Landscape sketches in the novel Oblomov. How do the landscapes in A. I. Goncharov’s novel “Oblomov” help us understand the internal state of the main character? (Unified State Examination in Literature). When Oblomov begins to have doubts about the truth of Olga’s feelings, this novel seems to him

Finished essay(“Oblomov” role of landscape in the novel)

Goncharov always differed from other writers in that he described the surrounding landscapes with great accuracy and devoted a huge amount of text to this. In this he is comparable to N.V. Gogol. Let's analyze the landscapes in his novel Oblomov.
The role of landscape in a novel is great, because thanks to the landscape we imagine the place where the actions take place, we can characterize the hero’s state of mind, and feel the prevailing atmosphere.

We see the first picture in “Oblomov’s Dream”, the role of the landscape here is psychological, it allows us to understand the internal state of the hero, we learn about his childhood, about the formation of his character. The environment on the Oblomov estate is sparse and not luxurious.

The seasons of the year are compared here with the working days of the peasants. Everything in the natural cycle moves smoothly and harmoniously. The most wonderful time in this region is summer. Everything around is green, you want to breathe in the air deeply, feeling the smells of grass and flowers.

Peace and quiet reigns everywhere: in the fields, in villages and towns. At the Oblomov estate, everyone goes to bed after a delicious dinner. The people here are quiet and peaceful, just like everyone else around them. People on the estate are busy only with everyday affairs, which are rarely diversified by a wedding or christening. Oblomovites practically don’t work, because work is like a punishment for them.

This is where the protagonist spent his childhood, and his character was shaped by such a life. Ilya loved to run through the meadows with the boys. He was inquisitive and observant, studied the world around him by any available means, but his parents always looked after him and watched over him so that he would not get hurt anywhere. And so all his aspirations faded away. Every year he became lazier, his interest turned into indifference. Oblomov turns into a standard village resident: lazy and peaceful. The landscape played an important role in shaping his character.

During the first meeting of Ilya and Olga, nature played a key role. After all, it was the plucked branch of lilac that became the first thing that united them. Oblomov before her and on the second date, Ilyinskaya liked it, and subsequently a sincere conversation took place between the characters, in which they felt a mutual attraction to each other.

Over time, their feelings grow stronger and develop into love. The characters become more attentive to the nature around them: they notice new smells, the gentle chirping of birds, watch silently soaring butterflies, and even feel the breath of flowers.

After Oblomov doubted Olga’s feelings, nature, sensing changes in Ilya’s internal state, changes along with him. It becomes cloudy and windy, the sky is overcast. But the hero, despite his doubts, continues to love Olga, but considers their relationship impossible. Their love ended at the end of the summer.

Autumn brings new colors to nature, the characters move further and further away from each other. After the final separation of Ilya and Olga, the first snow falls on the street, covering everything in the area with a thick layer. This landscape is symbolic, the snow covers the happiness of our hero. At the end of the novel, Goncharov describes the journey of Stolz and Olga to Crimea. But the description is scanty, it seems to reflect the inner world of Oblomov, yearning for Olga. Stolz and Olga experienced a lot of emotions caused by the local landscapes. Their love blooms, like all nature around.

The cemetery landscape is gloomy and terrible; the lilac branch that was planted next to the grave of the late Oblomov reappears. The branch symbolizes the culminating moments of Ilya's life, but not all of them are beautiful.

Drawing a conclusion, I would like to note that nature can be considered one of the main characters. Indeed, with the help of landscape, Goncharov conveys his attitude to feelings, to life, reveals the inner world and state of the characters.

The first landscape appears before us in “Oblomov’s Dream”. Pictures of nature here are given in the spirit of a poetic idyll. The main function of these landscapes is psychological; we learn in what conditions the main character grew up, how his character was formed, where he spent his childhood. Oblomov’s estate is a “blessed corner”, a “wonderful land”, lost in the outback of Russia. The nature there does not amaze us with luxury and pretentiousness - it is modest and unpretentious. There is no sea, high mountains, rocks and abysses, dense forests. The sky there presses “closer... to the earth..., like a parent’s reliable roof”, “the sun... shines brightly and hotly for about six months...”, the river runs “merrily”: sometimes it “spills into a wide pond, sometimes it “strives like a fast thread”, sometimes it barely "crawls over the stones." The stars there are “friendly” and “friendly” blinking from the sky, the rain “will pour briskly, abundantly, jumping merrily, like the large and hot tears of a suddenly joyful person,” thunderstorms “are not terrible, but only beneficial.”

