The role of minor characters in the play. Essay “The role of minor characters in A. N. Ostrovsky’s drama “The Thunderstorm”

In addition to the main characters, it also includes secondary characters who play an equally important role in the play.

Replicas minor characters Ostrovsky draws a background that speaks about the state of the main characters and draws the reality around them. From their words you can learn a lot about the morals of Kalinov, its past and aggressive rejection of everything new, about the requirements that are presented to the residents of Kalinov, their way of life, dramas and characters.

In the remarks that lead us to the image of Katerina and her monologue-characterization, a modest young beautiful woman, about which no one can say anything bad. Only the attentive Varvara discerned her reaction to Boris and pushed her to betray her, not seeing anything bad in it and not at all tormented by a feeling of guilt towards her brother. Most likely, Katerina would never have decided to cheat, but her daughter-in-law simply hands her the key, knowing that she will not be able to resist. In the person of Varvara, we have proof that there is no love between loved ones in Kabanikha’s house, and everyone is only interested in his personal life, his benefits.

Her lover, Ivan Kudryash, also does not experience love. He can cheat on Varvara simply out of a desire to spoil the Dikiy, and would do this if his daughters were older. For Varvara and Kudryash, their meetings are an opportunity to satisfy bodily needs, to mutual pleasure. Animal lust is the obvious norm of the night Kalinov. The example of their couple shows the bulk of Kalinov’s youth, the same generation that is not interested in anything other than their personal needs.

TO to the younger generation The married Tikhon and the unmarried Boris also apply, but they are different. This is rather an exception to the general rule.

Tikhon represents that part of the youth that is suppressed by their elders and is completely dependent on them. It is unlikely that he has ever behaved like his sister; he is more decent - and therefore unhappy. He cannot pretend to be subdued like his sister - he is truly subdued, his mother broke him. It’s a pleasure for him to get drunk to death when there is no constant control in the person of his mother.

Boris is different because he did not grow up in Kalinov, and his late mother is a noblewoman. His father left Kalinov and was happy until he died, leaving the children orphans. Boris saw a different life. However, due to younger sister, he is ready for self-sacrifice - he is in the service of his uncle, dreaming that someday Dikoy will give them part of the inheritance left by his grandmother. In Kalinov there is no entertainment, no outlet - and he fell in love. This is really falling in love, not animal lust. His example shows Kalinov’s poor relatives forced to live with rich merchants.

Using the example of Kuligin, a self-taught mechanic trying to create a perpetuum mobile, inventors of small towns are shown who are forced to constantly ask for money to develop inventions, and receive insults and humiliating refusals, and even swearing. He's trying to bring progress to the city, but he's the only one doing it. The rest are happy with everything, or they have resigned themselves to fate. This is the only positive secondary character of the play, but he too has resigned himself to fate. He is unable to fight the Wild One. The desire to create and create for the people is not even paid. But it is with his help that Ostrovsky condemns the “dark kingdom.” He sees the beauty of the Volga, Kalinov, nature, the approaching thunderstorm - which no one but him sees. And it is he who, giving Katerina’s corpse, utters words of condemnation to the “dark kingdom.”

In contrast, the “professional” wanderer Feklusha settled down well. She doesn’t bring anything new, but she knows very well what those with whom she expects to have a delicious meal want to hear. Change is from the devil, who trades in big cities, confusing people. All new creations are also from the devil - exactly what fully corresponds to Kabanikha’s personal opinion. In Kalinov, assenting to Kabanikha, Feklusha will always be full, and food and comfort are the only things she is not indifferent to.

Not last role plays and half-crazy lady, about whom it was known that she had sinned a lot in her youth, and in her old age she became fixated on this topic. “Sin” and “beauty” are two inseparable concepts for her. Beauty has disappeared - and the meaning of life has disappeared; this, of course, becomes God's punishment for sins. On this basis, the lady goes crazy and immediately begins to denounce him when she sees the beautiful face. But she gives the impression of an angel of retribution to the impressionable Katerina, although most of God’s terrible punishment for her act was invented by him herself.

