/ Dmitry Ivanovich Pisarev (1840-1868). Oblomov. Roman I. A. Goncharova/

In every literature that has reached a certain degree of maturity, there appear such works that reconcile the universal interest with the popular and modern and elevate to the level of artistic creations types taken from the environment of the society to which the writer belongs. The author of such a work is not interested in contemporary, often petty, issues of life that have nothing to do with art; he does not set himself the task of compiling an instructive book and ridiculing this or that shortcoming of society or exalting this or that virtue that society needs. No! Creativity with a practical purpose planned in advance is an illegal phenomenon; it must be left to the lot of those writers who are denied a mighty talent, who are given in return a moral sense capable of making them good citizens, but not artists. A true poet stands above worldly questions, but does not shy away from their resolution, meeting them on the path of his work. Such a poet looks deeply at life and sees in each of its manifestations a universal side that will touch every heart for a living and will be understandable to any time.

Should the poet happen to pay attention to some social evil - let's say, to bribery - he will not, like representatives of the accusatory trend, go into the subtleties of casuistry and set out various intricate tricks: his goal will not be to ridicule evil, but to solve before the eyes of the reader psychological task; he will pay attention not to where bribery manifests itself, but to where it comes from; in his eyes, a bribe taker is not an official who dishonestly performs his duty, but a person who is in a state of complete moral humiliation. Tracing the state of his soul, revealing it to the reader, explaining the participation of society in the formation of such characters - this is the business of a true poet, whose creation about bribery can arouse not only disgust, but deep sadness for the moral fall of a person. This is how the poet looks at the phenomena of his own time, this is how he treats various aspects of his nationality, he looks at everything from a universal human point of view; without wasting energy on reproducing small external features folk character, without dividing his thoughts into petty phenomena of everyday life, the poet at once comprehends the spirit, the meaning of these phenomena, acquires a complete understanding of the national character and then, fully disposing of his material, creates, not writing off from the reality surrounding him, but deriving this reality from the depths of his own spirit and putting into the living images created by him the thought that animates him.

“Nationhood,” says Belinsky, “is not dignity, but necessary condition true artwork"1. The poet's thought seeks for itself a definite, rounded expression and, according to natural law, pours out into the form that is most familiar to the poet; each trait of a universal character has its own characteristics in a certain nationality, each universal movement of the soul is expressed in accordance with the conditions of time and place. A true artist can embody his idea only in the most definite images, and this is why nationality and historical fidelity are a necessary condition for an elegant work.

Belinsky's words, which he said about Gogol's stories, can be fully applied to the assessment of Mr. Goncharov's new novel. In this novel, a vast, universal psychological problem is resolved; this task is resolved in the phenomena of purely Russian, national, possible only in our way of life, under those historical circumstances that shaped folk character under the conditions under the influence of which our younger generation has developed and is still developing to some extent. This novel also touches on vital, contemporary issues to the extent that these issues are of universal interest; it also exposes the shortcomings of society, but they are not exhibited for a polemical purpose, but for the fidelity and completeness of the picture, for the artistic depiction of life as it is, and a person with his feelings, thoughts and passions.

Complete objectivity, calm, dispassionate creativity, the absence of narrow temporal goals that profane art, the absence of lyrical impulses that violate the clarity and distinctness of the epic narrative - that's features the talent of the author, as he put it in his last work. The thought of Mr. Goncharov, carried out in his novel, belongs to all ages and peoples, but is of particular importance in our time, for our Russian society. The author decided to trace the deadly, destructive influence that mental apathy has on a person, lulling to sleep, which gradually takes possession of all the forces of the soul, embracing and fettering all the best, human, rational movements and feelings. This apathy is a universal human phenomenon, it is expressed in the most diverse forms and is generated by the most diverse causes; but everywhere she plays leading role the terrible question: "Why live? Why work?" - a question to which a person often cannot find a satisfactory answer. This unresolved question, this unsatisfied doubt, exhausts one's strength, destroys one's activity; a person drops his hands, and he gives up work, not seeing his goal. One with indignation and bile will throw away the work, the other will put it aside quietly and lazily; one will rush out of his inaction, be indignant at himself and at people, look for something with which to fill the inner emptiness; his apathy will take on a shade of gloomy despair, it will alternate with feverish impulses for disorderly activity and yet remain apathy, because it will deprive him of the strength to act, feel and live.

With another, indifference to life will be expressed in a softer, colorless form; animal instincts quietly, without struggle, will float to the surface of the soul; the highest aspirations will freeze without pain; a person will sink into an easy chair and fall asleep, enjoying his senseless peace; Vegetation will begin instead of life, and stagnant water will form in the human soul, which will not be touched by any disturbance of the external world, which will not be disturbed by any internal upheaval. In the first case, we see a kind of forced apathy—apathy and at the same time a struggle against it, an excess of forces that begged for action and slowly died out in fruitless attempts; it is Byronism, the disease of strong men. In the second case, apathy is submissive, peaceful, smiling, without the desire to get out of inactivity; this is Oblomovism, as Mr. Goncharov called it, it is a disease, the development of which is facilitated both by the Slavic nature and the life of our society. Mr. Goncharov traced this development of the disease in his novel.

