Artistic techniques in Oblomov. Artistic Features

Detail as a means of psychological characterization of characters in I. A. Goncharov’s novel “Oblomov”

“A person must absorb the colors of life, but never remember the details. The details are always banal."

This statement by Oscar Wilde can be used as an epigraph to literature lessons in which we study Goncharov’s work. For using the example of his works, and specifically the example of the novel “Oblomov,” you can see how exactly with the help of banal details the image of the heroes of the novel is created.

Literary scholars agree on the definition of detail as the smallest, indecomposable structural element of a work. In a broad sense, this includes, in addition to external, material details related to the artistic world of the work, and internal details that express the emotional movements of a person. In the narrow one - only the first ones, related to the metaverbal, objective world of the work.

Both in linguistics and in literary criticism there has been no general classification of details.

In lessons, we present a detail as the smallest image of a work, part of larger images and ultimately associated with the image of a person. We consider artistic detail to be “primarily substantive details in a broad sense: details of everyday life, landscape, portrait, interior, as well as gesture, subjective reaction, action and speech (the so-called speech characteristic).” .

We identify and consider two groups of details in the work: “descriptive” and “psychological”. With the help of “descriptive” details in the work, the external appearance of the character is created and the world around him is depicted, that is, everything that is more or less static in the work exists as an objective given. They give “flesh and blood” to the heroes of the work and tangibility to the external environment. “Psychological” details are aimed at displaying the character’s inner world, his thoughts, feelings and character as a whole. In this case, the display occurs indirectly, through the external forms of the hero’s psychological appearance, the interpretation of which by the reader or another character in the absence of the author’s explanations can be subjective. We subdivide “descriptive” details into “portrait”, “landscape” and “real” details. Among the “psychological” details, we highlight “behavioral” and “speech”.

A detail is only an element of a portrait, landscape, thing, a set of forms of behavior, speech. But, since it almost always acts within the framework of a larger image (portrait, landscape, thing) and bears the imprint of the artistic whole, we will consider it within the framework of this holistic image. Therefore, in our work we are not talking about individual portrait, landscape, etc. details, but we are looking at groups of portraits and landscapes in the writer’s works, which we highlight depending on the role of the detail in their creation and the general ideological orientation and emotional tonality of the details included in them .

The detail can be called the core of the composition. In this regard, it acts as a part of the whole, and in this part one can find the most significant signs of the writer’s artistic world. Using the part, various types of associative links are created.

The essence of the novel “Oblomov” lies in the fact that there are, in fact, no details in the novel, that everything described in it is depicted with the same care and attention. In the “Oblomov” style there is no small and large, everything is equal and significant. Externally, the different-scale objects of Oblomov’s world are internally of the same scale, all of the same size.

The peculiarity of “Oblomov” is equalization, close connection, unity of man and the world around him. This is due to a special feeling of the inseparability of nature and man, macro- and microcosmos, animate and inanimate. In this case, a person turns out to be inextricably linked with the natural world, with the world of surrounding things, and becomes part of this world.

Everything in the Universe lives a single, coordinated life, as parts of one whole. That is why furnishings, individual details of appearance, animals are just as important to the writer as the experiences, thoughts and feelings of the characters. Goncharov looks at life with an “undifferentiated” look, capturing both the main and the secondary, equating them. It is not a person who descends to the level of a dumb creature, furniture or household item (as was the case with Gogol), but on the contrary, the little things of everyday life rise to the level of a person. A person is merged with the surrounding reality, reflected in it, and she in him.”

Predilection I.A. Goncharov's attention to detail and the associated well-known expansiveness of description of the appearance of the characters, their environment and setting, and the finest depiction of the psychological states of the characters were noted by both the writer's contemporaries and later researchers of his work. When introducing students to critics' reviews of this novel, we pay attention to the following statements.

1. V.G. Belinsky identified artistic objectivity and an amazing ability to draw as the most prominent features of Goncharov’s talent: “Mr. Goncharov paints his figures, characters, scenes primarily in order to satisfy his needs and enjoy his ability to draw; he must leave it to his readers to speak and judge and draw moral consequences from them.<.>The main strength of Mr. Goncharov's talent is always in the elegance and subtlety of the brush, the fidelity of the drawing. - »

2. N.A. Dobrolyubov also saw the strongest side of Goncharov’s talent in “the ability to capture the complete image of an object, mint it, sculpt it,” emphasized “distinction in the outline of even small details and even"th share of attention to all the details of the story." “When you start reading it, you find that many things do not seem to be justified by strict necessity, as if they are not taken into account with the eternal requirements of art. But soon you begin to get used to the world that he depicts, you involuntarily recognize the legality and naturalness of all the phenomena he deduces, you yourself become in the position of the characters and somehow feel that in their place and in their position it is impossible to do otherwise, and as if should not work. You are completely transported into the world into which the author leads you: you find something familiar in it, not only the external form opens before you, but also the very inside, the soul of every face, every object.”

The critic also drew attention to the fact that the scrupulous description of details in Goncharov’s works is in unity with the desire for typological generalizations: “He wanted to ensure that the random image that flashed before him was elevated to a type, giving it a generic and permanent meaning. Therefore, in everything that concerned Oblomov, there were no empty or insignificant things for him.”

3. In 1859, in a review of the novel “Oblomov” by A.V. Druzhinin developed the idea of the similarity of the writer’s talent with the talents of “first-class painters of the Flemish school”: “Like them, he firmly holds on to the reality around him, firmly believing that there is no object in the world that could not be elevated into a poetic representation by the power of labor and talent .<.>.like them, does not reveal all the depth to the superficial observer. But, like them, he appears deeper and deeper with every attentive glance, like them, he puts before our eyes the whole life of a given sphere, a given era and a given society - in order to, like them, forever remain in the history of art and illuminate with bright light the moments of reality captured by him.” A comparison with the Flemish painters highlights such aspects of Goncharov’s style of painting as the thoroughness of the description, the refinement of details, the richness of verbal colors, the accuracy of the drawing, which correctly captures “nature” and subtly conveys its inner essence.

The similarity is revealed in the attention to the prosaic details of life, love for its everyday side, in the ability to “transform the prose of reality into poetry and beauty with one touch.”

The concept of “detail” is repeatedly found in the critical works, letters and works of art of the writer himself, in his reflections on the artistry and truthfulness of creativity.

Following V.G. Belinsky I.A. Goncharov considered himself to be one of the writers-artists par excellence, in whom imagination and heart prevail over the mind, and unconsciousness over the consciousness of creativity: “When drawing, I rarely know at that moment what my image, portrait, character means: I only see it alive in front of myself - and see if I’m drawing correctly.”

, “What seems most strange and inexplicable in this process is that sometimes small, accessory phenomena and details appear in the long-term perspective of the general plan fragmentarily and separately, in faces, scenes that apparently do not fit in with each other, then as if by themselves group around the main event and merge into the general order of life!” The main criterion for genuine art by I.A. Goncharov considered imagery and put it at the forefront.

According to the writer, in order for an image to be artistically truthful (“artistic truth and the truth of reality are not the same thing”), truth is needed in the painting of details, “small strokes captured from nature, giving life, almost movement to the picture.” But not the truth “which the newest fiction writers present as the real truth and which is limited to a bare copy of reality, without the rays of poetry, fidelity to line and automatic, external movement of figures, because they do not know how to give flesh, blood, colors and life to their creatures! » , but the truth, reflected by the artist’s fantasy and illuminated by its rays.

Depending on the nature of the character portrayed, I.A. Goncharov chooses either a detailed, minute, scrupulous drawing of the situation surrounding the hero, a leisurely listing of everyday details, or gives an idea of it with two or three expressive details.

The first method depicts characters rooted in everyday life, closely, organically connected with their environment and largely explained by it (Oblomov, Agafya Matveevna, Tatyana Markovna, Marfenka, etc.). The second are original, extraordinary heroes, extraordinary in their qualities (Olga, Vera), representatives of a phenomenon that is just emerging in Russia, the roots and contours of which are not yet clear enough (Petr Aduev, Stolz, Tushin), characters whose character type has no rational explanation (Paradise).

From all that has been said, it is obvious that artistic detail is one of Goncharov’s main means of creating an image and its study is important for understanding the uniqueness of the style of any writer, since it is in detail that the “creative individuality of the writer and national-historical” individuality are first imprinted "epoch" turns out to be especially relevant in connection with the work of I.A. Goncharova.

Opening the first pages of the novel, the reader learns that Ilya Ilyich Oblomov lives in a large house on Gorokhovaya Street.
Gorokhovaya Street is one of the main streets of St. Petersburg, where representatives of the highest aristocracy lived. Having learned later about the environment in which Oblomov lives, the reader may think that the author wanted to mislead him by emphasizing the name of the street where Oblomov lived. But that's not true. The author did not want to confuse the reader, but, on the contrary, to show that Oblomov could still be something other than he is in the first pages of the novel; that he has the makings of a person who could make his way in life. That’s why he lives not just anywhere, but on Gorokhovaya Street.

From the very first pages of I. A. Goncharov’s novel “Oblomov” we find ourselves in the atmosphere of a lazy person, an idle pastime and a certain loneliness. So, Oblomov had “three rooms... In those rooms the furniture was covered with covers, the curtains were drawn.” In Oblomov’s room itself there was a sofa, the back of which sank down and “the glued wood came loose in places.”

All around there was a cobweb filled with dust, “mirrors, instead of reflecting objects, could serve rather as tablets for writing on them, in the dust, some notes for memory,” - here Goncharov is ironic. “The carpets were stained. There was a forgotten towel on the sofa; On the rare morning there was not a plate with a salt shaker and a gnawed bone standing on the table, not cleared away from yesterday's dinner, and there were no bread crumbs lying around... If not for this plate, and not for the just smoked pipe leaning against the bed, or not for the owner himself lying on it, then one would think that no one lives here - everything was so dusty, faded and generally devoid of traces of human presence.” Next are listed dusty books unfolded, last year's newspaper and an abandoned inkwell - a very interesting detail.