Without minor characters“The Thunderstorm” could not have been so emotionally and meaningfully rich. With thoughtful remarks, like brushstrokes, the author creates full picture the hopeless life of the dark, patriarchal Kalinov, which can lead to death of any soul who dreams of flight. That’s why people “don’t fly” there. Or they fly, but for a matter of seconds, in free fall.

/ / / The role of minor characters in Ostrovsky’s play “The Thunderstorm”

From the pen of A.N. Ostrovsky published about 60 plays, which glorified the name of the author and made him eternal in the memory of Russian literature. One of the most decisive and frank is the play “”, in which we observe the world of tyrants and their boundless actions, which ultimately lead to tragic consequences.

The action takes place in the most ordinary town of Kalinov. But what happens in it attracts our attention. We, the readers, are observing the suffocating situation in which the residents of Kalinov find themselves. They are exposed to cruel merchants of all-permissible status on a daily basis.

There are quite a lot of minor characters in the play. They help the author reveal the types of relationships between people of that time and reveal the character traits of the main characters. Conventionally, we can divide the characters into pairs that are somewhat similar.

Very similar to each other (Kabanikha) and Dikoy. They are powerful people, no one dares to contradict them. Dikoy dominates the town of Kalinov, and Kabanikha dominates her estate. Both persons treat each other with respect, because they consider themselves similar and the same.

Kabanova's daughter is Katerina's friend. Girls always tell each other secrets. Varvara learned and adapted to life in her mother's house. And her main skill was lying. In her speech, she directly states that it is impossible to live in their family without this. She is similar in habits and character to her mother. Another character is equal to her - Ivan Kudryash. He is lively and playful, he is cocky and boastful. In some ways he reminds us of the Wild One himself. The couple Curly and Varvara end up running away from the city. But will they be able to become different people and free themselves from the principles of tyranny? Only the author knows this.

There are two similar male characters in the play. This is Katerina’s husband, Tikhon, and her beloved Boris. Both of them can be considered weak and spineless. could not protect Katerina from the constant oppression of Kabanikha and silently obeyed the will of his mother. But Boris could not take the girl with him to Siberia, and thereby save her from suicide. He was completely dependent on his uncle Diky. Both characters simply do not deserve attention, much less Katerina’s love.

The wanderer Feklusha and also stand in a pair, only these are completely opposite images. Feklusha is an adherent of the “dark kingdom”. She always comes to the defense of tyrants. Kuligin, on the other hand, opposes the images of the Wild One, Kabanikha and other similar persons. It was he who was able to make an indictment against Marfa Kabanova after Katerina’s death.

Thanks to such a variety of minor characters, we see fate against their background main character Katerina, who has no equal in this play. Only she was able to deal an irreparable blow to the “dark kingdom” and express an open protest against cruelty, callousness and lawlessness.