• In the love scenes between Oblomov and Olga Ilyinskaya, pictures of nature acquire symbolic meaning. So, a lilac branch becomes a symbol of this emerging feeling. Here they meet on the path. Olga picks a lilac branch and gives it to Ilya. And he responds by noting that he loves lilies of the valley more, since they are closer to nature.

Trust and understanding appear in their relationship - Oblomov is happy. And Goncharov compares his condition with a person’s impression of an evening landscape. “Oblomov was in that state when a person had just followed the setting summer sun with his eyes and was enjoying its ruddy traces, without taking his eyes off the dawn, without turning back to where the night came from, thinking only about the return of warmth and light tomorrow.”

• When Oblomov begins to have doubts about the truth of Olga’s feelings, this novel seems to him a monstrous mistake. And again the writer compares Ilya’s feelings with natural phenomena. “What wind suddenly blew on Oblomov? What clouds did you make?

Autumn pictures of nature create an atmosphere of distance between the characters and each other. They can no longer meet so freely in the forest or parks. And here we note the plot-forming significance of the landscape. Here is one of the autumn landscapes: “The leaves have flown around, you can see right through everything; the crows in the trees scream so unpleasantly..." Oblomov invites Olga not to rush into announcing the news of the wedding. When he finally breaks up with her, snow falls and thickly covers the fence, fence, and garden beds. “The snow was falling in flakes and thickly covering the ground.” This landscape is also symbolic. The snow here seems to bury the hero’s possible happiness.

The landscape that paints a picture of the local cemetery at the end of the novel is simple and modest. Here the motif of the lilac branch, which accompanied the hero at the climactic moments of his life, appears again. “What happened to Oblomov? Where is he? Where? “In the nearest cemetery, under a modest urn, his body rests between the bushes, in a quiet place. Lilac branches, planted by a friendly hand, doze over the grave, and wormwood smells serenely. It seems that the angel of silence himself is guarding his sleep.”

• Thus, the pictures of nature in the novel are picturesque and varied. Through them, the author conveys his attitude to life, love, reveals the inner world and mood of the characters.

Introduction

Goncharov’s work “Oblomov” is a socio-psychological novel written in the mid-19th century. The book tells the story of the fate of the Russian tradesman Ilya Ilyich Oblomov, a personality with a fine spiritual organization, who failed to find his own place in the rapidly changing world of contemporary Russia. The author’s depiction of nature plays a special role in revealing the ideological meaning of the novel - in Oblomov, landscapes are a reflection of the hero’s inner world and are closely related to his feelings and experiences.

Nature of Oblomovka

The most striking landscape of the novel is the nature of Oblomovka, perceived by the reader through the prism of Ilya Ilyich’s dream. The quiet nature of the village, far from the hustle and bustle of cities, attracts with its calmness and serenity. There are no dense, frightening forests, no restless sea, no high distant mountains or windy steppes, no fragrant flower beds, only the smell of field grass and wormwood - according to the author, a poet or dreamer would hardly be satisfied with the simple landscape of this area.

The soft, harmonious nature of Oblomovka did not require the peasants to work, which created a special, lazy mood of life in the entire village - the measured passage of time was interrupted only by the changing seasons or weddings, birthdays and funerals, which just as quickly became a thing of the past, replaced by the calmness of the pacifying nature .

Oblomov's dream is a reflection of his childhood impressions and memories. Dreamy Ilya, from an early age, perceived the world through the beauty of the sleepy landscapes of Oblomovka, wanted to explore and get to know the world around him, but the excessive care of his parents led to the withering of the active principle in the hero and contributed to the gradual absorption of that “Oblomovsky” measured rhythm of life, which for him, already an adult , became the only correct and pleasant one.