“Oblomov wouldn’t trade a large sofa, a comfortable robe, or soft shoes for anything. Since childhood, I have been confident that life is an eternal holiday. Oblomov has no idea about work. He literally doesn’t know how to do anything and he says it himself6 “Who am I? What am I? Go and ask Zakhar, and he will answer you: “master!” Yes, I’m a gentleman and I don’t know how to do anything.”

“In Oblomov, Goncharov reached the pinnacle of artistic mastery, creating plastically tangible canvases of life. The artist fills the smallest details and particulars with a certain meaning. Goncharov's writing style is characterized by constant transitions from the particular to the general. And the whole contains a huge generalization.”

Details of the setting appear more than once on the pages of the novel. The dusty mirror symbolizes the lack of reflection of Oblomov’s activities. This is how it is: the hero does not see himself from the outside until Stolz arrives. All his activities: lying on the sofa and shouting at Zakhar.

The details of the furnishings in Oblomov’s house on Gorokhovaya Street are similar to what was in his parents’ house. The same desolation, the same clumsiness and lack of visibility of human presence: “a large living room in the parents’ house, with antique ash armchairs, always covered with covers, with a huge, awkward and hard sofa, upholstered in faded blue barracks in spots, and one leather chair... In There is only one tallow candle burning dimly in the room, and this was only allowed on winter and autumn evenings.”

The lack of housekeeping, the habit of inconvenience of the Oblomovites - just not to spend money - explains the fact that the porch is wobbly, that the gate is crooked, that “Ilya Ivanovich’s leather chair is only called leather, but in fact it is either a washcloth or a rope: leather “Only one piece of the back remains, and the rest has already fallen into pieces and peeled off for five years now...”

Goncharov masterfully ironizes the appearance of his hero, who suits the situation so well! “How well Oblomov’s home suit suited his calm features and pampered body! He was wearing a robe made of Persian material, a real oriental robe, without the slightest hint of Europe, without tassels, without velvet, very roomy, so that Oblomov could wrap himself in it twice. The sleeves, in constant Asian fashion, went wider and wider from the fingers to the shoulder. Although this robe had lost its original freshness and in places replaced its primitive, natural gloss with another, acquired one, it still retained the brightness of the oriental paint and the strength of the fabric...

Oblomov always walked around the house without a tie and without a vest, because he loved space and freedom. His shoes were long, soft and wide; when he, without looking, lowered his feet from the bed to the floor, he certainly fell into them immediately.”

The situation in Oblomov’s house, everything that surrounds him, bears Oblomov’s imprint. But the hero dreams of elegant furniture, books, sheet music, a piano - alas, he only dreams.

There is not even paper on his dusty desk, and there is no ink in the inkwell either. And they won't appear. Oblomov failed “to sweep away the cobwebs from the walls along with the dust and cobwebs from his eyes and to see clearly.” Here it is, the motif of a dusty mirror that gives no reflection.

When the hero met Olga, when he fell in love with her, the dust and cobwebs became unbearable for him. “He ordered several crappy paintings to be taken out, which some patron of poor artists had forced upon him; He himself straightened the curtain, which had not been raised for a long time, called Anisya and ordered him to wipe the windows, brushed away the cobwebs ... "

“With things, everyday details, the author of Oblomov characterizes not only the appearance of the hero, but also the contradictory struggle of passions, the history of growth and fall, and his subtlest experiences. Illuminating feelings, thoughts, psychology in their confusion with material things, with phenomena of the external world, which are like an image - the equivalent of the hero’s internal state, Goncharov acts as an inimitable, original artist.

In chapter six of part two, details of the natural setting appear: lilies of the valley, fields, groves - “and the lilacs are still growing near the houses, the branches are climbing into the windows, the smell is cloying. Look, the dew on the lilies of the valley has not yet dried.”

Nature testifies to the short awakening of the hero, which will pass just as the lilac branch withers.

The lilac branch is a detail that characterizes the peak of the hero’s awakening, as is the robe, which he threw off for a while, but which he will inevitably put on at the end of the novel, repaired by Pshenitsyna, which will symbolize a return to his former, Oblomov’s life. This robe is a symbol of Oblomovism, like cobwebs with dust, like dusty tables and mattresses and dishes piled up in disarray.

Interest in details brings Goncharov closer to Gogol. Things in Oblomov's house are described in Gogol's style.

Both Gogol and Goncharov do not have everyday surroundings “for background”. All objects in their artistic world are significant and animated.

Goncharova's Oblomov, like Gogol's heroes, creates a special microworld around himself that gives him away. Everyday life is filled with the presence of Oblomov Ilya Ilyich, Oblomovism.

The novel by I. A. Goncharov is read with great interest, thanks not only to the plot and love affair, but also due to the truth in the depiction of the details of the situation, their high artistry. The feeling when you read this novel is as if you are looking at a huge, bright, unforgettable canvas painted in oil paints, with the delicate taste of a master depicting everyday details. All the dirt and awkwardness of Oblomov’s life is striking.

This life is almost static. At the moment of the hero's love, he is transformed, only to return to his former self at the end of the novel.

“The writer uses two main methods of depicting an image: firstly, the method of detailed sketching of the appearance and surroundings; secondly, the method of psychological analysis... Even the first researcher of Goncharov’s work, N. Dobrolyubov, saw the artistic originality of this writer in the uniform attention “to all the small details of the types he reproduced and the entire way of life”... Goncharov organically combined plastically tangible paintings, distinguished by amazing external detail, with a subtle analysis of the heroes’ psychology.”

The motif of dust appears again on the pages of the novel in chapter seven of part three. This is a dusty page of a book. Olga understands from it that Oblomov did not read. He didn't do anything at all. And again the motif of desolation: “the windows are small, the wallpaper is old... She looked at the crumpled, embroidered pillows, at the disorder, at the dusty windows, at the desk, sorted through several dust-covered papers, moved the pen in the dry inkwell...”

Throughout the novel, the ink never appeared in the inkwell. Oblomov does not write anything, which indicates the degradation of the hero. He doesn't live - he exists. He is indifferent to the inconvenience and lack of life in his home. It was as if he had died and wrapped himself in a shroud when in the fourth part, in the first chapter, after breaking up with Olga, he watches the snow fall and cause “large snowdrifts in the yard and on the street, like covering firewood, chicken coops, a kennel, a garden, and vegetable garden beds.” how pyramids were formed from fence posts, how everything died and was wrapped in a shroud.” Spiritually, Oblomov died, which resonates with the situation.

On the contrary, the details of the furnishings in the Stolts house prove the love of life of its inhabitants. Everything there breathes life in its various manifestations. “Their house was modest and small. Its internal structure had the same style as the external architecture, and all the decoration bore the stamp of thought and personal taste of the owners.”

Here, various little things speak of life: yellowed books, and paintings, and old porcelain, and stones, and coins, and statues “with broken arms and legs,” and an oilcloth raincoat, and suede gloves, and stuffed birds, and shells...

“A lover of comfort, perhaps, would shrug his shoulders, looking at all the assorted furniture, dilapidated paintings, statues with broken arms and legs, sometimes bad, but dear in memory engravings, little things. Would a connoisseur's eyes light up more than once with the fire of greed when looking at this or that painting, at some book yellowed with time, at old porcelain or stones and coins?

But among this multi-century furniture, paintings, among those that had no meaning for anyone, but were marked for both of them by a happy hour, a memorable moment of little things, in the ocean of books and sheet music, there was a breath of warm life, something irritating the mind and aesthetic sense; Everywhere there was either a vigilant thought or the beauty of human affairs shone, just as the eternal beauty of nature shone all around.

Here there was also a place for a high desk, like Andrei’s father had, and suede gloves; An oilcloth cloak hung in the corner near a cabinet with minerals, shells, stuffed birds, samples of various clays, goods and other things. Among everything, the wing of Erar shone in a place of honor in gold and inlay.

A network of grapes, ivy and myrtles covered the cottage from top to bottom. From the gallery one could see the sea, and on the other side the road to the city.” (Whereas snowdrifts and a chicken coop were visible from Oblomov’s window).

Wasn’t this the kind of decoration Oblomov dreamed of when he told Stolz about elegant furniture, a piano, sheet music and books? But the hero did not achieve this, “did not keep up with life” and instead listened to “the crackling of a coffee mill, the jumping on a chain and the barking of a dog, Zakhar polishing his boots and the measured knock of a pendulum.” In Oblomov’s famous dream, “it would seem that Goncharov simply masterfully described a noble estate, one of thousands of similar ones in pre-reform Russia. Detailed essays reproduce the nature of this “corner”, the morals and concepts of the inhabitants, the cycle of their ordinary day and their whole life. All and every manifestation of Oblomov’s life and being (everyday custom, upbringing and education, beliefs and “ideals”) are immediately integrated by the writer into “one image” through the “main motive” that penetrates the entire picture» silence and stillness or sleep , under whose “charming power” reside in Oblomovka and the bar, and the serfs, and the servants, and finally, the local nature itself. “How quiet everything is... sleepy in the villages that make up this area,” Goncharov notes at the beginning of the chapter, then repeating: “The same deep silence and peace lie in the fields...”; “...Silence and undisturbed calm reign in the morals of the people in that region.” This motif reaches its culmination in the afternoon scene of “an all-consuming, invincible sleep, a true likeness of death.”

