The novel "Oblomov" by I. A. Goncharov showed how the conditions of landlord life give rise to lack of will, apathy, and inactivity in the main character. The author himself defined the ideological orientation of his work as follows: “I tried to show in Oblomov how and why people in our country turn prematurely into ... kissel - climate, backwater environment, drowsy life and still private, individual for each circumstance. " In the first part of the work, there is practically no plot movement: the reader sees the main character lying on the couch throughout the day. Some variety in the sleepy atmosphere of Oblomov's apartment is brought by the guests of Ilya Ilyich, in strict order replacing each other. It was not by chance that the author introduced such characters as Volkov, Sudbinsky and Penkin into the novel. Their activities are familiar to Oblomov, and his reasoning about the fate of each of them characterizes the protagonist even more fully. We know that Ilya Ilyich began to serve as a collegiate secretary, went out into the world, was fond of poetry, but his state activity ended in his resignation, “he said goodbye to a crowd of friends even colder,” reading books also gradually got tired. As a result, “he lazily waved his hand at all the youthful hopes that he had deceived or deceived ...” and plunged into the mental drawing up of a plan for arranging the estate, which he could not finish for several years now. The appearance of guests pushes the spatio-temporal framework of the novel and allows the author to imagine various areas of St. Petersburg. Secular Petersburg is represented by Volkov. This is “a young man of about twenty-five, shining with health, with laughing cheeks, lips and eyes ... He was combed and dressed impeccably, blinding with the freshness of his face, linen, gloves and tailcoat. On the waistcoat lay an elegant chain, with many tiny key rings. He is in demand in secular society, enjoys success with women - and in this he finds the joy of life. Oblomov does not see anything attractive for himself in such a lifestyle. “Ten places in one day - unhappy! .. And this is life! .. Where is a person here? What does he break up and crumble into? In the village, picking flowers with her, riding around is good, but ten places in one day is unfortunate! - he concluded, rolling over on his back and rejoicing that he did not have such empty desires and thoughts, that he did not loom around, but lay right here, maintaining his human dignity and his peace. The next hero, Sudbinsky, is a former colleague of Ilya Ilyich. It symbolizes bureaucratic Petersburg - clerical and departmental. “He was a gentleman in a dark green tailcoat with coat of arms buttons, clean-shaven, with dark sideburns that evenly bordered his face, with a troubled, but calmly conscious expression in his eyes, with a very worn face, with a thoughtful smile.” Sudbinsky has already achieved the position of head of the department, he is going to marry profitably. And all this against the backdrop of Oblomov, who cowardly quit out of fear that the boss would announce a reprimand to him for incorrectly sent documents. Oblomov even sent a medical certificate, which stated that “collegiate secretary Ilya Oblomov is obsessed with a thickening of the heart with an expansion of the left ventricle of it ... as well as chronic pain in the liver ... that threatens the health and life of the patient with a dangerous development, what seizures occur, how presumably, from daily going to office ... ”Oblomov also has his own opinion about Sudbinsky. “I got stuck, dear friend, got stuck up to my ears ... And blind, and deaf, and dumb for everything else in the world. And he will come out into the people, in time he will turn things over and pick up officials ... We 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 much, much will not move in it ... But meanwhile he works from twelve to five in the office, from eight to twelve at home - unhappy! ”He thought and experienced“ a feeling of peaceful joy that he nine to three, from eight to nine he can stay on his sofa, and was proud that he did not have to go with a report, write papers, that there was room for his feelings, imagination. Petersburg literary is represented by the image of Penkin. This is “a very thin, black-haired gentleman, overgrown all over with sideburns, mustaches and a goatee”, writing “about trade, about the emancipation of women, about the beautiful April days, ... about a newly invented composition against fires”, managed to touch upon some strings in Oblomov's soul. Ilya Ilyich is so inflamed in a dispute with a guest about the subject of the image in literature that he even gets up from the sofa. And the reader sees that the soul is still alive in him. “Depict a thief, a fallen woman, an inflated fool, and immediately forget a person. Where is the humanity? You want to write with your head alone!.. Do you think that a heart is not needed for thought? 