“Miracles can be done with the Russian language. There is nothing in life and in our minds that could not be conveyed by the Russian word. The sound of music, the spectral brilliance of colors, the play of light, the noise and shadow of gardens, the vagueness of sleep, the heavy rumble of thunder, the whisper of children and the rustle of sea gravel. There are no sounds, colors, images and thoughts for which there would not be in our language exact expression." K. G. Paustovsky

An epithet is a figurative definition that gives an artistic description of a phenomenon or object. An epithet is a comparison and can be expressed as an adjective, as well as with a noun, verb or adverb. An epithet is a vivid figurative definition, for example: Wonderful land Blessed corner Dense forests (permanent epithet) Boundless veil Furious peals Peaceful corner

Comparison is one of the means of expressiveness of the language, helping the author to express his point of view, to create whole art pictures give descriptions of objects. In comparison, one phenomenon is shown and evaluated by comparing it with another phenomenon. Comparison is usually joined by unions: as, as if, as if, exactly, etc., but serves to figuratively describe the most diverse features of objects, qualities, and actions. For example: Seagulls, like condemned Complaints of a monster doomed to torment The sky seems so far and inaccessible, as if it had retreated from people

Personification is one of the types of metaphor, when the transfer of a sign is carried out from a living object to an inanimate one. For example: The dream suffered the Sea leads only to sadness The heart is embarrassed by timidity The roar and peals of the waves do not caress for a weak hearing, they repeat their song Heaven ... retreated from people

Gradation is a stylistic figure that consists in the consequent intensification or, conversely, the weakening of comparisons, images, epithets, metaphors and other expressive means of artistic speech. Gradation is ascending (strengthening of the feature) and descending (weakening of the feature). For example: It only brings sadness to a person: looking at him, you want to cry. The heart is embarrassed by timidity in front of the boundless veil of waters, and there is nothing to rest on the look, exhausted by the monotony of the endless picture. The roar of the beast is powerless before these cries of nature, the voice of man is insignificant, and the man himself is so small, weak, so imperceptibly disappears in the small details of the big picture!

A paraphrase is a turn of speech that consists in replacing a word or name with a descriptive combination containing an element of characteristic of the described object, phenomenon or person. The sea is an immense veil of waters, an endless picture, a wide picture, frantic peals of waves. Oblomovka is a wonderful land, a peaceful corner, a blessed corner of the earth.

Rhetorical questions and rhetorical exclamations are a special means of creating the emotionality of speech, expressing the author's position. For example: Where are we? To what blessed corner of the earth did Oblomov's dream take us? What a wonderful land! And why is it, this wild and grandiose? Sea, for example? God bless him! No, God be with him, with the sea!

Sections: Russian language , Literature

1. Repetition and generalization of the theme “Vocabulary”, which coincides in time with the work on the novel “Oblomov” by I.A. Goncharov.
2. Consolidate knowledge about art - expressive means language on the example of an excerpt from the work.
3. Develop students' language skills.
4. Teaching children to create projects (using new information technologies)

Equipment: portrait of the writer, text, memo with lexical analysis of the text, keywords, computer, projection system.

During the classes

1. Announcement of the topic and objectives of the lesson.

Today in the lesson we will repeat and summarize the topic “Vocabulary”, which coincides in time with the work on the novel by I.A. Goncharov "Oblomov", let's turn to the artistic visual and expressive means of the language on the example of an excerpt from the work, present and defend our projects.

2. Work on the epigraph.

Among his (Goncharov's) special virtues is... the language is pure, correct, light, free, flowing...

V. G. Belinsky.

3.

Goncharov belongs to the masters of the word, who had a great influence on the development of the language of Russian artistic prose. The writer's style is characterized by a special plasticity of the image and the utmost accuracy of word usage, combined with a wealth of figurative means. Goncharov himself referred to himself as a “painting” writer who has “the ability to draw with a word”

4. Remember what you know about the author?

(Presentation of the project “I.A. Goncharov) Annex 1.

5. Work on the text.

- Read the text expressively, highlighting the necessary words and semantic segments with intonation, pauses and raising or lowering the tone.

- Prove that this is a text.

- Determine the topic of the text.

(The unbridled element of wild nature, not subject to man, the helplessness of man in front of this element)

– Divide the text into semantic parts, micro-themes.(3 parts)

– Determine main idea 1 microthemes(wonderful corner) second(Wildlife picture), third(Peaceful corner).

– How do the beginning and end of the text relate.(the beginning and end of the passage, as it were, close the circle, framing its central part)

– What is the idea of ​​the text?

(A person is lost against the backdrop of wild nature, the impression of loneliness, insignificance and helplessness of a person intensifies.)

– Let's pay attention to the lexical means of communication between sentences.

(In the text there are lexical repetitions: corner (2.18), sea (4.6,13.14), mountains (4.15), rocks (4.17), abysses (4.15, 17), grandiose (4.5), wild ( 4.5), man (8.12.15).

– Why is the word sea repeated 4 times in the text?

– What descriptive phrases replace the word sea in the text? What are these turns of speech called?(paraphrases)

– Write the paraphrases in your notebook

(The boundless veil of waters, the endless picture, the furious rolls of the waves, the wide picture)

Add:

– Paraphrases can be general, referring only to a given object, and contextual, that is, relating to a given person or object only in a certain context.

Which of them are used in this text, prove your opinion.

Find in the text a contextual evaluative synonym for the word sea.

(The sea is a monster, that is, something terrible, hostile to man. Goncharov creates the image of the sea - a huge, roaring and groaning, ever-existing monster: a grandiose, wild, boundless veil of waters, an endless picture, a roar, frantic peals of waves, gloomy and unsolved, groan ominous voices)

– Pay attention to the sound image of the sea in the text. By what phonetic means is it created?