Imbued with one thought, the different facets of the depicted “wonderful land” are thanks to this not only united, but also generalized, acquiring the super-everyday meaning of one of the stable - national and global– types of life . It is the patriarchal-idyllic life, the distinctive properties of which are a focus on physiological needs (food, sleep, procreation) in the absence of spiritual ones, the cyclical nature of the circle of life in its main biological moments “homelands, weddings, funerals”, people’s attachment to one place, fear of moving , isolation and indifference to the rest of the world. Goncharov’s idyllic Oblomovites are at the same time characterized by gentleness and warmth and, in this sense, humanity.” It is precisely this regularity and slowness that marks Oblomov’s life. This is the psychology of Oblomovism.

Oblomov has no business that would be a vital necessity for him; he will live anyway. He has Zakhar, he has Anisya, he has Agafya Matveevna. In his house there is everything that the master needs for his measured life.

There are a lot of dishes in Oblomov’s house: round and oval dishes, gravy boats, teapots, cups, plates, pots. “Entire rows of huge, pot-bellied and miniature teapots and several rows of porcelain cups, simple, with paintings, with gilding, with mottos, with flaming hearts, with Chinese. Large glass jars with coffee, cinnamon, vanilla, crystal teapots, bowls with oil, with vinegar.

Then whole shelves were cluttered with packs, bottles, boxes of home medicines, herbs, lotions, plasters, alcohols, camphor, powders, and incense; there was also soap, potions for cleaning mugs, removing stains, etc., etc. - everything that you would find in any house in any province, from any housewife.”

More details of Oblomov’s abundance: “hams were hung from the ceiling so that mice would not spoil them, cheeses, heads of sugar, hanging fish, bags of dried mushrooms, nuts bought from a Chukhonka... On the floor there were tubs of butter, large covered pots with sour cream, baskets with eggs - and something didn’t happen! You need the pen of another Homer to count in completeness and detail everything that was accumulated in the corners, on all the shelves of this little ark of home life”...

But, despite all this abundance, there was no main thing in Oblomov’s house - there was no life itself, there was no thought, everything went on by itself, without the participation of the owner.

Even with the appearance of Pshenitsyna, the dust did not completely disappear from Oblomov’s house - it remained in the room of Zakhar, who at the end of the novel became a beggar.

Oblomov’s apartment on Gorokhovaya Street and Pshenitsyna’s house - everything is drawn lushly, colorfully, with rare meticulousness...

Another very significant detail is the raising of bridges on the Neva. Just when in the soul of Oblomov, who lived with Pshenitsyna, a turning point began in the direction of Agafya Matveevna, her care, her corner of paradise; when he realized with all clarity what his life with Olga would be like; when he became frightened of this life and began to fall into “sleep,” that’s when the bridges were opened. Communication between Oblomov and Olga was interrupted, the thread that connected them was broken, and, as you know, a thread can be tied “forcibly,” but it cannot be forced to grow together, therefore, when bridges were built, the connection between Olga and Oblomov was not restored. Olga married Stolz, they settled in Crimea, in a modest house. But this house, its decoration “bears the stamp of thought and personal taste of the owners,” which is already important. The furniture in their house was not comfortable, but there were many engravings, statues, books, yellowed with time, which speaks of the education, high culture of the owners, for whom old books, coins, engravings are valuable, who constantly find something new in them for myself.

“In Oblomov, Goncharov’s ability to paint Russian life with almost picturesque plasticity and tangibility was clearly demonstrated. Oblomovka, the Vyborg side, the St. Petersburg day of Ilya Ilyich are reminiscent of the paintings of the “Little Flemings” or the everyday sketches of the Russian artist P. A. Fedotov. While not deflecting praise for his “painting,” Goncharov was at the same time deeply upset when readers did not feel in his novel that special “music” that ultimately permeated the pictorial facets of the work

“In Oblomov, the most important of the “poetic” and poeticizing principles of the work is “graceful love” itself, the “poem” and “drama” of which, in Goncharov’s eyes, coincided with the main moments in people’s lives. And even with the boundaries of nature, the main states of which in Oblomov are parallel to the origin, development, culmination, and finally, the extinction of the feelings of Ilya Ilyich and Olga Ilyinskaya. The hero's love arose in the atmosphere of spring with a sunny park, lilies of the valley and the famous lilac branch, blossomed on a sultry summer afternoon, full of dreams and bliss, then died out with the autumn rains, smoking city chimneys, empty dachas and a park with crows on bare trees, and finally ended along with the raised bridges over the Neva and everything being covered with snow.”

Describing life, I. A. Goncharov characterizes the inhabitant of the house, Oblomov, - his mental laziness and inaction. The setting characterizes the hero and his experiences.

In the novel "Oblomov" a material detail plays a huge role in creating the image of the main character. “We barely looked at the hero, did not hear a single word from his lips, but we are already familiar with him from the smallest details of the situation,” noted D.S. Merezhkovsky. In. Annensky wrote in an article about Oblomov: “We do not know a person in Russian literature so fully, so vividly depicted.” According to the observation of N.I. Prutskov, “with things, everyday details, the author of Oblomov characterizes not only the appearance of the hero, but also the contradictory struggle of passions, the history of growth and fall, and his subtlest experiences.” Oblomov’s struggle with himself and the struggle for Oblomov is presented as an attempt to free himself from the dressing gown, which is by no means easy, because he became, as it were, a direct continuation of the hero himself: “From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown. A wardrobe detail acquires the status of a symbol - a symbol of Oblomovism as a way of life, morality, philosophy.

Oblomov thinks and feels in images of the objective world around him. Let us at least remember the elaboration of the smallest details of the future structure of the estate, the vividly drawn picture of moving to a new apartment, the artistic consideration of the escape of serfs, the representation of a wedding ceremony in images, the comparison of Agafya Pshenitsyna’s breasts with a sofa cushion, etc.

Details of the setting in I. A. Goncharov’s novel “Oblomov” are the main witnesses to the character of the owners. Thus, in Goncharov’s novel “Oblomov” there are many details, to interpret which means to understand the novel more deeply.

The role of detail in the work of I. A. Goncharov “Oblomov”. 900 igr. net Presentation by Murzina Ekaterina 10 “A” class.

1. 2. 3. 4. 5. 6. Definition of artistic detail The role of details in Goncharov Portrait details Interior details Plot details The connection of the detail with the idea of the work

Definition of artistic detail. An artistic detail is an expressive detail, a characteristic feature of an object, part of everyday life, landscape or interior, which carries an increased emotional and meaningful load, not only characterizing the entire object of which it is a part, but also determining the reader’s attitude to what is happening. The details can be: shape, color, light, sound, smell, etc.

The role of details in I. A. Goncharov In Goncharov’s novel “Oblomov,” detail plays a large role in the plot, description of the portrait, interior, and in the creation of the chronotope. With its help, a holistic picture of the world is created. I. A. Goncharov

Details of the portrait “He was a man about thirty-two or three years old, of average height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his facial features. “How well Oblomov’s home suit suited his calm facial features and pampered body! He was wearing a robe made of Persian material, a real oriental robe, without the slightest hint of Europe...” “The robe had in Oblomov’s eyes a darkness of invaluable merits: it is soft, flexible; the body does not feel it on itself; he, like an obedient slave, submits to the slightest movement of the body. »

Portrait of I. I. Oblomov Pleasant appearance, expression of carelessness on his face Robe - a symbol of immobility and laziness Thought rarely visited Oblomov Fatigue, soft features, effeminacy, laziness, apathy

Interior details “The room where Ilya Ilyich was lying seemed at first glance to be beautifully decorated. There was a mahogany bureau, two sofas upholstered in silk, beautiful screens...” “But the experienced eye of a person with pure taste, with one quick glance at everything that was here, would only read the desire to somehow maintain the decorum of inevitable decency...” “The backside near one sofa it sank down, the glued wood came loose in places. »

Interior The sofa is a symbol of inactivity, laziness and apathy. A lot of things have been purchased, but for the sake of decency, the “Sleepy” interior. Neglect and negligence. Oblomov's interior is similar to Manilov's interior

Plot details “She was silent, picked a branch of lilac and smelled it...” “She casually tore a branch from a tree, tore off one leaf with her lips and then immediately threw both the branch and the leaf onto the path. “Quotes from Oblomov’s letter to Olga: “You don’t love me and you can’t love me. “Love appeared in the form of a light, smiling vision, sounded in Casta diva, was carried in the smell of a lilac branch...” “Love is a spiritual Antonov fire. “Peace suits me, although it’s boring and sleepy, but it’s familiar to me, but I can’t cope with storms. »

As soon as the dream collided with reality, feelings began to immediately collapse Love Because of laziness, Oblomov cannot propose to Olga Oblomov did not pass the test of love The fragrant branch of lilac embodies the flowering of feelings and its poetic aroma

Oblomov gave birth to the capacious concept of “Oblomovism”. N.A. Dobrolyubov wrote about its exceptional typicality in his article “What is Oblomovism? “He wrote that “the new word of social development is Oblomovism.” The main features of Oblomov’s character lie “in complete inertia, resulting from apathy towards everything. The reason for apathy lies in the way of mental and moral development. » I. A. Goncharov

The role of artistic detail in the novel “Oblomov”
I. A. Goncharov’s novel “Oblomov” is a novel about movement and peace. The author, revealing the essence of movement and rest, used many different artistic techniques, about which a lot has been and will be said. But often, when talking about the techniques used by Goncharov in his work, they forget about the important importance of details.

Nevertheless, the novel contains many seemingly insignificant elements, and they are not given the last role.

Opening the first pages of the novel, the reader

He finds out that Ilya Ilyich Oblomov lives in a large house on Gorokhovaya Street.

Gorokhovaya Street is one of the main streets of St. Petersburg, where representatives of the highest aristocracy lived. Having learned later about the environment in which Oblomov lives, the reader may think that the author wanted to mislead him by emphasizing the name of the street where Oblomov lived. But that's not true. The author did not want to confuse the reader, but, on the contrary, to show that Oblomov could still be something other than he is in the first pages of the novel; that he has the makings of a person who could make his way in life.