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 you would treat yourself - then I will read you and bow my head before you. .. They portray a thief, a fallen woman, ... 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 ... Give me a man! .. love him ... ”But this impulse passes quickly, Oblomov“ suddenly fell silent, stood for a minute, yawned and slowly lay down on the sofa " . Ilya Ilyich sincerely sympathizes with the writer. “Writing at night,” thought Oblomov, “when to sleep, then? And go, earn five thousand a year! It's bread! Yes, write everything, waste your thought, your soul on trifles, change your beliefs, trade your mind and imagination, force your nature, worry, boil, burn, not know peace and everything is moving somewhere ... And write everything, write everything like a wheel, like a car: write tomorrow, the day after tomorrow, the holiday will come, summer will come - but he keeps writing? When to stop and rest? Unhappy!" Of course, one can agree with Oblomov that work at night, daily bustle, career advancement are tedious activities. But still, each of the heroes: Sudbinsky, and Volkov, and Penkin - found a job to their liking, have a goal in life. Even if these goals are sometimes purely personal and the heroes do not seek to “suffer” for the good of the Fatherland, but they act, get upset, rejoice - in a word, they live. And Oblomov, “as soon as he gets out of bed in the morning, after tea he immediately lies down on the sofa, props his head with his hand and ponders, sparing no effort, until, finally, his head is tired from hard work and when his conscience says: enough has been done today for the common good." And the worst thing is that Oblomov considers such a life normal and unhappy for those who cannot afford to live the way he does. But sometimes “clear conscious moments” nevertheless come when he becomes “sad and hurt ... for his underdevelopment, a stop in the growth of moral forces, for heaviness that interferes with everything.” He became frightened when in his soul there arose "a lively and clear idea of \u200b\u200bhuman fate and purpose, ... when ... various life questions woke up in my head." But despite sometimes tormenting questions, Oblomov cannot and does not want to change anything. It is difficult to overestimate the role of secondary characters in the novel, because they are one of the means of characterizing the protagonist. Volkov, Sudbinsky, Penkin - a kind of "twins" of Oblomov: each of them represents one or another version of the possible fate of Ilya Ilyich. At the end of the first part of the novel, the author raises the question: what will win in the main character - the beginnings of life or sleepy "Oblomovism"? After reading the novel, we see that the "Oblomovism" eventually wins and Oblomov quietly dies on the couch, without having done anything useful and necessary.
The novel "Oblomov" is one of the brightest works of Russian literature of the 19th century, which even today excites readers with the sharpness of the questions raised by the author. The book is interesting, first of all, because the problematics of the novel is revealed through the method of antithesis. The opposition in Oblomov of the main characters makes it possible to emphasize the conflict between different worldviews and characters, as well as to better reveal the inner world of each character.
The action of the work revolves around the fate of the four main characters of the book: Ilya Ilyich Oblomov, Andrey Ivanovich Stolz, Olga Ilyinskaya and Agafya Pshenitsyna (some researchers supplement this list with Zakhar, however, in terms of significance in the story, he still belongs to secondary characters). Through male and female characters in the novel, the author analyzes various aspects of a person's social and personal life, reveals many "eternal" topics.
Characteristics of male characters
Ilya Oblomov and Andrey Stoltz – the main characters of "Oblomov" Goncharova. According to the plot of the novel, the men met during their school years and, having become friends, continued to support each other even decades later. Oblomov and Stolz are an example of a really strong, reliable and fruitful friendship for both men. Ilya Ilyich saw in Andrei Ivanovich a person who is always ready and, most importantly, knows how to solve his problems with those around him, with the expenses and income of the estate. For Stolz, Oblomov was a pleasant conversationalist, whose company had a pacifying effect on Andrei Ivanovich and helped him return to peace of mind, which he often lost in pursuit of new achievements.
