The author himself described the peculiarity of the construction of "Oblomov". He calls part 1 "the overture of the whole novel", a kind of "prologue" to the main part, where the plot movement unfolds: this is a "poem of love", which makes up parts 2 and 3 of the work. Only with Oblomov's declaration of love for Olga does a novel action arise. It is here that the author's position in relation to the hero is revealed and the meaning of the concept of "Oblomov-shchina" is clarified. The result of the "poem of love", and with it the result of the life of the protagonist, is summed up in the final 4 parts of the novel.
Thus, the plot basis of the work is the love story of the noble intellectual, the landowner Oblomov, for the girl of a whole and spiritualized character, Olga Ilyinskaya. It is in a love affair that all the ideological lines of the novel converge, it constitutes its ideological and compositional center. Shown in dramatic action genuine character the main character, who is strikingly different from the one we see in part 1.
This meaning of love intrigue in the novel is determined by the writer's concept, according to which "love, with the power of Archimedes' lever, moves the world." The writer believed that this is the main beginning of life. A person, according to Goncharov, can reveal himself, show his essence only after passing the “school of love”. All the characters in the novel go through this school. Even Stolz, a non-poetic, down-to-earth nature, having received Olga’s consent, exclaims: “Here it is, the last happiness of a person!”
We can say that Oblomov is not just a novel with a love story. This is a novel about different forms of love, manifested in the destinies of people who are in many ways opposite to each other. They are reflected in different family structures: the families of Oblomov and Pshenitsyna, Stoltz and Olga. Like the characters themselves, the life of these families is depicted in accordance with the principle of antithesis, which plays the most important ideological and compositional role in the novel. In the outwardly happy, harmonious family of Stolz and Olga, based on love and mutual respect, the main thing is missing - there is no striving for the ideal, a generally significant goal, this family is, as it were, closed in on itself. That is why Olga in her family life repeats the path of Oblomov's spiritual dissatisfaction, which Stolz does not have. The antipode of the family of Stolz and Olga is another family union - Oblomov and Pshenitsyna. But even here the author does not find the “norm” that he wants to see. The speculation of the Stolz family is opposed by the deliberate earthiness of the Oblomov and Agafya Matveevna families, and therefore there is no desired harmony of mind and heart here either. material from the site
Oblomov's death is a verdict to what is connected in his character with "Oblomovism", but the bright sides of his nature continue in the fates of those who loved him. It turns out that he not only ruins himself with his apathy, inactivity, but also inspires a rare love that changes a person. Olga blossomed next to him, and even in a happy family with Stolz, she increasingly recalls Oblomov. Oblomov discovered human meaning and light, breathed soul into the previously almost automatic existence of Agafya Matveevna. Not without reason, after the death of Oblomov, an unexpected rapprochement of these two so dissimilar heroines arises. So it turns out that the weak, passive Oblomov had a talent for kindness, which turned him into a nature, actively influencing others, awakening in them all the best, kind, high. But such a person is doomed in the modern world. “Between the ideal and reality lies ... an abyss across which a bridge has not yet been found, and it will hardly be built when,” Goncharov stated, and this contradiction takes the main problem of the novel far beyond the era depicted in it.
TEST ON THE WORK OF I.A. GONCHAROV "OBLOMOV"
1) The work of "Oblomov"
a) novel b) short story c) poem d) short story
2) Which work does not belong to Goncharov:
A) " ordinary story»
b) Nevsky Prospekt
c) "Oblomov"
d) "Break"
3) Determine the exposure of the novel "Oblomov"
a) the first six chapters b) the first three chapters c) the first two chapters d) the entire first part
4) To which literary direction should the novel "Oblomov" be attributed?
a) classicism b) sentimentalism c) realism d) romanticism
5) The action of the novel "Oblomov" takes place
a) in Moscow b) in the Tula province c) in the Oryol province d) in St. Petersburg
6) What was the name best friend Ilya Ilyich Oblomov
a) Andrey Stoltz
b) Vladimir Lensky
c) Pierre Bezukhov
d) Akaki Bashmachkin
7) Determine the plot basis of the novel "Oblomov"
a) the love story of Oblomov and Agafya Pshenitsyna
b) the history of the relationship between the landowner Oblomov and the serfs
c) the love story of Ilya Oblomov and Olga Ilyinskaya
d) description of friendly relations between Oblomov and Stolz
8) What was the name of the son of Ilya Ilyich Oblomov
a) Andrei b) Ivan c) Ilya d) Pavel
9) Which of the heroes of the novel is closest to the author's ideal
a) Olga Ilyinskaya b) Oblomov c) Stolz d) Agafya Pshenitsyna
10) Indicate the age of Oblomov at the beginning of the novel
a) 25-26 b) 32-33 c) 36-37 d) 40-45
11) The images of Oblomov and Stolz are introduced into the novel according to the principle
a) mutual exclusion b) comparisons c) complements d) antitheses
12) To what type literary heroes can be attributed to I. Oblomov
a) "extra person"
b) " small man»
c) hero-lover
d) hero-reasoner
13) What character in question?