That's why he lives not just anywhere, but on Gorokhovaya

Street.

For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end.

But while they did not think about the end, they were full of hope. Olga sang Sasta diva, which probably won Oblomov completely. He saw in her that same immaculate goddess.

And indeed, these words - “immaculate goddess” - to some extent characterize Olga in the eyes of Oblomov and Stolz. To both of them, she truly was an immaculate goddess. In the opera, these words are addressed to Artemis, who is called the goddess of the Moon.

But the influence of the moon and moon rays negatively affects lovers. That’s why Olga and Oblomov break up. What about Stolz?

Is he really immune to the influence of the moon? But here we see a weakening union.

Olga will outgrow Stolz in her spiritual development. And if for women love is worship, then it is clear that here the moon will have its detrimental effect. Olga will not be able to stay with a person whom she does not worship, whom she does not extol.

Olga married Stolz, they settled in Crimea, in a modest house. But this house, its decoration “bears the stamp of thought and personal taste of the owners,” which is already important. The furniture in their house was not comfortable, but there were many engravings, statues, books, yellowed with time, which speaks of the education, high culture of the owners, for whom old books, coins, engravings are valuable, who constantly find something new in them for myself.

Thus, in Goncharov’s novel “Oblomov” there are many details, to interpret which means to understand the novel more deeply.

(No Ratings Yet)

In the novel by I. A. Goncharov, Stolz introduces Oblomov to Olga in her house. When he saw her for the first time, he was confused and felt awkward. A whirlwind romance begins between Oblomov and Olga. Oblomov fell in love with Olga, but she pursued her own goals. Olga fell in love not with Ilya, but with her dream. Her mission was to wake up the sleeping […]...
“Without Olga Ilyinskaya and without her drama with Oblomov, we would not have known Ilya Ilyich as we know him” (based on I. A. Goncharov’s novel “Oblomov”) In Russian literature, a special place has long been given to a woman, her relationship with the main character. Even in “The Tale of Igor’s Campaign,” the author conveyed the magnitude of the tragedy that resulted in the prince’s defeat in [...]
1. Oblomov - Stolz. 2. Oblomov - Olga Ilyinskaya Stolz is not a positive hero of the novel, his activities sometimes resemble the activities of Sudbinsky from Stolz’s despised St. Petersburg entourage of Oblomov: work, work, work again, like a machine, without rest, entertainment and hobbies. His practicality is far from high ideals; he resembles a businessman, a tourist. The image of Stolz is schematic, emotionally faceless. Goncharov […]...
Test of love in the novel “Oblomov” I. A. Goncharov’s novel “Oblomov” tells about life with all its complexities and tricks. Essentially, this is a novel about the fate of a person who evokes sympathy, pity, and sometimes contempt in the reader. Oblomov faced many trials that revealed his character. However, his inner essence is most clearly manifested through the strongest emotional experiences caused by [...]
Oblomov and “Oblomovism” in I. A. Goncharov’s novel “Oblomov” I. A. Goncharov’s novel “Oblomov” was published in 1859 and was first published in the journal “Otechestvennye zapiski”. Since then, it has been considered one of the most popular works of Russian classics. Immediately after the appearance of the novel, the word “Oblomovism” came into use, which conveyed idleness and [...]
Victory and defeat It is known that all victories begin with victory over oneself. However, not all people manage to overcome their shortcomings and take a step towards self-development. Reading Ivan Goncharov’s novel “Oblomov”, we see how the main character is slowly but surely moving towards defeat. He does not have enough internal strength, resources and motivation to be reborn, […]...
Oblomov and Stolz comparative characteristics In I. A. Goncharov’s novel “Oblomov” one of the common techniques is antithesis. By contrast, the author compares the main character I. I. Oblomov with his childhood friend A. I. Stolts. The first is a real Russian master, and the other is a practical German. Throughout the novel, the similarities and differences between these two characters can be traced. Oblomov […]...
Choice of life path I. A. Goncharov’s novel “Oblomov” was written in the mid-19th century and best reflected the life style of the nobles of that time. It was first published in 1859, shortly before key reforms in the field of serfdom. The main character of the work, Ilya Ilyich Oblomov, is an incredibly lazy and clumsy man. He leads a monotonous life, not [...]
Is Oblomov a good person? Oblomov Ilya Ilyich is the main character of the most famous novel by I. Goncharov and the man who gave the name to the concept of “Oblomovism”. “Oblomov” appeared in the mid-19th century at a time when changes in the field of serfdom were already brewing in the country. Ilya Ilyich is described by the author as a typical representative of the middle-aged nobility who grew up in such pampered […]...
Female images in the novel “Oblomov” Of particular interest in I. A. Goncharov’s novel “Oblomov” are female images. It is in relation to them that the positive qualities of the main character, Ilya Ilyich Oblomov, are most clearly manifested. From the content of the novel, it becomes clear that the hero deliberately avoids communication with the opposite sex so as not to burden himself with unnecessary worries. However, the author mentions that […]...
Love is the desire to live Love in I. A. Goncharov’s novel “Oblomov” is one of the central themes. The author took a special approach to addressing this issue. He was able to show how different people with different ideals perceive love and what place they give to it in their lives. The novel is written in four unequal parts. If in the first part we see only [...]
Only once did Oblomov have an opportunity when he could take a new path, start a new life: it was when he met Olga and fell in love. This love was sincere and deep, it captured his entire being, forced him, at least for a while, to cheer up, to pull himself together; but even this love was unable to revive Oblomov, [...]
What qualities does love reveal in a person? In his work “Oblomov,” I. A. Goncharov tries to find answers to many vital questions, bringing to light the theme of love, harmony and happiness. The main character of the work is an extremely lazy, clumsy and passive person. Ilya Ilyich Oblomov is a typical representative of the provincial nobility of the 19th century. He leads a more than idle lifestyle, rarely [...]
Laziness The novel “Oblomov” was written by I. A. Goncharov in the period from 1847 to 1859, just a few years before the key changes in the field of serfdom in Russia. The main character of the work is a nobleman of about 30-35 years old, who has become so lazy that he has become baggy, obese and uninteresting. No matter how hard his friends tried to drag him into the world, but everything [...]
In world literature and culture, the longest lives fall to those works whose heroes have become symbols of a certain era, human types, characters, and the embodiment of the aspirations of humanity. Among such heroes are the man-lover Prometheus, the eternal knight Don Quixote, the philosopher Hamlet, the giant Gulliver and many others. The broader and more ambiguous the symbolic meaning of an image, the closer it is to different people, the more popular […]...
He who does nothing is not mistaken. The main character of Goncharov's most famous novel is Ilya Ilyich Oblomov, a middle-aged nobleman who was by nature a very lazy person. His whole life was predetermined by the upbringing he received as a child. His parents cared for him, cherished him, and did not allow him to do any work, which is why he grew up completely pampered. Ilya Ilyich is very [...]
Russian literature has a whole gallery of captivating female characters, such as Tatyana Larina, Katerina Kabanova, Masha Mironova and others. Woman occupies a very important place in the fate of heroes of various works. I. A. Goncharov’s novel “Oblomov” is no exception. Ilya Ilyich Oblomov was truly lucky in life, because it included a meeting with such an extraordinary woman as [...]
Olga Ilyinskaya is a socialite, she, like Nadenka Lyubetskaya, knows life from its bright side; she is wealthy and is not particularly interested in where her funds come from. Her life, however, is much more meaningful than the life of Nadenka or the wife of Aduev Sr.; she makes music and does it not because of fashion, but because she is able to enjoy the beauty of art; she is very […]...
The novel “Oblomov” is one of the peaks of the work of the great Russian writer and publicist I. A. Goncharov. The work was published back in 1859, but to this day discussions among critics around its main character and other characters do not subside. In Oblomov, both attractive and sometimes repulsive sides of his contradictory nature are intertwined. He seems kind, gentle, generous at the same time […]...
Is there satire in the novel “Oblomov”? The novel “Oblomov” is considered the best and most popular work of I. A. Goncharov. The author wrote it over ten years, from 1848 to 1859. His goal was to reflect in the novel the most important processes that took place in Russian society in the middle of the 19th century. So, for example, the destructive influence of serfdom was not only [...]
N. A. Dobrolyubov in the article “What is Oblomovshchina?” (1859) writes about the plot and composition of the novel: “It is, if you like, really drawn out. In the first part, Oblomov lies on the sofa: in the second, he goes to the Ilyinskys and falls in love with Olga, and she with him; in the third she sees that she was mistaken about Oblomov, and they part ways; in the fourth she comes out […]...
No, I don't blame him. I believe that no one dares to judge a person, no matter what he is. Every person has the right to decide for himself how to live. Oblomov is a man looking for something in his life, thinking about something, he “was no stupider than others, his soul was pure and clear, like glass, noble, gentle.” Ilya Ilyich - master, [...]
Who is Oblomov? - you ask. There is a lot to talk about this character. But I would like to highlight the main thing. Ilya Ilyich Oblomov was a landowner, nobleman who lived in St. Petersburg. He led an idle lifestyle. Oblomov’s main and favorite pastime was lying on the couch and thinking about the structure of life. The author says that lying on the sofa was neither necessary, […]...
What things have become a symbol of “Oblomovism”? The symbols of “Oblomovism” were a robe, slippers, and a sofa. What turned Oblomov into an apathetic couch potato? Laziness, fear of movement and life, inability to carry out practical activities, and the replacement of life with vague daydreaming turned Oblomov from a man into an appendage of a robe and a sofa. What is the function of Oblomov’s dream in I. A. Goncharov’s novel “Oblomov”? The chapter “Oblomov’s Dream” paints an idyll [...]
In almost every literary work, the love of the main characters occupies a special place. After all, how a person loves, what he puts into his feelings, says a lot about him. So in I. A. Goncharov’s work “Oblomov,” the main character Ilya, lying endlessly on the sofa, suddenly becomes completely different when love appears in his life. Life sparkled for him with new […]...
The meaning of life I. A. Goncharov’s novel “Oblomov” involuntarily makes the reader think about the meaning of life. In order to find the answer to this question, you need to consider the image of the main character in more detail. Ilya Ilyich Oblomov is a typical representative of the nobility of the mid-19th century. During the period described by Goncharov in the book, serfdom had not yet been abolished, but was already becoming obsolete […]...
While reading Ivan Goncharov’s famous novel “Oblomov,” it would seem that one should unequivocally condemn the main character Ilya Ilyich, who spent his entire life on the couch in fruitless dreams, unable to do and achieve absolutely nothing. In contrast to him are his best friend Andrei Stolts and his former lover Olga Ilyinskaya, who later married his closest […]...
Is it possible to live a happy life without victories? Is it possible to live a happy life without victories? The answer to this question directly depends on the life position of each person. All people differ in character, temperament, goals, ideals. There are those who crave upswings in their careers and other areas, and there are those who simply want to live a calm, measured life, without rushing anywhere. […]...
Any classical and artistic work in one way or another reflects the historical era and social life of the time in which it was written. In other words, a master cannot create masterpieces in isolation from the time in which he lives. In his novel “Oblomov,” Goncharov showed what a detrimental influence serfdom has on the life of the people. All this happened due to stagnation […]...
The most important task facing any writer is to evoke in the reader a certain impression from each image. And here an artistic detail is indispensable - one or another expressive or pictorial detail. In real life there are an infinite number of such details, so the writer faces the problem of selecting the most characteristic, artistically convincing details. It is no coincidence that in the image of Helen Kuragina from “War and […]...
I. A. Goncharov’s novel “Oblomov” was written in 1859. The main plot is the life path of Ilya Ilyich Oblomov, who aimlessly spends his time lying on the sofa. He spent his childhood in a noble family, where he was taught to lead a measured lifestyle, although he was an active and curious child, he soon realized that this way of life was the most […]...
I. A. Goncharov’s novel “Oblomov” is a classic of Russian literature. In this novel, two faces of love appear before us. The first is the love of Oblomov and Olga, the second is the love of Stolz and Olga. How different they are! The first feeling - not having time to bloom - immediately withered, the second - it takes a long time to bloom, but, having blossomed and strengthened, for a long time it retains all […]...
The main character of the novel by the Russian writer I. A. Goncharov, Oblomov, can be called an “extra” person for several reasons. One of them is quite obvious. The novel was published shortly before the great peasant reform. Compared to all the characters, and especially in contrast to the active, very active and purposeful Stolz, the lazy Oblomov appears to the reader as a clear couch potato, superfluous, completely stupid […]...
The plot of I. A. Goncharov’s novel “Oblomov” is the love story of the protagonist for Olga Ilyinskaya. With her appearance, Ilya Ilyich’s life changes for a while. Love, as it were, bursts into his quiet life, and in connection with this, his habits become a thing of the past. Olga is constantly on the move, she does not manage to take things calmly, [...]
In the image of Olga Ilyinskaya, Goncharov painted a type of new woman, struggling with Oblomov’s routine, ignorance and idleness, a woman seeking a high life goal and reasonable activity. Olga, in terms of her personal qualities, level of development and degree of consciousness, stands incomparably higher than the women of her circle. She has a strong, inquisitive mind, a persistent will, a developed imagination, and a deep and tender feeling. […]...
The character of Olga Ilyinskaya was developed very artistically by Goncharov. Olga’s character is reminiscent of Elena Stakhova (“On the Eve”). Gifted by nature with an inquisitive, bright mind, Olga was placed in favorable conditions for her development. The aunt, who replaced her parents, was only her leader and did not prevent her from showing her natural talents. Thanks to this, Olga learned to be independent and hope only […]...
Agafya Matveevna Pshenitsyna is the widow of a minor official. Her image is contrasted with the image of Olga. The dominant character of Pshenitsyna is selfless love combined with the deepest humility. Her whole life is devoted to caring for her neighbors - about her children, about her unworthy brother, whom she does not even dare to criticize, and then about Oblomov. Deep and simple faith in God, hope in Him [...]
“Oblomov” is a social novel, as in all works of this genre there is a place of love in it. Oblomov's love is of key importance in the hero's life. This is the best feeling that has ever covered I. I. Oblomov. Only love helps the dreamer to fully open up and bring all his fantasies to life. Simply put, without these feelings, […]...
Olga Ilyinskaya Olga Sergeevna Ilyinskaya is one of the main heroines of the novel by I. A. Goncharov, Oblomov’s beloved, a bright and strong character. Ilyinskaya was not distinguished by her beauty, but she was quite graceful and harmonious. She had a sincere simplicity and naturalness that was rare. Nothing pretentious, no tinsel. The girl was orphaned early and lived in the house of her aunt, Marya […]...
Plan Introduction Image of Olga Ilyinskaya Agafya Pshenitsyna The role of female images Introduction I will describe and reveal the main women from Goncharov’s novel “Oblomov”, what connects these women with each other. The women in this novel have completely different lives, complete opposites, and are united only by their experiences with the hero Oblomov. The image of Olga Ilyinskaya The first image of Olga Ilyinskaya […]...

