I.A. Goncharov “Oblomov” (individual assignment questions for thematic certification)

1. Read the text fragment below and complete tasks B1-B6

Oblomov was silent.

My health is bad, Andrey,” he said, “shortness of breath is overwhelming.” The styes began to appear again, first on one eye and then on the other, and my legs began to swell. And sometimes you fall asleep at night, and suddenly someone hits you on the head or on the back, so you jump up...

Listen, Ilya, I’ll seriously tell you that you need to change your lifestyle, otherwise you’ll give yourself water damage or a stroke. It’s all over with hopes for the future: if Olga, this angel, didn’t carry you away from your swamp on her wings, then I won’t do anything. But choose a small circle of activity for yourself, set up a village, tinker with the peasants, get involved in their business, build, plant - all this you must and can do... I won’t leave you alone. Now I’m obeying not just my own desire, but the will of Olga: she wants - do you hear? - so that you don’t die at all, don’t get buried alive, and I promised to dig you out of the grave...

She hasn't forgotten me yet! Am I standing? - Oblomov said with feeling.

No, I haven’t forgotten and, it seems, I will never forget: this is not that kind of woman. You still have to go to her village to visit her.

Not now, for God’s sake, not now, Andrey! Let me forget. Oh, still here...

He pointed to the heart.

What's here? Isn't it love? - asked Stolz.

No, shame and grief! - Oblomov answered with a sigh.

OK then! We’ll go to you: after all, you need to build; It's summer now, precious time is running out...

No, I have an attorney. He is still in the village, and I can come later, when I get ready, I’ll think about it.

He began to brag to Stolz about how, without leaving his seat, he had arranged his affairs perfectly, how an attorney collects information about runaway men, sells grain at a profit, and how he sent him fifteen hundred and probably will collect and send a quitrent this year.

Stolz clasped his hands at this story.

You've been robbed all around! - he said. - From three hundred souls, one and a half thousand rubles! Who is the attorney? What kind of person?

More than one and a half thousand,” Oblomov corrected, “he received remuneration for his work from the proceeds for bread...

How much?

I don’t remember, really, but I’ll show you: I have a calculation somewhere.

Well, Ilya! You really died, you died! - he concluded. - Get dressed, let's go to my place!

Oblomov sighed.

Ah, life! - he said.

What's life?

Touching, no peace! I would lie down and fall asleep... forever...

That is, he would put out the fire and remain in the dark! Good life! Eh, Ilya! You could at least philosophize a little, really! Life will flash by like an instant, and he would lie down and fall asleep! Let it be a constant burning! Oh, if only I could live for two hundred, three hundred years! - he concluded, - how many things could be redone!

“You are a different matter, Andrey,” objected Oblomov, “you have wings: you don’t live, you fly; you have talents, pride; You’re not fat, you don’t have barley, the back of your head doesn’t itch. You're built differently somehow...

Eh, that's enough! Man was created to arrange himself and even change his nature, but he grew a belly and thinks that nature sent him this burden! You had wings, but you untied them.

Where are they, the wings? - Oblomov said sadly. - I can’t do anything...

That is, you don’t want to be able to,” Stolz interrupted. - There is no person who cannot do something, by God, no!

But I can’t! - said Oblomov.

What should I say to Olga? - Stolz asked Oblomov before leaving.

Oblomov bowed his head and was sadly silent; Then

sighed.

Don't mention me to her! - he finally said in embarrassment, - say that you didn’t see, didn’t hear...

“She won’t believe it,” Stolz objected.

Well, tell me that I am dead, dead, missing...

She will cry and will not be consoled for a long time: why should she be sad?

Oblomov thought with emotion; the eyes were wet.

OK then; “I’ll lie to her, I’ll tell her that you live in her memory,” concluded Stolz, “and are looking for a strict and serious goal.” Please note that life and work itself are the goal of life, and not a woman: in this you were both mistaken. How pleased she will be!

They said goodbye. (“Oblomov”, part 4, chapter 2.)
IN 1. In the above fragment, characters with contrasting personalities are arguing. What is this type of pattern matching called?

AT 2. What is the name of the woman with whom the main character of the novel connected the last years of his life?