The great idea of ​​the author, in all the grandeur of its simplicity, lay down in a frame corresponding to it. The whole plan of the novel is based on this idea, built so deliberately that there is not a single accident, not a single introductory person, not a single superfluous detail; the main idea passes through all the individual scenes, and yet, in the name of this idea, the author does not make a single deviation from reality, does not sacrifice a single detail in the external decoration of persons, characters and situations. Everything is strictly natural and yet quite meaningful, imbued with the idea. There are almost no events, no action; the content of the novel can be told in two or three lines, just as the life of any person who has not experienced strong shocks can be told in a few words; the interest of such a novel, the interest of such a life, lies not in the intricate chaining of events, however plausible, however actually happened, but in observation of the inner world of man. This world is always interesting, always attracts our attention; but it is especially accessible to study in quiet moments, when the person who is the object of our observation is left to himself, does not depend on external events, is not placed in an artificial position resulting from a random combination of circumstances. In such calm moments of life, when a person, undisturbed by external impressions, concentrates, collects his thoughts and looks into his inner world, at such moments sometimes an invisible, dull internal struggle occurs, at such moments a sincere thought matures and develops, or a turn to the past takes place, discussion and evaluation of one's own actions, one's own personality. These mysterious moments are especially dear to the artist, especially interesting to the enlightened observer.

In Mr. Goncharov's novel, the inner life actors open before the eyes of the reader; there is no confusion of external events, no invented and calculated effects, and therefore the author's analysis does not for a moment lose its distinctness and calm insight. The idea is not fragmented in the intertwining of various incidents: it harmoniously and simply develops from itself, is carried out to the end and maintains all interest to the end, without the help of extraneous, secondary, introductory circumstances. This idea is so broad, it encompasses so many aspects of our life, that, embodying this one idea, without deviating from it by a single step, the author could, without the slightest exaggeration, touch on almost all the issues currently occupying society. He touched them involuntarily, not wanting to sacrifice the eternal interests of art for temporary purposes; but this word of the artist, unwittingly expressed in public affairs, cannot but have a strong and beneficial influence on the minds: it will act in the same way as everything true and beautiful acts.<...>

The main idea of ​​the author, as far as one can judge from both the title and the course of action, was to portray the state of calm and submissive apathy, which we have already spoken about above; meanwhile, after reading the novel, the reader may have a question: what did the author want to do? What was the main purpose behind it? Didn't he want to trace the development of the feeling of love, analyze to the smallest detail those modifications that the soul of a woman experiences, excited by a strong and deep feeling? This question arises not because the main goal has not been achieved, not because the author's attention has diverted from it: on the contrary! the fact is that both goals, the main and the secondary, which arose during creativity, have been achieved to such an extent that the reader does not know which of them to give preference to. In "Oblomov" we see two paintings, equally finished, placed side by side, penetrating and complementing one another. The main idea of ​​the author is sustained to the end; but during the creative process, a new psychological task presented itself, which, without interfering with the development of the first thought, is itself resolved to such a degree as it has never been resolved, perhaps never before. A rare novel revealed in its author such a power of analysis, such a complete and subtle knowledge of human nature in general and of women in particular; a rare novel has ever combined in itself two such huge psychological tasks, a rare one has raised the combination of two such tasks to such a harmonious and apparently uncomplicated whole. We would never finish if we began to talk about all the merits of the general plan drawn up by such a bold hand; Let's move on to individual characters.

Ivan Goncharov wrote the novel "Oblomov" in 1858, and a year later the magazine " Domestic notes" printed the text of the work. However, the construction storyline The novel was made much earlier, when Goncharov wrote the first part of the novel "Oblomov's Dream". Let's do general analysis novel "Oblomov" by Goncharov, we will discuss the characteristics of the main characters of "Oblomov". I must say that Goncharov created a trilogy, which, in addition to "Oblomov", included the works "Ordinary History" and "Cliff".

What questions does Goncharov raise in the novel Oblomov? Basically, these are acute issues. social value characteristic of the era in which the author lived. For example, Goncharov talks about the formation of a new generation in Russia, about the confrontation between European thinking and Russian mentality. And necessarily in the novel "Oblomov" Goncharov writes about the meaning and fate of man, about true love and happiness. Let's continue the analysis of Goncharov's "Oblomov" by examining the specific characters of the work.

Characteristics of the heroes of the novel "Oblomov"

As in any other brilliant literary masterpiece of the 19th century, which, in fact, is the novel "Oblomov", all characters are important for revealing the ideas of the author and the storyline. For example, Goncharov contrasts male images with female ones: Oblomov and Stolz, Ilyinskaya and Pshenitsyna.

If we consider the characteristics of the heroes, then Oblomov and Pshenitsyna acted as representatives of the strata of society that are characterized by archaic, outdated ideas, which prevailed in the Russian bourgeoisie. They are in a detached state, inactive and calm. Goncharov contrasts this pair of heroes with Stolz and Olga, who are striving for new trends, European norms and foundations, a new mentality of society.

When analyzing the novel "Oblomov" by Goncharov, it is imperative to take into account this opposition of the main characters, on the basis of which the author builds main idea novel.