THE ROLE AND IMPORTANCE OF MINIOR CHARACTERS IN A. N. OSTROVSKY’S DRAMA “THE THUNDER” 5.00 /5 (100.00%) 2 votes

A. N. Ostrovsky is rightfully considered a singer
the leader of the merchant environment, the father of Russian everyday life
howl of drama, Russian national theater.
He wrote about 60 plays, and one
The most famous is "Thunderstorm".
A. N. Dobrolyubov called Ostrovsky’s play
"The Thunderstorm" is the most decisive work,
since “mutual relations of tyranny
and voicelessness in it are brought to tragic
any consequences... There is something special in “The Thunderstorm”
respectful and encouraging. This is something
in our opinion, the background of the play.”
The background of the play is made up of minor
characters. This is Katerina's constant companion.
we, the main character of the play, Varvara, sister
Katerina's husband, Tikhon Kabanova^ She -
the opposite of Katerina. The main thing is her
rule: “Do whatever you want, as long as everyone
then it was covered.” You can't deny Varvara's intelligence,
cunning, before marriage she wants to manage everywhere
sing, try everything, because she knows
that “the girls walk for themselves as they want, for their father and mother
I don't care. Only women are locked up.”
Lying is the norm for her. She's straight
tells Katerina that it is impossible without deception: “We
the whole house rests on this. And I'm not a liar
I was there, but I learned it when it became necessary.”
Varvara adapted to the “dark reign”
stu”, studied its laws and rules. In it
one feels authority, strength, readiness
and even a desire to deceive. She is, in fact,
future Kabanikha, after all, an apple comes from an apple tree
falls close. Varvara's friend, Kudryash,
suits her. He is the only one in the city of Ka-
Linove can repel the Wild. "I'm rude-
I'm considered yang; Why is he holding me? Sta-
Maybe he needs me. Well, that means I didn’t
I’m afraid, but let him be afraid of me...”
says Kudryash. He behaves cheekily, fight-
who, boldly, boasts of his prowess, knowledge
"merchant establishment". Kudryash is the second
Wild, only still young.
In the end, Varvara and Kudryash left
give a “dark kingdom”, but their escape is not at all
means that they are completely freed from
old traditions and laws and will accept new ones
laws of life and fair rules. Feeling-
being free, they will most likely be self-
We try to become masters of life.
The play also contains true victims of the “dark
kingdoms." This is the husband of Katerina Kabanova, T-
hon, is a weak-willed, spineless creature.
He listens to his mother in everything and obeys
she doesn't have a clear life position, mu-
courage, courage. His image is completely consistent
The name corresponds to Tikhon (quiet). Young
Kabanov not only does not respect himself, but also poses
wills his mother to shamelessly treat-
to his wife. This is especially evident
in the farewell scene before leaving for the fair
ku. Tikhon repeats all the instructions word for word
mother's love and moral teaching. Kabanov neither
in which he could not resist his mother, slowly
Ku drank himself to death, becoming even more weak-willed
and quiet. Of course, Katerina cannot love
and respect such a husband, and her soul yearns
love. She falls in love with Dikiy's nephew,
Boris. But Katerina fell in love with him, aptly
according to Dobrolyubov’s expression, “in the desert,”
after all, in essence, Boris is not much different from Ti-
hona. Maybe a little more educated. Without-
Boris's will, his desire to get his
part of his grandmother's inheritance (and he will receive
her only if she is respectful
with my uncle) turned out to be stronger than love..
IN " dark kingdom» with great respect
and the wanderer Feklusha enjoys respect.
Feklushi's stories about the lands where people live
with dog heads, are perceived as neo-
verifiable information about the world. But not everything is
it is so gloomy: there are also living ones who sympathize
living souls. This is a self-taught mechanic Kuli-
a genie who invents a perpetual motion machine. He's kind
and active, literally obsessed with constant
desire to do something useful for people.
But all his good intentions come up against
a thick wall of misunderstanding, indifference, non-
goodness. So, in response to an attempt to put
he gets steel lightning rods on his house
furious rebuff from the Wild: “The thunderstorm is in our hands.”
knowledge is sent so that we feel, and you
you want with poles and some kind of rods, about
Oh my God, defend yourself.”
Kuligin is essentially a resonator in the play.
rum, condemnation of the “dark
kingdom": "Cruel, sir, the morals in our
city, cruel... Whoever has the money, sir,
tries to enslave the poor so that he can
still free labor more money make money..."
But Kuligin, like Tikhon, Boris, Varvara,
Kudryash, adapted to the “dark kingdom”
woo,” resigned himself to such a life.
Minor characters, as if already
lo it is said - this is the background on which the
The tragedy of a desperate woman unfolds.
Every face in the play, every image was a
the stump of the stairs that led Kateri-
Well, to the banks of the Volga, to death.

