The content of Ivan Alexandrovich Goncharov's novel "Oblomov" was familiar to me from childhood, and when it became necessary to read it myself, I took the book without much desire, because I thought it would be boring, because this work is not rich in external events, there are no unexpected events in it. incidents, spectacular adventures. But I soon realized that my fears were unfounded. From the very first pages, I fell under the spell of Goncharov's unhurried, smooth, and at the same time expressive style, as if alive, the heroes of the work stood up in front of me. Later, when studying the novel in literature classes, I tried to figure out how the writer manages to achieve such authenticity in depicting his characters, so that even to us, living in a century and a half, they seem close and understandable.
The action of the novel is indeed not full of events, but, it seems to me, this is due to the fact that all the writer's attention is focused on the inner world of a person, his psychology, the originality of his character. The main method of revealing the character of Goncharov is a portrait. The portrait in the novel, extremely detailed and detailed, sometimes takes several pages, but gives an idea not only of the appearance, but also of the lifestyle, character, life position of the hero. Behind every detail of the portrait of Oblomov, from which the novel begins, there is some kind of psychological trait. Details such as “lack of any definite idea”, “indifferent” complexion, dressing gown resembling an obedient slave, long, soft, wide shoes, and the remark that Ilya Ilyich is “flabby beyond his years” paint a person who is lazy and apathetic. . It is these strokes of the portrait that catch the eye at the first reading. But when you carefully reread the first pages of the novel, you notice both “pleasant appearance”, and “even light”, and “softness” and you begin to understand that this character is not so unambiguous. Attention to detail is a prerequisite for reading Goncharov's novel. Sometimes this or that portrait detail is repeated many times in the text, emphasizing the most significant character trait. In addition to the already mentioned Oblomov's dressing gown, these are mobile, speaking eyebrows and a small fold above one of them in the portrait of Olga Ilyinskaya, Agafya Matveevna's bare elbow with a dimple, Anisya's nose, as if lagging behind her face, Mukhoyarov's characteristic movement of a finger with a nail down.
Goncharov's interior complements the portrait. The description of Oblomov's office is especially expressive: it has the same duality as in the portrait. Here and beautiful furniture, and carpets, "several paintings, bronze, porcelain", and in general the room "at first glance seemed beautifully cleaned." However, “the view of the office, if you look there more closely, struck by the neglect and negligence that prevails in it.” The paintings are covered with cobwebs, there is dust on the mirrors, stained carpets. Of particular importance, in my opinion, are the following details: the dusty pages of open books, last year's newspaper and the inkwell, in which "if you dip a pen, only a frightened fly would escape with a buzz." All this indicates that not only physical, but also spiritual life froze in Oblomov’s house: he has not read anything for a long time, writes nothing (and meanwhile we find him just at the moment when he should write a letter to the headman and compose estate redevelopment plan).
It is interesting that all changes in the state of mind of the hero will be reflected in the portrait and interior. In those months when Oblomov's life is filled with love for Olga, both his room and his appearance will change: “There is no sleep, no fatigue, no boredom on his face. There were even colors on him, a sparkle in his eyes, something like courage, or at least self-confidence. You can’t see a bathrobe on him: Tarantiev took him with him to his godfather with other things. The disappearance of the dressing gown, a symbol of Oblomov's apathy, is very remarkable, just as it is remarkable that a new significant detail appears on these pages of the novel - a lilac branch - a symbol of hope, love, the resurrection of the soul.
state of mind heroes is also reflected in the landscape, the changes of which also accompany changes in their lives. When Olga and Oblomov are in love, “summer is in full swing; July passes; wonderful weather". But now love remains in the past, and already "snow fell in flakes and thickly covered the ground."
The novel is written in an amazing language, simple, light and expressive. It contains many witty comparisons that give an extremely accurate and vivid description of the hero. Recall, for example, that the life of the Oblomovites is compared with the course of a “quiet river”, and the life of Oblomov himself in the house of Pshenitsyna is compared with a “simple and wide coffin”. But, like a table on a stone tablet, it was inscribed, open to everyone and everyone, the life of old Stolz. Goncharov's epithets are just as deep and meaningful. Take for example, at least those that relate to Olga and Oblomov. Olga's eyebrows are "speaking", her mind is "restless", her heart is "alarmed", her imagination is "irritated", the movement of thought is "eternal". The heart of Ilya Ilyich is “honest”, “true”, the soul is “crystal”, “transparent”, “pure”. Often, the writer uses to characterize the characters and the “accurate folk Russian word”, about which Gogol spoke so inspiredly in “ Dead souls". Here is how Zakhar Alekseeva characterizes; “And this one has no skin, no faces, no knowledge!” And it seems that this phrase is more accurate and expressive than the previous two pages of the characterization of this hero. Another method of revealing Goncharov's character is the speech of the character himself. Even for minor characters, it is emphatically individual: the speech of the gloomy Zakhar is rude and abrupt, for the talkative Anisya, on the contrary, it flows in a continuous stream, Agafya Matveevna’s dictionary is not rich, Tarantiev’s speech is filled with rude expressions and cries, the cunning Mukhoyarov, in a conversation with Oblomov, adds to almost every word obsequious "-s", but in a business conversation with Tarantiev expresses his thoughts briefly and definitely. Volkov's friendly-familiar language, Sudbinsky's caring-sympathetic intonation, and Penkin's affectionately ingratiating manner aptly characterize the heroes.
