How did Oblomov's novel end briefly? Inaction does not make a person happy

However, the hero never reached his native village. The theme “Oblomov and the men” runs through the entire novel. Even in the first chapters we learned that in the absence of the master peasants live tight. The headman reports that the men are “running away,” “begging for rent.” While Oblomov was drowning in his problems, he missed the opportunity to pave a road, build a bridge, as his neighbor, a village landowner, did. It cannot be said that Ilya Ilyich does not think about his peasants at all. But his plans boil down to ensuring that everything remains as it is. And to the advice to open a school for the man, Oblomov replies with horror that “he probably won’t even plow…” But time cannot be stopped. In the finale we learn that “Oblomovka is no longer in the wilderness, the rays of the sun fell on it!” The peasants, no matter how difficult it was, managed without the master: “... In four years it will be a road station, the men will go to work on the embankment, and then bread will roll along the cast iron to the pier... And there... schools, literacy...” But did they manage Ilya Ilyich without Oblomovka? Using the logic of the narrative, Goncharov proves his favorite thoughts. And the fact that on the conscience of every landowner lies concern for the fate of hundreds of people. And what country life is the most natural and therefore the most harmonious for the Russian person; she herself will guide, teach and suggest what to do better than any “plans”

^ In the house on Vyborgskaya Oblomov sank. What was a free dream became a hallucination - “the present and the past merged and mixed up.” On his first visit, Stolz managed to get Oblomov off the couch. In the second, he helped a friend in solving practical matters. And now she realizes with horror that she is powerless to change anything: “Get out of this hole, out of the swamp, into the light, into the open space, where there is healthy, normal life! - Stolz insisted...

“Don’t remember, don’t disturb the past: you can’t bring it back! - said Oblomov. “I’ve grown to this hole with a sore spot: if you try to tear it off, there will be death... I feel everything, I understand everything: I’ve been ashamed to live in the world for a long time!” But I can’t go your way with you, even if I wanted to... Maybe the last time was still possible. Now... now it’s too late...” Even Olga is not able to resurrect him: “Olga! - the frightened Oblomov suddenly burst out... - For God’s sake, don’t let her come here, go away!

As on his first visit, Stolz sums it up sadly:

- What's there? – Olga asked...

- Nothing!..

– Is he alive and well?

- Why did you come back so soon? Why didn’t you call me there and bring him? Let me in!

- It is forbidden!

– What is going on there?... Has “the abyss opened”? Will you tell me?.. What's going on there?

- Oblomovism!

And if Ilya Ilyich found people who agree to endure this life around them, then nature itself, it seems, came out against it, measuring out short term such an existence. That is why the same Agafya Matveevna’s attempts to limit her husband produce a tragicomic impression. “How many times have you gone through? - she asked Vanyusha... - Don’t lie, look at me... Remember Sunday, I won’t let you visit.” And Oblomov, willy-nilly, counted eight more times, then came into the room...”; “It would be nice to have some pie!” - “I forgot, I really forgot! I wanted to since the evening, but my memory seems to have gone missing!” - Agafya Matveevna cheated.” This makes no sense. For she cannot offer him any other purpose in life other than food and sleep.

Every day there is a new discovery!

Goncharov devotes relatively little space to describing the illness and death of his hero. Why? Because the worst thing has already happened to Oblomov. Spiritual death preceded physical death. “He died because he ended...” (I. Annensky). “Vulgarity has finally triumphed over purity of heart, love, and ideals.”

Goncharov says goodbye to his hero with an emotional lyrical requiem: “What happened to Oblomov? Where is he? Where? “In the nearest cemetery, under a modest urn, his body rests. Lilac branches, planted by a friendly hand, doze over the grave, and wormwood smells serenely. It seems that the angel of silence himself is guarding his sleep.”

It would seem that there is an undeniable contradiction here. A high funeral speech for a fallen hero! But life cannot be considered useless when someone remembers you. Bright sadness filled the life of Agafya Matveevna with the highest meaning: “She realized that God put a soul into her life and took it out again; that the sun shone in it and darkened forever... Forever, really; but on the other hand, her life was forever comprehended: now she knew why she lived and that she did not live in vain.”

In the finale, we meet Zakhar in the guise of a beggar on the church porch. The orphaned valet prefers to ask for Christ's sake rather than serve the “objectionable” lady. The following dialogue takes place between Stolz and his literary acquaintance about the late Oblomov:

- And he was no more stupid than others, his soul was pure and clear, like glass; noble, gentle, and - disappeared!

- From what? What reason?