A.N. Ostrovsky was born and spent his childhood in Zamoskvorechye, where merchants, artisans, and the poor had long settled. Almost 50 plays were written by him over a long period of time literary life, and many of them were rooted in their native Zamoskvorechye. The drama “The Thunderstorm” (1859), written at a time of social upsurge on the eve of the peasant reform, seemed to crown the first decade of the writer’s activity, a cycle of his plays about the “dark kingdom” of tyrants. The artist’s imagination takes us to the small Volga town of Kalinov - with merchant storehouses on the main street, with an old church where pious parishioners go to pray, with a public garden above the river, where ordinary people walk decorously on holidays, with gatherings on benches near the plank gates, behind which The chain dogs bark frantically. The rhythm of life is sleepy, boring, to match the tediously long summer day, with which the action of the play begins: ".

The main conflict of the drama does not boil down to the love story of Katerina and Boris. The development of the dramatic conflict would have been impossible without Feklushi, without Varvara, without Kuligin and other minor characters. Feklusha, a wanderer and hanger-on, is similar to Kabanikha in her reasoning. She thinks like her mistress, she regrets what her mistress regrets - about the antiquity dear to their hearts: “ Last times, mother Marfa Ignatievna, the last, by all accounts the last.” The interlocutors lament the fact that in other cities life is in full swing. They are terrified by the “fiery serpent” that they began to harness. They expect all sorts of troubles ahead: “And it will be worse than this, dear.” But of the people close to Kabanikha, only Feklusha will not condemn her severity. In the atmosphere of the “dark kingdom”, under the yoke of tyrant power, the living fade and wither human feelings, the will weakens, the mind fades. If a person is endowed with energy and a thirst for life, then, getting used to circumstances, he begins to lie and dodge.

Under the pressure of this dark force The characters of Tikhon and Varvara develop. This power disfigures them, each in their own way. Tikhon is pitiful and impersonal. But even Kabanikha’s oppression did not completely kill the living feelings in him. Somewhere in the depths of his timid soul there glimmers a flame - love for his wife. He does not dare to show this love, and he does not understand Katerina; he is glad to leave even her, just to escape from his home hell. But the fire in his soul does not go out. Confused and depressed, Tikhon speaks about his wife who cheated on him: “But I love her, I’m sorry to lay a finger on her...” His will is constrained, and he does not even dare to help his unfortunate Katya. However, in last scene love for his wife overcomes Tikhon’s fear of his mother. Over Katerina’s corpse, for the first time in his life he dares to blame his mother:

“Kabanov. Mama, you ruined her, you, you, you...

Kabanova. What you! You don’t remember yourself! I forgot who you're talking to!

Kabanov. You ruined her! You! You!"

How different these accusations are from Tikhon’s timid, humiliated words when he first appeared on stage: “Do we dare, Mama, to think!”, “Yes, I, Mama...” This means, indeed, the foundations of the “dark kingdom” are collapsing and Kabanikha’s power is wavering, even if Tikhon spoke like that.

The development of characters in The Thunderstorm is associated with the central conflict of the drama. Life in Kabanova’s house also crippled Varvara. She does not want to endure the power of her mother, she does not want to live in captivity. But Varvara easily adapts to the morality of the “dark kingdom” and takes the path of deception. This becomes habitual for her - she claims that there is no other way to live: their whole house rests on deception. “And I wasn’t a liar, but I learned when it became necessary,” says Varvara. Her everyday rules are very simple: “Do whatever you want, as long as it’s safe and covered.” However, Varvara was cunning while she could, and when they began to lock her up, she ran away from home. And again Kabanikha’s ideals are crumbling. The daughter “disgraced” her house and broke free from her power.

The most weak and pathetic of the characters is Dikiy’s nephew, Boris Grigorievich. He speaks about himself: “I’m walking around completely dead... Driven, beaten...” This is a kind, cultured person. He stood out sharply against the background of the merchant environment. But Boris is unable to protect either himself or the woman he loves. In misfortune, he only rushes about and cries: “Oh, if only these people knew how it feels for me to say goodbye to you! My God! May God grant that someday they may feel as sweet as I do now. Goodbye Katya! You are the villains! Monsters! Oh, if only there was strength! In the scene of his last date with Katerina, Boris evokes contempt. The man she fell passionately in love with is afraid to run away with the woman she loves. He’s afraid to even talk to her: “They wouldn’t find us here.” But it is to this weak-willed person that they are addressed last words Katerina before her death: “My friend! My joy! Goodbye!"