In "Oblomov" the characters are presented as antipodes - completely different and almost in no way similar characters. This is clearly seen in the depiction of the fates of Oblomov and Stolz. Ilya Ilyich grew up as a "hothouse", "indoor" child, who from an early age was taught to a lordly lifestyle, laziness and attitude to new knowledge as something optional and unnecessary. After graduating from school and university “for show”, Ilya Ilyich enters the service, where one of the first disappointments in life awaits him - at work you need to fight for your place, constantly work and be better than others. However, the most unpleasant thing for Ilya Ilyich is that his colleagues remain unfamiliar people, and do not become a new family for a man. Not accustomed to disappointments and blows, Oblomov, after the first failure at work, gives up and closes himself from society, creating his own special world of illusory Oblomovka.
Against the background of the active, striving forward Stolz, Ilya Ilyich looks like a lazy, apathetic bumpkin who simply does not want to do anything himself. Andrei Ivanovich's childhood and youth were filled with new impressions. Without suffering from excessive parental care, Stoltz could leave home for several days, choose his own way forward, read a lot and was interested in almost everything. Andrei Ivanovich learned his love for knowledge from his mother, while his practical approach to everything, perseverance and ability to work came from his German father. At the end of the university, Stolz leaves his native estate, independently building his own destiny, earning material wealth and meeting the right people.
The interdependence of male images
The male images of the heroes in the novel "Oblomov" are two ways of realizing a person in society, two leading principles that do not find a harmonious combination in any of the characters. On the other hand, Stolz and Oblomov complement each other perfectly, help each other in finding the most important things to achieve true, not illusory happiness. After all, Oblomov, in his dreams of rebuilding Oblomovka, appeared to be a person no less active and sociable than his friend, while Stolz throughout the novel continues to reach for the peace of mind that he found in Oblomov. As a result, unconsciously for himself, Andrei Ivanovich creates a kind of Oblomovka in his own estate after marriage with Olga, gradually turning into a person tied to his home and appreciating the monotonous, calm flow of time.
Despite the fact that the characteristics of the heroes of Oblomov are based on antithesis, neither Oblomov nor Stolz are Goncharov's ideals, but rather are presented as an extreme manifestation of Oblomov's and progressive features in a person. The author showed that without the harmony of these two principles, a person will not feel full and happy, will not be able to realize himself both socially and spiritually.
Characteristics of female images
The main characters of the novel "Oblomov" are also opposed to each other. Olga Ilyinskaya is a young lady from a wealthy family, from childhood she studied literacy, science and the art of singing, an active and purposeful girl who likes to choose her own fate on her own, without adjusting to her husband or loved ones. Olga is not at all like the meek, homely Agafya, ready for anything for the sake of a loved one, able to adapt to any lifestyle, if only Oblomov was happy. Ilyinskaya was not ready to follow the wishes of Ilya Ilyich, to become his ideal "Oblomov" woman, whose main area of \u200b\u200bactivity would be the household - that is, the framework prescribed by Domostroy.
Unlike the uneducated, simple, quiet - the true prototype of the Russian woman - Agafya, Olga is an absolutely new type of emancipated woman for Russian society, who does not agree to limit herself to four walls and cooking, but sees her destiny in continuous development, self-education and striving forward . However, the tragedy of Ilyinskaya's fate lies in the fact that even having married an active, active Stolz, the girl still takes on the role of a wife and mother, classic for Russian society, not much different from the role described in Domostroy. The discrepancy between desires and the real future leads to Olga's constant sadness, the feeling that she did not live the life she dreamed of.
Conclusion
The main characters of the novel "Oblomov" are interesting, attractive personalities, whose stories and destinies make it possible to better understand the ideological meaning of the work. On the example of male characters, the author analyzes the topics of human development, becoming in society, the ability to set goals and achieve them, and on the example of female characters, she reveals the theme of love, devotion, the ability to accept a person as he is.
Oblomov and Stolz are characters not only opposed, but also complementary, just like Olga and Agafya, by the way. Having adopted or developed in themselves the features and qualities of the antipode image, the characters could become absolutely happy and harmonious, because it is precisely in the misunderstanding of the path to true happiness that the tragedy of the characters of Oblomov lies. That is why their characteristics in Goncharov's novel do not have an exclusively negative or positive connotation - the author does not lead the reader to ready-made conclusions, suggesting that he himself choose the right path.