The problems of the novel "Oblomov"

What other questions did Goncharov raise in Oblomov? The theme of the novel is connected with many historical, social and philosophical issues that are relevant to this day. Central issue works - the problem of "Oblomovism", which is so clearly manifested among the Russian philistines, becoming a historical and social phenomenon of society. Such people did not want to adopt new ideas, change and move forward.

And not only society was in such a state. According to Goncharov, "Oblomovism" has become characteristic of individuals, in fact, directly to a person who has succumbed to degradation.

Having made an analysis of the novel "Oblomov", it is clear that the classical Russian types, which are reflected in the main characters, are of paramount importance for the mentality of Russian society. Such characters as: a landowner, an entrepreneur, a bride, a wife, servants, swindlers, officials, etc. clearly reveal the Russian character and set it in opposition to the European mentality. This is again clearly seen in the example of Oblomov and Stolz.

The novel "Oblomov" is integral part Goncharov's trilogy, which also included "Cliff" and "Ordinary History". It was first published in 1859 in the journal Otechestvennye Zapiski, but the author published a fragment of the novel Oblomov's Dream 10 years earlier, back in 1849. According to the author, a draft of the whole novel was already ready at that time. A trip to his native Simbirsk with its old patriarchal way of life inspired him in many ways to publish the novel. However, I had to take a break creative activity in connection with the trip around the world.

Analysis of the work

Introduction. The history of the creation of the novel. Main idea.

Much earlier, in 1838, Goncharov published the humorous story "Dashing Pain", where he condemningly describes such a pernicious phenomenon that flourishes in the West as a tendency to excessive daydreaming and blues. It was then that the author first raised the issue of Oblomovism, which he subsequently fully and multifacetedly revealed in the novel.

Later, the author admitted that Belinsky's speech on the topic of his "Ordinary History" made him think about the creation of "Oblomov". In his analysis, Belinsky helped him outline a clear image of the protagonist, his character and individual traits. In addition, the hero-Oblomov, in some way, Goncharov's recognition of his mistakes. After all, he was once also an adherent of a serene and meaningless pastime. Goncharov talked more than once about how hard it was sometimes for him to do some everyday things, not to mention how difficult it was for him to decide to go around the world. Friends even nicknamed him "Prince De Laziness".

The ideological content of the novel is extremely deep: the author raises deep social problems that were relevant to many of his contemporaries. For example, the dominance of European ideals and canons among the nobility and the vegetation of native Russian values. Eternal questions of love, duty, decency, human relationships and life values.

General characteristics of the work. Genre, plot and composition.

According to genre features, the novel "Oblomov" can be easily identified as a typical work of realism. There are all the signs typical for the works of this genre: the central conflict of interests and positions of the protagonist and the society opposing him, a lot of details in the description of situations and interiors, authenticity from the point of view of historical and everyday aspects. So, for example, Goncharov very clearly draws the social division of the strata of society inherent in that time: petty bourgeois, serfs, officials, nobles. During the course of the story, some characters get their development, for example, Olga. Oblomov, on the contrary, is degrading, breaking down under the pressure of the surrounding reality.

A phenomenon typical of that time, described on the pages, later called "Oblomovism", allows us to interpret the novel as social and everyday. The extreme degree of laziness and moral licentiousness, the stagnation and decay of the individual - all this had an extremely detrimental effect on the philistines of the 19th century. And "Oblomovshchina" became a household name, in general sense reflecting the lifestyle of contemporary Russia.

In terms of composition, the novel can be divided into 4 separate blocks or parts. At the beginning, the author gives us an idea of ​​what it is main character, follow the smooth, not dynamic and lazy course of his boring life. This is followed by the culmination of the novel - Oblomov falls in love with Olga, comes out of "hibernation", strives to live, enjoy every day and receive personal development. However, their relationship is not destined to continue and the couple is going through a tragic break. Oblomov's short-term insight turns into further degradation and disintegration of the personality. Oblomov again falls into despondency and depression, plunging into his feelings and a joyless existence. The denouement is the epilogue, which describes future life hero: Ilya Ilyich marries a woman who is homely and does not sparkle with intellect and emotions. Spends the last days in peace, indulging in laziness and gluttony. The finale is the death of Oblomov.

Images of the main characters

In opposition to Oblomov, there is a description of Andrei Ivanovich Stolz. These are two antipodes: Stolz's view is directed clearly forward, he is sure that without development there is no future for him as an individual and for society as a whole. Such people move the planet forward, the only joy available to him is constant work. He enjoys achieving goals, he has no time to build ephemeral castles in the air and vegetate like Oblomov in the world of ethereal fantasies. At the same time, Goncharov does not try to make one of his heroes bad and the other good. On the contrary, he repeatedly emphasizes that neither one nor the other male image is not ideal. Each of them has both positive features, as well as disadvantages. This is another feature that allows us to classify the novel as a realistic genre.

Just like men, women in this novel are also opposed to each other. Pshenitsyna Agafya Matveevna - Oblomov's wife is presented as a narrow-minded, but extremely kind and accommodating nature. She literally idolizes her husband, trying to make his life as comfortable as possible. The poor thing does not understand that by doing so she is digging his grave herself. She is a typical representative of the old system, when a woman is literally a slave of her husband, who does not have the right to her own opinion, and is a hostage to everyday problems.