- Reason... what a reason! Oblomovism! - said Stolz.

- Oblomovism! – the writer repeated with bewilderment. - What it is?

- Now I’ll tell you... And you write it down: maybe it will be useful to someone. “And he told him what was written here.”

Thus, the composition of the novel is strictly circular; it is impossible to isolate the beginning and end in it. Everything that we read from the first pages, it turns out, can be interpreted as a story about Oblomov, his friend. At the same time, Stolz could tell the story of a recently completed life. So the circle human life completed twice: in reality and in the memories of friends.

Goncharov, the singer of harmony, could not end his book with one minor note. A new one appears in the epilogue little hero, who, perhaps, will be able to harmoniously combine the best traits of father and educator. “Don’t forget my Andrey! - were last words Oblomov, spoken in a faded voice...” “No, I won’t forget your Andrei,” Stolz promises. “But I will take your Andrei where you could not go and with him we will put our youthful dreams into action.”

"The Life of Ilya Ilyich." The performance is based on the novel “Oblomov” by I. A. Goncharov and the play “The Death of Ilya Ilyich” by M. Ugarov.
Theater-festival "Baltic House".
Director Igor Konyaev, artist Alexey Poraj-Koshits

A year ago, at readings modern dramaturgy, held at the “Baltic House” festival, Igor Konyaev and his comrades read aloud excerpts from M. Ugarov’s play “The Death of Ilya Ilyich”. A year later, on small stage Theater "Baltic House" there was a play staged by I. Konyaev "The Life of Ilya Ilch", based on the novel "Oblomov" by I. Goncharov and the play by M. Ugarov. The fact that in Konyaev’s performance approximately ten percent of the text is from Ugarov’s Play, and ninety percent belongs to Goncharov, is not surprising. (If, of course, we take into account the fact that M. Ugarov is actually our contemporary, and doing this with a contemporary’s play is not entirely correct and ethical - he may be offended). Igor Konyaev is a student of Lev Dodin’s school, and it is clear that the flesh of Goncharov’s novel for the director of traditional psychological theater is fraught with more temptations and secrets than any modern play, be she three times good. As a result, a dramatization was born, where story line does not go beyond the limits designated by the playwright, but the text inside these plot moves is replaced with the text of similar scenes from the novel “Oblomov”. There are only a few lines and episodes left from the play, mainly dialogues between Ilya Ilyich and his servant Zakhar. This is all to say that neither the language, nor the ideas, nor the philosophy of the play penetrate into the performance. Talk about the conceptual connection of the two original texts It’s also not necessary. It is clear that the creators of the play worked according to the “school” method, using the sketch method, reading the novel like in the good old days - page by page, looking for the necessary lines and key monologues. The scenes remaining from the play, willy-nilly, organize the comic space of the performance. Among Goncharov's text, the play's lines look like reprises, and they are acted out by the actors as light gags.

It is not surprising that the interpretation of Oblomov’s story in in this case does not go beyond the usual, stereotyped, sociological. If for Goncharov and Ugarov Ilya Ilyich is, first of all, a rare type of person that is disappearing today, in whom integrity of nature and peace of mind are combined with a child’s pure perception of the world, then the director gives Oblomov a completely textbook diagnosis, known to everyone from school as “Oblomovism.” Due to the danger of the disease, the patient was admitted to the clinic. The performance space is a hospital ward with five beds (for all the characters in this story, by the way). Primary colors are gray and white. The metal beds are fenced off with white curtains, the back wall is white medical shelves with neatly lined up bottles and folders, and in the center, in a glass cabinet, a skeleton sits comfortably. The director's view of the whole story is that of a German doctor, sober, an outsider. That’s why the doctor among all the characters is the only one who is deprived of a bed and comes here to visit the patient. For I. Konyaev, Oblomov’s inactivity and apathy are a disease of the soul, weakness is unnatural, dangerous, and has no right to exist. It is not surprising that in the finale the place of the skeleton in the closet will be taken by Ilya Ilyich himself as visual material on the topic “You can’t live like this.” But the director’s general concept leaves everything more questions and doubts seem increasingly formal. What, then, is the history that we have witnessed? A figment of a sick imagination or, perhaps, a performance put on by bored patients in one of the wards?