Artwork test
"Oblomov"
"Oblomov" I. A. Goncharov showed how the conditions of landlord life give rise to lack of will, apathy, and inaction in the main character. The author himself defined the ideological orientation of his work as follows: “I tried to show in Oblomov how and why people in our country turn prematurely into ... kissel - climate, backwater environment, drowsy life and still private, individual for each circumstance. "
guests of Ilya Ilyich, in strict order replacing each other. It was not by chance that the author introduced such characters as Volkov, Sudbinsky and Penkin into the novel. Their activities are familiar to Oblomov, and his reasoning about the fate of each of them characterizes the protagonist even more fully. We know that Ilya Ilyich began to serve as a collegiate secretary, went out into the world, was fond of poetry, but his state activity ended in his resignation, “he said goodbye to a crowd of friends even colder,” reading books also gradually got tired. As a result, “he lazily waved his hand at all the youthful hopes that he had deceived or deceived ...” and plunged into the mental drawing up of a plan for arranging the estate, which he could not finish for several years now. The appearance of guests pushes the spatio-temporal framework of the novel and allows the author to imagine various areas of St. Petersburg.
“a young man of about twenty-five, radiant with health, with laughing cheeks, lips and eyes ... He was combed and dressed immaculately, dazzling with the freshness of his face, linen, gloves and tailcoat. On the waistcoat lay an elegant chain, with many tiny key rings. He is in demand in secular society, enjoys success with women - and in this he finds the joy of life. Oblomov does not see anything attractive for himself in such a lifestyle. “Ten places in one day - unhappy! .. And this is life! .. Where is a person here? What does he break up and crumble into? In the village, picking flowers with her, riding around is good, but ten places in one day is unfortunate! - he concluded, rolling over on his back and rejoicing that he did not have such empty desires and thoughts, that he did not loom around, but lay right here, maintaining his human dignity and his peace.
“He was a gentleman in a dark green tailcoat with coat of arms buttons, clean-shaven, with dark sideburns that evenly bordered his face, with a troubled, but calmly conscious expression in his eyes, with a very worn face, with a thoughtful smile.” Sudbinsky has already achieved the position of head of the department, he is going to marry profitably. And all this against the backdrop of Oblomov, who cowardly quit out of fear that the boss would announce a reprimand to him for incorrectly sent documents. Oblomov even sent a medical certificate, which stated that “collegiate secretary Ilya Oblomov is obsessed with a thickening of the heart with an expansion of the left ventricle of it ... as well as chronic pain in the liver ... that threatens the health and life of the patient with a dangerous development, what seizures occur, how presumably, from daily going to office ... ”Oblomov also has his own opinion about Sudbinsky. “I got stuck, dear friend, got stuck up to my ears ... And blind, and deaf, and dumb for everything else in the world. And he will come out into the people, in time he will turn things over and pick up officials ... We 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 much, much will not move in it ... But meanwhile he works from twelve to five in the office, from eight to twelve at home - unhappy! ”He thought and experienced“ a feeling of peaceful joy that he nine to three, from eight to nine he can stay on his sofa, and was proud that he did not have to go with a report, write papers, that there was room for his feelings, imagination.
Petersburg literary is represented by the image of Penkin. This is “a very thin, black-haired gentleman, overgrown all over with sideburns, mustaches and a goatee”, writing “about trade, about the emancipation of women, about the beautiful April days, ... about a newly invented composition against fires”, managed to touch upon some strings in Oblomov's soul. Ilya Ilyich is so inflamed in a dispute with a guest about the subject of the image in literature that he even gets up from the sofa. And the reader sees that the soul is still alive in him. “Depict a thief, a fallen woman, an inflated fool, and immediately forget a person. Where is the humanity? You want to write with your head alone!.. Do you think that a heart is not needed for thought? 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 ... but they forget or don’t know how to portray a person . What kind of art is here, what poetic colors did you find? Expose debauchery, dirt, only, please, without pretensions to poetry ... Give me a man! .. love him ... ”But this impulse passes quickly, Oblomov“ suddenly fell silent, stood for a minute, yawned and slowly lay down on the sofa " . Ilya Ilyich sincerely sympathizes with the writer. “Writing at night,” thought Oblomov, “when to sleep, then? And go, earn five thousand a year! It's bread! Yes, write everything, waste your thought, your soul on trifles, change your beliefs, trade your mind and imagination, force your nature, worry, boil, burn, not know peace and everything is moving somewhere ... And write everything, write everything like a wheel, like a car: write tomorrow, the day after tomorrow, the holiday will come, summer will come - but he keeps writing? When to stop and rest? Unhappy!"