“... did not try to change not only the image given to him by God, but also
his costume, in which he walked in the village. The dress was sewn for him according to the exported
them from the village as a model. He liked the gray frock coat and waistcoat also because in
in this semi-uniform he saw a faint recollection of the livery which he
wore once, seeing off the late gentlemen to church or on a visit; and the livery in
in his memoirs was the only representative of dignity ... "
a) Alekseev
b) Tarantiev
c) Zakhar
d) Volkov
14) Who said:
And he was no more stupid than others, the soul is pure and clear, like glass; noble,
gentle, and - gone! Reason... what a reason! Oblomovism!
a) Stolz b) Olga Ilyinskaya c) Alekseev d) Zakhar
15) This woman“she was at the zenith of her life; she lived and felt that she lived fully, as she had never lived before, but only she could never express this, as before, or, better, it never occurred to her. She only prayed to God that he would prolong Ilya’s life Ilyich and to deliver him from all "sorrow, anger and need"
a) Olga Ilinskaya
b) Agafya Pshenitsyna
c) Olga's aunt
d) mother of Ilya Oblomov
16) How long do the events described in the first part of the novel "Oblomov" last
a) 1 month b) 1 day c) 2 days d) 5 days
17) What was the name of the beloved of Ilya Ilyich Oblomov
a) Tatyana Larina
b) Ekaterina Sushkova
c) Natasha Rostova
d) Olga Ilyinskaya
18) What street did Ilya Ilyich Oblomov live on at the beginning of the novel
a) on Sadovaya
b) on Gorokhovaya
c) on the Vyborg side
d) Leni Golikov
19) What prevents Ilya Ilyich Oblomov from being an active person
a) no purpose in life
b) upbringing and patterns of contemporary life
c) poverty
d) sickness
20) Zakhar marries
a) Mary b) Olga c) Agafier d) Anissier
21) The chapter "Oblomov's Dream" is included in the novel in order to
b) explain the origin of the hero
c) explain the reasons for the apathy and inactivity of the hero
d) to expand the idea of aristocratic life
22) Goncharov uses a household item as an important means of characterizing a character. In the novel "Oblomov" such a detail is
a) cane b) dressing gown c) piano d) book
23) What class did Stolz belong to
a) raznochintsy b) noblemen c) merchants d) philistines
24) Name the peculiar double of Ilya Oblomov in the novel
a) Stolz b) Zakhar c) Tarantiev d) Volkov
25) What character are we talking about?
“Nothing more reminded him of the lordly, wide and quiet life in the wilderness of the village. The old gentlemen died, the family portraits remained at home; the legends about the ancient way of life and the importance of the family name all fade away or live only in the memory of the few old people left in the village. Therefore, a gray frock coat was dear to him: in it, and even in some signs, preserved in the face and manners of the master, reminiscent of his parents , and in his whims, which, although he grumbled, and to himself, but which meanwhile he respected inwardly, as a manifestation of the lord's will, the master's right, he saw faint hints of obsolete greatness.
a) Tarantiev
b) Alekseev
c) Volkov
d) Zakhar
26) Who said:
Snow, snow, snow! - he repeated senselessly, looking at the snow, which covered the fence, wattle fence and ridges in the garden with a thick layer. - Everyone fell asleep! - then he whispered desperately, went to bed and fell into a leaden, bleak sleep.
a) Oblomov
b) Stolz
c) Alekseev
d) Baron
27) This woman
“she lived in her new sphere without visible impulses and anxieties. She did the same thing as before for everyone else, but she did everything differently. She was on her way to a French play, but the content of the play was getting some sort of connection with her life; read a book, and there were lines with sparks of her mind, in some places the fire of her feelings flickered ”
a) Agafya Pshenitsyna
b) Olga's aunt
c) Olga Ilinskaya
d) Oblomov's mother
Answers: 1-a, 2-b, 3-d, 4-c, 5-d, 6-a, 7-c, 8-a, 9-a, 10-b, 11-d, 12-a, 13-c, 14-a, 15-b
16-b, 17-d, 18-b, 19-b, 20-d, 21-c, 22-b, 23-a, 24-b, 25-d, 26-a, 27-c
The history of the creation of the novel "Oblomov". Theme, idea, problems, composition.
