strong, healthy breasts (something down to earth). Thus, a portrait is a means of creating the image of a literary hero.
– The writer's skill is also manifested in the creationinner monologue hero. Find examples of internal monologues in the text.
1) Part one, chapter 6: “The pleasures of lofty thoughts were available to him” to the words: “... performs feats of kindness and generosity.” Let us note the way of conveying the hero’s thoughts in words that are peculiar to him. For example: “It also happens that he is filled with contempt for human vice, for lies and slander, for the evil spread in the world and is inflamed with the desire to point out a person’s ulcers, and suddenly thoughts light up in him... in one minute he will quickly change two or three posture, with shining eyes, he will stand up halfway on the bed, extend his hand and, looking around... The desire is about to come true, turn into a feat... and then, Lord! What miracles, what good consequences could be expected from such a high effort!..” It is clear to the reader that the words of God, good things, miracles, high effort express the thoughts of the hero, but they merge into a single whole with the words of the author. Telling the “backstory” of his hero, the writer used the technique of “unreasonably direct speech” to reveal Oblomov’s psychology. He showed Oblomov’s uselessness for society, his inability to do serious business, his inability to do anything serious. Oblomov could flare up, burn with desire, but he never carried out his desires, his word never became deed. With this technique, Goncharov deeply and realistically reveals the spiritual world, the psychology of Oblomov, who is destined for “good impulses, but is not given the chance to accomplish anything.”
2) Part two, chapter 5: Oblomov’s monologue, in which he decided philosophical question: “To be or not to be!”, “Now or never!”, shows us a hero reflecting, looking for his path in life, trying to force himself to change his life.
– TOlandscape Goncharov rarely speaks, but in his descriptions his language is clear and expressive. Give examples of landscapes in the novel. With the help of which artistic means Does the author manage to convey the state of nature? What are the functions of landscape in a novel?
1) Part one, chapter 9: in the description of the patriarchal village setting, one can feel Goncharov’s love for the beauty of Russian nature, its soft tones and colors (cf.: majestic pictures of nature in Switzerland or Crimea do not attract the author’s attention). 2) Part two, chapter 9: Olga’s perception of nature during her love for Oblomov: everything corresponds to her mood. 3) Part two, chapter 10: the feelings of Oblomov in love become more intense, he notices something that no one sees: nature lives an invisible active life, and it seems that there is peace and quiet all around. The second part of the novel depicts Oblomov's moral awakening and his bright dreams under the influence of his love for Olga. And the landscapes of this part are joyful and bright. 4) Part three, chapter 12: but Oblomov had a break with Olga, which he was shocked by. And nature seems to shade it internal state. This is how Oblomov’s happiness is covered with cold snow. Part Four, Chapter 1: This snow motif connects the third and fourth parts of the novel. Thus, Goncharov’s landscape usually corresponds to the moods of the characters.
– The feeling of the deep essence of Oblomov’s character is facilitated by the obviousfolklore-fairytale background novel.
The folklorism of "Oblomov" translates the content of the novel from the area only social problems(“Oblomovism” and the hero as a degeneration of the noble class) into the sphere of philosophical, ethical and national problems life. The novel is perceived as a kind of " big fairy tale" In the worldview and character of the Russian person, as Goncharov sees it, much is determined by ancient fairy-tale ideas: “And to this day, the Russian person, amid the strict, devoid of fiction reality surrounding him, loves to believe the seductive legends of antiquity, and for a long time, perhaps, he will not renounce this faith " Almost fairy tale life in Oblomovka: “The fairy tale retains its power not only over children in Oblomovka, but also over adults until the end of their lives.” But Oblomovka is also sleepy fairy kingdom: “It was some kind of all-consuming, invincible dream, a true likeness of death.” The dream motif introduces us to Russian fairy tales, which forces us to consider the image of the main character in this context.
– What does the nanny tell little Ilyusha? What heroes is he associated with? (Part One, Chapter 9).
There is a kind sorceress in the form of a pike, she will choose a lazy man who will marry a beauty and walk in silver, he will go to the kingdom where there are rivers of milk and honey. Ilya Ilyich is associated with the wise fairy-tale fool and lazy Emelya. Oblomov is not just a lazy person and a fool, he is a wise lazy person, he is that lying stone under which, contrary to the proverb, water will eventually flow. As expected fairy tale fools, Oblomov does not know how and does not want to take anything offensive, unlike others who are plotting something, fussing, trying their best and in the end do not keep up with anything. Oblomov doesn’t need to climb overseas golden mountains, everything is nearby, everything is ready, just stretch out your hand. Oblomov's fairy tale mixed with life; he lived in a fantasy world fairy tale images where everyone does nothing. Oblomov is also associated with the hero Ilya Muromets, who “sat for thirty years.” The epic motif of the “powerless hero” is also introduced into the novel. As researchers note, Ilya Oblomov treats Ilya Muromets as an opportunity for embodiment, as a reality to an ideal: Ilya Muromets overcomes his powerlessness, preparing for heroic service to the Fatherland, and Ilya Oblomov, having decided that his activity and life “lies in himself,” I couldn’t get up from the stove-sofa. Thus, Oblomov’s dream is the program of his destiny.
The prepared student reports:
Speech characteristics – characterization of the hero of a literary work through his speech, in which words and phrases appear that indicate his type of activity, social affiliation, characteristics of upbringing, cultural level, degree of education (A.B. Esin, M.B. Ladygin, T.G. Trenina “ School dictionary literary terms and concepts. 5–9 grades/sub. ed. M.B. Ladygina. – M.: Bustard, 1995. – P. 46.)
– Based on this definition term, follow the speech of the main characters of the novel. Does their speech indicate what the definition says?