Found something to their liking, have a purpose in life. Even if these goals are sometimes purely personal and the heroes do not seek to “suffer” for the good of the Fatherland, but they act, get upset, rejoice - in a word, they live. And Oblomov, “as soon as he gets out of bed in the morning, after tea he immediately lies down on the sofa, props his head with his hand and ponders, sparing no effort, until, finally, his head is tired from hard work and when his conscience says: enough has been done today for the common good." And the worst thing is that Oblomov considers such a life normal and unhappy for those who cannot afford to live the way he does. But sometimes “clear conscious moments” nevertheless come when he becomes “sad and hurt ... for his underdevelopment, a stop in the growth of moral forces, for heaviness that interferes with everything.” He became frightened when in his soul there arose "a lively and clear idea of \u200b\u200bhuman fate and purpose, ... when ... various life questions woke up in my head." But despite sometimes tormenting questions, Oblomov cannot and does not want to change anything.
Oblomov's "doubles": each of them represents one or another version of the possible fate of Ilya Ilyich.
"Oblomovism"? After reading the novel, we see that the "Oblomovism" eventually wins and Oblomov quietly dies on the couch, without having done anything useful and necessary.
Talk about the work of I. A. Goncharov.
- The main stages of the life and work of I. A. Goncharov.
- "Oblomov". History of creation.
- Features of the composition of the novel. Reception of antithesis in the novel.
- The image of the protagonist in the novel "Oblomov". The concept of "Oblomovism".
- The role of the chapter "Oblomov's Dream" in the work.
- The system of images of the novel. The role of minor characters. Oblomov and Zakhar. Oblomov and Stolz. Female images in the novel and their role in the development of the plot.
- Landscape, portrait, interior in the artistic world of the novel.
- Ways of expressing the author's position in the novel.
- The image of Oblomov in a number of images of world literature (Don Quixote, Hamlet).
- Artistic skill of I. A. Goncharov in the novel. Historical and philosophical meaning of the novel.
- Criticism about the novel. N. A. Dobrolyubov; D. I. Pisarev; and others.
By provocatively suggesting conclusions about Oblomov at the beginning of the book, the author actually disguises his incomparably more complex point of view on the hero. Deep into the fabric of the novel, Goncharov implanted the contradictory voice of the narrator, which destroys the unambiguous interpretation of the novel.
On the last page of the book, we learn that Stolz tells the whole story of Oblomov: "And he (Stolz - Auth.) told him (the narrator - Auth.) What is written here." This story was recorded by a listener of Stolz, in whom it is easy to recognize Goncharov himself: "A writer, plump, with an apathetic face, thoughtful, as if sleepy eyes."
These two voices - the resonant, pedantic tone of Stolz and the mocking, but sympathetic of the author himself - accompany Oblomov along his entire path, preventing the novel from becoming a flat sketch of morals. Intricately intertwined intonations do not contrast, but complement each other: the first does not negate the second. Because of this construction of the author's speech, the multi-layeredness of the book arises. As is usually the case in, a metaphysical theme emerges behind the social plane.
In Oblomov, all words that do not belong to the characters should be read indirectly, as a preliminary criticism of the novel, but as an artistically depicted word. Only then will the phenomenal duality of Oblomov, a hero who goes far beyond the contours of the plot, be revealed ...
Active Stolz and Olga live to do something. Oblomov lives just like that. From their point of view, Oblomov is dead. With him - death and life merge into one, there is no strict border between them - rather an intermediate state: a dream, a dream, Oblomovka.
At the same time, Oblomov is the only genuine person in the novel, the only one whose existence is not limited to the role he has assumed. In the upcoming wedding, he is most frightened by the fact that he, Oblomov, will turn
in the "groom", will acquire a specific, definite status. (Olga, on the contrary, is pleased: “I am the bride,” she thinks with proud awe.)