Katerina's husband Tikhon deserves more respect than Boris, since he dared to make accusations. Even the clerk Wild Curly, who is reputed to be a rude man, commands at least some respect because he was able to protect his love by running away with his beloved. Among the characters in the play, opposed to the Wild and Kabanikha, Kuligin boldly and sensibly judges the “dark kingdom”. This self-taught mechanic has a bright mind and a broad soul, like many talented people from the people. He condemns the greed of the merchants, the cruel attitude towards people, ignorance, and indifference to everything truly beautiful. Kuligin's opposition to the “dark kingdom” is especially expressive in the scene of his clash with Dikiy. Kuligin writes poetry, but his ordinary speech is also imbued with poetry. “It’s very good, sir, to go for a walk now,” he says to Boris. “It’s quiet, the air is excellent, the meadows smell of flowers from across the Volga, the sky is clear...” And then Lomonosov’s poems sound.

Kuligin condemns " cruel morals» Dikikh and Kabanov, but he is too weak in his protest. Just like Tikhon, like Boris, he is afraid of tyrant power and bows before it. “There is nothing to do, we must submit!” - he says humbly. Kuligin teaches others to be obedient. He advises Curly: “It’s better to endure it.” He recommends the same to Boris: “What should we do, sir. We must try to please somehow.” And only at the end, shocked by the death of Katerina, Kuligin rises to open protest: “Here is your Katerina. Do whatever you want with her! Her body is here, take it; but the soul is now not yours: it is now before a judge who is more merciful than you!” With these words, Kuligin not only justifies Katerina, but also accuses the merciless judges who destroyed her. We see that the death of Katerina awakened a protest against the “dark kingdom” from the voiceless, downtrodden Tikhon, and provoked Kuligin, who was usually timid of tyrants, to open protest. The main conflict of the drama is the struggle between old and new morality. And as the author intended, not only the main character, Katerina, protests against the old world, but also the secondary characters, one way or another, raise their voices against the “dark kingdom.”

The tragedy of the work.

Critics rating

1. Oblomov - Stolz.

2. Oblomov - Olga Ilyinskaya

The problem of love.

The tragedy of the work.

The tragedy takes place in the city of Kalinov, which is located among the greenery of gardens on the steep bank of the Volga. “For fifty years I’ve been looking across the Volga every day and I can’t get enough of it. The view is extraordinary! Beauty! The soul rejoices,” Kuligin admires. It would seem that the life of the people of this city should be beautiful and joyful. However, the life and customs of the rich merchants created “a world of prison and deathly silence.” Savel Dikoy and Marfa Kabanova are the personification of cruelty and tyranny. Orders in merchant's house based on the outdated religious dogmas of Domostroy. Dobrolyubov says about Kabanikha that she “gnaws at her victim... long and relentlessly.” She forces her daughter-in-law Katerina to bow at her husband’s feet when he leaves, scolds her for “not howling” in public when seeing off her husband.

Kabanikha is very rich, this can be judged by the fact that the interests of her affairs go far beyond Kalinov; on her instructions, Tikhon travels to Moscow. She is respected by Dikoy, for whom the main thing in life is money. But the merchant's wife understands that power also brings obedience to those around her. She seeks to kill any manifestation of resistance to her power in the home. The boar is hypocritical, she only hides behind virtue and piety, in the family she is an inhuman despot and tyrant. Tikhon does not contradict her in anything. Varvara learned to lie, hide and dodge.

The main character of the play Katerina is marked strong character, she is not used to humiliation and insults and therefore conflicts with her cruel old mother-in-law. In her mother’s house, Katerina lived freely and easily. In the Kabanov House she feels like a bird in a cage. She quickly realizes that she cannot live here for long.