At the very beginning of the play, all the characters, the future Zakhar, Stolz, Olga, Agafya Matveevna, in gray hospital gowns, surround the sleeping Oblomov and begin to wake him up in a loud whisper: “Ilya Ilyich, Ilya Ilyich,” after which they quietly disappear from the room. They appear as characters themselves during the course of the plot. Only Oblomov and Zakhar, sleeping behind the curtain, remain in the room. In the finale, after Oblomov’s death, the mattress on his bed will be rolled up, and all the participants in the drama that took place will again put on hospital gowns and lie down on their beds. Who is next? What did they do wrong? Who is this lying on gray hospital beds? Something doesn’t add up in the “case history” and, first of all, the figure of the main character breaks out of it.

The stage tradition of “Oblomov” as such does not exist. For everything about everything - one screen version, where little Ilyusha runs across the field to his mother, and Oleg Tabakov is almost an authentic image of Oblomov in mass consciousness. The choice of MDT actor Petr Semak for this role is primarily useful for breaking stereotypes. This solution is truly amazing and non-trivial, because to imagine P. Semak playing a swimmer, apathetic Oblomov lying on the sofa for days on end - my consciousness coped with this task with difficulty. The actor had to play the role of resistance, to overcome own strength, turn it into weakness, play apathy, painful indifference, the inner extinction of a person endowed with soul, feelings, talent. It was the actor-role relationship that became the main intrigue of the performance. This game of “resistance” was a complete success. Throughout the performance, the actor not only develops the theme of “Oblomovism”, but plays two different states of his hero - before the break with Olga and after.

In the first act, on the one hand, the patient's apathy is played. Everyone is trying to “wake up” Oblomov in one way or another: Zakhar (V. Anisimov), who comes out screaming, strums the piano, in desperation, almost crying, tucks the enema down the master’s collar in order to push Oblomov away by five, as ordered. Stolz (V. Solovyov), trying to return his friend to his youth, to those old plans and dreams that connected them. Olga (E. Ushakova), who with her “Casta Diva” makes Ilya Ilyich’s heart beat faster. On the other hand, this apathy does not in any way resemble mental illness. This apathy must have its own backstory - the path that young Ilya Ilyich took. But the design of the play, in which the staging was included, was designed for completely different tasks. The actor plays the “childhood of consciousness” much more clearly. It is no coincidence that the first person we see on stage at the beginning of the performance is mother, who is already dreaming of the adult Ilyusha, and without waking up he will stretch, put his fingers into a pinch and obediently repeat the prayer. This childish behavior will echo in other episodes. When Oblomov is dressed in a slightly baggy suit, he will look like a forty-year-old boy, enthusiastically eating cakes at a social event and completely indifferent to the classic beauty of Olga Ilyinskaya. Ilya Ilyich will behave like a boy, throwing a napkin at Stolz until he hears Olga singing, until he freezes, amazed by his beauty, until he cries. Here the soul is awakened, but the story of internal rebirth is not written in the performance.

All the drama of the relationship will be revealed at the moment of the breakup, when Olga walks out the door and Ilya Ilyich is left on stage alone. The actor is alone and will play a catastrophe: indecision, an attempt to hide, growing melancholy. There is an obvious flaw in the dramatization—the gap remains unclear. What was it - a moment of weakness? A conscious act? One thing is obvious - a disaster. Semak, after Olga’s departure, plays the hero’s instant maturation, the piercing awareness of what happened with the whole being, it is not the disease that plays - cardiac arrest. “Mom, tell me a story,” Oblomov will say sadly, stretch out on the bed, shout: “Snow, snow,” and fall on the pillow in a fever.

The actor changes his performance style very accurately. He discards the comedy that was present in the first act and plays the breaking of the heart, internal death. The actor exists on stage so poignantly for forty minutes of the second act that the obvious miscalculations of the staging and the formal director's decision of the performance fade into the background.

Gradually Oblomov seems to be returning to life. The hospital ward takes on the characteristics of a home: there are dishes on the shelves, jars of cucumbers on the bedside table, a napkin there, an icon here. Soft, calm Pshenitsina promises peace with her whole appearance, and Oblomov smiles at her - weakly, helplessly. She brings Oblomov a stick, and he reaches out to her, like a child to his mother (Pshenitsyna and mother, who comes to Ilyusha in a dream, are “rhymed” by the director, they are played by the same actress). Agafya Matveevna, with maternal care, with an eternal smile on her lips, rubs Ilya Ilyich’s numb leg and ties it with a scarf, puts on a terrifying pink jacket over Oblomov’s robe - and before us is an aged, slouched Ilya Ilyich, with a quiet, even voice and melancholy in his eyes. This is not apathy, it is the absence of life, the final fall, which is realized by the hero. Stolz's arrival causes only a shadow of joy. “She’s married,” Stolz says, and then there’s a knock. human heart. When Stolz says that he is Olga’s husband, his heart will stop. Oblomov dies of love, because the thread connecting him with the Universe was broken.