The role of artistic detail in the novel “Oblomov” Oblomov Goncharov I. A

This essay can be used in a literature lesson when studying the novel by I.A. Goncharov "Oblomov", and in extracurricular activities.

Essay

Symbolic images and details in the novel by I.A. Goncharov "Oblomov"

Completed by a 9th grade student at GBOU School 939

Bulgucheva Amina

Head teacher of Russian language and literature Ivanova G.N.

I. A. Goncharov’s novel “Oblomov” is a novel about movement and peace. The author, revealing the essence of movement and rest, used many different artistic techniques, about which a lot has been and will be said. But often, when talking about the techniques used by Goncharov in his work, they forget about the important importance of details. Nevertheless, the novel contains many seemingly insignificant elements, and they are not given the last role.

The theme of Home (“House” - with a capital letter!) is given a lot of attention in the works of Russian writers: A. S. Pushkin, N. V. Gogol (for example, in the poem “Dead Souls”), in the novel by I. A. Goncharov “ Oblomov" and others. Thanks to the presence in the work of a detailed description of the heroes’ homes, we understand their character. As D.S. Merezhkovsky said in the article “Small Details of Everyday Life”: “... Goncharov shows us not only the influence of character on the environment, on all the little details of the everyday environment, but also vice versa - the influence of the environment on character.”

But the House is, of course, not only the external appearance of the building and the interior decoration, but also a certain atmosphere, the morals and way of life prevailing in the family.

Opening the first pages of the novel, the reader learns that Ilya Ilyich Oblomov lives in a large house on Gorokhovaya Street.

We get to know Oblomov by describing the smallest details of the situation: by the cobwebs that festoon around the paintings, by the dusty mirrors, by the stains on the carpets, by the towel forgotten on the sofa, by the plate on the table that has not been cleared away from yesterday’s dinner, with a salt shaker and a gnawed bone. , according to the number of last year’s newspaper, according to the inkwell, from which, “if you dipped a pen in it, a frightened fly would escape with a buzz,” according to the yellowed pages of a long-opened and long-unread book. (The last detail is reminiscent of Gogol’s Manilov’s book, opened for the second year on page fourteen.) Such a bright image of the hero’s room casts a reflection on himself. One room serves Oblomov as a bedroom, an office, and a reception room.

All other rooms for readers and heroes are locked, the furniture in them is covered with brocade. Our hero simply does not need them. Familiar people who are part of the home often come to his house. Oblomov’s entourage is his faithful servant Zakhar, another inseparable piece of the House.

But in his dreams, the House seems completely different to Oblomov. Reading the hero's dream, we learn about the village of Oblomovka, where he spent his childhood. This “wonderful land” is the ideal Home (in the full sense of the word) for Oblomov. Goncharov depicts this place as a small model of the world: here nature is in harmony with the lives of people who are not disadvantaged in anything, this is an idyllic picture of human existence in unity with nature. There is an atmosphere of peace and tranquility here. The passage of time in these places is cyclical, it is measured by the change of seasons, strictly by month, thanks to holidays and natural phenomena. It seems that time is unchanged. Death in Oblomovka is a rare event that instills horror in the souls of people. The village is isolated from the outside world, and the inhabitants of these places do not even want to leave their native land. The only border with the outside space is a ravine, and communication is via a road. Oblomov sees such a House in his dreams; it is close to the hero’s heart.

At the end of the novel, Oblomov finds a House that becomes ideal for him, personifying an example of an idyllic existence. It is located in St. Petersburg, on the Vyborg side. We learn about this House from the fourth part of the novel. The chapter telling about him is located symmetrically relative to the chapter about Oblomovka, the episodes have a similar composition. Goncharov does this not by accident. He himself gives us every reason to compare these chapters. Although the two different places are very similar, described with the same words, they are significantly different. As a result, Oblomov finds his ideal on the Vyborg side, and death overtakes him there. And Oblomovka is a lost paradise that the hero dreamed of. In contrast, the Vyborg side is not isolated from the rest of the world, despite the fact that it is located on the outskirts of St. Petersburg. (The author moves it away from the city center in order to show the difference between this House and the House on Gorokhovaya Street.) The janitor on the Vyborg side symbolizes the isolation of this place, and the barking of dogs, announcing the arrival of guests, means an invasion from the outside.