Katerina married Tikhon without love. In Kabanikha’s house, everything trembles at the mere imperious cry of the merchant’s wife. Life in this house is difficult for young people. And then Katerina meets a completely different person and falls in love. For the first time in her life, she experiences deep personal feeling. One night she goes on a date with Boris. Whose side is the playwright on? He is on Katerina’s side, because a person’s natural aspirations cannot be destroyed. Life in the Kabanov family is unnatural. And Katerina does not accept the inclinations of those people with whom she ended up. Having heard Varvara’s offer to lie and pretend, Katerina replies: “I don’t know how to deceive, I can’t hide anything.”

Katerina's directness and sincerity evokes respect from both the author, the reader, and the viewer. She decides that she can no longer be a victim of a soulless mother-in-law, she cannot languish behind bars. She's free! But she saw a way out only in her death. And one could argue with this. Critics also disagreed about whether it was worth paying Katerina for freedom at the cost of her life. So, Pisarev, unlike Dobrolyubov, considers Katerina’s act senseless. He believes that after Katerina’s suicide everything will return to normal, life will go take its course, and the “dark kingdom” is not worth such a sacrifice. Of course, Kabanikha brought Katerina to her death. As a result, her daughter Varvara runs away from home, and her son Tikhon regrets that he did not die with his wife.

It is interesting that one of the main, active images of this play is the image of the thunderstorm itself. Symbolically expressing the idea of ​​the work, this image directly participates in the action of the drama as a real natural phenomenon, enters into action at its decisive moments, and largely determines the actions of the heroine. This image is very meaningful; it illuminates almost all aspects of the drama.

So, already in the first act a thunderstorm broke out over the city of Kalinov. It broke out like a harbinger of tragedy. Katerina already said: “I’ll die soon,” she confessed to Varvara her sinful love. In her mind, the mad lady's prediction that the thunderstorm would not pass in vain, and the feeling of her own sin with a real thunderclap had already been combined. Katerina rushes home: “It’s still better, everything is calmer, I’m at home - to the images and pray to God!”

After this, the storm ceases for a short time. Only in Kabanikha’s grumbling are its echoes heard. There was no thunderstorm that night when Katerina felt free and happy for the first time after her marriage.

But the fourth, climactic act, begins with the words: “The rain is falling, as if a thunderstorm is not gathering?” And after that the thunderstorm motif never ceases.

The dialogue between Kuligin and Dikiy is interesting. Kuligin talks about lightning rods (“we have frequent thunderstorms”) and provokes the wrath of Dikiy: “What other kind of electricity is there? Well, how come you are not a robber? A thunderstorm is sent to us as punishment, so that we can feel it, but you want to defend yourself, God forgive me, with poles and some horns. What are you, a Tatar or what?” And in response to the quote from Derzhavin, which Kuligin cites in his defense: “I decay with my body in dust, I command thunder with my mind,” the merchant does not find anything to say at all, except: “And for these words, send you to the mayor, so he will will ask!”

Undoubtedly, in the play the image of a thunderstorm acquires a special meaning: it is a refreshing, revolutionary beginning. However, the mind is condemned in the dark kingdom; it is faced with impenetrable ignorance, supported by stinginess. But still, the lightning that cut through the sky over the Volga touched the long-silent Tikhon and flashed over the destinies of Varvara and Kudryash. The thunderstorm shook everyone up thoroughly. Inhuman morals will sooner or later come to an end. The struggle between the new and the old has begun and continues. This is the meaning of the work of the great Russian playwright.

The role of minor characters in the drama "The Thunderstorm". The drama “The Thunderstorm” as assessed by critics (N.A. Dobrolyubov, D.I. Pisarev, A.A. Grigoriev, A.V. Druzhinin).

The secondary characters in the play not only form the background against which the personal drama of Katerina, the main character of the work, unfolds. They show us different types people's attitudes towards their lack of freedom. The system of images in the play is such that all the minor characters form conditional pairs, and only Katerina is alone in her true desire to escape from the yoke of the “tyrants.”