But silent death Ilya Ilyich after the words “I died” is not the end yet. A medical report is required for medical history. The doctor begins to read the letter sent to him by Oblomov, and the words from the letter are picked up by Pyotr Semak. His final monologue about “Oblomovism” is an example of how the masters of the Maly Drama use words. Five minutes alone with the audience, exposing yourself, your life, your difficult inheritance. From a performance point of view, it’s impeccable. In relation to the performance, it seems superfluous, since everything has been played before, and the monologue about “Oblomovism” is too visual and a mentoring lesson to be believed. And although Oblomov will take the place of a skeleton in a glass cabinet as a warning to all living, he still dies of love. Semak plays not “Oblomovism”, but love and death after the betrayal of this love and brings the play to the eternal drama of the Russian man on “rendes-vous”.

Roman "Oblomov" summary which is given in this article, was published in 1859. It was written by the famous Russian writer Ivan Goncharov. A huge amount of work has been done. The novel was written over 10 years. After the work was completed, the author admitted that in it he told about his life. He also points out that he and the main character of the novel - the nihilist Oblomov - are united by many common features. Immediately after its publication, the work became the subject of heated debate among critics and writers.

Meet the main characters

The setting of the novel is the city of St. Petersburg, Gorokhovaya Street. Ilya Ilyich Oblomov lives here with his servant Zakhar. Main character, being a young man, leads an idle lifestyle. He does nothing except talk all day long about how he should live, and dreams of a peaceful life in native village Oblomovka. Ilya Ilyich is not at all concerned about any problems: the fact that they are going to him and the fact that the farm is in complete decline. U young man There is a friend who is the complete opposite of him. This is Andrey Ivanovich Stolts. He is very active and active. Trying to stir up his lazy friend, Andrei invites him to banquets in best houses St. Petersburg. It is unlikely that a summary will be able to convey all the feelings and thoughts of the main characters. “Oblomov” is a novel that has not lost its relevance in our time. We highly recommend reading it.

Oblomov fell in love

What happens next? After Oblomov began going out into the world, he was simply unrecognizable. He gets up not during the day, but in the morning, which he has never done before, is interested in everything that happens around him and writes a lot. Everyone around him is shocked by such a metamorphosis in the behavior of the young lazy man. What happened to him? It turns out that the young man fell in love. At one of the receptions, Oblomov met Olga Ilyinskaya. She, in turn, answers him. The history of the development of their relationship is unlikely to be conveyed by a brief summary. Oblomov soon invites Olga to marry.

Oblomov in a house on the Vyborg side

But this “vibrant activity” did not last long. young nihilist. Soon he settles in the house of Agafya Matveevna Pshenitsyna on the Vyborg side. This home is as old and dilapidated as Oblomov himself will soon become. Olga is trying to shake up her loved one, to pull him out of this “swamp.” But, having come to his house, she realized that all her efforts would be in vain. Agafya Matveevna takes care of Ilya Ilyich, preparing his favorite dishes and repairing old shabby things. Unexpectedly for herself, she realizes that she has fallen in love with her master. Soon their son Andryusha was born. It is impossible to follow how dramatically the life of the main character changes if you only skim through the summary. Oblomov did not immediately become a prisoner of his “blessed paradise” in Agafya’s house. Trying to free himself from the tenacious shackles of laziness and apathy, he first tries to renew his relationship with Olga. But soon the quagmire of idleness and lethargy completely sucks him in.

Love of Olga and Stolz

Here is only a brief summary of Oblomov. IN full version in the novel you will read about how it originated and developed love feeling from Olga to Stolz. In the article we will only mention how one day our heroine realized that Andrei had ceased to be just a friend for her. Stolz always liked Olga, and her attitude towards Oblomov revealed a new side to her for her lover. These two were born to be happy together.

Ending

The novel ends with a story about little son Oblomov Andryusha. The main character himself is no longer alive. Dying, he begged his friend not to leave his son. Therefore, the Stoltsy, who by that time also had children, took little Oblomov to raise. This novel was written during a difficult period in Russian history. A brief summary cannot convey the fullness of the contradictory views and ways of that time. “Oblomov” is a work that will be useful for everyone to read. After all, it has a meaning

Goncharov, Ivan Alexandrovich, the greatest Russian critic and writer who became famous thanks to his works. His work depicts the lives of people, their way of life and the entire era of the rule of peasant law. One of his famous works, called "Oblomov". Here, the writer expresses his thoughts as a critic, and expressively shows all the actions taking place in the novel.