“The story of how the sloth Oblomov lies and sleeps
and no matter how friendship or love can awaken and lift him,
god knows what a story..."
1. The idea of the novel “Oblomov.
The idea of the novel "Oblomov" arose in 1847, but the work was created slowly. In 1849 in the journal "Sovremennik" was published one chapter from the novel "Oblomov's Dream", in which he gave an amazing picture of patriarchal landlord life in terms of brightness and depth. But the bulk of the novel was written almost 10 years later, V 1857, in Marienbad (Germany), where Goncharov was treated with mineral waters. During this decade, the author not only carefully considered the whole plan of the work, but also all the plot moves and details. Subsequently, the writer noted that he “wrote almost all 3 recent volumes"Oblomov". Goncharov did a tremendous job. He wrote to the point of exhaustion. “I earned so much money, did so much in these two months, that another in two of his lives has not written so much.”
IN 1858Oblomov wasfinished and was not fully published until 1859.
2. Theme, the idea of the novel.
The theme is the fate of a generation that is looking for its place in society, but failed to find the right path.
Idea - to show the conditions that give rise to laziness and apathy, to trace how a person gradually goes out, turning into a dead soul. " I tried to show in Oblomov how and why our people turn prematurely into ... jelly - climate, backwater environment, drowsy life and even more private, individual for each circumstance».
3. Issues
1) In his novel, the writer showed what serfdom has a detrimental effect on life, culture, science . The consequence of these orders is stagnation and immobility in all areas of life .
2) Conditions landlord life And noble education spawn in the hero apathy, lack of will, indifference .
3) Degradation of personality and disintegration of personality.
4) Goncharov puts in the novel questions about genuine friendship, love, O humanism.
Time, depicted in the novel "Oblomov", about 40 years old.
4. Artistic merits of the novel "Oblomov" :
1) A broad picture of the life of Russia is presented.
2) Particular attention is paid to the description internal state heroes: the internal monologue of the characters and the transfer of experiences through gestures, voices, movements.
3) The completeness of the disclosure of the nature of the characters is achieved through a repeating detail (for Oblomov - a dressing gown and slippers).
5. The structure of the novel:
Part 1 - Oblomov lies on the couch.
Part 2 - Oblomov goes to the Ilyinskys and falls in love with Olga, and she falls in love with him.
Part 3 - Olga sees that she made a mistake in Oblomov, and they disperse.
Part 4 - Olga marries Stolz, and Oblomov marries the owner of the house where he rents an apartment - Agafya Matveevna Noah Wheat. Lives on the Vyborg side, peace, turning into "eternal peace".
« That's all. No outside events, no obstacles... interfere with the romance. Oblomov's laziness and apathy are the only spring of action in his entire history.. ()
6. Composition
All actions unfold around the main character - Ilya Ilyich Oblomov. He unites all the characters around him. There is little action in the novel. Scene in the novel - Petersburg.
1. Exposure - the first part and 1.2 chapters of the 2nd part are tightened, the conditions for the formation of Oblomov's character are shown in great detail.
2. Tie 3 and 5 ch. Part 2 - Oblomov's acquaintance with Olga. Oblomov's feeling for Olga is growing stronger, but he doubts whether he can get rid of laziness.
3. Climax - Chapter 12 of the 3rd part. Ilya Ilyich declares his love for Olga. But he cannot sacrifice his peace, which leads to a quick break in relations.
4. Decoupling- 11, 12 chapters of the 3rd part, which show the insolvency and bankruptcy of Oblomov.
In chapter 4 of the novel - further fading of the hero. He finds ideal living conditions for himself in Pshenitsyna's house. He again in a dressing gown lies on the couch all day. The hero suffers a final collapse. Relations between Olga and Stolz.
In the epilogue – Chapter 11, part 4, Goncharov talks about the death of Oblomov, the fate of Zakhar, Stolz and Olga. This chapter explains the meaning of "Oblomovism".
Essay plan
1. Introduction. Criticism about the composition of the novel.
- The annual cycle as the basis of the composition of the novel.
— Compositional symmetry of Oblomov.
- The slowness of the plot in the novel.
2. The main part. The plot-compositional structure of Oblomov.
— The first part is the prologue and exposition.
- "Oblomov's Dream" and its meaning in the novel.
— Oblomov and types of Russian reality.
- The image of Volkov.
- The image of Sudbinsky.
— The image of Penkin.
- The image of Alekseev.
- The image of Tarantiev.
- Oblomov and his "twins".
— Types of life philosophy.
- Visiting the hero Stolz. False composition move.
- The love story of Oblomov and Olga Ilyinskaya and its significance in the plot.
— Second love story.