AT 3. What is the name of the form of expression of thought in which the statement takes on a meaning opposite to its literal meaning (“He began to brag to Stolz how, without leaving his place, he Great arranged matters the way an attorney collects information about runaway men, profitable will sell bread..."?

AT 4. The idea of ​​peace that Oblomov strives for is conveyed allegorically in Stolz’s statement: “... I would put out the fire and remain in the dark!” What is this type of allegory called?

AT 5. What type of heroes did contemporary criticism of the writer classify Oblomov, naming Onegin and Pechorin in this category?

AT 6. What is the name of the chapter of the novel in which the writer deeply revealed the origins of Oblomov’s social passivity and spoke in detail about the formation of his personality?

2. Tasks With a detailed answer of limited scope (5-10 sentences)C.I., C2

C1. Why is the purposeful Stolz friends with the inactive Oblomov?

C2. Which works of Russian writers of the 19th century provide a detailed depiction of the life of landowners, and what are the similarities and differences between Oblomov and these landowner heroes?

Answers:

C1. For all his inactivity, Oblomov for Stolz is an extraordinary person, possessing not only painful passivity, but also the best spiritual qualities. Friendship with Oblomov probably balanced two polar features of Stolz’s personality: his practicality, determination, obsession with the idea of ​​work - and the subtle aspirations of the spirit. In Oblomov, Stolz sees kindness, a “heart of gold,” a “soul as pure as crystal,” nobility and “dovelike obscurity.” Even in the expositional part of the novel, the author explains the reasons for the friendship between Oblomov and Stolz by the fact that “opposite extremes” came together in this friendship; that the “German boy” was able to appreciate the Russian kind affections abundantly exuded from him in the Oblomov family; finally, that Andrei liked the “role of the strong”, which he occupied under Ilya “both physically and morally.”

C2. By creating the image of a Russian landowner, Goncharov directly continues the tradition of Gogol. When reading “Oblomov,” associations arise primarily with the image of Manilov. However, Gogol’s characters are “one more vulgar than the other,” and Goncharov’s hero is an extraordinary personality. He is tested by love, which - albeit briefly - awakens him to life. He passes the test of friendship. In all life situations, Oblomov does not lose his honesty and nobility.

At the same time, like Gogol’s heroes, Oblomov turns out to be incapable of a full-blooded, active life. At the end of the novel, he again falls into sleep, and then passes away without revealing his human talent, given to him by God.

In addition to Gogol, Turgenev also turned to the image of landowners. Unlike Oblomov, the Kirsanov brothers from Fathers and Sons are capable of active action - be it defending their life position in ideological disputes and even in a duel with Bazarov (as Pavel Petrovich does) or economic concerns (Nikolai Petrovich is trying to arrange his estate on new way). However, Nikolai Petrovich’s “reforms” are ineffective, and his happiness is illusory; the fate of Pavel Petrovich is a story of unrealized possibilities (unrequited love, an absurd duel, departure from his homeland).

Sample tasks for a work in the Unified State Exam

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OK then; “I’ll lie to her, I’ll tell her that you live in her memory,” concluded Stolz, “and are looking for a strict and serious goal.” Please note that life and work itself are the goal of life, and not a woman: in this you were both mistaken. How pleased she will be!

They said goodbye. (“Oblomov”, part 4, chapter 2.)

IN 1. In the above fragment, characters with contrasting personalities are arguing. What is this type of pattern matching called?

AT 2. What is the name of the woman with whom the main character of the novel connected the last years of his life?

AT 3. What is the name of the form of expression of thought in which the statement takes on a meaning opposite to its literal meaning (“He began to brag to Stolz how, without leaving his place, he Great arranged matters the way an attorney collects information about runaway men, profitable will sell bread..."?

AT 4. The idea of ​​peace that Oblomov strives for is conveyed allegorically in Stolz’s statement: “... I would put out the fire and remain in the dark!” What is this type of allegory called?

AT 5. What type of heroes did contemporary criticism of the writer classify Oblomov, naming Onegin and Pechorin in this category?

AT 6. What is the name of the chapter of the novel in which the writer deeply revealed the origins of Oblomov’s social passivity and spoke in detail about the formation of his personality?

2. Tasks With a detailed answer of limited scope (5-10 sentences)C.I., C2

C1. Why is the purposeful Stolz friends with the inactive Oblomov?