For all the individual originality of Goncharov's heroes, they are all typical characters. This is emphasized by the detailed depiction of the social and spiritual atmosphere in which these characters were formed. It is precisely in order to explain how this or that type arose that Goncharov often turns to the background of his characters. Such is the * Dream of Oblomov, in which the origins of Oblomov's character are given in poetic form. It is he who gives us the answer to the question, where does his duality come from in the hero, why, having a crystal-clear soul, he is absolutely incapable of any decisive act. Pictures of the hero's childhood, filled with the author's irony and lyricism, depict the world of 0blomovka, poetic in its immobility. Stolz's biography is less poetic, but it clearly indicates that it was his father's upbringing and Russian soil that created an active, ebullient, but prudent and rational character.
Thus, we can say that Goncharov appears before us in the novel both as a brilliant artist and as the subtlest psychologist. He uses a whole complex of figurative and expressive means in order to create the character of the hero, bright, voluminous and deeply typical. The ability to draw a psychological portrait of a person, to look into the secrets of his soul, not missing a single detail, not a single detail, and, as Dobrolyubov wrote, “to embrace full image object, mint, sculpt it” seems to me the most valuable in the work of this writer and completely redeems the lack of plot dynamics in the novel.
I.A. GONCHAROV
In the literary process of the 2nd half of the 19th century, I. A. Goncharov and his work occupy a special place. Introduced into literature in the turbulent era of the 60s, he was absolutely atypical. The writer is suspicious and distrustful of the changes that began at this time. He was deeply worried about the moral losses in the country associated with the breaking of the age-old foundations of patriarchal Russia. Old Russia attracted I. A. Goncharov with the spirituality of human relations, respect for the memory of ancestors, for national traditions. Seeing the shortcomings of patriarchal Russia, the main of which were inaction and fear of change, the artist comes to the conclusion that the main thing in life is its resistance to all social upheavals. And the main task of the writer is to fix stable forms of life, to create stable types.
For my long life I. A. Goncharov wrote only three novels, work on each took at least ten years (“ ordinary story”, “Oblomov”, “Cliff”), exploring the same conflict - the conflict between old and new Russia, between the patriarchal and bourgeois way of life.
Most famous novel I. A. Goncharova "Oblomov" was published in " Domestic notes"For 1859, that is, on the eve of the abolition of serfdom, the way of life that gave birth to the protagonist of the novel, Oblomov. The source for writing the novel was the writer's observations on the life of his own family and the customs of his native Simbirsk.
The novel by I. A. Goncharov introduced a new concept into Russian literature - “Oblomovism”, associated with the name of the main character, who is called the last in the gallery of “superfluous” people. In his memoirs, I. A. Goncharov said: “It seems to me that I, a very sharp-sighted and impressionable boy, even then, at the sight of all these figures, this carefree life, idleness and lying, an unclear idea of \u200b\u200b“ Oblomovism ”was born .
When analyzing the novel "Oblomov", students' attention should be drawn to the concept of "Oblomovism", to the ambiguity of the author's attitude towards both his main character and the active Stolz, and to the disputes of critics about the novel and its main character (N. A. Dobrolyubov. " What is Oblomovism?"; D. I. Pisarev. "Oblomov"; A. V. Druzhinin. "Oblomov").
At the lessons of literature there is no opportunity to fully get acquainted with the life and in a creative way I. A. Goncharov, therefore, we touch only on the most important issues, bringing out a less important range of problems for independent work students.
TOPICS OF LESSONS ON STUDYING THE LIFE AND CREATIVITY OF I. A. GONCHAROV
Theme one
The main stages of life and creativity
Born on June 6 (18), 1812 in a merchant family in Simbirsk.
1831 - entered the verbal department of Moscow University.
1834 - graduated from Moscow University.
1835 - the beginning of the service in St. Petersburg.
1846 - acquaintance with Belinsky.
1847 - novel "Ordinary History".
1852-1854 - circumnavigation on the sailing military frigate "Pallada" as secretary of the head of the expedition.
1858 - travel essays "Frigate" Pallada "".
1859 - novel "Oblomov".
1869 - novel "Cliff".
1872 - article "A Million of Torments" ("Woe from Wit" by A. S. Griboyedov).