- The antithesis of the images of Oblomov and Stolz.
- Side effects storylines.
- The presence of two narrators and their significance in the novel.
3. Conclusion. The peculiarity of the composition of the novel.
Critics have repeatedly noted the originality of the composition of the novel by I.A. Goncharova. So, P. Weil and A. Genis wrote: “The annual cycle of nature, the measured and timely alternation of the seasons constitute the inner basis, the skeleton of the famous novel. The ideal Oblomovka, in which “the annual cycle is completed correctly and calmly” is the prototype of the entire construction of Oblomov. The plot obediently follows the seasons, finding the source of its existence in humility before the eternal order. The novel is strictly subject to the calendar. It starts in the spring - May 1. All the stormy action - the love of Oblomov and Olga - falls on the summer. And the actual novel part of the book ends in winter - with the first snow. The composition of the novel, inscribed in the annual circle, leads to a smooth completion of all storylines. It seems that such a construction was borrowed by Goncharov directly from his native nature. Oblomov's life - from his love to his dinner menu - is included in this organic order. It is reflected in the natural cycle, finding a scale for comparison in the calendar.
Another modern researcher, Hainadi Zoltan, noted the compositional symmetry of the novel: “The structural construction of the novel is symmetrical. Between two idealized centers - an idyll in Oblomovka and on the Vyborg side - Oblomov's temporary residence on Gorokhovaya Street: an intermediate state of homelessness. Three places are places of three mental and everyday states: paradise - lost heaven Paradise returned. Approximately the same opinion was shared by D. Merezhkovsky and Yu. Aikhenwald.
ON THE. Dobrolyubov noted the slowness of the plot in the novel, calling the novel "extended". Other researchers considered only the first part of the novel slow, noted the compositional heterogeneity of the work.
Indeed, the first part of Oblomov differs from the other three parts. It includes a prologue and an exposition. Here the writer gives us the first detailed portrait of Ilya Ilyich, outlines the features of his character, describes his lifestyle, habits. We also learn the whole background of the hero. talks about his childhood in Oblomovka, about studying at the Stolz boarding school, about serving in St. Petersburg. Thus, the prologue here is included in the exposition.
The Dream of Oblomov also acquires expositional significance, although in the context of the history of the creation of the novel, the ninth chapter acquires a certain independence. A.V. Druzhinin notes that Goncharov's novel "splits into two uneven sections." Under the first part of "Oblomov" is 1849, under the rest - 1857 and 1858. Thus, the ninth chapter not only contributed to the special artistic authenticity, realism of the image of Oblomov, fastened all parts of the novel into a single whole, but also gave the work poetry, bright lyricism.
The first part of the novel is thus an exposition that includes a prologue. However, here the character of the hero and his background are not only outlined. In the first part there is a peculiar alignment of forces in the novel. Here Goncharov presents us with a number of characters embodying a different, "neoblomov" attitude to life. Each of them represents a certain type of Russian reality. And here Goncharov uses Gogol's method of characterization. The description of Oblomov's guests in the first chapter reminds us of the gallery of Gogol's landowners in the poem.
So, the first guest of Oblomov is Volkov, a young man of twenty-five. This is a young secular rake, not only narrow-minded, but even frankly stupid. The main thing for him is external brilliance and gloss. Goncharov emphasizes all these qualities with characteristic details and definitions: “brilliant with health”, “glossy hat”, “lacquered boots”. Volkov's time is clearly scheduled: visits, balls, dinners... Oblomov finds this way of life empty and vain.
The second guest of Ilya Ilyich is the “head of the department” Sudbinsky. This is a person concerned about promotion, career. This character brings with him reminiscences from Gogol and Griboyedov. So, his remarks about the “courier” (“... ordered the courier to jump here. You can’t have yourself for a minute”) we associate with Khlestakov from Gogol’s comedy. A remark about Foma Fomich (“... it is pleasant to serve with such a person as Foma Fomich: he doesn’t leave him without awards ... As soon as the term has passed - for distinction, he imagines; whoever has not reached the deadline for the rank, for the cross, will get money ... " ) evokes in us the memory of Famusov from Griboyedov's comedy "Woe from Wit". This way of life is also unacceptable for Oblomov. All the troubles of Sudbinsky seem to him meaningless, repugnant to living, genuine life. “Stuck, dear friend, stuck up to his ears,” thought Oblomov, following him with his eyes. “Blind and deaf and mute to everything else in the world. And he will come out into the people, in time he will turn things around and pick up ranks ... We also call this a career! And how little a person is needed here: his mind, will, feelings - why is this? Luxury! And he will live his life, and not much will move in it ... Meanwhile, he works from twelve to five in the office, from eight to twelve at home - unhappy!