C2. Which works of Russian writers of the 19th century provide a detailed depiction of the life of landowners, and what are the similarities and differences between Oblomov and these landowner heroes?

Answers:

C1. For all his inactivity, Oblomov for Stolz is an extraordinary person, possessing not only painful passivity, but also the best spiritual qualities. Friendship with Oblomov probably balanced two polar features of Stolz’s personality: his practicality, determination, obsession with the idea of ​​work - and the subtle aspirations of the spirit. In Oblomov, Stolz sees kindness, a “heart of gold,” a “soul as pure as crystal,” nobility and “dovelike obscurity.” Even in the expositional part of the novel, the author explains the reasons for the friendship between Oblomov and Stolz by the fact that “opposite extremes” came together in this friendship; that the “German boy” was able to appreciate the Russian kind affections abundantly exuded from him in the Oblomov family; finally, that Andrei liked the “role of the strong”, which he occupied under Ilya “both physically and morally.”

C2. By creating the image of a Russian landowner, Goncharov directly continues the tradition of Gogol. When reading “Oblomov,” associations arise primarily with the image of Manilov. However, Gogol’s characters are “one more vulgar than the other,” and Goncharov’s hero is an extraordinary personality. He is tested by love, which - albeit briefly - awakens him to life. He passes the test of friendship. In all life situations, Oblomov does not lose his honesty and nobility.

At the same time, like Gogol’s heroes, Oblomov turns out to be incapable of a full-blooded, active life. At the end of the novel, he again falls into sleep, and then passes away without revealing his human talent, given to him by God.

In addition to Gogol, Turgenev also turned to the image of landowners. Unlike Oblomov, the Kirsanov brothers from Fathers and Sons are capable of active action - be it defending their life position in ideological disputes and even in a duel with Bazarov (as Pavel Petrovich does) or economic concerns (Nikolai Petrovich is trying to arrange his estate on new way). However, Nikolai Petrovich’s “reforms” are ineffective, and his happiness is illusory; Paul's fate

Petrovich is a story of unrealized possibilities (unrequited love, an absurd duel, leaving the homeland).

And at the same time, behind the Russian type of bourgeois, the image of Mephistopheles can be seen in Stolz. Like Mephistopheles to Faust, Stolz slips Olga Ilyinskaya to Oblomov as a temptation. Even before she meets Oblomov, Stolz negotiates the terms of such a prank. Olga is given the task of lifting the couch potato Oblomov from his bed and dragging him into the big world. If Oblomov’s feelings for Olga are sincere and unartificial, then in Olga’s feelings we can sense a consistent calculation. Even in moments of enthusiasm, she does not forget about her high mission: she liked this role of a guiding star, a ray of light that she would pour over a stagnant lake and be reflected in it.

It turns out that Olga loves in Oblomov not Oblomov himself, but her own reflection. For her, Oblomov is some kind of Galatea, with whom she herself had to be Pygmalion. But what does Olga offer Oblomov in exchange for him lying on the sofa? What light, what radiant ideal?

Alas, the program for Oblomov’s awakening in Olga’s clever head is completely exhausted by Stoltsev’s horizon: read newspapers, bother about organizing the estate, go to the order. All the same as what Oblomov and Stolz advise: ...

Choose a small circle of activity for yourself, set up a village, tinker with the peasants, get involved in their business, (*35) build, plant - all this you must and can do. This minimum for Stolz and Olga, whom he raised, is the maximum. Is this why, having flared up brightly, the love of Oblomov and Olga quickly fades?

As the Russian poet of the early 20th century I. F. Annensky wrote, Olga is a moderate, balanced missionary. It is not the desire to suffer, but a sense of duty...

Her mission is modest - to awaken the sleeping soul. She fell in love not with Oblomov, but with her dream. The timid and gentle Oblomov, who treated her so obediently and so bashfully, loved her so simply, was only a convenient object for her girlish dreams and games of love. But Olga is a girl with a large supply of common sense, independence and will, most importantly.

Oblomov is the first, of course, to understand the chimerical nature of their romance, but she is the first to break it off. One critic laughed evilly at both Olga and the end of the novel: good, they say, is love that burst like a soap bubble because the lazy groom did not get his act together. This ending seems very natural to me.