Dikoy and Kabanova are people who keep in constant fear those who somehow depend on them. Dobrolyubov very aptly called them “tyrants,” since the main law for everyone is their will. It is no coincidence that they treat each other very respectfully: they are the same, only the sphere of influence is different. Dikoy rules in the city, Kabanikha rules in her family.

Katerina's constant companion is Varvara, the sister of her husband Tikhon. She is the main opponent of the heroine.

Critics rating

A thunderstorm, according to Dobrolyubov, is the most decisive work Ostrovsky, for it marks the near end of tyrant power. The central conflict of the drama - the clash of the heroine defending her human rights with the world of the dark kingdom - expressed the essential aspects of people's life at the time revolutionary situation. And that is why the critic considered the drama Thunderstorm a truly folk work.

Characterizing the social atmosphere of the 60s, Dobrolyubov wrote: Wherever you look, everywhere you see the awakening of the individual, the presentation of his legal rights, protest against violence and tyranny, for the most part still timid, vague, ready to hide, but still already making his existence noticeable. Dobrolyubov saw the manifestation of an awakened and ever-growing protest against the oppression of tyrants in his feelings and actions, in the very death of Katerina.

The critic assessed Ostrovsky's drama as a work that expresses the urgent needs of its time - the demand for law, legality, respect for man. In the image of Katerina, he sees the embodiment of Russian living nature. Katerina prefers to die than to live in captivity.

3.A.I. Goncharov “Oblomov” The principle of plot antithesis in the novel (Oblomov–Stolz, Oblomov–Olga). The problem of love in the novel.

1. Oblomov - Stolz.

2. Oblomov - Olga Ilyinskaya

Stolz - no positive hero novel, his activity sometimes resembles the activity of Sudbinsky from the despised Stolz of Oblomov’s St. Petersburg entourage: work, work, work again, like a machine, without rest, entertainment and hobbies.

His practicality is far from high ideals; he resembles a businessman, a tourist. The image of Stolz is schematic, emotionally faceless.

Goncharov does not know what business can save Russia from Oblomovism. A writer can answer only one eternal question: “who is to blame?” - autocracy, serfdom. On the second problematic issue doesn’t know the answer: “What should I do?”

The main plot situation in the novel is the relationship between Olga Ilyinskaya and Oblomov.

Goncharov follows the path that has become traditional in Russian literature: a person is morally weak to the test of love, but if he is able to respond to strong feeling love. Oblomov reinforces this conclusion. Olga Ilyinskaya is characterized by harmony of mind, heart, will, activity and kindness. Goncharov poetizes Oblomov’s suddenly flared up feeling of love. There is a feeling that Oblomov will be reborn as a person to the fullest. The hero’s inner life began to move, along with the feeling of love for Olga, an active interest in spiritual life, in art, in the mental demands of that time awakens in Oblomov. Oblomov’s feeling of love for Olga was a short-term flash. Oblomov’s illusions on this score quickly dissipate. The gap between Olga and Oblomov is natural. Their natures are too different. More valuable than romantic dates was the thirst for a serene sleepy state for Oblomov. “A man sleeps serenely” - this is Ilya Ilyich’s ideal of existence.

Life in Pshenitsina’s house is physically inert, and therefore unhealthy. Oblomov goes quickly towards his eternal dream - death. He gradually fits into a wide and spacious coffin. Dobrolyubov saw predecessors in Oblomov, who are also historically determined - these are images extra people: Onegin, Pechorin, Rudin (Turgenev).

The problem of love.

In his work “Oblomov” I. A. Goncharov tries to find answers to those eternal questions that a person asks himself at least once in his life. And one of these multifaceted worlds, to the study and understanding of which the author devoted his novel, is the world of harmony, happiness, and love. Love, as it were, permeates the entire work, filling it with different colors, revealing the most unexpected features hero, awakening in them a thirst for action and knowledge.

Second, no less significant function love plot in a novel - opposition. In this work there are two collective images that are complete opposites when comparing characters or appearance - they both pass the test of love. Both Oblomov and Stolz are connected by the thread of their relationship with Olga. How different their behavior is when they fall in love with her, and how much more it gives than any other comparison.