In this work of the author, the main character is Ilya Oblomov, according to Father Ilyich. This was a gentleman who was brought up by calmness, inaction, and very restless people close to him. Due to this, Oblomov became a practical empty space, for oneself and for society as a whole. The main tragedy of life was indifference to oneself. WITH early age, he was banned from almost all of his actions and protected from his thoughts in every possible way. Even taking into account walks on the street, which did not take place without the intervention of relatives. With their feelings about the boy, the people around him created this empty appearance in life, for which Ilya will be practically punished by fate. Over time, the boy grew up " indoor plant" And having entered adulthood, it becomes catastrophically difficult for him to maintain life balance in his hands.

Despite all the inaction of the main character, the author mentions an important character trait of Ilya, his harmlessness. This characterized him as a positive character.

Due to the fact that the hero led a useless lifestyle, the scene in which Ilya meets new love, but from his inactions, he sees that she will be able to “pull” him out of this routine. But be that as it may, he finds happiness with Agafya, who gives birth to his son. Because of his inaction, the entire household went downhill. Against this background, the ingenuity of the swindlers worked, who, after his death, planned to completely ruin his property.

Oblomov had heart attacks more and more often, during which Agafya caught him. Lately, she was practically waiting for him to die. And now, after a while, Ilya Oblomov suffers another final stroke, which Agafya Matveevna sees, and he leaves his useless life.

Thanks to Stolz, a descendant of the Oblomovs finds himself in good hands. At that time, Stolz lived with Olga and, unlike his father, he was determined to raise the orphan youth. If we take into account the disposition of Andrei’s new father, then the boy will grow up to be a smart and determined guy.

Essay on the Death of Oblomov in Goncharov’s novel

Ivan Aleksandrovich Goncharov, in his novel “Oblomov,” described a large number of people who live like Oblomov in Oblomovshchina. Everyone would like to allow themselves to live like Oblomov, to lie on the couch for their own pleasure. Oblomov was accustomed to such a life from childhood; his parents taught him that all the servants should do for him. After the death of his parents, Oblomov did not know how to manage so many serfs, so he was not very worried about it. Oblomov is not a stupid man, but his laziness overpowered his activity.

Oblomov was content with the fact that he lay all day long and did nothing, he only cared about food and sleep. Ilya Ilyich seems ready to do something for his serfs, but then the fuse goes out, and he again lies on the sofa and does nothing. Oblomov was not prompted to an active lifestyle either by the help of a friend or by love. He is happy with everything and the changes in his life frighten Oblomov very much, he does not want to do anything to change his life.

Goncharov wanted to write about a man who was not taught how to live adult life and make decisions independently. There is dirt and cobwebs all around him in the house, and Oblomov is not bothered by this. Ivan Aleksandrovich wrote about Oblomov as a person with with a pure heart, there are very few such people left in society. The material side does not bother Ilya Ilyich; the spiritual side of life is more important to him.

When Olga Ilyinskaya tries to remake the adult Oblomov, he resists this. In the scene described by Goncharov, he even asks his friend Stolz not to let Ilyinskaya come to him anymore. Oblomov doesn’t like that they put pressure on him, he didn’t want to be like his friend, he chose a different path for himself.

After breaking up with Olga Ilyinskaya Oblomov suffers, because his heart is broken, but there was a woman who was able to give Oblomov the affection and care that he dreamed of. His connection with Agafya Matveevna brought him that calm and peace of mind, which Ilyinskaya could not give him.

Oblomov, next to Agafya Matveevna, again felt like a little boy who was being cared for. The fruit of their love was their son Andryushka.

IN Once again, Stolz, who arrived, talking with a friend, realizes that he will soon die. Before his friend’s death, Oblomov asks not to abandon his son and take care of him. Stolz makes a promise to Oblomov that he will raise Andryushka to be a hardworking and responsible person. All saved good memories about Oblomov as a man who did not become callous in heart and poor in soul. He did not change his principles and remained pure and a bright person in their memory.

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Goals:

• to uncover philosophical meaning works, improve students’ reading activity, skills in working with critical literature and literary text;
• develop skills in discussion thinking and communication culture;
• show the relevance and time value of the work.

During the classes

I. Organizational stage.(Slide1)

1. Viewing of the finale of the film directed by N. Mikhalkov “A few days in the life of Oblomov.” (Slide 2)

2. Conversation.

Compare the ending of the film and the ending of the novel "Oblomov". (In the film there are no scenes with Pshenitsyna, there is no scene of farewell between Stolz and Oblomov, but there is a message about Oblomov’s death.)