Olga Ilinskaya

Olga is a progressive young girl. It seems to her that she will be able to change Oblomov, guide him on the true path, and she almost succeeds. She is incredibly strong in spirit, emotional and talented. In a man, she wants to see, first of all, a spiritual mentor, a strong whole personality, at least equal to her in her mindset and beliefs. This is where the conflict of interest with Oblomov occurs. Unfortunately, he cannot and does not want to meet her high demands and goes into the shadows. Unable to forgive such cowardice, Olga breaks with him and thereby saves herself from Oblomovshchina.

Conclusion

The novel raises a rather serious problem from the point of view of the historical development of Russian society, namely "Oblomovism" or the gradual degradation of certain sections of the Russian public. The old foundations that people are not ready to change and improve their society and way of life, the philosophical issues of development, the theme of love and the weakness of the human spirit - all this rightfully allows us to recognize Goncharov's novel as a brilliant work of the 19th century.

"Oblomovism" from a social phenomenon gradually flows into the character of the person himself, dragging him to the bottom of laziness and moral decay. Dreams and illusions are gradually replacing the real world, where there is simply no place for such a person. This leads to another problematic topic raised by the author, namely the question " Extra person", which is Oblomov. He is stuck in the past and sometimes his dreams even prevail over really important things, for example, love for Olga.

The success of the novel was largely due to the deep crisis of the feudal system that coincided in time. The image of a bored landowner, incapable of independent living, was very sharply perceived by the public. Many recognized themselves in Oblomov, and Goncharov's contemporaries, for example, the writer Dobrolyubov, quickly picked up the theme of "Oblomovism" and continued to develop it on the pages of his scientific works. Thus, the novel became an event not only in the field of literature, but the most important socio-political and historical event.

The author tries to reach out to the reader, to make him look at his own life, and perhaps rethink something. Only by correctly interpreting the fiery message of Goncharov, you can change your life and then, you can avoid the sad ending of Oblomov.

Goncharov managed to create an amazing, one might even say, the only image in literature - The whole work is unique, there are no sharp turns in the plot, the situation almost never changes (the entire first part was the main character’s apartment), but nevertheless you worry about the characters. Such an image as Oblomov cannot but cause controversy about his character, understanding of life.

The novel does not raise political problems, only personal and interpersonal conflicts are affected here, which remain relevant in any era. Goncharov's novel is studied at school, and writing an essay on Oblomov's theme is mandatory in the literary curriculum. There are serious questions moral character that make the reader think while reading.

Themes of essays on "Oblomov"

The list of topics on which it is proposed to write an essay is quite extensive, so the most interesting ones will be presented below.

1. "Love theme in the work" Oblomov ".
2. Composition on the theme "Oblomov and Stolz".
3. "Historical and philosophical meaning of the novel" Oblomov ".
4. Oblomov and Oblomovism.
5. Oblomov's childhood in the novel Oblomov.

Relations between Oblomov and Stolz

The essay on the topic "Oblomov and Stolz" is both simple and difficult to write. Simple, because these are two main characters with brightly written characters, with clear and understandable life principles. But their friendship is not as simple as it might seem.

After all, they not only respect and appreciate each other, but are also opposites, which cannot but affect their attitude to each other's lifestyle. If Ilya at some point in his life tries to accept the point of view of his comrade, then Andrei sharply criticizes the "Oblomovism" and does not even try to understand why Ilya Ilyich is so attracted to a solitary lifestyle.

But this does not prevent them from remaining close and only friends throughout their lives. After all, only Stolz Oblomov could tell about his experiences, and he, in turn, is always ready to help a friend.

Discourse on "Oblomovism"

The essay on the theme "Oblomov's Life" will not be distinguished by some bright events that could happen to the main character, but it will be interesting in how the main character's life principles have changed. A very true and accurate description of the life of Ilya Ilyich was given by his friend Andrei Stolz - "Oblomovism".

The essay on the theme of Oblomov differs from discussions about other works precisely in that the greater emphasis in the novel itself is placed precisely on the inner world of the main character. Of course, the character of other heroes is also told, but Oblomov himself is created in such a way that his lifestyle cannot be of great interest to the reader.

It is much more important to understand why he has such a craving for a solitary and monotonous course of life. And the reason lies in his childhood, where every day was like one another, where his parents did not burden themselves with serious matters or thoughts and were happy.

But if the son were like them, then he would not have thought about the words of Stolz, he would not have understood himself that times have changed, that it is not entirely right to live like this. But because Oblomov did not study at home, a philosophical beginning was brought up in him, which prompted him to various reflections.

But despite all Stolz's attempts to take a friend out of that monotonous course of life, Oblomov still returned to his roots. Because the basis of his character was this monotony, slowness, a sense of calm in this measured way of life and actions.

Estimation of the personality of the protagonist

In an essay on the topic of Oblomov, it will be quite difficult to give any unambiguous assessment of the central character. On the one hand, such a way of life is wrong in that gradually a person weans himself from making responsible decisions, becomes lazy, not purposeful. Gradually, his personal development may stop due to a narrow circle of communication, narrowing of interests. After all, self-education requires willpower and discipline, which just disappears with such a lifestyle. Therefore, Ilya Ilyich had doubts and a desire to change his lifestyle.