Four pores of love

Nature in the novel “Oblomov” carries a special semantic and plot load. First of all, it reflects the state of the hero. The symbol of the tender feeling between Olga and Oblomov becomes a fragile branch of lilac, which the girl gives to Ilya Ilyich, to which he replies that he loves lilies of the valley more, and the upset Olga drops the branch. But on the next date, as if having accepted the girl’s feelings, Oblomov comes with the same twig. Even at the moment when Ilya Ilyich tells the girl that “the color of life has fallen,” Olga again plucks a branch of lilac for him as a symbol of spring and the continuation of life. During the heyday of their relationship, quiet summer nature seems to favor their happiness; its secrets and special meanings are revealed to the lover. Describing Oblomov’s condition, the author compares his happiness with the beauty of a delightful summer sunset.

Nature appears completely different at the moments when Oblomov begins to doubt the bright future of their love, comparing them with rainy weather, a gray sky covered with sad clouds, dampness and cold. At the same time, Olga notices that the lilac has already moved away - as if their love has also moved away. The alienation of the heroes is emphasized by the image of the autumn landscape, flying leaves and unpleasantly screaming crows, when the heroes can no longer hide behind fresh green foliage, comprehending the secrets of living nature and their own souls. The separation of lovers is accompanied by a snowfall, which Oblomov falls under - spring love, the symbol of which was a tender lilac branch, finally dies under a blanket of snow and cold.

The love of Oblomov and Olga seems to be part of that distant, familiar “Oblomov” life to Ilya Ilyich. Beginning in the spring and ending in late autumn, their feelings become part of the natural flow of time of living nature, the change of seasons from birth and flourishing to extinction and death, followed by a new birth - the love of Oblomov for Agafya and Olga for Stolz.
At the end of the novel, the author describes the landscape of the modest cemetery where Oblomov is buried. As a reminder of the hero’s wonderful feeling, a lilac planted by friends grows near the grave, and it smells of wormwood, as if the hero had returned to his native Oblomovka again.

Conclusion

The landscape in the novel “Oblomov” performs the leading semantic and plot-forming functions. A subtle sense of nature, the flow of its natural time and inspiration by each of its manifestations in the work is accessible only to the reflective, dreamy Oblomov and the loving Olga. After marriage, when depicting the life of a girl with Stolz in the Crimea, Olga unconsciously loses the ability to feel every manifestation of nature that she had during her relationship with Oblomov. The author seems to be trying to show the reader that, despite the speed of the urbanized world, man is not subject to the natural changes in the cycles of nature - fluid and changing throughout human life.

Work test

Essay plan
1. Introduction. The originality of Goncharov the novelist.
2. Main part. Landscape and its functions.
— Basic functions of landscape.
— The nature of the paintings of nature in “Oblomov’s Dream.”
— Correlation between the seasons and the natural rhythm of life.
— Motif of peace.
— Psychological function of landscape in “Oblomov’s Dream.”
— Symbolic natural details in the scenes of the novel by Oblomov and Olga Ilyinskaya.
— Love and the heroes’ discovery of the secret life of nature.
— Intuitive insight of the heroes.
— Autumn pictures of nature.
— The finale of the characters’ relationship and the characteristic landscape.
— Pictures of nature and their role in the life of Stolz and Olga.
— The final landscape of the novel.
3. Conclusion. The role of landscape in the novel.