Read the epigraph. (Slide 3, 4)

(- Why did everything perish?. . Who cursed you, Ilya? What have you done? You are kind, smart, gentle, noble: and: you are perishing! What ruined you? There is no name for this evil:

“Yes,” he said barely audibly:

Oblomovism! - he whispered:

Goncharov "Oblomov"

Who will tell us that we did not know how to live,
Soulless and idle minds,
That kindness and tenderness did not burn in us
And we didn’t sacrifice beauty?

:It’s not a pity for life with languid breathing,
What is life and death? It's a pity that fire,
That shone over the whole universe,
And he walks into the night and cries as he leaves.
A. Fet.)

What question do you think we will try to answer?

(The topic question opens: “Why did everything die?”) (Slide 5)

- “What happened to Oblomov? Where is he? Where? - In the nearest cemetery, under a modest urn, his body rests, between the bushes, in the calm. Lilac branches, planted by a friendly hand, doze over the grave, and the serene scent of wormwood. It seems like an angel himself silence guards his sleep: "

Key words in this snippet? (Calm; lilac branches are dozing; the angel of silence himself guards his sleep) (Slide 6)

Death: Sleep: Life: Based on these key words, what is Oblomov's life like? (Life is like a dream) (Slide 7)

What about sleep? (Sleep is like death)

Let's add to the topic of the lesson. (The whole topic of the lesson opens) (Slide 8)

Determine our main task in this lesson.

(Answer the question of the topic, try to understand the reason for the death of the hero, try to understand Oblomov).

3. The teacher explains how to work with the scoring table using a ten-point system.

II. Checking homework.

1. - You should have been at home keywords text to show the compositional contrast of the novel "Oblomov". Who will present this plan to us and comment?

(One of the students suggested this option:

Part 1 (Slide 9)

a) “He must be a good-natured person, simplicity”, or maybe “a darling, a sybarite” or “a carefree sloth”? (Introducing the main character);

b) “Where is the person here?” (Visitors and Oblomov’s opinion about them);

c) “Silence and imperturbable calm reign in the morals of the people in that region.” ("Oblomov's Dream").

Part 2 (Slide 10)

a) “Because on it: they always break up afterwards, and I: break up with you!.. Never!”;

b) “To go forward means to suddenly throw off the wide robe not only from your shoulders, but also from your soul, from your mind; together with the dust and cobwebs from the walls, sweep away the cobwebs from your eyes and see clearly!” (An attempt to revive the hero through love, home, activity).

Part 3 (Slide 11)

a) “And this whole summer, blooming poem of love seemed to stop, moved more lazily, as if there was not enough content in it”;

b) “The heart was killed: life died down there for a while” (Catastrophic return back to the old life: rejection of love, bitter awareness of the impossibility of fulfilling the expectations and demands of Olga Ilyinskaya. 2 hours and 3 hours end with climactic scenes: 2 hours - ascending, 3 hours - descending, that is, the hero’s joyful cry and silent illness)

Part 4 (Slide 12)

a) “Man was created to arrange himself and even change his nature: You had wings, but you untied them” (Stolz, Stolz and Olga);

b) “They were all connected by one common sympathy, one memory of the soul of the deceased, clear as crystal” (Epilogue).

2. “So why did everything die?” Perhaps the reason is in the environment? At home, you drew up a diagram of Oblomov’s relationships with other characters in the novel. "Oblomov's tree of life" (Slide 13)

As we see, the environment is one of the reasons for the death of the hero. Oblomov is unhappy, being in an environment devoid of spirituality. But is this not why he decides, after the takeoff and soaring of his soul, given to him by love, to so quickly descend to the earth’s surface, that is, to settle on the Vyborg side? The impression is that he is taking revenge on himself for his inability and inability to realize his dreams and spiritual impulses. He chooses his own punishment. Which?

III. Work on the topic of the lesson.

Motif of fire and river. (Slide 14)

The word "life" is mentioned in the topic of the lesson. What symbols of life are found in the novel? (Fire, river).

So, the motif of the river and fire in the novel "Oblomov". “And where did everything go - why did it go out?” Your comments?

How did Oblomov and Stolz perceive life?

What is the direct and figurative meaning rivers and fire

(Oblomov and Stolz are antipodes, and when reading the novel, we perceive them as two rivers and two fires). (Slide 15)

(Different combustion and flow).

How is this shown in the text?