Analysis of 1, 8 chapters of the first part.
Chapter 1, part one.
Excerpts: from the words “He stood half-turned in the middle of the room” to the words “I’ll get up and go myself” from the words “And, waiting for an answer, Zakhar went out” to the words: “... you’ll never end up with trouble”; from the words “I forgot to tell you,” Zakhar began” to the words “Touches life, gets to you everywhere.”
These dialogues reveal even more deeply Oblomov’s passivity, his desire to maintain peace for at least one day: “Life is touching,” he says with contrition, when he needs to move to another apartment and when the headman sends a letter saying that “his income has become less.” Oblomov calls these messages misfortunes. Wordmove
has a terrible meaning for Oblomov. What does it mean to move?
Chapter 8, part one.
Excerpt: from the words “I didn’t get it, so listen and figure out whether you can move or not” to the words “... either lost or forgotten in the old apartment: run there...”
Oblomov is frightened by everything that disturbs the calm flow of life. Moving means “leaving for the whole day and dressed like that in the morning and leave” (dressed means not in a robe and slip-on shoes, but Oblomov is “out of the habit of dressing”). This means withdrawal, noise... You want to sit down, but there’s nothing; whatever he touched, he got dirty; everything is covered in dust,” even the thought of this is scary for Oblomov.
Excerpt: from the words “Zakhar! – he shouted protractedly and solemnly” to the words: “ungrateful ones! “Oblomov concluded with bitter reproach.”
Analysis of Oblomov’s words about the “other” addressed to Zakhar.
1. How does the language of characters serve as a means of characterizing images? What words of Oblomov reveal his concept of life, of happiness, of human dignity? What does Oblomov see as the difference between himself and “others”?
2. In what form does Oblomov express his desires? How can this be explained?
3. What is Oblomov’s ideal of life? In what words does Oblomov express his dreams of life in the village?
Techniques for revealing the image are the description of relationships characters, dialogues and monologues of characters, features of their speech - speech characteristics. The language of Oblomov and Zakhar serves as a means of typification and individualization of the image. Reveals typical features through the individual, the concrete. Oblomov’s words characterize his ideas about life, happiness, human dignity - ideas that have developed over centuries among nobles who were accustomed to living at the expense of serfs and who saw human dignity in an inactive, carefree life, in maintaining peace.
The consciousness of his lordly superiority over everyone around him forces Oblomov to understand the word in his own wayanother
, said accidentally by Zakhar. In comparing himself with others, Ilya Ilyich sees the highest level of disrespect for his person. “That’s what you agreed to!” – he exclaims indignantly. In Zakhar’s reduction of him to the level of “others,” he sees a violation of his rights to Zakhar’s exclusive preference for the master’s person. In Oblomov’s understanding of the wordanother
his lordly arrogance, his concept of the meaning and purpose of life, his morality are expressed.
With the speech of the main character, Goncharov reveals his essence, his spiritual traits: his lordly inclinations, and spiritual gentleness, and sincerity, and the ability for deep feelings and high experiences.
That., speech characteristic used to highlight individual characteristics characters. It is organically connected with the internal appearance of the heroes.
One of the points we pay attention to is the often heard"Casta diva" motif from Vincenzo Bellini's opera Norma (1831). After Olga performed an aria, Oblomov dreamed of an ideal woman.(Read paragraphs 1-3 of Chapter 6, Part Two. Music plays.)
– Why does Goncharov introduce this particular aria into the novel?
(A prepared student briefly recounts the libretto of V. Bellini’s opera “Norma”)
– The norm in the name of the all-consuming great love ascends to the fire. And when, during a conversation with Olga, Oblomov begins to doubt whether Olga loves him or is just getting married, a dialogue takes place between them.(Read from the words “But there is another way to happiness,” he said..." and to the end of chapter 12, part two).
We see that Olga, when asked by Oblomov whether she could sacrifice her peace of mind by stepping on a certain path, in the name of love, answers: “Do we really need this path?”, “Never, never!”
– What is the connection between V. Bellini’s opera and the relationship that connected Oblomov and Olga?
– Olga was sure that on the path that Oblomov offered her, “they always… part ways later.” When there was a break between the heroes, the initiator of which was Olga, Oblomov was ill for a long time, and Olga was barely saved. Here is the fire and Norma, about which Olga once said: “I will never go this way.”
III. conclusions
– So what kind of lesson plan can you create? What artistic features of I. A. Goncharov’s novel were discussed?
1. The originality of the genre: socio-psychological and philosophical novel.
2. Everyday life, detail.
3. Psychological portrait.
4. Internal monologue.
5. Landscape.
6. Folklore and fairy tale motifs.
7. Speech characteristics.
8. Musical motive"Casta diva"
IV. Final word teachers
– However, the artistic originality of the novel “Oblomov” is much broader. Goncharov uses various methods of “self-disclosure” of the hero: Oblomov’s confession, letter, self-characterization, programmatic speeches of the hero on social, literary, ideological issues, dialogues with other heroes, the soul of Ilya Ilyich is deeply and subtly revealed in love.
Modern critic I. Zolotussky writes: “Goncharov is the calmest of the geniuses of Russian literature. Genius in Russia is a restless nature, but Goncharov’s prose resembles the Volga in its middle course, a smooth mirror of water stretching towards the horizon.
Goncharov does not challenge either the church or the authorities. His ideal is the norm. Goncharov gave us the novel “Oblomov”. Everything in this work is balanced and balanced, which is so lacking in life. Oblomov is the embodiment of evolution, which, unlike the revolution, does not break people, does not break history, but gives them the right to develop freely.”
5. Homework
2.Write a profile of Ilya Oblomov