But, on the other hand, the formation of his character was strongly influenced by the environment and environment in which he grew up. And this feeling of calmness, stability he associated precisely with such a measured way of life. For him, it remained an ideal, so at the end of the novel, despite all the efforts of Stolz and Olga, he returns to his former philosophy.

In an essay on the topic of Oblomov, one can also point out that, using the example of the Oblomovs, it is shown how the former aristocratic way of life was changing, that people were becoming more educated, progress was getting to housekeeping. Oblomov and Stolz were a reflection of the opposing public opinions that prevailed in the country at that time. Therefore, despite the lack of a wide variety of characters and change of scenery, this novel became a classic whose relevance over time continues to be preserved.

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I. A. Goncharov

Question 14. general characteristics one of the novels by I. A. Goncharov: "An Ordinary Story", "Oblomov", "Cliff".

RESPONSE PLAN

1. I. A. Goncharov about his work.

2. The history of the creation of the novel "Oblomov". The main idea of ​​the novel.

3. The image of I. Oblomov.

4. The image of Stolz.

5. Love in the life of Oblomov.

6. The meaning of the novel.

1. Ivan Alexandrovich Goncharov is widely known as the creator of three novels - "An Ordinary Story", "Oblomov", "Cliff". At the end of his life, in the article “Better late than never,” the writer spoke of his view of these works as follows: “... I see not three novels, but one. All of them are connected by one common thread, one consistent idea - the transition from one era of Russian life, which I experienced, to another - and the reflection of their phenomena in my images, portraits, scenes, small phenomena, etc. All three novels are connected in meaning: " ordinary story"You can name the fate of Oblomov and the heroes of the "Cliff", due to the typicality of the depicted.

2. Let's dwell on the novel "Oblomov". It was begun in 1847 and published in full in 1859. His appearance coincided with the time acute crisis serfdom. The image of an apathetic, incapable of activity landowner, who grew up and was brought up in the patriarchal atmosphere of a manor's estate, where the gentlemen lived serenely thanks to the labor of serfs, was very relevant for contemporaries. N. A. Dobrolyubov in his article “What is Oblomovism?” (1859) praised the novel and this phenomenon. In the person of Ilya Ilyich Oblomov, it is shown how the environment and upbringing disfigure the beautiful nature of a person, giving rise to laziness, apathy, lack of will.

3. The first part of the novel "Oblomov", including "Oblomov's Dream", is devoted to describing all the details, "trifles" of the life of the hero of the novel in his St. Petersburg apartment - the miniature St. Petersburg "Oblomovka" - with Zakhar, the famous sofa, bathrobe. The portrait of Oblomov says a lot about his character: “He was a man of about thirty-two or three years old, of medium height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in facial features. The thought walked like a free bird across the face, fluttered in the eyes, settled on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glowed all over the face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown. Further, the author notes "an expression of fatigue or boredom", an unhealthy complexion from lack of air and movement; bloated body. Oblomov’s apathy reached the point that he was indifferent to the cobwebs, saturated with dust, which were molded in the form of scallops around the paintings, carpets covered with stains, dusty mirrors, “which could rather serve as tablets, for writing down on them, according to the dust, some notes for memory."

Zakhar, the servant of Ilya Ilyich, is a match for the master. If Oblomov’s expensive oriental dressing gown is “greasy”, then Zakhar has a permanent tear under his arm, from which an undershirt sticks out. For his negligence and laziness, he always finds an excuse. Is it really his fault that “you clean it up, and tomorrow the dust will pick up again”. Being lazy himself, he thrived on the laziness of his master. Even urgent matters cannot be lifted from Oblomov’s sofa: you need to answer the letter of the headman of Oblomovka, move to new apartment, pay the bills. Oblomov is visited by friends, trying to seduce him for a walk in Peterhof, but he excuses himself by saying that dampness is harmful to him, although it is a sunny day outside. Oblomov sees vanity and emptiness secular life, understands how a person who has devoted himself to a career is depersonalized. Especially clever are the words addressed to the writer Penkin about the purpose of literature - to sympathize with people out of love for them. However, behind these words, for all their unconditional correctness, one can discern a desire to justify one's inaction. Oblomov is too lazy to read, and he is afraid of writing: “And write everything, write everything, like a wheel, like a machine, write tomorrow, the day after tomorrow: the holiday will come, summer will come - and he keeps writing? When to stop and rest? Unhappy!" Not only to do some useful thing, but even to change the way of life, he lacks the will. Not having the habit of acting, he dresses his desires in the form of dreams: “That is why he loves to dream and is terribly afraid of the moment when dreams come into contact with reality. Here he tries to put the matter on someone else, and if there is no one, then maybe ... ”Proud of his independence, the fact that he is a“ gentleman ”. Oblomov, due to his inability to live, becomes a slave to someone else's will, starting with Zakhar's servant and ending with crooks who almost appropriated his estate. And only sometimes, at a rare moment, does he begin to understand his true position with sadness and pain: “Meanwhile, he painfully felt that some good, bright beginning was buried in him, as in a grave, maybe now already dead, or it lies like gold in the bowels of a mountain... But the treasure is deep and heavily littered with rubbish... Something prevented him from rushing into the field of life and flying along it with all the sails of mind and will... Mind and will have long been paralyzed, and, it seems, irrevocably ... "The answer to this question is given in the chapter" Oblomov's Dream ". It tells about the Oblomov family, about their estate and customs: "... taking care of food was the first and main concern of life in Oblomovka ..." Labor was perceived as a punishment sent for sins. Oblomov did not need to work, since serfs and servants did everything.