He died on September 15 (27), 1891 in St. Petersburg.
Questions :
1. What are the main character traits of I. A. Goncharov?
2. How did childhood impressions influence the work of I. A. Goncharov?
3. What novels are written by I. A. Goncharov? What is their main conflict?
4. What are the features of Goncharov the writer?
5. What impressions did I. A. Goncharov make from his round-the-world trip? How did they affect his future work?
6. What famous critical article belongs to I. A. Goncharov? What is it about?
Tasks :
1. Make a detailed response plan: "The main stages of the life and work of I. A. Goncharov."
2. Write a miniature essay on the topic “How do I imagine I. A. Goncharov?”.
3. Make a summary of the articles of the textbook: "On the originality of the artistic talent of I. A. Goncharov", "The cycle of essays" Frigate "Pallada"".
Theme two
Roman Oblomov. The image of the main character. The concept of "Oblomovism"
Main questions:
I. The main theme of the novel is the fate of a generation that is looking for its place in society and history, but failed to find the right path.
II. The vital foundations of the novel.
III. Influence of the Gogol tradition in the novel.
IV. The problem of the novel. Main conflict.
V. The image of the main character:
1. Basic character traits.
2. Formation of character. Oblomov's childhood.
3. Oblomov's Day.
4. The role of details in depicting the image of the main character.
5. Oblomov's life ideals.
VI. The attitude of the author to his hero.
VII. What is "Oblomovism"?
VIII. Artistic originality of the novel.
Questions :
1. What is main topic novel?
2. What problems does I. A. Goncharov raise in the novel?
3. Why N. A. Dobrolyubov calls Oblomov the last in a series of " extra people"? What is "Oblomovism"?
4. How Gogol tradition affected in the novel "Oblomov"?
5. What is the main conflict of the novel?
6. What artistic means does I. A. Goncharov use when describing the character of his hero?
7. What are the distinguishing features of Oblomov? How was the character of the hero formed?
8. How does Goncharov feel about his hero? What prevails in the author's coverage of the hero - sympathy or irony?
9. What is artistic originality novel?
10. What is the meaning of "Oblomov's Dream" in the composition of the novel?
11. Which of the heroes of previous literature can be compared with Oblomov?
Tasks :
1. Write an essay-miniature on the topic "Clash of dreams and reality in the life of Oblomov."
2. Make a detailed response plan: "Oblomov's Day."
3. Find in the text of the novel characters who have Oblomov's features. What does it say?
Theme three
Role secondary characters in the novel.
The novel "Oblomov" in Russian criticism
Main questions:
I. Who is Stolz?
1. Stolz's activities, his ideological position.
2. The attitude of the author to Stolz.
3. Stolz - Oblomov's antipode or his double?
II. Zakhar and Oblomov. Oblomov features in Zakhara.
III. Olga Ilinskaya:
1. Character and ideals of Olga.
2. Why did Olga fall in love with Oblomov?
3. Can Olga Ilyinskaya be considered the positive heroine of the novel?
IV. The novel "Oblomov" in Russian criticism:
1. N. A. Dobrolyubov. "What is Oblomovism"?
2. A. V. Druzhinin. "Oblomov, a novel by I. A. Goncharov."
3. D. I. Pisarev. “Oblomov. A novel by I. A. Goncharov.
4. A. A. Grigoriev. "A look at Russian literature since the death of Pushkin".
Questions :
1. Why did I. A. Goncharov think that the image of Andrei Stolz did not work out for him?
2. Why is Stolz's activity not shown in the novel?
3. Can Stolz be considered goodie novel?
4. What features bring Stolz closer to Oblomov?
5. What do Zakhar and Oblomov have in common?
6. How do the images of Stolz and Zakhar reveal the character of Oblomov?
7. Why did Olga Ilyinskaya fall in love with Oblomov?
8. Why is Olga not satisfied with life with Stolz?
9. Who, in your opinion, can be considered a positive character in the novel?
10. What is the essence of the disagreement between Dobrolyubov, Pisarev and Druzhinin in assessing the novel Oblomov?
Tasks :
1. Make a table comparative characteristics:
2. Compose quote plan articles by N. A. Dobrolyubov “What is Oblomovism?”.
3. Write an essay-miniature on the topic "Portrait of Olga Ilyinskaya."
Final work:
As a final work on the work of I. A. Goncharov, one can offer home essays on the topics: “This is a“ poisonous ”word“ Oblomovism ””, “Is there satire in the novel“ Oblomov ””?”, “What is the tragedy of Oblomov's life? ”, “Oblomov - a universal type”, “Oblomov and Manilov”, “Olga Ilyinskaya and Tatyana Larina”, ““Old” and “new” in Russian life”, “Features of the genre and composition of the novel“ Oblomov ”.