The house on the outskirts of St. Petersburg is the House of Agafya Matveevna Pshenitsyna, an unsurpassed housewife. She took care of Oblomov in every possible way and sincerely loved him. In the village of his parents, little Ilyusha was also surrounded by affection and attention. That is, at the end of the work the hero comes to where his life began. Therefore, the House for Oblomov (“House” - with a capital letter!) is, first of all, a place that is filled with love and tenderness, affection and kindness, care and warmth, kinship and family; which gives rise in the soul to impulses towards daydreaming, poetry, and sophistication. Love in Goncharov's novel is love that transforms not only the one to whom it is directed, but above all the one from whom it comes. Critic Yu. Loschits rightly noted in the article “Female images in the novel “Oblomov””: “Agafya Matveevna’s love, almost silent, awkward, unable to express itself in beautiful, gentle words and impressive gestures, love, somehow forever sprinkled with rich flour, but when necessary, it is also sacrificial, completely focused on its object, and not on itself - this love imperceptibly transforms a simple, ordinary woman, becomes the content of her entire life.”

In the context of this topic, it is impossible not to say about Andrei Stolts. This is a person for whom the word “Home” does not exist in its full meaning. We know that “he is constantly on the move: if society needs to send an agent to Belgium or England, they send him; you need to write some project or adapt a new idea to business - they choose it. Meanwhile, he goes out into the world and reads: when he has time, God knows.” Stolz is the complete opposite of Oblomov, having traveled half of Europe, a man with connections and business experience. He lived in Paris, in Verkhlevo, on Lake Geneva.

This hero nevertheless finds a home when he marries Olga: they settle in Crimea, in a modest house, the decoration of which “bears the stamp of the thoughts and personal taste of the owners,” which is important. The furniture in the House of Olga and Andrey was not comfortable, but there were many statues, engravings, and books yellowed by time, which indicates the high culture and education of the owners. (They constantly find something new for themselves in coins, engravings, old books.)

For all the heroes of I. A. Goncharov’s novel “Oblomov,” the concept of Home is different, everyone understands it in their own way. For the servant Zakhar, Home is where the master is, where everything suits him. For Olga Ilyinskaya, the House is a peaceful life in the village. Agafya Matveevna puts into this concept family life, filled with love and chores around the house. Andrei Stolts, it seems to me, still does not find a real Home, but finds refuge in Crimea. For Ilya Ilyich Oblomov, life in the House was those seven years that he spent on the Vyborg side, thanks to the care of Agafya Matveevna. But, alas, she was not able to perform a miracle: “No matter how vigilantly the loving eye of his wife guarded every moment of his life, eternal peace, eternal silence and lazy crawling from day to day quietly stopped the machine of life...” And the eternal peace of life inevitably leads to the eternal peace of death. But Oblomov still spent his last years, “triumphant internally,” that he “got away from vanity and worries”; he managed to convince himself that “his life not only took shape, but was created, even intended, so simply, unsurprisingly, to express the possibility of an ideally calm side of human existence.”

Many houses and places are described in the work. But not every one of them is the same House with a capital “H”! The main events of the novel take place in St. Petersburg: on Gorokhovaya Street, one of the central streets in the city, facing Palace Square and the Admiralty; on a quiet street on the Vyborg side. Oblomov spent his childhood in Oblomovka, which seemed to unite two neighboring villages that belonged to the Oblomov family - Sosnovka and Vavilovka. About five versts away lay Verkhlevo, whose manager was Andrei Stolts’ father. (As a teenager, Oblomov went there to study.) These villages were not far from the Volga: Oblomov’s men transported grain to the Volga pier, but the county town, who knows what, was no closer than thirty miles, and the provincial town no closer than eighty, and one can only assume that this is Simbirsk. Oblomov studied in Moscow for about five years, until about the age of twenty, in some educational institution - either a gymnasium or a college. The description of Oblomovka is replete with many details of everyday life, while life in Moscow is not shown at all. And the capital city of St. Petersburg is not depicted in detail, only the apartment on Gorokhovaya Street and the house on the Vyborg side are presented in detail. But this “refuge” of Oblomov, in his opinion, is also a “hole” to which he has grown into a “sore spot”, not like his native, blessed Oblomovka.

The reader observes Oblomov's life from childhood to adulthood, almost forty years. His image is rooted in the characters of such literary heroes as Gogol's Podkolesin, Old World landowners, Manilov and Tentetnikov. However, Oblomov took his main features from Goncharov. Only the author, unlike his character, was distinguished by his talent and hard work.

The hero's surname is telling. Oblomov - from “break off”, “break”. Ilya Ilyich is broken by life, depressed by it, retreated in the face of the problems and troubles that have rolled in. It’s easier for him to hide in the corner of the sofa in his house and lie there forever.

In this regard, the main attributes of laziness of this hero appear in the novel: a sofa, a robe and slippers. The symbolic image of the robe is of particular significance. Its roots go back to Yazykov’s poem “To the Robe.”

The robe is the favorite and main attire of the main character of Goncharov’s novel. In him, the reader sees Ilya Ilyich in the middle of his office. The robe is “oriental, ... very roomy, so that our hero could wrap himself in it twice,” - this is the description of the main detail, which becomes a sign of Oblomov’s laziness. Goncharov focuses readers' attention on details in order to better reveal the image of the hero. For Oblomov, his robe is a symbol of protection from the outside world with its endless problems.

Andrei Stolts and Olga Ilyinskaya, the people closest to Oblomov, repeatedly make attempts throughout the work to pull him out of his robe. And for a moment it succeeds. The reader remembers how Oblomov is transformed under the influence of a living feeling - a certain love for Olga. However, even here laziness still takes its toll, and Oblomov again dresses his corpulent body in an eternal oriental robe.

Together with the owner, the robe gradually grew old, frayed, and deteriorated. But Oblomov was never able to part with the signs of a comfortable, quiet life: slippers, a robe, an oilcloth sofa. At the end of the novel, the reader again sees Oblomov in his favorite robe, albeit in a different setting - with the widow Pshenitsyna.

Oblomov's robe in the novel is called a dressing gown (translated from the German "schlafrock" - "sleeping robe"). The old, worn robe is essentially a separate character in the novel. This thing lives its own life and goes through certain stages, just like Oblomov himself. Oblomov's robe as a symbol of "Oblomovism" Oblomov's robe is a symbol of "Oblomovism", a boring, empty and lazy life. For Oblomov, taking off this robe means radically changing his life: “...to lose excess fat, lose weight, refresh the soul with the air that he once dreamed of with a friend, to live without a robe, without Zakhar and Tarantiev...” The author describes Oblomov’s robe in detail. , as if it were a living creature: “... He was wearing a robe made of Persian material, a real oriental robe, without the slightest hint of Europe, without tassels, without velvet, without a waist, very roomy, so that Oblomov could wrap himself twice in him. The sleeves, according to the invariable Asian fashion, went from the fingers to the shoulder wider and wider. Although this robe had lost its original freshness and in places replaced its primitive, natural gloss with another, acquired one, it still retained the brightness of the oriental color and the strength of the fabric. .." Oblomov's robe as the hero's double Oblomov's robe is essentially the hero's double. Oblomov’s cozy, homely robe personifies the cozy, calm, quiet character of the hero. Oblomov loves his robe because it is soft, flexible, invisible and unobtrusive. Oblomov himself is very similar to his robe, being a soft, inconspicuous, affectionate person. : “...The robe had in Oblomov’s eyes a darkness of invaluable merits: it is soft, flexible; the body does not feel it on itself; he, like an obedient slave, submits to the slightest movement of the body...” Oblomov’s carelessness is transmitted to his robe (dressing gown): “ ... From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown...” Oblomov wears a robe not only on the outside. His soul and mind are also wrapped in an “invisible” robe: “...Going forward means suddenly throwing off a wide robe not only from your shoulders, but also from your soul, from your mind...” Oblomov’s robe goes through several “life” stages in novel just like Oblomov himself. Below are the main stages in the history of the dressing gown (dressing gown) Oblomov's dressing gown in the novel "Oblomov": stages of life

1. Oblomov’s robe on Gorokhovaya Street The story of Oblomov’s robe begins on Gorokhovaya Street, in Oblomov’s apartment. Ilya Ilyich Oblomov has been wearing his robe for a very long time. His guests notice that such dressing gowns have not been worn for a long time: “...What kind of dressing gown are you wearing? They stopped wearing these a long time ago,” he shamed Oblomov... “This is not a dressing gown, but a dressing gown,” said Oblomov, lovingly wrapping himself up in the wide skirts of his robe..." As you know, Oblomov does not like change. He is used to his robe and is not ready to part with it and replace it with something new.

2. Oblomov’s robe and relationship with Olga Ilyinskaya Oblomov is experiencing a romantic relationship with Olga Ilyinskaya. During this period, Oblomov finds the meaning of life in the person of Olga. Thanks to his love for Olga, the lazy Oblomov comes to life and wakes up from his long hibernation. During this period, he forgets about his old robe: “...He gets up at seven o’clock, reads, carries books somewhere. There is no sleep, no fatigue, no boredom on his face [...] You can’t see the robe on him: Tarantiev took it with him to his godfather with other things..." "...And the robe seemed disgusting to him, and Zakhar was stupid and unbearable, and the dust and cobwebs were unbearable..." "...He said goodbye to the robe a long time ago and ordered it hide it in the closet..."

3. Oblomov’s robe and relationship with Agafya Pshenitsyna After breaking up with Olga Ilyinskaya, Oblomov continues to live in Agafya Pshenitsyna’s house. Housekeeper Pshenitsyna takes Oblomov’s old robe out of the closet to fix it: “...I also took your robe out of the closet,” she continued, “it can be repaired and washed: the material is so nice! It will last a long time...” Life with Agafya Pshenitsyna again introduces Oblomov into his usual laziness and apathy. Oblomov returns to his old, lazy life. And of course, Oblomov’s robe also returns to life: “...The hostess brought it today: they washed and repaired the robe,” said Zakhar...” Agafya Pshenitsyna is not at all against Oblomov wearing his old robe. On the contrary, she willingly repairs this robe, knowing that Oblomov values it very much: “... Take it off and give it to me quickly, I’ll take it out and wash it up: tomorrow nothing will happen...” “... these blankets and Ilya Ilyich’s robe were spread out [ ...] Agafya Matveevna cut them out with her own hands, lined them with cotton wool and quilted them..."