(The sound image of the sea is complex: it is either a roaring or groaning monster.)

For example, in sentence 10, the sound image of the sea is created by alternating repetitions of consonant sounds (r-v-b) that convey a roar and rumble, and alliterations (s-n-zh) O and U create the impression of a moan, howl.

Find in the text contextual synonyms for the words mountain and abyss. What semantic and evaluative role does such a synonymy play?

(Contextual synonyms for the words mountain and abyss are the claws and teeth of a wild beast. Such K. synonymy creates an image of a wild, gloomy, hostile nature)

– Notice the alliteration in sentences 15 and 16. What role do these phonetic means play here?

(Mountains, abysses, formidable, terrible, aspiring, beast - the repetition of the sounds r, r at the same time conveys the growl of the beast and enhances the impression of fear, threats emanating from the wild)

– What literary tropes does Goncharov use to create such an image of nature?

Which of them are based on the figurative meaning of words?

Defense of the presentation “Descriptive and expressive means of language”

Epithets - the boundless veil of waters, the endless picture, the furious peals of the waves, the gloomy and unsolved content, ominous voices, the wild beast)

Comparisons (silent seagulls, like convicts, rush dejectedly ... They (mountains and abysses) are formidable, terrible, like the claws and teeth of a wild beast released and directed at him ...)

Personifications (the roar of the ramparts, the ramparts repeat their song, in which one hears the groan and complaints as if a monster doomed to torment, but someone’s piercing, ominous voices, the cries of nature, the sky ... retreated from people)

– Find examples of the use of gradation in this text?

(The sea brings sadness - I want to cry - the heart is embarrassed by shyness; the voice of a person is insignificant, and the person himself is so small, weak, so imperceptibly disappears in the small details of a wide picture)

Teacher:

The principle of gradation can also be used when constructing a text, that is, it can be a compositional technique. Can we say that the composition of this text is based on the gradation technique?

To answer this question, let's find the keywords of the episode.

Defense of the presentation “Subjective and objective keywords of the episode” Appendix 2.

– Why does Goncharov choose the sea, mountains, abysses to oppose a peaceful corner (Oblomovka)?

(The sea, mountains, abysses are the favorite images of romantic literature, associated in romanticism with such concepts as eternal restlessness, struggle, the desire for freedom, to overcome everyday life, loneliness. Contrasting these images with a peaceful corner, Goncharov strengthens the impression of Oblomovka as a closed , a quiet, blessed world where peace reigns)

Presentation-test defense based on the novel by I.A. Goncharov “Oblomov” Appendix 3.

Creative task: My impression of the beginning of the chapter “Oblomov's Dream”

Generalization: Let's return to the epigraph of our lesson. We have proved with you the correctness of Belinsky's words...

There are other fair statements about Goncharov's language. I will quote Bulakhovsky’s words “The language of the novel is simple without simplicity and reduction, full and beautiful without the pursuit of decoration, accurate in conveying the author’s thought”

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.

Roman I.A. Goncharova "Oblomov"

1 option

Identify paths and figures in the proposed passage.

Where are we? To what blessed corner of the earth did Oblomov's dream take us? What a wonderful land!
No, really, there is the sea, no high mountains, rocks and abysses, no dense forests - there is nothing grandiose, wild and gloomy.
And why is it, this wild and grandiose? Sea, for example? God bless him! It brings only sadness to a person: looking at him, you want to cry. The heart is embarrassed by timidity in front of the boundless veil of waters, and there is nothing to rest on the look, exhausted by the monotony of the endless picture.
The roar and the mad peals of the waves do not caress the faint of ear: they keep repeating their own, from the beginning of the world, one and the same song of gloomy and undeciphered content; and one and the same groan is heard in it, the same complaints, as if a monster doomed to torment, and someone's piercing, ominous voices. Birds don't chirp around; only silent seagulls, like condemned men, sadly rush along the coast and circle over the water.
The roar of the beast is powerless before these cries of nature, the voice of man is also insignificant, and the man himself is so small, weak, so imperceptibly disappears in the small details of the big picture! sometimes so venomously mocks his proud will and so deeply buries his brave plans, all his troubles and labors.

Compiled by Panfilova S.V.

Means of speech expressiveness
Roman I.A. Goncharova "Oblomov"
"Oblomov's Dream" (part 1, chapter 9)
Option 2

1. Identify paths and figures in the proposed passage.
What are the functions of means of speech expressiveness?

The sun was already descending behind the forest; it threw several slightly warm rays, which cut through the entire forest in a fiery stripe, brightly pouring gold over the tops of the pines. Then the rays went out one by one; the last ray remained long; he, like a thin needle, pierced into a thicket of branches; but that one also faded.
The singing of the birds gradually weakened; soon they were completely silent, except for one stubborn one, who, as if in defiance of everyone, in the midst of the general silence, alone chirped monotonously at intervals, but less and less often
Everything was silent. Some grasshoppers crackled louder in their launches. White vapors rose from the earth and spread over the meadow and along the river. The river also subsided; a little later, someone suddenly splashed in her for the last time, and she became motionless.
It got darker and darker. The trees were grouped into some kind of monsters; in the forest it became frightening: there someone would suddenly creak, as if one of the monsters were moving from its place to another, and a dry twig seemed to crunch under his foot.
The first star shone brightly in the sky, like a living eye.
The moments of general, solemn silence of nature have come, those moments when the creative mind works harder, poetic thoughts boil hotter, when passion flares up in the heart more vividly or longing aches more painfully, when the grain of criminal thought ripens more calmly and stronger in the cruel soul, and when everything in Oblomovka rest so soundly and peacefully.

Compiled by Panfilova S.V.

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.