The study of the work of I. A. Goncharov can be completed by analyzing (in class) various passages from the novel. Excerpts can be chosen by students themselves or obtained by tickets.
What passages for analysis can be offered to students: "Oblomov's Morning", " last date Oblomov and Olga Ilyinskaya”, “Andrey Stolz’s farewell to his father”, “Oblomov’s letter to Olga”, “Journeys to Pshenitsyna (I part, III part)”?
In order to assess students' knowledge of the text of the novel and critical articles devoted to it, you can offer the following questions for testing:
I. To which of the characters in the novel do the following statements belong?
1. “What is my fault that there are bugs in the world?”
2. “So that I begin to write! I don’t write for the third day in my position: as soon as I sit down, a tear from my left eye begins to beat ... "
3. “... I think everything is a strong thought, so that the peasants do not suffer need for anything, so that they do not envy strangers, so that they do not cry at me to the Lord God on the Last Judgment but pray that they remember me well.
4. “Life: good life! What is there to look for? Interests of the mind, heart? Just look where is the center around which all this revolves: it is not there, there is nothing deep that touches the living.
5. "Your love is not real love, but the future one.
6. "... The normal purpose of a person is to live four seasons, that is, four ages, without jumps ..."
7. "... Life is a duty, a duty, therefore, love is also a duty."
8. “Under this comprehensiveness lies emptiness, lack of sympathy for everything!”
9. “I want you not to be bored, so that you are at home here, so that you can be smart, free, easy!”
10. "Labor is the image, content, element and purpose of life ..."
II. Which of the critics owns the following statements?
1. “It is clear that Oblomov is not a dull, apathetic nature, without aspirations and feelings, but a person who is also looking for something in his life, thinking about something.”
2. “All Oblomovites love to humiliate themselves; but they do this for the purpose of having the pleasure of being refuted and of hearing praise for themselves from those before whom they scold themselves...”
3. "... He is kind to us, like an eccentric who, in our era of selfishness, cunning and untruth, peacefully ended his life without offending a single person, without deceiving a single person and without teaching a single person something bad."
4. “Oblomov was studied and recognized by a whole people, mostly rich in Oblomovism, and not only did they know, but they loved him with all their hearts, because it is impossible to know Oblomov and not love him deeply.”
5. “Such personalities, in our opinion, should be looked upon as pathetic but inevitable phenomena of the transitional era; they stand at the boundary of two lives: old Russian and European, and cannot step decisively from one to the other.”
6. “Olga, in her development, represents the highest ideal that a Russian artist can now evoke from present-day Russian life ...”
7. “The higher aspirations of his mind and heart, awakened by education, did not freeze, the human feelings, embedded by nature in his soft soul, did not harden: they seemed to have swollen with fat, but were preserved in all their primitive purity.”
8. “From Goncharov’s novel, we only see that Stolz is an active person, everything is busy with something, runs around, acquires, says that to live means to work, etc. But what does he do and how does he manage to do something decent where others can do nothing - this remains a mystery to us.
Artistic skill of I. A. Goncharov in the novel "Oblomov"
The novel by I. A. Goncharov is built on the principle of depicting two opposite life destinies: Oblomov and Stolz. These heroes are united by the image of Olga Ilyinskaya, whom they both loved. The genre of this work is close to an artistic biography. Its content is aimed at comprehending the life of the individual, searching for the origins of socially significant activity in individual biographical experience.
The composition of the novel: sleep - awakening - sleep. The author's style of narration in these parts depends on which of the characters in question. Where the author writes about Oblomov - humor combined with a lyrical element, often irony; where about Stolz - a strict narrative tone. In the first part of the novel, there is very little action; Oblomov is still lying on the couch, receiving visitors. The hero is engaged in exclusively "mental" activity. For several years now he has been considering a plan for transformations in the 06-lomovka (“He, as soon as he gets up from the sweat in the morning, immediately after tea will lie down on the sofa, prop his head with his hand and ponder, sparing no effort, until, finally, he is naked -va will get tired of hard work and conscience will say: enough done today for the common good ... No one knew or saw this inner life of Ilya Ilyich: everyone thought that Oblomov was so-so, he just lies and eats on health , and that there is nothing more to be expected from him; that the thoughts in his head hardly even fit ...”)
Of great importance in the composition of the novel is the chapter "Oblomov's Dream", in which the author, using the technique of referring to the memory of the hero, shows the childhood of Ilya Ilyich. The origins of "Oblomovism" are in Oblomov's childhood. The conditions of landowner life and noble education ruined his living mind, the desire for any kind of activity and gave rise to apathy and lack of will.
In the second part of the novel, the strong and harmonious personality of Stolz is shown, his Russian-non-German upbringing is described. All Stolz's attempts to return Oblomov to an active life are shattered by immobility, fear of change and indifference to Ilya Ilyich's own fate.