4. Oblomov’s robe and the last years of his life Until the end of his days, Ilya Oblomov never parted with his favorite robe, as well as with his laziness and apathy: - ... why won’t you give up this robe? Look, it's all covered in patches! - Habit, Andrey; It’s a pity to leave... Thus, a cozy and comfortable robe accompanies Oblomov for many years and becomes a sad symbol of “Oblomovism.”

Another detail that is rarely mentioned is the flowers and plants in the novel. Each flower has its own meaning, its own symbolism, and therefore mentions of them are not accidental. So, for example, Volkov, who suggested that Oblomov go to Yekateringhof, was going to buy a bouquet of camellias, and Olga’s aunt advised her to buy ribbons the color of pansies. While walking with Oblomov, Olga plucked a lilac branch. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end. In Goncharov's novel "Oblomov", a blooming lilac branch becomes a symbolic leitmotif. Olga, expecting Oblomov’s confession and irritated by his indecisiveness, threw a lilac branch to the ground with annoyance. An abandoned branch suddenly revealed to Oblomov the secret of a woman’s soul in love. He picks up the lilac and carefully takes it home, inspired by happy hopes. The branch of lilac, extended by Olga to Ilya Ilyich at the new meeting, replaces the words of confession. When Olga received a letter from Oblomov, in which he doubts the depth of her feelings, in her mind it is associated with faded lilacs: “The lilacs have moved away, disappeared!” At the end of the novel, Stolz, who became Olga’s husband, pitying Oblomov, invites him to visit, hoping that his spiritual strength will awaken in him: “You will remember the park, the lilacs and you will move.”

The origin of the name lilac is associated with an ancient Greek legend told in Ovid's Metamorphoses. (See Appendix 6) Goncharov, like his contemporaries, knew well the ancient legends about the origin of plants. In the novel "Oblomov" the legend of Syringa receives a reverse transformation, just like the myth of Pygmalion, taken from "Metamorphoses", who allegedly revived the statue of Galatea with his love. In Goncharov, Olga, who was trying to awaken Oblomov’s soul, will think with annoyance: “But this is some kind of Galatea, with whom she herself has to be Pygmalion.” And Ilya Ilyich also played the role of Syringa in the novel, seeking salvation from Olga’s restless and demanding love. N.F. Zolotnitsky in the book “Flowers in Legends and Traditions” writes: “In the East, where, as we know, lilac comes from, it serves as an emblem of sad parting, and therefore a lover usually gives it to his beloved only when they separate or part forever ". This perception of lilac was passed on to Western European culture. In England, for example, a branch of lilac was sent to a groom with whom a girl for some reason could not connect her destiny. In the novel "Oblomov" for Olga Ilyinskaya, lilac personified the "color of life", the spring of the soul, the awakening of the first love feelings. But, regardless of the intentions of the girl herself, the branch of lilac extended by Olga to Oblomov exactly fulfilled its fatal purpose. They were doomed to separation.

One day, when Olga and Oblomov were walking in the park, the following conversation took place between him:

Do you like mignonette? - she asked.

No: it smells very strong; I don’t like mignonette or roses.

It is unlikely that the simple-minded Oblomov could have guessed what significance his answer could have for someone who was familiar with the “language of flowers.” And the crafty Olga, perhaps, did not quite innocently ask her question. Mignonette was a well-known symbol of heartfelt affection, a rose - love. Oblomov’s attitude towards these flowers, against his will, betrayed his inability to have strong and deep feelings.

But while they did not think about the end, they were full of hope. Olga sang Sasta diva, which probably won Oblomov completely. He saw in her that same immaculate goddess. And indeed, these words - “immaculate goddess” - to some extent characterize Olga in the eyes of Oblomov and Stolz. To both of them, she truly was an immaculate goddess. In the opera, these words are addressed to Artemis, who is called the goddess of the Moon. But the influence of the moon and moon rays negatively affects lovers. That’s why Olga and Oblomov break up. What about Stolz? Is he really immune to the influence of the moon? But here we see a weakening union. Every work of art represents not only an imaginary and “detached” (Gustav Speth) world, but also its own, sovereign system of values. This system is largely formed by repetitions (as well as antirepetitions - the absence of repetition, semantic antitheses and counterpoints).

Architectonics of the “annual circle” (“Ilya Ilyich lived as if in a golden frame of life, in which, like in a diorama, the usual phases day and night and seasons") determines the composition of the novel. Starting in May, it ends in April, and the 4 parts of the text basically correspond sequentially: spring - summer - autumn - winter. At the end of Part III, Oblomov, on the eve of his long illness, looks out the window and mutters: “Snow, snow, snow!<…>I fell asleep!”

However, the last, “winter” part contains entire years: the rest of Oblomov’s life without Olga and his death. From Stolz’s position, this is natural: having settled with Pshenitsyna, Ilya “died”, and Olga can no longer even see him.

It is not surprising that when organizing the text according to the model of the solar cycle, the leading leitmotif of the novel turns out to be the motif of the sun. The text contains 36 lexical repetitions and many indirect, semantic ones. However, I limit myself primarily to the lexical as certain.

These repetitions are distributed very unevenly throughout the parts of the novel: I - 22; II - 5; III - 2; IV - 7.

The decrease in the number of repetitions of the lexeme “sun” as winter approaches is natural and understandable. However, the increase in their number in the final part disrupts this harmony. And if we subtract from the 22 repetitions of Part I the 14 corresponding to “Oblomov’s Dream”, endowed with a special compositional status of text-within-text, then the initial and final parts are practically comparable in the number of repetitions that occupy us. This is explained, presumably, by the fact that the ending of Oblomov’s life is very reminiscent of his favorite dream of “eternal summer” (from Chapter VIII of the first part). But in this case, Stolz’s version of the hopeless “winter” of Oblomov’s existence comes into question.

The epicenter of solar repetitions in the novel is “Oblomov’s Dream” (IX chapter of the first part). In other words, the source of irradiation of the solar motif is the idyllic Oblomovka - this, as it is said in the novel, is the “favorite place” of the Sun, which gives the value system of Goncharov’s creation a certain ambivalence: the mythopoetic life-giving power of the sun and the socio-psychological destructiveness of “Oblomovism” (following Stolz, Oblomov himself recognizes it) are combined in a single idyllic chronotope.

However, in the novel the very creation of life is also ambivalent: “what the life! - exclaims Oblomov. “When will the heavenly, desired life come?” When it came, Oblomov “quietly and gradually settled into a simple and broad coffin the rest of his existence, made with his own hands, like the desert elders who, turning away from life, dig for themselves grave" “The desired life” turns out to be equivalent to dying. However, the analogy with the holy elders undoubtedly adds obvious ambiguity to this grave semantics.

The vitality of solar semantics for art is by no means a priori (in The Master and Margarita, solar repetitions serve as a symbol of power in its murderous nature). However, in this case we have, as it seems to me, a historically more archaic, idyllically positive “archaeopoetics” (Jerzy Farino) of the sun. After sunset - “the next morning there is life again.” In Oblomovka, the rays of the sun are only “slightly burning, but not scorching,” their warmth is as beneficial as “the beneficial summer rain,” after which “the sun again, with a clear smile of love, inspects and dries the fields and hillocks.”

The connection between the sun and gold and the Garden of Eden found in the novel, according to Vyach. Sun. Ivanov, is typical for solar myths and fairy tales of many peoples. Moreover, the semantics of power is inherent only in later solar myths; in more archaic ones, the sun appears as a completely benevolent, and sometimes even passive, figure of the master of light and shadow - often secondary in relation to the moon.

“The most archaic form of the solar myth seems to be twin myths, in which the sun and the month or moon ... form a pair of related and at the same time opposed cultural heroes (often brothers), one of whom ... is subordinate to the other and carries out his instructions.” This mythotectonics is very clearly discernible in the pair of characters Oblomov-Stolz. In particular, Stolz successfully deals with Oblomov’s economic affairs and ensures his material well-being.

The word “moon” appears only 10 times in the novel, but these repetitions are very significant as a kind of anti-repetition regarding the “sun”.

In the first part, the moon (as an object of poetic worldview) is mentioned three times in a row - and only then to emphasize the solarity of Oblomovka, where “no one knew what kind of moon it was - everyone called it a month,” which was very similar “to a cleaned copper pelvis." The time of the moon, as they say in the novel, is the time of the “creative mind,” “passion,” “longing” or “criminal thought,” but in Oblomovka it has no power: at night there “everyone rests so soundly and calmly.”

In the second part, where Oblomov experiences a struggle between his old and new ways of being in the world, a balance occurs in the mentions of the sun and moon (5 times each). Here the poetic image of the moon - through the cavatina Casta diva - is immediately associated with Olga Ilyinskaya, still unknown to Oblomov, and subsequently in her singing - “with a nervous tremor of feeling.” Here he finds himself witnessing Olga’s nervously “anxious state,” which is significantly called “sleepwalking of love.”

Meanwhile, he “never wanted to see trembling in her, to hear hot dreams, sudden tears, languor, exhaustion and then a frantic transition to joy. No need no moon, no sadness, She should not suddenly turn pale, fainting, experiencing amazing explosions...

Such women have lovers,” he said.”

The relationship established between Oblomov and Olga is experienced by the hero in a very ambivalent way. Then in his dreams suddenly “Oblomovka, bright as a holiday, opened before him, all in splendor, in solar rays<…>he walks with Olga thoughtfully along the long alley.” Then he suddenly feels ashamed<…>walk in the moonlight, listen to the beating of a girl’s heart, catch the thrill of her dreams.”