Picturesque style is a characteristic feature of Goncharov the novelist. His descriptions - portraits, interiors, landscapes - are detailed, thorough, detailed. And in this the writer’s style is close to N.V.’s style. Gogol. Let's try to analyze the landscapes in the novel by I.A. Goncharova.
The functions of the landscape in the work are different. This is the background against which the action takes place, and the characterization of the hero’s state of mind, and a kind of framing of the plot, and the creation of a special atmosphere of the story.
The first landscape appears before us in “Oblomov’s Dream”. Pictures of nature here are given in the spirit of a poetic idyll. The main function of these landscapes is psychological; we learn in what conditions the main character grew up, how his character was formed, where he spent his childhood. Oblomov’s estate is a “blessed corner”, a “wonderful land”, lost in the outback of Russia. The nature there does not amaze us with luxury and pretentiousness - it is modest and unpretentious. There is no sea, high mountains, rocks and abysses, dense forests. The sky there presses “closer... to the earth..., like a parent’s reliable roof”, “the sun... shines brightly and hotly for about six months...”, the river runs “merrily”: sometimes it “spills into a wide pond, sometimes it “strives like a fast thread”, sometimes it barely "crawls over the stones." The stars there are “friendly” and “friendly” blinking from the sky, the rain “will pour briskly, abundantly, jumping merrily, like the large and hot tears of a suddenly joyful person,” thunderstorms “are not terrible, but only beneficial.”
The seasons in this region are correlated with peasant labor, with the natural rhythm of human life. “According to the calendar, spring will come in March, dirty streams will run from the hills, the earth will thaw and smoke with warm steam; the peasant will take off his sheepskin coat, go out into the air in his shirt and, covering his eyes with his hand, admire the sun for a long time, shrugging his shoulders with pleasure; then he will pull a cart turned upside down... or inspect and kick a plow lying idly under a canopy, preparing for ordinary work.” Everything in this natural cycle is reasonable and harmonious. Winter “does not tease with unexpected thaws and does not bend in three arcs with unheard-of frosts ...”, but in February “the soft breeze of the approaching spring is already felt in the air.” But summer is especially wonderful in this region. “There you need to look for fresh, dry air, filled - not with lemon or laurel, but simply with the smell of wormwood, pine and bird cherry; there to look for clear days, slightly burning, but not scorching rays of the sun and for almost three months a cloudless sky.”
Peace, tranquility, deep silence lie in the fields, quietly and sleepily in villages scattered not far from each other. On the master's estate, everyone falls into a deep sleep after a varied, plentiful dinner. Life flows lazily and slowly. The same silence and calm reign there in human morals. The range of people's concerns does not go beyond simple everyday life and its rituals: christenings, name days, weddings, funerals. Time in Oblomovka is counted “according to holidays, seasons, various family and home occasions.” The land there is “fertile”: Oblomov’s people don’t have to work hard, they endure the work “as punishment.”
It was in this region that the hero spent his childhood; here, on long winter evenings, he listened to his nanny’s fairy tales, epics, and scary stories. In this atmosphere of the unhurried flow of life, his character was formed. Little Ilyusha loves nature: he wants to run into the meadows or to the bottom of a ravine and play snowballs with the boys. He is curious and observant: he notices that the shadow is ten times larger than Antipas himself, and the shadow of his horse covered the entire meadow. The child wants to explore the world around him, “to rush out and redo everything himself,” but his parents pamper and cherish him, “like an exotic flower in a greenhouse.” Thus, those seeking manifestations of power turn inward, decline and wither. And gradually the hero absorbs this unhurried rhythm of life, its lazy, measured atmosphere. And he gradually becomes the Oblomov we see in St. Petersburg. However, you should not think that this phrase carries only a negative connotation. Both Oblomov’s “dovelike tenderness” and his moral ideals - all this was also formed by the same life. Thus, the landscape here has a psychological function: it is one of the components that shapes the character of the hero.
In the love scenes between Oblomov and Olga Ilyinskaya, pictures of nature acquire symbolic meaning. So, a lilac branch becomes a symbol of this emerging feeling. Here they meet on the path. Olga picks a lilac branch and gives it to Ilya. And he responds by noting that he loves lilies of the valley more, since they are closer to nature. And Oblomov involuntarily asks for forgiveness for the confession that escaped him, attributing his feelings to the effect of music. Olga is upset and discouraged. She drops a lilac branch to the ground. Ilya Ilyich picks it up and on the next date (for lunch with the Ilyinskys) comes with this branch. Then they meet in the park, and Oblomov notices that Olga is embroidering the same lilac branch. Then they talk, and hope for happiness appears in Ilya’s soul. He confesses to Olga that “the color of life has fallen.” And she again plucks a branch of lilac and gives it to him, denoting with it the “color of life” and her annoyance. Trust and understanding appear in their relationship - Oblomov is happy. And compares his condition with a person’s impression of an evening landscape. “Oblomov was in that state when a person had just followed the setting summer sun with his eyes and was enjoying its ruddy traces, without taking his eyes off the dawn, without turning back to where the night came from, thinking only about the return of warmth and light tomorrow.”