Years of study also did not bring up the discipline of the mind in Oblomov. And parents in every possible way saved their beloved child from the torment of learning.

4. In parallel with Oblomov, the fate of his school friend Andrei Stolz, the son of the manager of the estate, is traced. Andrei Stolz's father, with German pedantry and consistency, taught him to work, mentally and physically, to be responsible for a lesson or assignment completed. Both Oblomov and Stolz graduated from Moscow University, both went to St. Petersburg to serve. But a year later, Ilya Ilyich retired: the service weighed on him, demanded attention, perseverance, diligence. The active Stolz makes the Russian master Oblomov "worry", imposes his ideas on him. Stolz wants to awaken Oblomov from hibernation: “Now or never!” He forces him to be in society, read books, attend theaters. His efforts were in vain.

5. The last opportunity to recover from "Oblomovism" appeared before the hero in the form of a beautiful Russian girl, Olga Ilyinskaya. Love for her temporarily resurrected Oblomov. Here it was also found Golden heart"Oblomov, capable of a strong feeling, and his poetry, and sensitivity, and the nobility of the soul, which was expressed in a letter to Olga, in which he is "ready to sacrifice his happiness, because he is not worthy of her." But love requires from a person not only impulses, but also constant inner growth, transformation of the soul, development of the mind, feelings. Love does not accept "sleep", immobility. "Oblomovshchina" won this time as well. Olga Ilyinskaya breaks up with Oblomov. A subtle and deep nature, not stopping in its development, she realized that her feeling was doomed, had no prospect: in the musty world of Oblomov, she would suffocate, die as a person. Therefore, she perceives the outcome of the life of Oblomov himself (long before his physical death) as a catastrophe. Olga marries Stolz. The union with Stolz is a loving family: “... they worked together, dined, went to the fields, played music ... But they didn’t have drowsiness, despondency, they spent their days without boredom and apathy.” But despite the ideality of Stolz, who combines the features of a businessman with high moral qualities, Olga feels that something is missing in her life, she is burdened by calmness and serenity, which is akin to "Oblomovism", since she is a type of Russian woman of that period, when the self-awareness of women began to awaken in Russia, when they felt their right to participate in public life. In the finale, we observe the slow death of Oblomov in the house of his wife, the bourgeois Agafya Matveevna Pshenitsyna, who created for him "the ideal of the indestructible peace of life." But she herself acquired a new human existence, filled with a serious inner work and made sense.

6. Thus, the novel by I. A. Goncharov "Oblomov" can be considered not only a work that reveals the phenomenon of "Oblomovism" as a national vice, but also a warning against the dominance of pragmatists like Stoltz, figures deprived of flight, having no talent " sincerity."

Question 15. Reception of antithesis in the novel by I. A. Goncharov "Oblomov".

^ ANSWER PLAN

1. Antithesis - basic artistic technique in the novel.

2. Antithesis in the images of Oblomov and Stolz:

Origin;

The life of parents;

Upbringing;

Education;

Details of clothing, perception of the world, characters, ideals;

Spirituality and rationalism;

Service attitude.

3. Olga Ilyinskaya and Agafya Matveevna Pshenitsyna.

4. The value of antithesis in resolving the main problems of the novel.

1. In I. A. Goncharov’s novel “Oblomov”, the antithesis technique is expressively used, which is indispensable in cases where the author seeks to reflect all the inconsistency and complexity of the described phenomenon. With the help of this technique, I. A. Goncharov reveals all aspects of the human personality of his heroes: Oblomov and Stolz, Olga and Agafya Matveevna.

2. In Oblomov and Stolz, almost everything contrasts, down to the smallest details, from origin to style of clothing. But their main difference, no doubt, remains the absolute dissimilarity of their characters and ideals. Everything else is cause or effect of it. It is enough to recall Oblomov's dream to understand that he owes much of his laziness and apathy to his lordly origin and upbringing. His idea of ​​life developed from observations of the life of his parents, who accustomed their son to idleness and peace, considering them a sign of happiness and the highest breed. He wants to do something himself, and the household did not even allow himself to pour water from a decanter, bring something, pick up a dropped thing, believing that labor in general is stigmatized with slavery. “Zakhar, as he used to be, a nanny, pulls on his stockings, puts on his shoes, and Ilyusha, already a fourteen-year-old boy, only knows that he is laying down one or the other leg for him; and if something seems wrong to him, he will give Zakharka a kick in the nose ... Then Zakharka scratches his head, pulls on his jacket, carefully slipping Ilya Ilyich's hands into the sleeves so as not to disturb him too much ... "

Stolz's father, on the contrary, tried to instill in his son respect for knowledge, the habit of thinking and studying. He brought up in his son economic tenacity, the need for constant activity. The energy and enterprise of Andrey Stolz is a consequence of the need to make his own way in life without relying on anyone. And if Stolz is a rather dry rationalist, then Oblomov is the embodiment of gentleness and meekness. And this rationalism of Stolz emphasizes such negative traits in the character of Oblomov, as laziness, inertia, indifference to life. This opposition is reinforced by the fact that life paths constantly intersect. Moreover, Stolz is trying to snatch his friend Ilya Ilyich from the clutches of "Oblomovism", to awaken everything in him better feelings: kindness, honesty, sincerity, nobility - hoping that these feelings, having developed, will make his life whole and harmonious.