The fourth part describes the "Vyborg Oblo-Movshchina". Here Oblomov, after a break with Olga, marries Agafya Matveevna Pshenitsyna, again plunges into hibernation, and then dies. This part is the postposition of the novel.
The composition of the work is fully consistent with the idea: to show the conditions that gave rise to laziness, to trace how a person turns into a dead
The first part of the novel and the first two chapters of the second part are an exposition in which I. A. Goncharov shows the conditions in which the personality of the protagonist was formed, and also traces his evolution (or rather, degradation).
The plot of the action is Oblomov's acquaintance with Olga Ilyinskaya, nascent love (III and V chapters of the second part). Chapter XII of the third part, where Ilya Il-ich declares his love to Olga, is the climax. But the inability to sacrifice your peace for the sake of love leads to a break. Chapters XI-XII of the third part are devoted to this.
"Oblomov" refers to the psychological direction in literature. Dominant features (laziness, apathy) stand out in the character of the protagonist; in the chapter "Oblomov's Dream" the influence of the social environment on the hero is traced. In the image of Oblomov, I. A. Goncharov combined social generalization with the image of an individualized personality. Oblomov's name has become a household name. The writer condemns, exposes his hero, passes judgment on Oblomovism, but at the same time treats the hero with sympathy. Oblomov is not like the landlords previously portrayed by N.V. Gogol and I.S. Turgenev. There is no despotism and cruelty in him, on the contrary, he is meek, kind, grateful.
In the epilogue of the novel, the reader learns about the death of Ilya Ilyich, traces further fate Zakhar, Stolz, Olga.
As for the plot of the novel, there is no single point of view. Some literary scholars argue that there are two storylines in the novel: Oblomov - Olga and Stolz - Olga. And Professor A. G. Zetztlin believes that there is more than one in Roma story line and all events are subordinated to one goal - to show the gradual transformation into a "dead soul"; those chapters in which the relationship between Olga and Stolz are depicted are intended to set off the fate of Oblomov.
The language of the novel is light and clear. The author does not use embellishing epithets, metaphors, the vocabulary is devoid of archaisms and dialectisms, on the contrary, it is enriched with scientific and journalistic words of the 40-50s. The language of each of the heroes is peculiar. Although each of the main characters - Olga, Oblomov, Stolz - speaks the correct literary language, each language is associated with the features of the internal appearance.
There are very few descriptions of the landscape in the work, but where the author depicts summer Oblomovka, the park where Olga and Ilya Ilyich meet, the language is unusually clear and expressive.
I. A. Goncharov shows the life of heroes in moments of ups and downs, reveals Oblomov's struggle with himself - and all this is given in vivid pictures of life, the author's reasoning is reduced to a minimum.
I. A. Goncharov uses several "through" artistic details, which serve as a means of additional characterization of the hero, revealing the state of his inner peace. Lilac in the novel symbolizes the possibility of change for the better. A branch of lilac, thrown by Olga and picked up by 06-Lomov, helps both of them to understand each other's feelings. But just as lilacs bloom in spring, the love of young people is a thing of the past. Everything in life is transient, and Oblomov knows this: “The lilacs have departed,., departed yesterday, and the night with ghosts, with suffocation, has also departed ... Yes! And this moment will depart like lilacs!.. What is it?.. And - love too... love? And I thought that she, like a sultry afternoon, would hang over her lovers and nothing would move or die in her atmosphere: there is no peace in love, and everything changes, everything moves somewhere forward ... "Lilac and on Oblomov’s grave: “Lilac branches, planted by a friendly hand, doze over the grave. Yes, the wormwood smells serenely.
The novel has its own "music". This is the opera Casta diva, performed by Olga, and which Oblomov cannot forget, even falling asleep for the second time. The feeling of love in the novel develops according to the laws of a piece of music. In the history of relations between Olga and Ilya Ilyich, there are “unisons”, “dissonances”, and “counterpoints”. The plot of this opera predicts the tragic end of love.
The portrait description of the hero in the novel is an important element in creating his image. For example, Oblomov and Stolz are people of the same age, but strikingly different in their interests and way of life. And such a different attitude to life also influenced the appearance of the characters. Oblomov's "dominant and basic expression" of his face was softness, which "could not be driven away for a minute" by either fatigue or boredom, "Ilya Ilyich's complexion was neither ruddy, nor swarthy, nor positively pale, but indifferent ny ... ", and he himself is "somehow flabby beyond his years." His body, “judging by the matte, too white color of the neck, small plump hands, soft shoulders, seemed too pampered for a man”; “His movements, when he was even alarmed, were also restrained by softness and laziness, not without a kind of grace.”
Stolz is the complete opposite. “He is all made up of bones, muscles and nerve, like a blooded English horse. He is thin; he has almost no cheeks at all, that is, there is bone and muscle, but no sign of fat roundness; the complexion is even, swarthy and no blush; eyes, although a little greenish, but expressive.