It can be argued, as it seems to me, that the identified solar-lunar motivic infrastructure constitutes the deep foundation of the value system of the conventional world of this work.

But in this case, it is Oblomov who is the positive center of this world as a character, obviously correlated with the sun, who “turned his eyes to the sky, looked for his favorite luminary.” “The morning will flash by, the day is already approaching evening” (solar “phases” of existence), and now Oblomov for countless times “follows with his eyes the sun, magnificently setting behind someone’s four-story house.” This situation is repeated several times in the text. It is also used figuratively to characterize the state of soul of the hero in love: “Oblomov was in that state when a man had just followed the setting summer sun with his eyes and was enjoying its ruddy traces, without taking his eyes off the dawn, without turning back, where the night comes from, thinking only about the return of warmth and light tomorrow.”

Oblomov thinks about the inappropriateness and anomalousness of his relationship with Olga in the following terms: “this is Antonov’s spiritual fire. And now I'm no longer like anyone else<…>I don’t know the rising and setting of the sun, but I think: I saw - I didn’t see, I will see - I won’t see, she came - she didn’t come, she will come...” This betrayal of his luminary is thought of by the hero as “sleepwalking of love.”

Oblomov returns to his original solarity in Pshenitsyna’s house. On the Vyborg side, “thoughtfully looking at how the evening sun quietly and calmly drowns in the fire of dawn,” he decides that “his life not only took shape,” but was also “destined” “to express the possibility of an ideally peaceful side of human existence.”

In the language of solar motifs, the validity of the thought about the completeness and adequacy of the existence acquired by the hero is clearly confirmed: “A joyful ray of sun beat through the windows from morning to evening, half a day on one side, half a day on the other, unobstructed by anything thanks to vegetable gardens on both sides” (instead of urban “ stone walls").

Stolz perceives the picture of his friend’s existence in a diametrically opposite way: he “changed his face and rolled his amazed, almost meaningless eyes around him. “An abyss suddenly opened up in front of him,” a “stone wall” was erected, and Oblomov seemed to be gone.”

It should be borne in mind that not only the nervous Olga, but also the rationalist Stolz are lunar characters. Here is a significant repetition from the last part: during a difficult conversation, he “took her out of the alley and turned her face to the moonlight”; then she “led him out into the moonlight and looked questioningly into his eyes.”

True, both Olga and Stolz each have one mention of the sun. However, Olga connects the sun with the water of the Neva (reflected light, like moonlight). And Stolz thinks about Oblomovka, which will soon become a railway station, that “the rays of the sun fell on it.” But Oblomovka was already a sunny land; Therefore, a different, artificial lighting awaits her.

Stolz, in the eyes of many readers, could claim the status of a positive hero, but the solar-lunar polarization of the characters clearly prevents such unambiguity.

To a certain extent, Oblomov himself is the personification of the sun, a kind of “solar deity”, who he appeared to Agafya Pshenitsyna: “She realized that she had lost and her life brightened<…>that the sun shone in her (her life - V.T.) and went dark forever”; “But then her life was forever comprehended.” “The rays spread throughout her life.” With mythopoeic regularity, after the sunset of this “sun”, next to Pshenitsyna’s house, “a long, stone, government building rose, preventing the sun’s rays from cheerfully hitting the glass of the peaceful haven of laziness and tranquility.”

The matter, however, does not come down to Agafya’s adoration of Ilya Ilyich as some kind of higher being. Throughout the novel, the narrator tells us more than once that Oblomov “glows,” “shines.” In moments of vigor, “his blood boiled, his eyes shone. It seemed to him that even his hair was burning” (an obvious personification of the sun). And in moments of despondency, “he felt painfully. That there is buried in him, as in a grave, some good, bright beginning, perhaps now dead.”

It can be assumed that the deep poetics of the novel “Oblomov” represents the mythopoetics of the “dead sun”, about whose grave it is said: “the angel of silence himself guards his sleep.” It is no coincidence that among the solar repetitions of the text, the repetition of the setting sun dominates and the dawn sun is absent. It is significant in this regard that Ilya Ilyich leaves a son to the world - the world cannot remain without a luminary. “Son of the Sun” is a very productive mythology. Ilya Ilyich himself, shown in the picture of his dream as a boy, is the son of the sunny Oblomovka.

The Dead Sun is a deeply ambivalent image, like the image of Oblomovka, like the solar-lunar duality of the mythotectonic motif of the novel, like the entire intra-novel value system of the work, where already in the initial situation the motive of the fundamental opposition between active Europe and inert Asia arises. This ambivalence is programmatic. This is the strategy for completing the artistic whole.

From the first page of the text, a split view of the main character begins: on the one hand, the impression of a “superficially observant, cold person” (isn’t it a solar Stolz?); on the other hand, “a deeper and more sympathetic person.” The key to the fundamentally double, “short-sighted” narrative is found in the final phrase of the text: “And he told him what was written here.”

What we have before us, therefore, is far from an impartial narrative, but a very one-sided version of Stolz, who, for example, reacts in a peculiar way (counter-didyllic) to the fact that Oblomov has revealed to him that he has his own son, exclaiming: “How you have fallen!”

But, on the other hand, Stolz in no way could have known some of the moments and aspects of Oblomov’s life that we learned about. Therefore, they belong to the version of the “writer” who wrote down Stolz’s story. But the “writer” strikingly reminds us of Oblomov himself: “overweight, with an apathetic face, thoughtful, seemingly sleepy eyes.” This sympathetic version, presumably, introduces positive, in particular solar, accents into the narrative.

So, before us is a double, ambivalent story of the solar dying of life, which, without dotting the i's, invites the reader to make an independent choice of receptive position: to move away from Oblomov in terms of value or to move closer to him. Olga will outgrow Stolz in her spiritual development. And if for women love is worship, then it is clear that here the moon will have its detrimental effect. Olga will not be able to stay with a person whom she does not worship, whom she does not extol.

Thus, in Goncharov’s novel “Oblomov” there are many details, to interpret which means to understand the novel more deeply.

All around there was a cobweb filled with dust, “mirrors, instead of reflecting objects, could serve rather as tablets for writing on them, in the dust, some notes for memory,” - here Goncharov is ironic. “The carpets were stained. There was a forgotten towel on the sofa; On the rare morning there was not a plate with a salt shaker and a gnawed bone standing on the table, not cleared away from yesterday's dinner, and there were no bread crumbs lying around... If not for this plate, and not for the just smoked pipe leaning against the bed, or not for the owner himself lying on it, then one would think that no one lives here - everything was so dusty, faded and generally devoid of traces of human presence.” Next are listed open, dusty books, last year's newspaper and an abandoned inkwell - a very interesting detail.

The situation in Oblomov’s house, everything that surrounds him, bears Oblomov’s imprint. But the hero dreams of elegant furniture, books, sheet music, a piano - alas, he only dreams.

In chapter six of part two, details of the natural setting appear: lilies of the valley, fields, groves - “and the lilacs are still growing near the houses, the branches are climbing into the windows, the smell is sweet. Look, the dew on the lilies of the valley has not yet dried.”

Nature testifies to the short awakening of the hero, which will pass just as the lilac branch withers.

Interest in details brings Goncharov closer to Gogol. Things in Oblomov's house are described in Gogol's style.

Both Gogol and Goncharov do not have everyday surroundings “for background”. All objects in their artistic world are significant and animated.

Goncharova's Oblomov, like Gogol's heroes, creates a special microworld around himself that gives him away. Suffice it to recall Chichikov’s box. Everyday life is filled with the presence of Oblomov Ilya Ilyich, Oblomovism. Likewise, the world around us in Gogol’s “Dead Souls” is animated and active: it shapes the lives of the heroes in its own way and invades it. One can recall Gogol’s “Portrait”, in which there are a lot of everyday details, just like Goncharov’s, showing the spiritual rise and decline of the artist Chartkov.

The artistic methods of Gogol and Goncharov are based on the collision of the external and internal worlds, on their mutual influence and interpenetration.

The female characters in the novel are also interesting. With enormous artistic power, Goncharov reproduces women's selflessness in caring for the family and women's domestic work. The name of Agafya Matveevna Pshenitsyna was taken by the author from Gogol’s “Marriage” (the heroes of which are reminiscent of Oblomov and Tarantyev in part 1), and the patronymic was taken from her mother (who was widowed early and began to live with the master, where Goncharov received a noble upbringing). The selflessness of active commoners (Pshenitsyna and Zakhar's wife Anisya) is combined with the selfish passivity of men - these are two sides of the patriarchal ideal of Oblomovka. The unconscious sacrifice of an attractive widow and her meaningful creative work (at least in the field of culinary art) in the name of the well-being of her neighbor illuminate the new Oblomovka.

The image of Oblomov is finally revealed only in the last part of the novel. The hero displays new character traits: he decides to marry a stranger. He feels good among commoners and their children. Two family “idyls” appear before the reader - Oblomov’s and Stolz’s. But Olga is not satisfied with her marriage, and Oblomov dies, because this poeticized life is doomed.

N. I. Prutskov, “The Mastery of Goncharov the Novelist”, Publishing House of the USSR Academy of Sciences, Moscow, 1962, Leningrad, p. 99.

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

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

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

In the portrait of Olga Ilyinskaya, other features predominate. She “was not a beauty in the strict sense of the word: she had neither whiteness nor bright color of her cheeks and lips, and her eyes did not 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, and books, which speaks of the education and high culture of Olga and Andrey.

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

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

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

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

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

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

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

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

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

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

Oblomov sat down and remained in the chair.”

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

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

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

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

Artistic techniques in Oblomov. Artistic Features

Related posts: