Oblomov's dream. Means of speech expression. Practical work (2 options). Artistic features Artistic techniques in Oblomov

I.A. GONCHAROV

In the literary process of the 2nd half of the 19th century, I. A. Goncharov and his work occupy a special place. Entering literature in the turbulent era of the 60s, it was completely atypical. The writer is suspicious and distrustful of the changes that began at this time. He was deeply concerned about the moral losses in the country associated with the destruction of the centuries-old foundations of patriarchal Russia. Old Russia attracted I. A. Goncharov with the spirituality of human relations, respect for the memory of ancestors, and national traditions. Seeing the shortcomings of patriarchal Russia, the main ones of which were inaction and fear of change, the artist comes to the conclusion that the main thing in life is its stability in the face of all social upheavals. And the main task of the writer is to record stable forms of life, to create stable types.
During his long life, I. A. Goncharov wrote only three novels, work on each took at least ten years (“Ordinary History”, “Oblomov”, “Cliff”), exploring the same conflict - the conflict between old and new Russia , between the patriarchal and bourgeois way of life.
The most famous novel by I. A. Goncharov “Oblomov” was published in “Notes of the Fatherland” for 1859, i.e. on the eve of the abolition of serfdom, the way of life that gave birth to the main character of the novel, Oblomov. The source for writing the novel was the writer’s observations of the life of his own family and the morals of his native Simbirsk.
The novel by I. A. Goncharov introduced a new concept into Russian literature - “Oblomovism”, associated with the name of the main character, who is called the last in the gallery of “superfluous” people. In his memoirs, I. A. Goncharov said: “It seems to me that I, a very sharp-eyed and impressionable boy, even then, at the sight of all these figures, this carefree life, idleness and lying, had a vague idea of ​​“Oblomovism.” .
When analyzing the novel “Oblomov”, students should pay attention to the concept of “Oblomovism”, to the ambiguity of the author’s attitude towards both his main character and the active Stolz, and to the critics’ disputes about the novel and its main character (N. A. Dobrolyubov. “ What is Oblomovism?”; D. I. Pisarev. “Oblomov”; A. V. Druzhinin. “Oblomov”).
In literature lessons there is no opportunity to become sufficiently familiar with the life and creative path of I. A. Goncharov, therefore we touch only on the most important issues, leaving a less important range of problems for students’ independent work.

TOPICS OF LESSONS ON STUDYING THE LIFE AND WORK OF I. A. GONCHAROV

Topic one
The main stages of life and creativity

Born on June 6 (18), 1812 into a merchant family in Simbirsk.
1831 - entered the literature department of Moscow University.
1834 - graduated from Moscow University.
1835 - beginning of service in St. Petersburg.
1846 - acquaintance with Belinsky.
1847 - novel “Ordinary History”.
1852-1854 - circumnavigation of the world on the sailing military frigate "Pallada" as secretary to the head of the expedition.
1858 - travel essays “Frigate “Pallada””.
1859 - novel “Oblomov”.
1869 - novel “The Cliff”.
1872 - article “A Million Torments” (“Woe from Wit” by A. S. Griboyedov).
Died September 15 (27), 1891 in St. Petersburg.
Questions :
1. What are the main character traits of I. A. Goncharov?
2. How did childhood impressions influence the work of I. A. Goncharov?
3. What novels are written by I. A. Goncharov? What is their main conflict?
4. What are the features of Goncharov the writer?
5. What impressions did I. A. Goncharov take from his trip around the world? How did they affect his further work?
6. What famous critical article belongs to I. A. Goncharov? What is it about?
Tasks :
1. Make a detailed plan for the answer: “The main stages of the life and work of I. A. Goncharov.”
2. Write a miniature essay on the topic “How do I imagine I. A. Goncharov?”
3. Make a summary of the textbook articles: “On the uniqueness of I. A. Goncharov’s artistic talent”, “The cycle of essays “Frigate “Pallada””.

Topic two
Novel "Oblomov". The image of the main character. The concept of “Oblomovism”

Main questions:

I. The main theme of the novel is the fate of a generation searching for its place in society and history, but unable to find the right path.
II. The vital foundations of the novel.
III. The influence of the Gogolian tradition in the novel.
IV. Problems of the novel. The main conflict.
V. Image of the main character:
1. Basic character traits.
2. Character formation. Oblomov's childhood.
3. Oblomov's Day.
4. The role of details in depicting the image of the main character.
5. Oblomov’s life ideals.
VI. The author's attitude towards his hero.
VII. What is “Oblomovism”?
VIII. The artistic originality of the novel.
Questions :
1. What is the main theme of the novel?
2. What problems does I. A. Goncharov raise in the novel?
3. Why does N.A. Dobrolyubov call Oblomov the last in the line of “superfluous people”? What is “Oblomovism”?
4. How did the Gogol tradition affect the novel “Oblomov”?
5. What is the main conflict of the novel?
6. What artistic means does I. A. Goncharov use when depicting the character of his hero?
7. What are the distinctive features of Oblomov? How was the character of the hero formed?
8. How does Goncharov feel about his hero? What predominates in the author's portrayal of the hero - sympathy or irony?
9. What is the artistic originality of the novel?
10. What is the significance of “Oblomov’s Dream” in the composition of the novel?
11. Which of the heroes of previous literature can be compared with Oblomov?
Tasks :
1. Write a miniature essay on the topic “The clash of dreams and reality in the life of Oblomov.”
2. Make a detailed plan for the answer: “Oblomov’s Day.”
3. Find characters in the text of the novel who have Oblomov-like traits. What does this mean?

Topic three
The role of minor characters in the novel.
The novel “Oblomov” in Russian criticism

Main questions:

I. Who is Stolz?
1. Stolz’s activities, his ideological position.
2. The author’s attitude towards Stolz.
3. Is Stolz the antipode of Oblomov or his double?
II. Zakhar and Oblomov. Oblomov's features in Zakhara.
III. Olga Ilyinskaya:
1. Olga’s character and ideals.
2. Why did Olga fall in love with Oblomov?
3. Can Olga Ilyinskaya be considered a positive heroine of the novel?
IV. The novel “Oblomov” in Russian criticism:
1. N. A. Dobrolyubov. “What is Oblomovism”?
2. A. V. Druzhinin. "Oblomov, a novel by I. A. Goncharov."
3. D. I. Pisarev. "Oblomov." Roman by I. A. Goncharova.”
4. A. A. Grigoriev. "A look at Russian literature since the death of Pushkin."
Questions :
1. Why did I. A. Goncharov think that the image of Andrei Stolts was not a success for him?
2. Why is Stolz’s activities not shown in the novel?
3. Can Stolz be considered a positive hero of the novel?
4. What features bring Stolz closer to Oblomov?
5. What do Zakhar and Oblomov have in common?
6. How do the images of Stolz and Zakhar reveal Oblomov’s character?
7. Why did Olga Ilyinskaya fall in love with Oblomov?
8. Why is Olga not satisfied with life with Stolz?
9. Who, in your opinion, can be considered a positive character in the novel?
10. What is the essence of the disagreements between Dobrolyubov, Pisarev and Druzhinin in assessing the novel “Oblomov”?
Tasks :
1. Make a table of comparative characteristics:

2. Make a quotation plan for N. A. Dobrolyubov’s article “What is Oblomovism?”
3. Write a miniature essay on the topic “Portrait of Olga Ilyinskaya.”

Final works:

As a final work on the work of I. A. Goncharov, we can offer homework on the topics: “This “poisonous” word “Oblomovism””, “Is there satire in the novel “Oblomov”?”, “What is the tragedy of Oblomov’s life? “,” “Oblomov is a universal human type,” “Oblomov and Manilov,” “Olga Ilyinskaya and Tatyana Larina,” ““Old” and “new” in Russian life,” “Features of the genre and composition of the novel “Oblomov.”
The study of I. A. Goncharov’s work can be completed by analyzing (in class) various passages from the novel. Excerpts can be self-selected by students or obtained through tickets.
What passages for analysis can be offered to students: “Oblomov’s Morning”, “The Last Meeting of Oblomov and Olga Ilyinskaya”, “Andrei Stolz’s Farewell to His Father”, “Oblomov’s Letter to Olga”, “Trips to Pshenitsyna (I part, III part. )"?
In order to assess students' knowledge of the text of the novel and critical articles devoted to it, the following questions can be offered for testing:
I. Which character in the novel makes the following statements?
1. “How is it my fault that there are bedbugs in the world?”
2. “So that I start writing! It’s not even my third day in office: as soon as I sit down, a tear starts flowing from my left eye...”
3. “...I think strongly that the peasants do not suffer need for anything, that they do not envy strangers, that they do not cry to the Lord God for me at the Last Judgment, but pray and remember me kindly.”
4. “Life: life is good! What to look for there? Interests of the mind, heart? Look where the center is around which all this revolves: it’s not there, there’s nothing deep that touches the living.”
5. “Your love is not real love, but future love.”
6. “...The normal purpose of a person is to live through four seasons, that is, four ages, without jumps...”
7. “...Life is an obligation, a duty, therefore love is also a duty.”
8. “Underneath this comprehensiveness lies emptiness, a lack of sympathy for everything!”
9. “I want you not to be bored, so that you feel at home here, so that you feel agile, free, easy!”
10. “Work is the image, content, element and purpose of life...”
II. Which critic makes the following statements?
1. “It is clear that Oblomov is not a stupid, apathetic nature, without aspirations and feelings, but a person who is also looking for something in his life, thinking about something.”
2. “All Oblomovites love to humiliate themselves; but they do this for the purpose of having the pleasure of being refuted and hearing praise from those to whom they scold themselves...”
3. “... He is dear to us, like an eccentric who, in our era of selfishness, tricks and lies, peacefully ended his life, without offending a single person, without deceiving a single person and without teaching a single person anything nasty.”
4. “Oblomov was studied and recognized by a whole people, mostly rich in Oblomovism, and not only did they recognize him, but they loved him with all their hearts, because it is impossible to know Oblomov and not love him deeply.”
5. “Such individuals should, in our opinion, be looked at as pitiful but inevitable phenomena of a transitional era; they stand at the borderline of two lives: Old Russian and European, and cannot decisively step from one to the other.”
6. “Olga, in her development, represents the highest ideal that a Russian artist can now evoke from present-day Russian life...”
7. “The highest aspirations of his mind and heart, awakened by education, did not freeze, the human feelings embedded by nature in his soft soul did not harden: they seemed to float with fat, but were preserved in all their primitive purity.”
8. “From Goncharov’s novel we only see that Stolz is an active person, he is always busy about something, runs around, acquires things, says that to live means to work, etc. But what does he do and how does he manage to do something decent where others can do nothing - this remains a mystery to us.”

Topic: Artistic originality of the novel by I.A. Goncharova "Oblomov" 10th grade 10/22/2015

Goals:

summarize material known from previous lessons about artistic features

determine the originality of the style and language of the work;

develop the ability to analyze text and draw conclusions.

There is a quote on the board: “The author of Oblomov, together with other first-class representatives of native art, is an artistpure and independent, an artist by vocation and by the entire integrity of what he has done. He is a realist, but his realism is constantly warmed by deep poetry..."
(A. V. Druzhinin “Oblomov”. A novel by I. A. Goncharova)

I. The teacher's word

– Contemporary to Goncharov, the critic Alexander Vasilyevich Druzhinin notes an important feature of the writer’s talent - realism, warmed by deep poetry. This integrity is the artistic merit of the novel. Therefore, the goal of the lesson is to find and show the artistic features of the novel “Oblomov”, revealing the psychology of the characters, thereby proving the critic right.

II. Conversation

– Goncharov’s work is a wonderful example of a socio-psychological and philosophical novel, in which the characteristics of “Oblomovism” are fully and deeply described.
What is characteristic of this genre?

This is a philosophical novel in which three types of life philosophy are given:

life is vanity (Oblomov’s guests);

Oblomovka (and Pshenitsyna’s house, as a kind of continuation of Oblomovka);

Life of Andrei Stolts.

– The main character Oblomov encounters all types of life philosophies. What type of life can Oblomov be classified as?
The main question of the novel is philosophical: what is the meaning and content of human life. Did Goncharov answer this question?

No, he only showed three types of life philosophy, therefore the novel is characterized by objectivism - a phenomenon when the writer does not directly express his position in the work. It shows several points of view, and the reader must choose between them. The author examines personality in the context of the era, reveals the influence of everything that surrounds him on the formation of a person. Goncharov spoke of interest not in personality as such, but in “the history of the human soul,” i.e. He does not understand personality as something unchangeable. For the author, a person is interesting in the dynamics of his spiritual development, because the soul and character of a person are formed throughout his life in constant struggle: on the one hand, according to his own desires and beliefs, on the other, by society and the era. The image of Oblomov is truly deep and voluminous precisely because the author explores the psychology of his hero and considers him as a social phenomenon. The psychologism of the novel lies in the revelation of the inner world of the characters. To reveal the character of the heroes, Goncharov uses a wide variety of techniques.

– An artist creates a truthful image only when it is completely true to reality. Critics have always noted Goncharov’s exceptional skill in depictingeveryday life .
Give examples of descriptions of the characters' lives.

a) Oblomov’s St. Petersburg apartment (part one, chapter 1) b) Patriarchal Oblomovka (part one, chapter 9) c) The economic atmosphere in Pshenitsyna’s house (part four, chapter 1) The description of Oblomov’s apartment is given by Goncharov with all the characteristic details indicating the passivity and apathy of the owner, his complete inactivity, mismanagement, spiritual dying and disintegration of his personality. The writer knows how to describe the life of the era with such bright and expressive colors that the reader not only sees this life, but, as it were, feels and touches it. Goncharov’s description of everyday life breathes such vital truth and naturalness that Oblomov’s Rus' emerges from the pages of the novel, as if alive. Looking at Oblomovism objectively, Goncharov was able to expose its social worthlessness and corrupting influence on people.

– Due to the completeness and thoroughness of Goncharov’s sketches of everyday life, it is worthattention to detail and depicted life. N.A. Dobrolyubov notes: “Small details, constantly introduced by the author and drawn by him with love and extraordinary skill, finally produce some kind of charm.”
Name the details of everyday life that have grown into real symbols. What role do these artistic details play?

Takes on a symbolic meaning robe “made of Persian fabric, a real oriental robe”, as well as lilac branch , which are mentioned many times in the novel. Robe had for Oblomov “a host of invaluable merits” (part one, chapter 1), since it fully corresponded to the type of “occupation” of its owner - lying on the sofa. Olga mentions the robe as a symbol of shameful idleness: “A? propos, where is your robe? - What robe? I didn’t have any,” Oblomov is offended, having abandoned his once favorite thing as soon as his mental apathy subsided (part two, chapter 9). It is deeply symbolic that Pshenitsyn’s widow “returns” a robe convenient for doing nothing to Ilya Ilyich’s life: “I also took your robe out of the closet... it can be repaired and washed, the material is so nice! It will last a long time” (part four, chapter 5). And although Oblomov refuses this service - “I don’t wear it anymore” - the reader has a premonition that Ilya Ilyich will not resist the temptation of returning to his former life. And so it happened - the hero remains on the Vyborg side in the widow’s house until the end of his days, where the robe on him “was worn out, and no matter how carefully the holes in it were sewn up, it was crawling everywhere and not at the seams: a new one was needed a long time ago” ( part four, chapter 5). The relationship between the robe and Oblomov is the relationship between master and slave. Lilac branch Olga Ilyinskaya broke during a meeting with Oblomov (part two, chapter 6). As a hint of reciprocity and hope for the possibility of happiness and an active life. Oblomov picked it up and showed up at the next meeting (in the evening) with this branch in his hand (part two, chapter 7). As a symbol of revitalization, a blossoming feeling, Olga embroiders lilacs on canvas, pretending that she “chose the pattern at random” (part two, chapter 8). However, on the next date, she “casually picked a branch of lilac, without looking at him, and gave it to him.” -What does it mean? – Color of life<…>Life is opening up to me again,” he said as if in delirium, “here it is, in your eyes, “at full height, with a branch of lilac in his hands” (part two, chapters 8, 9). For the heroes of the novel, love sounded in Castadiva, “carried in the scent of a lilac branch” (part two, chapter 10). This is how the characters themselves determine the symbolic meaning of the lilac branch. When life “shut up” for Oblomov, the memory of the lilac branch becomes a painful reproach for him (part four, chapter 2). The author also mentions lilac branches as a symbol of continuing life in the final lines: “Lilac branches, planted by a friendly hand, doze over the grave, and wormwood smells serenely...” (part four, chapter 10). Thus, Goncharov showed in the novel a deep connection between things and the psychology of the characters.
– I. A. Goncharov is a first-class portrait painter.Portraits are so expressively depicted that the characters appear in the reader’s mind as if they were alive. Find portraits of the main characters in the text and determine their role.