Because Oblomov cannot be included in the surrounding life, because it is made by people-machines, people-roles. Each has its own goal, its own gear, with which they are linked for convenience with others. Smooth, "marble" Oblomov nothing to cling to others. He is not able to split his personality into the role of husband, landowner, official. He is just a man.
Oblomov is in the novel complete, perfect and therefore motionless. He has already taken place, fulfilling his destiny only by the fact that he was born. “His life was not only formed, but also created, it was even intended so simply, no wonder, to express the possibility of an ideally calm side of human existence,” Oblomov comes to this conclusion by the end of his days. Here, on the outskirts of St. Petersburg, in a modified Oblomovka, having finally come to terms with existence, he finally finds himself. And only here, for the first time, did he manage to adequately reflect Stolz's pedagogical claims. In their last
rendezvous "Oblomov calmly and resolutely looked" at his friend, who, in a patter, for himself, painted "the dawn of new happiness" - railways, marinas, schools ... Goncharov constructs his novel in such a way that provokes the reader to compare Stolz with Oblomov. All the advantages seem to be on the side of Stolz. After all, he - a homunculus - was not created naturally, but according to the recipe of an ideal personality. This is an ethnographic German-Russian cocktail that should set in motion the clumsy Russian colossus.
However, the glorification of Stolz is similar to his self-justification. All journalistic pieces of the text, where the voice of the narrator addresses the reader directly, are built in the same rational key, with the same judicious intonation with which Stoltz himself speaks. In this voice, one can feel the foreign syntax of too correct Russian speech ("my incomparable, but clumsy Oblomov").
Even more important is that Goncharov shows Oblomov, and talks about Stolz. Oblomov's love for Olga, which, by the way, takes place against the backdrop of a Russian, and not Swiss, landscape, like Stolz's, is transmitted directly. The story of Stolz's marriage is given in an inserted short story. When Oblomov acts in the second and third parts of the novel - he takes care of Olga - the narrator almost completely disappears from the text, but he appears whenever Stolz appears in the book.
This subtle compositional compensation deepens the image of Oblomov. What we know about him from the narrator contradicts what we see for ourselves. For Stolz, Oblomov is clear and simple (he is the author of the famous term - "Oblomovism"). For Goncharov and I, Oblomov is a mystery.
The emphasized intelligibility of Stolz's relations with the world, with people, is opposed to the mysterious understatement, the illogicality of Oblomov's connections. Roughly speaking, Stolz can be retold, Oblomov - in no case.
Built on this wonderful dialogue between Oblomov and Zakhar, a dialogue in which the master blames the servant who dared to confuse him with the "other". This whole conversation, vividly reminiscent of both Gogol and Dostoyevsky, is absurd. So, Oblomov, explaining to Zakhar why he cannot move to a new apartment, gives completely absurd arguments: “When I get up and see something else instead of this turner’s sign, on the contrary, or if this shorn old woman does not look out of the window before dinner So I'm bored." Already appears in the text
the unknown Lyagachev, who finds it easy to move: "He will take the ruler under his arm" - and move. Already "both of them ceased to understand each other, and finally each and himself." But the scene does not lose tension, it is all filled with a vague meaning.
This absurd scandal reveals the inner kinship between the master and his servant, their blood closeness - after all, they are brothers in Oblomovka. And without any logic, it is clear to Oblomov and Zakhar that the "others" are alien, strange creatures, outside their way of life.
It turns out that the worst thing for Oblomov is to lose this very uniqueness of his personality, to merge with "others". Therefore, he comes to such horror, accidentally overhearing that he was called "some kind of Oblomov."
In the light of this mystical horror - to lose oneself in the crowd - Oblomov's supposedly empty exclamations sound completely different: "Where is the man here? Where is his wholeness? Where did he hide, how did he exchange for every little thing?"
Whatever form of activity the surrounding world offers Oblomov, he always finds a way to see in it an empty fuss, exchanging the soul for trifles. The world requires a person to be not a full-fledged personality, but only a part of it - a husband, an official, a hero ...