He didn't have any extra moves. If he sat, then he sat quietly, but if he acted, then he used as much facial expressions as needed.
The portraits of both heroes reflect their characters. Oblomov is a gentle, generous, kind person, but at the same time apathetic, lazy, indifferent to himself and his health. He does not have a goal in life and interest, he values \u200b\u200bonly his calmness, he is completely unprepared and not adapted to life.
Stoltz, on the other hand, does not see the meaning of life without labor, he is enterprising and extraordinarily efficient: “He is constantly on the move: if society needs to send an agent to Belgium or England, they send him; you need to write some project or adapt a new idea to the case - choose it. Meanwhile, he travels to the world and reads ... ”Even in his face - strength, energy and calmness. But in Andrey there is no dream, in poetry, he is a bourgeois businessman, striving only for personal independence.
When describing the life of heroes, I. A. Goncharov also uses small details. In the image of Ilya Ilyich Ob-lomov, the “talking detail” is his dressing gown. It becomes an integral part of the life of its owner, as it has a host of “invaluable virtues: it is soft, flexible; you do not feel it on yourself; he, like an obedient slave, submits to the slightest movement of the body. The dressing gown then disappears, then reappears - depending on Oblomov's life circumstances. After meeting Olga Ilyinskaya and, as a result, awakening to life, the dressing gown disappeared: “Tarantiev took him with him to his godmother with other things.” There are no long, soft and wide shoes that you get into with your foot right away. Now Oblomov “sits ... in his home coat; a light scarf is worn around the neck; the collars of the shirt are loosened over the tie and shine like snow. He comes out in a frock coat, beautifully tailored, in a smart hat ... "Yes, and Oblomov himself no longer lies on the sofa all day long, but" cheerful, sings ... ". But after the break with Olga and moving to the Vyborg side, the dressing gown reappears as the cares of Agafya Matveevna. During the financial crisis in Oblomov's life, one of the signs of need is also a bathrobe. He "worn out, and no matter how carefully the holes were sewn up on him, but he is spreading everywhere and not at the seams: a new one would have long been needed."
The descriptions of the interiors are very detailed, the author pays special attention to household details. For example, Oblomov's office "struck with the neglect and negligence that prevailed in it." “The room ... at first glance seemed beautifully decorated. There was a bureau of mahogany, two sofas upholstered in silk fabric, beautiful screens embroidered with birds and fruits that have never been seen in nature. There were silk curtains, carpets, several paintings, bronzes, china, and many beautiful little things.
But the experienced eye of a man of pure taste, with one cursory glance at everything that was there, would read only a desire to somehow maintain the decorum of inevitable decorum, if only to get rid of them ... Refined taste would not be satisfied with these heavy, ungraceful mahogany chairs, wobbly floor-towers. The back of the sofa sank down, the pasted wood lagged behind in places ...
On the walls, near the paintings, cobwebs saturated with dust were molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets, for writing on them, through the dust, some notes for memory. Carpets were stained. There was a forgotten towel on the sofa; on the table, a rare morning, there was not a plate with a salt shaker and a gnawed bone that had not been removed from yesterday’s dinner, and there were no bread crumbs lying around.
If it were not for the plate, and not for the pipe just smoked leaning against the bed, or not for the owner himself lying on it, then one would think that no one lives here - everything was so dusty, faded and, in general, was devoid of living traces of human presence. On the shelves, it is true, lay two or three open books, a newspaper was lying about, and an inkwell with feathers stood on the bureau; but the pages on which the books were unfolded were covered with dust and turned yellow; it is clear that they were abandoned long ago; the number of the newspaper was last year, and if a pen was dipped in it, only a frightened fly would have escaped with a buzzing buzz. All this is reminiscent of Gogol's Plyushkin, who turned into a "hole in humanity." Probably, Oblomov would have become the same “pro-reha” if it were not for Stolz’s participation in his fate and love for Olga, which awakened (at least for a while!) Ilya Ilyich to life.
The motive of food is one of the main ones in the novel. In Oblomovka, “the main concern was the kitchen and dinner. The whole house conferred about dinner ... Everyone offered their own dish: some soup with offal, some noodles or stomach, some tripes, some red, some white gravy for the sauce ... Caring for food was the first and main life concern in Oblomovka . What calves fattened there for the annual holidays! What a bird was brought up! .. What stocks of jams, pickles, biscuits were there! What honeys, what kvass were brewed, what pies were baked in Oblomovka!” The main task of mothers in Ob-lomovka was to "leave a healthy child, protect him from colds, from the eye and other hostile circumstances ...", and also "so that the child was always cheerful and ate a lot." Food in Oblomovka brings not only physical, but also to some extent spiritual saturation. Cooking dinner is a whole ritual, a favorite pastime of the whole family, courtyards. In the dinner chores in Oblomovka, "everything was fussing and caring, everything lived such a full, ant-like, such a noticeable life."