But the invisible struggle takes place not only between the characters of Stolz and Oblomov. With the help of antithesis, Goncharov almost completely reveals to the reader the inner world of Ilya Ilyich. The author contrasts Oblomov's dreams with reality: "... but it would be nice if this happened." “That is why he loves to dream and is terribly afraid of the moment when dreams come into contact with reality. Here he tries to put the matter on someone else, and if there is no one, then maybe ... ”His dreams, sometimes childish and naive, differ sharply from reality, which became Oblomov’s biggest life tragedy. His laziness and apathy prevent him from realizing at least a small fraction of his grandiose dreams.

Oblomov, as it were, lives a double life: the first is an everyday reality, and the second is his dreams and dreams, in which he presents himself as an active person, a person who is able to create and act, regardless of any life problems and internal contradictions. But this is a dream, not reality. Ilya Ilyich sleeps because in a dream he sees himself as what he wants to be. His life is a dream. Only love for Olga Ilyinskaya was able to resurrect Oblomov to life for a while. He felt that real happiness does not lie in fruitless reflections and dreams, but in the richness of feelings. The feeling that flared up between Oblomov and Olga is so romantic and strong that it pushes the problem of “Oblomovism” into the background. It seems to Olga that she can cope with his laziness very easily. Olga's perseverance and perseverance temporarily defeat Oblomov's laziness: she makes him read books and newspapers, takes walks with him around the outskirts of St. Petersburg, he visits museums at her request. Olga seeks physical movement, mental work from Oblomov.

However, love could not capture Ilya Ilyich - he does not sacrifice his calmness for her. Olga's dream of re-education is shattered by Oblomov's laziness. Love seemed to him "a difficult school of life." The break with Olga became inevitable. But it is worth noting that the ideals of the energetic person Oblomov and Stolz during this period differ sharply from each other. In his dreams, Oblomov sets high and noble goals, in contrast to the mercantile interests of Stolz.

3. Women's images Olga Ilyinskaya and Agafya Matveevna Pshenitssha are also opposed in the novel. There is already a lot of dissimilarities in their appearance: Olga is slender, Pshenitsyna is fat, although both are attractive in their own way in the eyes of Oblomov: one with her grace, the other with stateliness. These two heroines are also opposed by their social origin:

Olga is a noblewoman, received a good education and upbringing. Agafya Matveevna is from the people and is not distinguished by education. These two women love in different ways: Olga's love is spiritualized, but somewhat selfish (she loves herself in Oblomov, her efforts of will and spirit), and Pshenitssha's love is selfless, she rests on emotional attachment and is expressed in constant concern for Oblomov.

4. Using the antithesis technique in the work, the author, opposing the characters, forces the readers to take the position of one of the opposing sides, however, this technique is often aimed at helping us to consider each phenomenon objectively. So, speaking of Oblomov, we can condemn his laziness and apathy, but at the same time we recognize the childlike purity of his soul and genuine kindness. One can admire Stolz's enterprise, but one should not forget about cunning and resourcefulness, the qualities necessary for success. Skillfully using the technique of antithesis, Goncharov left to future generations a magnificent novel about secrets and subtleties. human soul- the most complex and mysterious phenomenon of the past, present and future.

I. S. Turgenev

Question 16. The image of Bazarov in the novel by I. S. Turgenev "Fathers and Sons", the author's attitude towards him.

^ ANSWER PLAN

1. Socio-political situation in the creation of the novel "Fathers and Sons".

2. I. S. Turgenev about his hero.

3. Bazarov - " new person»: democracy; harsh life school; “I want to work”: passion for the natural sciences; the humanism of the hero; self-esteem.

4. Nihilism of Bazarov.

6. Love in the life of Bazarov and its influence on the views of the hero.

7. Death and worldview of Bazarov - main point final.

1. The novel "Fathers and Sons" was written by I. S. Turgenev in the period revolutionary situation in Russia (1859-1862) and the abolition of serfdom. The writer revealed a fracture in the novel public consciousness Russia, when noble liberalism was supplanted by revolutionary democratic thought. This disengagement of society was reflected in the novel in the person of Bazarov, a raznochint-democrat ("children") and the Kirsanov brothers, the best of the liberal nobles ("fathers").

2. Turgenev himself ambivalently perceived the image he created. He wrote to A. A. Fet: “Did I want to scold Bazarov or exalt him? I don’t know this myself, for I don’t know whether I love him or hate him!” And in a note about "Fathers and Sons" Turgenev writes: "Bazarov is my favorite brainchild ... This is the prettiest of all my figures."