Portrait of Oblomov (part one, chapter 1): white hands, soft shoulders and obesity characterize his lordly effeminacy, the absence of any definite thought on his face reveals his carelessness, passive attitude towards life, lack of a living seeking thought and the habit of working; by selecting apt verbs, Goncharov was able to show that Oblomov was not used to thinking about anything serious, was not used to working purposefully; he lives thoughtlessly and carelessly at the expense of his “three hundred Zakhars.” Repeatedly, the author emphasizes the “softness” of Ilya Ilyich, “the gentleness that was the dominant expression not only of the face, but of the whole soul,” “soft shoulders, soft movements,” his shoes are “soft and wide.” In the manner of description, in the selection of details of the portrait, Goncharov reveals the Gogol tradition: a detailed description of the face, clothing, revealing character through external details. Contrasting portrait of Stolz (part two, chapter 2): Stolz’s figure, made up of bones, muscles and nerves, emphasizes his energetic nature as a businessman, strength, calmness, and confidence. Portrait of Olga (part two, chapter 5): noting that Olga was not a beauty in the strict sense, the author notes that “if she were turned into a statue, it would be a statue of grace and harmony.” Olga is charming, like Pushkin’s Tatiana. Every detail in her portrait, nose, lips, etc. - a sign of some internal quality. Opposite portrait of Pshenitsyna (part three, chapter 2): in contrast to the poetic portrait of Olga, this is an everyday portrait: a colorless face with simple-minded eyes, simplicity, modesty. Wed: if Olga is a statue of grace and harmony, then the bust of Agafya Matveevna is a model of strong, healthy breasts (something down to earth). Thus, a portrait is a means of creating the image of a literary hero.

– The writer's skill is also manifested in the creationinner monologue hero. Find examples of internal monologues in the text.

1) Part one, chapter 6: “The pleasures of lofty thoughts were available to him” to the words: “... performs feats of kindness and generosity.” Let us note the way of conveying the hero’s thoughts in words that are peculiar to him. For example: “It also happens that he is filled with contempt for human vice, for lies and slander, for the evil spread in the world and is inflamed with the desire to point out a person’s ulcers, and suddenly thoughts light up in him... in one minute he will quickly change two or three posture, with shining eyes, he will stand up halfway on the bed, extend his hand and, looking around... The desire is about to come true, turn into a feat... and then, Lord! What miracles, what good consequences could be expected from such a high effort!..” It is clear to the reader that the words of God, good things, miracles, high effort express the thoughts of the hero, but they merge into a single whole with the words of the author. Telling the “backstory” of his hero, the writer used the technique of “unreasonably direct speech” to reveal Oblomov’s psychology. He showed Oblomov’s uselessness for society, his inability to do serious business, his inability to do anything serious. Oblomov could flare up, burn with desire, but he never carried out his desires, his word never became deed. With this technique, Goncharov deeply and realistically reveals the spiritual world, the psychology of Oblomov, who is destined for “good impulses, but is not given the chance to accomplish anything.”

2) Part two, chapter 5: Oblomov’s monologue, in which the philosophical question was resolved: “To be or not to be!”, “Now or never!”, shows us a hero reflecting, looking for his path in life, trying to force himself to change his life.

– TOlandscape Goncharov rarely speaks, but in his descriptions his language is clear and expressive. Give examples of landscapes in the novel. With the help of what artistic means does the author manage to convey the state of nature? What are the functions of landscape in a novel?