Love sharpens all the feelings of the heroes. Both Ilya Ilyich and Olga become especially sensitive to natural phenomena, life opens up to them with its new, unknown sides. Thus, Oblomov notes that, despite the external silence and peace, in nature everything is boiling, moving, fussing. “Meanwhile, in the grass everything was moving, crawling, fussing. There are ants running in different directions so fussily and fussily, colliding, scattering, hurrying... Here is a bumblebee buzzing near a flower and crawling into its cup; there are flies in a heap near a leaking drop of juice on a crack in a linden tree; here is a bird somewhere in the thicket that has been repeating the same sound for a long time, maybe calling another. Here are two butterflies, spinning around each other in the air, rushing headlong, as if in a waltz, around tree trunks. The grass smells strong; an incessant crackling sound comes from it...” In the same way, Olga discovers the hitherto unnoticed secret life of nature. “There are the same trees in the forest, but their noise has a special meaning: a living harmony reigned between them and her. The birds don’t just chatter and chirp, but they all say something to each other; and everything speaks around her, everything corresponds to her mood; the flower blooms, and she hears as if his breathing.”
When Oblomov begins to have doubts about the truth of Olga’s feelings, this novel seems to him a monstrous mistake. And again the writer compares Ilya’s feelings with natural phenomena. “What wind suddenly blew on Oblomov? What clouds did you make?<…>He must have had dinner or lay on his back, and the poetic mood gave way to some kind of horror. It often happens in the summer to fall asleep on a quiet, cloudless evening, with twinkling stars, and think how beautiful the field will be tomorrow with the bright morning colors! How fun it is to go deep into the thicket of the forest and hide from the heat!.. And suddenly you wake up from the sound of rain, from sad gray clouds; cold, damp...” Oblomov’s experiences may be far-fetched; he still loves Olga, but subconsciously begins to realize the impossibility of this union and to foresee the end of the relationship. And Olga begins to understand the same thing with her unmistakable feminine intuition. She notices that “the lilacs... have moved away, disappeared!” Love ends with summer.
Autumn pictures of nature create an atmosphere of distance between the characters and each other. They can no longer meet so freely in the forest or parks. And here we note the plot-forming significance of the landscape. Here is one of the autumn landscapes: “The leaves have flown around, you can see right through everything; the crows in the trees scream so unpleasantly..." Oblomov invites Olga not to rush into announcing the news of the wedding. When he finally breaks up with her, snow falls and thickly covers the fence, fence, and garden beds. “The snow was falling in flakes and thickly covering the ground.” This landscape is also symbolic. The snow here seems to bury the hero’s possible happiness.
At the end of the novel, the author paints pictures of southern nature, depicting the life of Olga and Stolz in Crimea. These landscapes deepen the character of the characters, but at the same time they are presented in contrast with “Oblomov’s Dream” in the novel. If the sketches of nature in “Oblomov’s Dream” were detailed and sometimes poetic, the author seemed to dwell with pleasure on characteristic phenomena and details, then in the finale Goncharov limited himself to only describing the impressions of the characters. “They often plunged into silent wonder at the ever-new and brilliant beauty of nature. Their sensitive souls could not get used to this beauty: the earth, the sky, the sea - everything awakened their feelings... They did not greet the morning with indifference; could not stupidly plunge into the darkness of a warm, starry, southern night. They were awakened by the eternal movement of thought, the eternal irritation of the soul and the need to think together, feel, speak!..” We see the sensitivity of these heroes to the beauty of nature, but is their life the writer’s ideal? The author avoids an open answer.
The landscape that paints a picture of the local cemetery at the end of the novel is simple and modest. Here the motif of the lilac branch, which accompanied the hero at the climactic moments of his life, appears again. “What happened to Oblomov? Where is he? Where? “In the nearest cemetery, under a modest urn, his body rests between the bushes, in a quiet place. Lilac branches, planted by a friendly hand, doze over the grave, and wormwood smells serenely. It seems that the angel of silence himself is guarding his sleep.”
Thus, the pictures of nature in the novel are picturesque and varied. Through them, the author conveys his attitude to life, love, reveals the inner world and mood of the characters.