The harmony of the novel ended a long time ago, and it may have flashed for only two moments in Casta diva *, in the lilac branch; both Olga and Oblomov are experiencing a complex, inner life, but completely independently of each other; in a joint relationship there is boring prose, when Oblomov is sent either for double stars or for theater tickets, and he, groaning, bears the yoke of an affair. Some nonsense was needed to cut off these very thin threads.

Olga’s head-like, rational-experimental love is contrasted with Agafya Matveevna Pshenitsyna’s spiritual-heartfelt love, not controlled by any external idea. Under the cozy roof of her home, Oblomov finds the desired peace. The dignity of Ilya Ilyich lies in the fact that he is devoid of complacency and is aware of his spiritual decline: I began to fade over writing papers in the office; I died out later, reading truths in books that I didn’t know what to do with in life, I died out with my friends, listening to talk, gossip, mockery... Either I didn’t understand this life, or it’s no good, and I didn’t know anything better, I didn’t I saw that no one showed it to me... yes, I am a flabby, shabby, (*36) worn-out caftan, but not because of the climate, not because of work, but because for twelve years the light was locked in me, which was looking for a way out, but only burned his prison, did not break free and died out.

When Olga, in the scene of the last date, declares to Oblomov that she loved in him what Stolz pointed out to her, and reproaches Ilya Ilyich for his dovelike meekness and tenderness, Oblomov’s legs give way. In response, he smiled somehow pitifully, painfully bashful, like a beggar who was reproached for his nakedness. He sat with this smile of powerlessness, weakened from excitement and resentment; his dull gaze clearly said: Yes, I am meager, pitiful, beggar... beat, beat me!... Why does his passivity not produce on us either the impression of bitterness or the impression of shame?

- I. F. Annensky, who had a keen sense of Oblomov, asked the question and answered it like this. - Look what is opposed to Oblomov’s laziness: a career, social vanity, petty litigation or the cultural and commercial activities of Stolz. Isn’t it possible to sense in Oblomov’s robe and sofa the denial of all these attempts to resolve the question of life?

At the end of the novel, not only Oblomov fades away. Surrounded by bourgeois comfort, Olga begins to increasingly experience acute attacks of sadness and melancholy.

She is troubled by eternal questions about the meaning of life, about the purpose of human existence. And what does the wingless Stolz say to her in response to all her worries? You and I are not titans... we will not join the Manfreds and Fausts in a daring fight against rebellious issues, we will not accept their challenge, we will bow our heads and humbly endure a difficult moment... Before us, in essence, is the worst version of Oblomovism, because Stolz has it stupid and smug.

Historical and philosophical meaning of the novel In the conflict between Oblomov and Stolz, another, historical and philosophical meaning shines through behind social and moral problems. In the novel, sadly funny Oblomov challenges modern civilization with its idea of ​​historical progress. And the story itself,” he says, “only plunges you into melancholy: you learn, you read that the time of disaster has come, man is unhappy; Now he gathers his strength, works, struggles, endures and toils terribly, everything is preparing for clear days. Now they have come - here at least history itself could rest: no, the clouds appeared again, the building collapsed again, work and chaos again... The clear days will not stop, they run - and life continues to flow, everything flows, everything breaks and breaks. (*37) Oblomov is ready to leave the vain circle of history. He dreams that people will finally calm down and calm down, give up the pursuit of illusory comfort, stop playing technical games, leave big cities and return to the village world, to a simple, unpretentious life, fused with the rhythms of the surrounding nature. Here Goncharov’s hero in some ways anticipates the thoughts of the late L.N. Tolstoy, who denied technical progress and called people to simplification and to renounce the excesses of civilization.