(“He didn’t want to imagine it as a wide, noisily rushing river with seething waves,” as Stolz imagined it, “it’s a disease,” says Oblomov, “fever, jumping with rapids, with dam breaks, with floods”).

How do we see the life of Oblomovka?

(“Nothing is needed: life, like a calm river, flowed past them, they could only sit on the bank of this river and observe the inevitable phenomena that, in turn, without a call, appeared before each of them,” it becomes clear why Oblomov in inaction)

How is the fire motif shown?

(Stolz believed that “the normal purpose of a person is to live through 4 seasons, that is, 4 ages, without leaps, to carry the vessel of life to the last day, without spilling a single drop in vain, and that an even and slow burning of fire is better than violent fires, no matter what poetry there was no flame in them."

Oblomov says: “No, my life began with extinction, it’s strange, but it’s so! From the first minute, when I realized myself, I felt that I was already extinguishing. I began to fade away while writing papers in the office, then I died out while proofreading in books of truth, with which I did not know what to do in life, I hung out with my friends, listening to talk, gossip, mockery, angry and cold chatter"

Stolz believes that his existence will be an eternal burning: “Life will flash by like an instant, and he [Oblomov] would lie down and go to sleep! Let it be a constant burning! Oh, if you lived two hundred, three hundred, how much you could redo things!”) .

In what other meaning is fire given?

(Zakhar “inflamed with zeal”; Olga, whose eyes “burned with rays of inner fire”, “spiritual fire”).

How do you understand the "fire of Vesta"? (Slide 16)

(“The norm of life was prepared and taught to them by their parents: with a covenant to guard its integrity and inviolability, like the fire of Vesta,” that is, an ever-burning fire guarded by priestesses. In the novel, this is an image of the inviolability of the way of life, stagnation and inertia).

How do you understand “Antonov’s spiritual fire”? (Slide 17)

(This popular name gangrene, disease. Illness of the soul, Stolz and Olga talk about Oblomov as a sick person, and the hero needs treatment).

2. Motive of sleep. (Slide 18)

We read the topic of the lesson: “Life is like a dream:” How is the motif of sleep shown in the novel? What is the definition of the word "sleep" in the dictionary?

A physiological state of rest and rest that occurs at certain intervals, in which the work of consciousness almost completely stops and reactions to external stimuli decrease. Fall into sleep. Fall into eternal sleep. Like in a dream. Moon.

What is dreamed is dreamed by the sleeper, a dream. I have dreams. See a dream. Sleep in hand.).

The writing of the novel began with the chapter “Oblomov’s Dream.” This is a figurative semantic key to understanding the entire work. Oblomovka is a “sleepy kingdom” in the form of a vicious circle. “Oblomov’s Dream” - dreams, nostalgia about the past of both the hero and Zakhar. "Oblomov's Dream" - a dream of a lost paradise. How do you understand "dream of paradise lost"?

(In the novel we read:

“For mercy!” added Oblomov more boldly. “But the goal of all your running around, passions, wars, trade and politics is not the manufacture of peace, not the desire for this ideal of a lost paradise.

And your utopia is Oblomov’s,” Stolz objected. ")

What is Stolz talking about?

(Utopia is a place that does not exist).

Why, reading the novel, especially the chapter “Dream,” can we safely call Goncharov a Russian Flemish, and his work [the chapter] a pastoral?

(Slide 19) Fleming - artist of conventional and traditional art of Flanders, [traditional name art XVII- XVIII centuries]. Flemings: Jan Van Eyck is an artist, a master of inspired, graceful portraits, A. Brouwer is a master of dramatic and expressive landscapes, H. Huysmans is a master of elegant, colorful landscapes. Goncharov is a writer and draftsman.

(Slide 20) Pastoral is a dramatic or musical work that idyllically depicts the life of shepherds and shepherdesses in the lap of nature.

(Slide 21) Idyll - 1. A poetic work depicting a virtuous, serene life in the lap of nature. 2. Peaceful, happy existence.

According to D. Merezhkovsky, in his descriptions Goncharov dwells for a long time with special love on the prosaic details of life. “The same love for the everyday side of life, the same ability to transform the prose of reality into poetry and beauty. Re-read “Oblomov’s Dream”: food, tea drinking, ordering food, chatting, the fun of old-world landowners here take on ideal shape: Goncharov does not describe, but sings of morals Oblomovtsev,” emphasizes Dmitry Sergeevich.

Your comments?

(“Oblomov’s Dream” is an idyll dream, a warning dream, a utopian dream of a “happy society” and a dystopian dream of historical stagnation and inaction).