3. The personality of Bazarov, the spokesman for the ideas of revolutionary democracy, is of interest to Turgenev, because this is the hero of the time, who has absorbed distinctive features era of social change. Turgenev singles out democracy in Bazarov, manifested in the noble habit of work, which is developed from childhood. On the one hand, the example of parents, on the other - a harsh school of life, studying at the university for copper pennies. This feature distinguishes him from the Kirsanovs and for Bazarov is the main criterion for evaluating a person. The Kirsanovs are the best of the nobles, but they do nothing, they do not know how to get down to business. Nikolai Petrovich plays the cello, reads Pushkin. Pavel Petrovich carefully monitors his appearance, changes clothes for breakfast, lunch, dinner. Arriving to his father, Bazarov says: "I want to work." And Turgenev constantly. emphasizes that the "fever of work" is characteristic of the hero's active nature. A feature of the generation of Democrats of the 60s is a passion for the natural sciences. After graduating from the Faculty of Medicine, Bazarov, instead of rest, “cuts frogs”, preparing himself for scientific activity. Bazarov does not confine himself only to those sciences that are directly related to medicine, but reveals extensive knowledge in botany, and in agricultural technology, and in geology. Realizing the limitations of his abilities due to the deplorable state of medicine in Russia, Bazarov still never refuses to help those in need, regardless of his employment: he treats both his son Fenichka and the peasants of the surrounding villages, helps his father. And even his death was due to infection at autopsy. Bazarov's humanism is manifested in his desire to benefit the people, Russia.

Bazarov is a man with a great sense of his own dignity, in no way inferior to aristocrats in this respect, and in some ways even surpasses them. In the story of the duel, Bazarov showed not only common sense and intelligence, but nobility and fearlessness, even the ability to sneer at oneself at the moment of mortal danger. Even Pavel Petrovich appreciated his nobility: “You acted nobly ...” But there are things that Turgenev denies in his hero - this is Bazarov’s nihilism in relation to nature, music, literature, painting, love - everything that makes up the poetry of life that elevates a person. Everything that is devoid of a materialistic explanation, Bazarov denies.

He considers the entire state system of Russia to be rotten, therefore he denies "everything": autocracy, serfdom, religion - and what is generated by the "ugly state of society": popular poverty, lack of rights, darkness, ignorance, patriarchal antiquity, family. However, Bazarov does not put forward a positive program. When P.P. Kirsanov tells him: “... You are destroying everything ... Why, you need to build,” Bazarov replies: “This is no longer our business ... First we need to clear the place.”

4. When Bazarov stigmatizes exaggerated, abstract "principles", he wins. And the author shares his position. But when Bazarov enters the sphere of refined experiences, which he never accepted, not a trace remains of his confidence. The harder it is for Bazarov, the more tangible is the author's empathy for him.

5. In love for Odintsova, Bazarov’s ability to have a strong feeling and respect for a woman, her mind and character were expressed - after all, he shared his most cherished thoughts with Odintsova, filling his feeling with reasonable content.

Turgenev reflects the deep psychological experiences of the hero, their passionate tension, integrity and strength. In a love conflict, Bazarov looks like a big personality. Rejected, he wins a moral victory over a selfish woman, but his feelings for her and the gap are tragic for Bazarov. Love for Odintsova helped Bazarov reconsider his views, rethink his convictions. He has a new psychological attitude: isolation, introspection, attraction to problems previously alien to him. Bazarov speaks with pain about the brevity of human existence: “The narrow place that I occupy is so tiny in comparison with the main space ... and the part of the time that I manage to live is so insignificant before eternity ...” A complex reappraisal of values ​​begins. For the first time, Bazarov loses faith in his future, but does not give up his aspirations and opposes complacency. Boundless Rus' with its dark, dirty villages becomes the subject of his close attention. But he never acquires the ability to "talk about the affairs and needs" of the peasants and only helps the rural population in the medical practice of his father. Turgenev showed the greatness of Bazarov during his illness, in the face of death. In the speech of the dying, pain from the consciousness of the near inevitable end. Each remark addressed to Odintsova is a clot of spiritual suffering: “Look, what an ugly sight: a half-crushed worm” and also bristles. And after all, I also thought: I’ll break off my grandfather a lot, I won’t die, where! There is a task, because I am a giant!.. Russia needs me... No, apparently, it is not needed. And who is needed? Knowing that he will die, he comforts his parents, shows sensitivity to his mother, hiding the danger that threatens him from her, makes a dying request to Odintsova to take care of the old people: “After all, people like them cannot be found in your big world during the day with fire. ..” The courage and steadfastness of his materialistic and atheistic views manifested itself in his refusal to confess, when, yielding to the entreaties of his parents, he agreed to take communion, but only in an unconscious state, when a person is not responsible for his actions. Pisarev noted that in the face of death "Bazarov becomes better, more humane, which is proof of the integrity, completeness and natural richness of nature." Having not had time to realize himself in life, Bazarov only in the face of death gets rid of his intolerance and for the first time truly feels that real life much wider and more diverse than his ideas about it. This is the main point of the ending. Turgenev himself wrote about this:

“I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, vicious, honest - still doomed to death - because it still stands on the eve of the future.”