Introduction

Goncharov’s work “Oblomov” is a socio-psychological novel written in the mid-19th century. The book tells the story of the fate of the Russian tradesman Ilya Ilyich Oblomov, a personality with a fine spiritual organization, who failed to find his own place in the rapidly changing world of contemporary Russia. The author’s depiction of nature plays a special role in revealing the ideological meaning of the novel - in Oblomov, landscapes are a reflection of the hero’s inner world and are closely related to his feelings and experiences.

Nature of Oblomovka

The most striking landscape of the novel is the nature of Oblomovka, perceived by the reader through the prism of Ilya Ilyich’s dream. The quiet nature of the village, far from the hustle and bustle of cities, attracts with its calmness and serenity. There are no dense, frightening forests, no restless sea, no high distant mountains or windy steppes, no fragrant flower beds, only the smell of field grass and wormwood - according to the author, a poet or dreamer would hardly be satisfied with the simple landscape of this area.

The soft, harmonious nature of Oblomovka did not require the peasants to work, which created a special, lazy mood of life in the entire village - the measured passage of time was interrupted only by the changing seasons or weddings, birthdays and funerals, which just as quickly became a thing of the past, replaced by the calmness of the pacifying nature .

Oblomov's dream is a reflection of his childhood impressions and memories. Dreamy Ilya, from an early age, perceived the world through the beauty of the sleepy landscapes of Oblomovka, wanted to explore and get to know the world around him, but the excessive care of his parents led to the withering of the active principle in the hero and contributed to the gradual absorption of that “Oblomovsky” measured rhythm of life, which for him, already an adult , became the only correct and pleasant one.

Four pores of love

Nature in the novel “Oblomov” carries a special semantic and plot load. First of all, it reflects the state of the hero. The symbol of the tender feeling between Olga and Oblomov becomes a fragile branch of lilac, which the girl gives to Ilya Ilyich, to which he replies that he loves lilies of the valley more, and the upset Olga drops the branch. But on the next date, as if having accepted the girl’s feelings, Oblomov comes with the same twig. Even at the moment when Ilya Ilyich tells the girl that “the color of life has fallen,” Olga again plucks a branch of lilac for him as a symbol of spring and the continuation of life. During the heyday of their relationship, quiet summer nature seems to favor their happiness; its secrets and special meanings are revealed to the lover. Describing Oblomov’s condition, the author compares his happiness with the beauty of a delightful summer sunset.

Nature appears completely different at the moments when Oblomov begins to doubt the bright future of their love, comparing them with rainy weather, a gray sky covered with sad clouds, dampness and cold. At the same time, Olga notices that the lilac has already moved away - as if their love has also moved away. The alienation of the heroes is emphasized by the image of the autumn landscape, flying leaves and unpleasantly screaming crows, when the heroes can no longer hide behind fresh green foliage, comprehending the secrets of living nature and their own souls. The separation of lovers is accompanied by a snowfall, which Oblomov falls under - spring love, the symbol of which was a tender lilac branch, finally dies under a blanket of snow and cold.

The love of Oblomov and Olga seems to be part of that distant, familiar “Oblomov” life to Ilya Ilyich. Beginning in the spring and ending in late autumn, their feelings become part of the natural flow of time of living nature, the change of seasons from birth and flourishing to extinction and death, followed by a new birth - the love of Oblomov for Agafya and Olga for Stolz.
At the end of the novel, the author describes the landscape of the modest cemetery where Oblomov is buried. As a reminder of the hero’s wonderful feeling, a lilac planted by friends grows near the grave, and it smells of wormwood, as if the hero had returned to his native Oblomovka again.

Conclusion

The landscape in the novel “Oblomov” performs the leading semantic and plot-forming functions. A subtle sense of nature, the flow of its natural time and inspiration by each of its manifestations in the work is accessible only to the reflective, dreamy Oblomov and the loving Olga. After marriage, when depicting the life of a girl with Stolz in the Crimea, Olga unconsciously loses the ability to feel every manifestation of nature that she had during her relationship with Oblomov. The author seems to be trying to show the reader that, despite the speed of the urbanized world, man is not subject to the natural changes in the cycles of nature - fluid and changing throughout human life.

Work test