The foundations of life, laid down from childhood in the consciousness of Ilya Ilyich, influenced the entire later life his. He strives for a quiet, calm family life without hassle and upheaval. In Oblomov's dreams, along with beautiful weather, swimming in the river, making a bouquet for his wife, a delicious breakfast: “Tea is ready ... What a kiss! What tea! What a quiet chair! I sit down near the table; on it crackers, cream, fresh butter ... "
When comparing life in Oblomovka and in the expected future of Ilya Ilyich, a clear similarity is visible. In Oblomovka, “on Sundays and on public holidays... the clatter of knives in the kitchen was heard more often and louder; the woman made several trips from the barn to the kitchen with double the amount of flour and eggs; there was more groaning and bloodshed in the poultry yard. They baked a gigantic pie ... ".
And Oblomov finds his ideal of life - in the house of Agafya Matveevna Pshenitsyna. Thanks to her care, Ilya Ilyich has “the same nice coffee in the morning, thick cream, rich, crumbly rolls.” In addition, the hostess still constantly treats him to home-made vodka on alcohol, then a pie with onions and carrots (again, “no worse than our Oblomov ones,” as Zakhar notes).
The novel by I. A. Goncharov was highly appreciated by his contemporaries, causing numerous critical responses. One cannot but agree with the assessment of I. S. Turgenev, who remarked after reading it: “As long as at least one Russian remains, until then Oblomov will be remembered.” Using artistic means, Goncharov masterfully conveyed the characters and way of life of the heroes of the novel. And the character and fate of the protagonist make readers think about the most difficult questions of life, about their purpose in it.
Antithesis is an artistic means, consisting in the opposition of images, objects. At the heart of many works, including the novel by I.A. Goncharov "Oblomov", lies this technique. In many ways, the images of Olga Ilyinskaya and Agafya Pshenitsyna are opposite, the existence of people in the city and in the countryside, the way of life in Oblomovka and in Stolz's house are described in contrast, the characters of the main characters - Ilya Ilyich Oblomov and Andrei Ivanovich Stolz are also opposite.
We see the differences even in the story of the childhood of these two people. Oblomov, although he was a cheerful, mobile child (for example, taking advantage of an hour of afternoon sleep, “ran up to the gallery, ran around on creaking boards, climbed the dovecote, climbed into the wilderness of the garden”), but gradually withered away in the surrounding idleness. Already after the ten-minute absence of the little master, numerous servants went in search of him, while Stolz was accustomed to independent activity from childhood and could not show up at home for three or four days. He was used to fulfilling his father's orders, for which he often had to travel, he always did everything himself, and Oblomov constantly relied on his three hundred Zakharovs ("three hundred Zakharovs").
Since Goncharov was one of the representatives of the natural school and agreed with the slogan of the realists "environment stuck", he believed that a person's character largely depends on the environment in which this person grew up. Therefore, it becomes clear why so much attention is paid to the description of the atmosphere that prevailed in Oblomovka and Verkheevo. In the first estate, life flowed slowly, not changing for centuries, far from the noise of cities, their bustle. Here everyone obeyed the old customs and traditions that existed under their fathers and grandfathers. In the house of Stolz lived people accustomed to work, work and independence. Therefore, it is not surprising that the characters of the heroes who grew up in such dissimilar places are so different. This difference is evident even in their portraits. Oblomov was "a young man ... with the absence of any definite idea, any concentration in facial features", and in all his movements there was softness, "which was the dominant and main expression not only of the face, but of the whole soul." His constant companion was a bathrobe - a symbol of laziness and inactive lying on the couch.
Stolz, on the other hand, was “all made up of bones, muscles and nerves”, he did not have a single extra movement, and he often had a cloak with him - a symbol of constant traveling and vigorous activity of its owner. These portraits reflect the main features of the characters. Oblomov is characterized by softness, kindness, inability to take any action, daydreaming. He had no purpose in life, but for himself he decided what kind of person he would not be. This can be seen from his reflections on the visitors. Oblomov's opinion about all of them is approximately the same: “Where is the man here? What did it crumble and shatter into?” Ilya Ilyich is characterized by rejection secular life with its fuss and mechanicalness, he is able to see the true qualities of a person, understand his feelings, which characterizes him as a deep, thinking person.
Stolz, on the other hand, is constantly busy with some business, is on the road: today he is abroad, tomorrow - in Oblomovka, the day after tomorrow - somewhere else. But nowhere in the novel do we see a detailed story about Stolz's activities, its results, the author only informs us about it, which is why the actions of Andrei Ivanovich become for the reader like useless, that is, like vanity. And this endless vanity of Stolz is in no way better life Oblomov according to the old, unchanging traditions. These features, according to the author, are dominant in two national characters: in Russian and in Western, that is, in German. There is also a contrast in the fact that Oblomov grew up in Russia, having absorbed all the features of this land, and Stolz's father is a German who passed on some of his qualities to his son.