Behind the Russian type of bourgeois, the image of Mephistopheles can be seen in Stolz. Like Mephistopheles to Faust, Stolz, in the form of temptation, “slips” Olga Ilyinskaya to Oblomov. Even before she meets Oblomov, Stolz negotiates the terms of such a “prank.” Olga is given the task of lifting the couch potato Oblomov from his bed and dragging him into the big world. If Oblomov’s feelings for Olga are sincere and unartificial, then in Olga’s feelings we can sense a consistent calculation. Even in moments of enthusiasm, she does not forget about her high mission: “she liked this role of a guiding star, a ray of light that she would pour over a stagnant lake and be reflected in it.” It turns out that Olga loves in Oblomov not Oblomov himself, but her own reflection. For her, Oblomov is “some kind of Galatea, with whom she herself had to be Pygmalion.” But what does Olga offer Oblomov in exchange for him lying on the sofa? What light, what radiant ideal? Alas, the program for Oblomov’s awakening in Olga’s clever head is completely exhausted by Stoltsev’s horizon: read newspapers, bother about organizing the estate, go to the order. Everything is the same as what Oblomov and Stolz advise: “...Choose a small circle of activity for yourself, set up a village, tinker with the peasants, get involved in their business, build, plant - all this you must and can do.” This minimum for Stolz and Olga, whom he raised, is the maximum. Is this why, having flared up brightly, the love of Oblomov and Olga quickly fades?

As the Russian poet of the early 20th century I. F. Annensky wrote, “Olga is a moderate, balanced missionary. She does not have a desire to suffer, but a sense of duty... Her mission is modest - to awaken a sleeping soul. She fell in love not with Oblomov, but with The timid and gentle Oblomov, who treated her so obediently and so bashfully, loved her so simply, was only a convenient object for her girlish dreams and games of love.

But Olga is a girl with a large supply of common sense, independence and will, most importantly. Oblomov is the first, of course, to understand the chimerical nature of their romance, but she is the first to break it off.

One critic laughed evilly at both Olga and the end of the novel: good, they say, is love that burst like a soap bubble because the lazy groom did not get his act together.

This ending seems very natural to me. The harmony of the novel ended a long time ago, and it may have flashed for only two moments in Casta diva, in the lilac branch; both Olga and Oblomov are experiencing a complex, inner life, but completely independently of each other; in a joint relationship there is boring prose, when Oblomov is sent either for double stars or for theater tickets, and he, groaning, bears the yoke of an affair.

Some nonsense was needed to cut short these completely refined

Olga’s head-like, rational-experimental love is contrasted with Agafya Matveevna Pshenitsyna’s spiritual-heartfelt love, not controlled by any external idea. Under the cozy roof of her home, Oblomov finds the desired peace.

The dignity of Ilya Ilyich lies in the fact that he is devoid of self-satisfaction and is aware of his spiritual decline: “I began to fade away over writing papers in the office; then I died out, reading truths in books that I didn’t know what to do with in life, I died out with my friends, listening to gossip, gossip, mockery... Either I didn’t understand this life, or it’s no good, and I didn’t know anything better, I didn’t see anything, no one showed it to me... yes, I’m a flabby, shabby, worn-out caftan, but not from the climate, not from the work, but from the fact that for twelve years the light was locked inside me, which was looking for a way out, but only burned its prison, did not break free and died out.”

When Olga, in the scene of the last date, declares to Oblomov that she loved in him what Stolz pointed out to her, and reproaches Ilya Ilyich for his dovelike meekness and tenderness, Oblomov’s legs give way. “In response, he smiled somehow pitifully, painfully bashful, like a beggar who was reproached for his nakedness. He sat with this smile of powerlessness, weakened by excitement and resentment; his extinct look clearly said: “Yes, I am meager, pitiful, poor.” ... hit me, hit me!.."

“Why doesn’t his passivity produce on us either the impression of bitterness or the impression of shame?” I. F. Annensky, who had a keen sense of Oblomov, asked the question and answered it like this. “Look at what is opposed to Oblomov’s laziness: career, social vanity, petty litigiousness or cultural - Stolz's commercial activities. Isn't it possible to sense in Oblomov's robe and sofa the denial of all these attempts to resolve the question of life?"

At the end of the novel, not only Oblomov fades away. Surrounded by bourgeois comfort, Olga begins to increasingly experience acute attacks of sadness and melancholy. She is troubled by eternal questions about the meaning of life, about the purpose of human existence. And what does the wingless Stolz say to her in response to all her worries? “You and I are not titans... we will not go with the Manfreds and Fausts into a daring fight against rebellious issues, we will not accept their challenge, bow our heads and humbly endure a difficult moment...” Before us, in essence, is the worst version of Oblomovism, because in Stolz she is stupid and smug.

Bibliography

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Tags: Oblomov and Olga Ilyinskaya Essay Literature