Oblomov's third visitor is the writer Penkin, who advocates a "real trend in literature." This image is depicted by Goncharov almost as a caricature, in which he denounces the superficiality, lack of ideas, the "emptiness" of some "writers", their love for novelties, fresh facts. Here, the very name of the hero, Penkin, is already symbolic. He writes literally about everything - "about trade, about the emancipation of women, about beautiful April days". Ilya Ilyich attacks such "literature" with noble indignation, noting that in such works there is no life, "there is no understanding of it and sympathy." “Do you think that a thought does not need a heart? No, it is fertilized by love. Reach out your hand to a fallen man to lift him up, or weep bitterly over him if he perishes, and do not mock. Love him, remember yourself in him and treat him as if you were yourself, - then I will read you and bow my head before you ... They depict a thief, a fallen woman, - he said, - but they forget a person or they don’t know how to portray . What kind of art is here, what poetic colors did you find? Expose debauchery, dirt, only, please, without pretensions to poetry. Here, of course, Goncharov expresses his own thoughts in Oblomov's words.
Oblomov's last two guests are Alekseev and Tarantiev. "These two Russian proletarians" visit Ilya Ilyich with a very definite purpose - "drink, eat, smoke good cigars." Alekseev personifies dullness, invisibility, uncertainty. The portrait of Alekseev is given in the spirit of Gogol. The description of his appearance echoes the portrait of Chichikov in the poem " Dead Souls". “A man of indefinite years entered, with an indefinite physiognomy, at such a time when it is difficult to guess the summer; neither handsome nor ugly, neither tall nor short, neither blond nor brunette. Nature did not give him any sharp, noticeable feature, neither bad nor good. Everyone confuses even the name of this character: some call him Ivanov, the second - Vasilyev or Andreev, the third - Alekseev. Alekseev is neither rich nor poor, he has neither friends nor enemies, he has no permanent employment in the service. He invites Ilya Ilyich to go to Ekateringof, for a walk, but Oblomov refuses.
Further, the hero is visited by Tarantiev. This is a type of cunning, arrogant, dodgy, a person, a swindler and a swindler. “A bribe-taker in the soul” - such a definition is given to him by the writer. Tarantiev is a countryman of Oblomov. And Goncharov tells in detail about his childhood and youth. Tarantiev received some education, but nevertheless had to remain a scribe, “but meanwhile he carried in himself and was aware of the dormant power locked in him by hostile circumstances forever, without hope of manifestation, as they were locked, according to fairy tales, in cramped, bewitched the walls of the spirits of evil, deprived of the power to harm. Thus, this hero develops the motive of hidden power, an unfulfilled dream, a motive that is very significant for the image of the main character.
Thus, all these characters have an important compositional value in the novel. Each of them reveals to Oblomov some side of life, tempting the hero, as if offering him to actively get involved, to intervene in this life. But something else is especially important here - almost every one of these people is a kind of double of Oblomov. Ilya Ilyich has the qualities of each of these characters. So, no worse than Volkov, he knows secular etiquette, once he went to the theater and to visit. Once Ilya Ilyich served, like Sudbinsky, and could have made a career, as he had obvious abilities. Oblomov's subtle mind could also serve to develop literary talent - he could write like Penkin. There is something in Oblomov from the “dullness”, invisibility of Alekseev - Ilya Ilyich is also not recognized in society. The fate of Ilya Ilyich has something in common with the fate of Tarantiev, as we noted above. Thus, all these areas of life are present in Oblomov's soul, but the hero is not satisfied with their "content", their ideological content.
And here Goncharov seems to be inviting him to actively intervene in life. Oblomov is not satisfied with the state of affairs in the Russian public service– why not express your views in the department? Ilya Ilyich is indignant at the lack of ideas and moral emptiness of others literary works Why not try writing yourself? Alekseev is called upon to awaken the pride of the hero, his desire to become noticeable. Tarantiev, deftly deceiving Oblomov, "calls to life" common sense Ilya Ilyich, his firmness of spirit and character, the desire to speak out against any injustice. However, Oblomov responds to each of these calls with a kind of protest against emptiness and vanity. secular life, the formalism of a Russian career, the lack of ideas and superficiality of writers, human dullness and lack of initiative, fraud and deceit. And this protest is inaction. Ilya Ilyich rejects all these areas of life, because he does not see in them the inner meaning, depth, spirituality, humanity. “Why does his passivity leave no impression of bitterness? Because nothing worthy is opposed to it. Oblomov’s laziness is opposed to a career, secular fuss, petty litigation ... ”, wrote the critic Annensky.