With such different characters, these two heroes have different views on many aspects of life, including the problem of family happiness. For Stolz, marriage should be such that the lovers "wake up with the eternal movement of thought, the eternal irritation of the soul and the need to think together, feel, speak!" Oblomov, describing a happy family life, mentions, first of all, household details, such as various lunches, dinners, picnics, and visits. Stoltz would later say that such a “marriage would be only a form, not a content, a means, not an end; would serve as a wide and unchanging frame for visits, receiving guests, dinners and evenings, idle chatter. And each of the heroes finds his ideal. For Oblomov, this is Agafya Pshenitsyna, and for Stolz, Olga Ilyinskaya.
The images of these two women are also opposed. Olga is, first of all, a thinking person, which emphasizes her portrait: “her lips were mostly compressed: a sign of a thought constantly directed at something.” She is an interesting interlocutor and is the personification of spiritual activity, while Pshenitsyna is primarily physical activity. She is always depicted in motion, at work. But there is no spiritual closeness between her and Oblomov, she performs the function of the mistress of the house, takes care of Ilya Ilyich, takes care of him. Olga is a friend for Stolz (their feeling grew out of friendship), a companion with whom he could discuss any issues from different spheres of life: from politics and art to everyday life and raising children.
But Olga could not defeat Oblomovism in the soul of Ilya Ilyich, although there was a period of life in the country when she woke up hopes for his revival. Oblomov's daily routine at the dacha is opposed to his pastime in the city. If at the dacha he often walked, read, studied, even for a while forgot about his dressing gown, then in St. Petersburg he again either dreamily lay on the sofa, or slept, wrapped in this dressing gown.
What are the functions of antithesis in the novel? One of them is a description of two sides of life, different characters. The second function is the search for the ideal. According to the author, a person who combines best qualities Oblomov and Stolz, can become an ideal. Following some traditions, kindness, attention to people and a thirst for action, love of work - these are the features that a harmonious person future.
A little prince- this is a symbol of a person - a wanderer in the universe, looking for hidden meaning things and your own life. The soul of the Little Prince is not shackled by the ice of indifference, deadness. Therefore, the true vision of the world is revealed to him: he learns the price of true friendship, love and beauty. This is the theme of "vigilance" of the heart, the ability to "see" with the heart, to understand without words. The little prince does not immediately comprehend this wisdom. He leaves his own planet, not knowing that what he will look for on different planets will be so close - on his home planet. The little prince is laconic - he speaks very little about himself and his planet. Only little by little, from random, casually dropped words, the pilot learns that the baby has arrived from a distant planet, “which is all the size of a house” and is called the asteroid B-612. The little prince tells the pilot about how he is at war with the baobabs, which take root so deep and strong that they can tear apart his little planet. The first sprouts must be weeded out, otherwise it will be too late, "this is a very boring job." But he has a "firm rule": "... got up in the morning, washed, put himself in order - and immediately put your planet in order." People must take care of the cleanliness and beauty of their planet, jointly protect and decorate it, and prevent all living things from perishing. The little prince from Saint-Exupery's fairy tale cannot imagine his life without love for gentle sunsets, without the sun. “I once saw the sunset forty-three times in one day!” he says to the pilot. And a little later he adds: “You know ... when it becomes very sad, it’s good to see how the sun goes down ...” The child feels like a particle of the natural world, he calls adults to unite with her. The kid is active and hardworking. Every morning he watered Rosa, talked to her, cleared the three volcanoes on his planet so that they would give more heat, pulled out weeds ... And yet he felt very lonely. Looking for friends, hoping to find true love he goes on his journey through other worlds. He is looking for people in the endless desert surrounding him, because in communication with them he hopes to understand himself and the world around him, to gain experience, which he lacked so much. Visiting six planets in succession, the Little Prince on each of them encounters a certain life phenomenon embodied in the inhabitants of these planets: power, vanity, drunkenness, pseudo-scholarship ... The images of the heroes of A. Saint-Exupery's fairy tale "The Little Prince" have their own prototypes. The image of the Little Prince is both deeply autobiographical and, as it were, removed from the adult author-pilot. He was born out of longing for the little Tonio dying in himself - a descendant of an impoverished noble family, who was called in the family for his blond (at first) hair "King-Sun King", and in college was nicknamed Lunatic for the habit of looking at the starry sky for a long time. The phrase "Little Prince" itself is found, as you probably noticed, in the "Planet of People" (as well as many other images and thoughts). And in 1940, in between battles with the Nazis, Exupery often drew a boy on a piece of paper - sometimes winged, sometimes riding on a cloud.