How does D. Merezhkovsky talk about death? Compare with the novel.

(“Death is only the evening of life, when soft shadows fly over the eyes and close them for eternal sleep”) (Slide 22)

3. Motive of silence. (Slide 23)

How is the motif of silence shown in the novel?

(“Deep silence reigned in the house” [Oblomovka]

“Eternal peace, eternal silence and lazy crawling from day to day quietly stopped the machine of life. Ilya Ilyich died, as if a clock had stopped that had forgotten to wind:”

“Agafya Matveevna: found him resting as meekly on his deathbed as on his bed of sleep.”

Clock stopped. Stopped the machine of life :)

What is Oblomov's death like?

This is the fate of a man with a “heart of gold” and a “soul as pure as crystal.” Who are we talking about and whose words are these? (Author's opinion about Oblomov.)

Why exactly " Golden heart" and "pure soul"?

(“At the base of Oblomov’s nature lay a pure and good beginning, filled with deep sympathy for everything that was good and that only opened up and responded to the call of this simple, simple, ever-trusting heart: Whoever accidentally and deliberately looked into this bright, childish soul - be he is gloomy, angry - he could no longer refuse him reciprocity." [Author]).

Oblomov tried to understand the “pattern of his own life,” but what is the poetic ideal of life?

Norma's aria "Casta diva" from the opera of the same name by V. Bellini plays in the background, the teacher reads an excerpt from the novel (Slides 24 - 30):

"- Well, I would get up in the morning: The weather is beautiful, the sky is blue and blue, not a single cloud: While waiting for my wife to wake up, I would put on a dressing gown and walk around the garden to breathe in the morning fumes; I would find a gardener there, watering flowers together, trimmed bushes and trees: Then, putting on a spacious frock coat or jacket of some kind, hugging his wife around the waist, go deeper with her into the endless, dark alley; walk quietly, thoughtfully, silently or think out loud, dream, count the minutes of happiness, how the beating of the pulse; listen to how the heart beats and stops; look for sympathy in nature: and quietly go out to the river, to the field... Damp in the field: dark, fog, like an overturned sea, hangs over the rye; horses tremble with their shoulders and beat with their hooves: it's time to go home. The lights are already on in the house; five knives are knocking in the kitchen; a frying pan of mushrooms, cutlets, berries: there is music: Casta diva... Casta diva! - Oblomov sang. -: How this woman's heart is crying out! What sadness lies in these sounds!.. And no one knows anything around: She is alone: ​​The secret weighs on her; she entrusts it to the moon:

Do you love Aria? I’m very glad: Olga Ilyinskaya sings it beautifully. I'll introduce you - here's the voice, here's the singing! And what a charming child she is! . "

What is the role of the musical passage?

Has Oblomov found his poetic ideal of life? Where else is the “poetry of life” found in the novel?

Let's read the epigraph again. So why did everything die? (Oblomovshchina)

IV. Lesson summary.

Make a syncwine. (Slide 31)

(Variant of syncwine suggested by students:

Oblomov

• Serene, kind
• Lie down, sleep, dream
• It started with the inability to put on stockings, it ended with the inability to live
• Oblomovshchina)

How did Druzhinin speak about Oblomov?

(“Oblomov is a child, and not a trashy libertine, he is a sleepyhead, and not an immoral egoist or an epicurean from the times of decay. He is powerless for good, but he is positively incapable of evil deeds, pure in spirit, not perverted by everyday sophisms.”

“A child by nature and according to the conditions of his development, Ilya Ilyich in many ways left behind him the purity and simplicity of a child, precious qualities in an adult, qualities that in themselves often open up to us the realm of truth and at times place the inexperienced, dreamy eccentric above the prejudices of his age , and above the whole crowd of businessmen surrounding him:" (Slide 32))

On the board are the opinions of critics about Oblomov and Oblomovism. If you were writing an essay on the topic of the lesson, what words would you choose as the epigraph? Why?

(In addition to Druzhinin’s statements on the board, the words of I. Annensky: “What is he: a glutton? a sloth? a sissy? a contemplator? a reasoner? No: he, Oblomov, is the result of a long accumulation of heterogeneous impressions, thoughts, feelings, sympathies, doubts and self-reproaches:" (Slide 33)

D. Merezhkovsky: “Vulgarity, triumphing over purity of heart, love, ideals - this is the main tragedy of life for Goncharov.”

Which new experience acquired and what did you learn?

Have we answered the topic question? Have you achieved your goals? Conclusion?

V. Homework.

Write a review of a tenth grader's essay. (Essays for which reviews must be written are in