The last of Oblomov's visitors is Stolz. This character is already very different from all previous characters. Stolz surpasses all Oblomov's guests with his mind, his business qualities, and decency. Andrey Ivanovich is energetic, efficient, practical, resolute, purposeful. And in this regard, Stolz is the antipode of Oblomov in the novel. However, is he morally superior to Oblomov? Here Goncharov seems to be suggesting this comparison of heroes to us, and the rest of the novel serves as a clue to this. The researchers noted that the appearance of Stolz leaves a feeling of starting a new plot. Indeed, the appearance of Stolz marks the acquaintance of Oblomov with Olga. However, it also does nothing. This is the so-called "false compositional move" (the appearance at the end or beginning of a hero who can change the whole picture of the action), which is characteristic of the stylistic manner of Goncharov the novelist.
At the same time, the love story of Oblomov and Olga Ilyinskaya occupies an important place in the plot of the novel. The whole depth of nature and spiritual subtlety of the hero are revealed in the love story of the novel. Oblomov's acquaintance with Olga Ilyinskaya is the beginning of the first love story. The development of the action is the further relationship of the characters, the emerging feeling of love. It is worth noting that outwardly the development of the action here goes in a zigzag - either rising or falling: Oblomov doubts the authenticity of Olga's feelings, the possibility of his own happiness. However, the inner movement of the hero's feelings is on the rise. As A.G. Zeitlin, the hero here seeks to end his relationship with Olga, writes a letter in which he proposes to leave (an external decline in the action), but his love increases. The culmination here is the kiss of Olga and Oblomov, the fall of Ilya at her feet. Then the action moves to the denouement. The denouement is the last explanation of the heroes, where Olga for the first time clearly realizes how wrong she was in her chosen one, and their parting.
The fourth part of the novel is an epilogue in Oblomov's story related to Olga Ilyinskaya. But at the same time, the fourth part is also a new love story of Oblomov. However, it begins in the first part of the novel. The exposition of the plot associated with Agafya Pshenitsyna is Tarantiev's story about a quiet, cozy house on the Vyborg side. Having learned about Oblomov's problems, Tarantiev persuades him to move to an apartment with his godfather. Thus, Oblomov's second love story partially overlaps the first. So, the plot of this plot - Ilya Ilyich's acquaintance with Agafya Matveevna takes place at a time when his relationship with Olga Ilyinskaya reaches its peak, culmination. Oblomov's life in the house on the Vyborg side is the development of the action. It is characteristic that the very development of the action here occurs as if through the perception of Stolz. He visits Oblomov three times in the house of Agafya Matveevna. Stolz understands what Ilya does not see, he seems to fix the relationship between Oblomov and Agafya Pshenitsyna, gives them certainty, designates them with a word. On his first visit, Andrei Ivanovich helps Oblomov in solving problems with the estate. During the second visit, Stolz again saves Oblomov, who has become a victim of Tarantiev's fraud. At the same time, here Stolz, as it were, reveals the “secret” of Agafya Matveevna, having listened to the story of the pawn of silver and pearls. During the third visit, Oblomov himself already indicates his relationship with the hostess. However, Stoltz forces him to do this. Stolz's third visit becomes the culmination of this story. Here Oblomov for the first time calls Agafya Matveevna his wife, and Andryusha his son. The denouement of this story and the whole novel is the death of the hero. Description further fate Agafya Matveevna, Andryusha, the Stolz family - an epilogue of the second Oblomov plot and at the same time an epilogue of the entire novel.
And here the opposition between Oblomov and Stolz takes on a completely different color. We see all the limitations of the second, its tactlessness, moral underdevelopment. Having learned about Ilya's relationship with Agafya Pshenitsyna, Andrei Ivanovich considers his friend dead, his life ruined forever.
There are also side storylines in the novel: the Stolz line, his relationship with Oblomov, the love story of Stolz and Olga, the intrigue with Tarantiev and Mukhtoyarov.
We should also note the presence of several narrators in the novel. On the last page of the book, we learn that Stolz tells the whole story of Oblomov's life. This story was written down by a friend of Stolz, a writer, a person in whom Goncharov himself is guessed.
Thus, the plot and composition of the novel clarify the character of the protagonist, exposing the tragic contradiction of Oblomov's image. The hero of Goncharov wholeheartedly strives for a real, genuine life, he is endowed with the best human qualities, but he is not able to realize them, his very soul seems to be hostile to life. In addition, the composition of the novel is fully consistent with the character of the protagonist. This is the unconditional originality of Goncharov the novelist.
Goncharov's novel "Oblomov" was written in 1858, and in 1859 it was published in " Domestic notes". However, the first part of the work - "Oblomov's Dream" was published back in 1849 in the "Literary Collection", becoming a landmark element of the plot and ideological construction of the novel. "Oblomov" is one of the works of Goncharov's novel trilogy, which also includes "An Ordinary Story" and "Cliff". In the book, the author touches on many acute social issues for his era - the formation of a new Russian society and the opposition of the original Russian mentality to European principles, as well as the "eternal" problems of the meaning of life, love and human happiness. A detailed analysis of Goncharov's "Oblomov" will allow us to reveal the author's idea more similarly and better understand the brilliant work of Russian literature of the 19th century.
Genre and literary direction
The novel "Oblomov" was written in the tradition literary direction realism, as evidenced by the following features: the central conflict of the work, which develops between the main character and a society that does not share his lifestyle; realistic depiction of reality, reflecting many everyday historical facts; the presence of characters typical of that era - officials, entrepreneurs, philistines, servants, etc., who interact with each other, and in the process of narration, the development (or degradation) of the personality of the main characters is clearly traced.
The genre specificity of the work allows us to interpret it, first of all, as a social and everyday novel, revealing the problem of "Oblomovism" in the contemporary era of the author, its detrimental effect on the townspeople. In addition, the work must be considered as philosophical, affecting many important "eternal questions", and psychological novel- Goncharov subtly reveals inner world and the character of each hero, analyzing in detail the reasons for their actions and their fate.
Composition
Analysis of the novel "Oblomov" would not be complete without consideration compositional features works. The book consists of four parts. The first part and chapters 1-4 of the second are a description of one day of Oblomov's life, including events in the hero's apartment, his characterization by the author, as well as an important chapter for the whole plot - "Oblomov's Dream". This part of the work is an exposition of the book.
Chapters 5-11 and the third part represent the main action of the novel, describing the relationship between Oblomov and Olga. The culmination of the work is the parting of the beloved, leading to the fact that Ilya Ilyich again falls into the old state of "Oblomovism".
The fourth part is an epilogue of the novel, which tells about later life heroes. The denouement of the book is the death of Oblomov in a kind of "Oblomovka" created by him and Pshenitsyna.
The novel is divided into three conditional parts - 1) the hero strives for an illusory ideal, a distant "Oblomovka"; 2) Stolz and Olga bring Oblomov out of a state of laziness and apathy, forcing him to live and act; 3) Ilya Ilyich again returns to his previous state of degradation, having found "Oblomovka" at Pshenitsyna. Despite the fact that the love story of Olga and Oblomov became the main plot point, from a psychological point of view, the leitmotif of the novel is the image of the degradation of Ilya Ilyich's personality, its gradual disintegration up to actual death.
Character system
The central core of the characters is represented by two opposing male and female images - Oblomov and Stolz, as well as Ilinskaya and Pshenitsyna. Apathetic, calm, more interested in everyday life, home warmth and a rich table, Oblomov and Pshenitsyn act as carriers of outdated, archaic ideas of Russian philistinism. For both of them, "fragmentation" as a state of calm, detachment from the world and spiritual inactivity is the primary goal. This is opposed to the activity, activity, practicality of Stolz and Olga - they are the bearers of new, European ideas and norms, an updated Russian-European mentality.
Male characters
The analysis of Oblomov and Stolz as mirror characters suggests considering them as heroes of different time projections. So, Ilya Ilyich is a representative of the past tense, for him the present does not exist, and the ephemeral "Oblomovka of the Future" does not exist for him either. Oblomov lives only in the past, for him all the best was already a long time ago in childhood, that is, he strove back, not appreciating the experience and knowledge gained over the years. That is why the return to "Oblomovism" in Pshenitsyna's apartment was accompanied by a complete degradation of the hero's personality - he seemed to be returning to a deep, weak childhood, which he had been dreaming of for many years.
For Stolz, there is no past and present, he is directed only to the future. Unlike Oblomov, who is aware of the goal and outcome of his life - the achievement of the distant "paradise" Oblomovka, Andrei Ivanovich does not see the goal, for him it becomes a means to achieve goals - constant work. Many researchers compare Stolz with an automated, masterfully tuned mechanism, devoid of the inner spirituality that he finds when communicating with Oblomov. Andrei Ivanovich acts in the novel as a character-practitioner who has no time to think, while he needs to create and build something new, including himself. However, if Oblomov was fixated on the past and was afraid to look into the future, then Stolz did not have time to stop, look back and understand where and where he was going. Perhaps it is precisely because of the lack of precise landmarks at the end of the novel that Stolz himself falls into the "traps of fragmentation" finding peace in his own estate.
Both male characters are far from the ideal of Goncharov, who wanted to show that remembering one's past and honoring one's roots is just as important as constant personal development, learning something new and continuous movement. Only such a harmonious personality, living in the present tense, combining the poetry and good nature of the Russian mentality with the activity and industriousness of the European one, is worthy, according to the author, to become the basis for a new Russian society. Perhaps Andrei, the son of Oblomov, could become such a person.
female characters
If the image male characters for the author it was important to understand their direction and meaning of life, then female images connected, first of all, with questions of love and family happiness. Agafya and Olga not only have different origins, upbringing and education, but also possess different character. The meek, weak-willed, quiet and economic Pshenitsyna perceives her husband as a more important and significant person, her love borders on the adoration and deification of her husband, which is normal within the framework of the old, archaic traditions of house building. For Olga, her beloved is, first of all, a person equal to her, a friend and teacher. Ilinskaya sees all the shortcomings of Oblomov and tries to change her lover to the very end - despite the fact that Olga is depicted as an emotional, creative nature, the girl approaches any issue practically and logically. The romance of Olga and Oblomov was doomed from the very beginning - in order to complement each other, someone would have to change, but none of them wanted to give up their usual views and the characters continued to unconsciously confront each other.
Symbolism of Oblomovka
Oblomovka appears before the reader as a kind of fabulous, unattainable place where not only Oblomov aspires, but also Stolz, who constantly settles the affairs of a friend there and tries at the end of the work to take to himself the last thing left of that old Oblomovka - Zakhara. However, if for Andrey Ivanovich the village is devoid of its mythical qualities and attracts rather on an intuitive, unclear level for the hero, connecting Stolz with the traditions of his ancestors, then for Ilya Ilyich it becomes the center of his entire illusory universe in which a man exists. Oblomov is a symbol of everything old, dilapidated, leaving, for which Oblomov is trying to grab on, which leads to the degradation of the hero - he himself becomes decrepit and dies.
In the dream of Ilya Ilyich, Oblomovka is closely connected with rituals, fairy tales, legends, which makes it itself a part of ancient myth about the paradise village. Oblomov, associating himself with the heroes of fairy tales told by the nanny, seems to fall into this ancient, existing parallel to the real world. However, the hero does not realize where dreams end and illusions begin, replacing the meaning of life. The distant, unattainable Oblomovka never gets closer to the hero - it only seems to him that he found it at Pshenitsyna, while he slowly turned into a “plant”, ceasing to think and live a full life, completely immersing himself in the world of his own dreams.
Issues
Goncharov in the work "Oblomov" touched upon many historical, social and philosophical issues, many of which do not lose their relevance to this day. Central problem works is the problem of "Oblomovism" as a historical and social phenomenon among Russian philistines who do not want to adopt new social principles and change. Goncharov shows how "Oblomovism" becomes not only a problem for society, but also for the person himself, who is gradually degrading, fencing off his own memories, illusions and dreams from the real world.
Of particular importance for understanding the Russian national mentality is the depiction of classical Russian characters in the novel - both on the example of the main characters (landowner, businessman, young bride, wife), and secondary ones (servants, swindlers, officials, writers, etc.), and also disclosure of Russian national character in opposition to the European mentality on the example of the interaction between Oblomov and Stolz.
An important place in the novel is occupied by questions of the meaning of the hero's life, his personal happiness, his place in society and the world in general. Oblomov is a typical " an extra person”, for which the world striving for the future was inaccessible and far away, while the ephemeral, essentially existing only in dreams, ideal Oblomovka was something close and more real than even Oblomov’s feelings for Olga. Goncharov did not portray an all-encompassing, true love between the characters - in each case, she was based on other, prevailing feelings - on dreams and illusions between Olga and Oblomov; on friendship between Olga and Stolz; on respect from Oblomov and adoration from Agafya.
Theme and idea
In the novel "Oblomov" Goncharov, considering historical theme changes in society in the 19th century through the prism of such a social phenomenon as "Oblomovism", reveals its destructive effect not only for the new society, but also for the personality of each individual, tracing the influence of "Oblomovism" on the fate of Ilya Ilyich. At the end of the work, the author does not lead the reader to unified thought who was more right - Stolz or Oblomov, however, an analysis of Goncharov's "Oblomov" shows that a harmonious personality, like a worthy society, is possible only with full acceptance of one's past, drawing spiritual foundations from there, with constant striving forward and continuous work on yourself.
Conclusion
Goncharov in the novel "Oblomov" first introduced the concept of "Oblomovism", which remains a household word today to refer to apathetic, stuck in illusions and dreams of the past, lazy people. In the work, the author touches upon a number of social and philosophical issues that are important and relevant in any era, allowing the modern reader to take a fresh look at his own life.
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