1) Part one, chapter 9: in the description of the patriarchal village setting, one can feel Goncharov’s love for the beauty of Russian nature, its soft tones and colors (cf.: majestic pictures of nature in Switzerland or Crimea do not attract the author’s attention). 2) Part two, chapter 9: Olga’s perception of nature during her love for Oblomov: everything corresponds to her mood. 3) Part two, chapter 10: the feelings of Oblomov in love become more intense, he notices something that no one sees: nature lives an invisible active life, and it seems that there is peace and quiet all around. The second part of the novel depicts Oblomov’s moral awakening and his bright dreams under the influence of his love for Olga. And the landscapes of this part are joyful and bright. 4) Part three, chapter 12: but Oblomov had a break with Olga, which he was shocked by. And nature, as it were, shades his inner state. This is how Oblomov’s happiness is covered with cold snow. Part Four, Chapter 1: This snow motif connects the third and fourth parts of the novel. Thus, Goncharov’s landscape usually corresponds to the moods of the heroes.

– The feeling of the deep essence of Oblomov’s character is facilitated by the obviousfolklore-fairytale background novel.

The folklorism of “Oblomov” transfers the content of the novel from the area of ​​only social problems (“Oblomovism” and the hero as the degeneration of the noble class) into the sphere of philosophical, ethical and national problems of life. The novel is perceived as a kind of “big fairy tale”. In the worldview and character of the Russian person, as Goncharov sees it, much is determined by ancient fairy-tale ideas: “And to this day, the Russian person, amid the strict, devoid of fiction reality surrounding him, loves to believe the seductive legends of antiquity, and for a long time, perhaps, he will not renounce this faith " Almost fairy-tale life in Oblomovka: “The fairy tale retains its power not only over children in Oblomovka, but also over adults until the end of their lives.” But Oblomovka is also a sleepy fairy-tale kingdom: “It was some kind of all-consuming, invincible dream, a true likeness of death.” The dream motif introduces us to Russian fairy tales, which forces us to consider the image of the main character in this context.

– What does the nanny tell little Ilyusha? What heroes is he associated with? (Part One, Chapter 9).

There is a kind sorceress in the form of a pike, she will choose a lazy man who will marry a beauty and walk in silver, he will go to the kingdom where there are rivers of milk and honey. Ilya Ilyich is associated with the wise fairy-tale fool and lazy Emelya. Oblomov is not just a lazy person and a fool, he is a wise lazy person, he is that lying stone under which, contrary to the proverb, water will eventually flow. As befits fairy-tale fools, Oblomov does not know how and does not want to take anything offensive, unlike others who are plotting something, fussing, trying their best and ultimately not keeping up with anything. Oblomov doesn’t need to climb overseas golden mountains, everything is nearby, everything is ready, just stretch out your hand. Oblomov's fairy tale mixed with life; he lived in a fantastic world of fairy-tale images, where everyone does nothing. Oblomov is also associated with the hero Ilya Muromets, who “sat for thirty years.” The epic motif of the “powerless hero” is also introduced into the novel. As researchers note, Ilya Oblomov treats Ilya Muromets as an opportunity for embodiment, as a reality to an ideal: Ilya Muromets overcomes his powerlessness, preparing for heroic service to the Fatherland, and Ilya Oblomov, having decided that his activity and life “lies in himself,” I couldn’t get up from the stove-sofa. Thus, Oblomov’s dream is the program of his fate.

The prepared student reports:

Speech characteristics - characteristics of the hero of a literary work through his speech, in which words and phrases appear that indicate his type of activity, social affiliation, characteristics of upbringing, cultural level, degree of education (A.B. Esin, M.B. Ladygin, T.G. Trenin "School Dictionary of Literary Terms and Concepts. Grades 5–9 / edited by M.B. Ladygin. - M.: Bustard, 1995. - P. 46.)

– Based on this definition term, follow the speech of the main characters of the novel. Does their speech indicate what the definition says?

Analysis of 1, 8 chapters of the first part.

Chapter 1, part one.
Excerpts: from the words “He stood half-turned in the middle of the room” to the words “I’ll get up and go myself” from the words “And, waiting for an answer, Zakhar went out” to the words: “... you’ll never end up with trouble”; from the words “I forgot to tell you,” Zakhar began” to the words “Touches life, gets to you everywhere.”
These dialogues reveal even more deeply Oblomov’s passivity, his desire to maintain peace for at least one day: “Life is touching,” he says with contrition, when he needs to move to another apartment and when the headman sends a letter saying that “his income has become less.” Oblomov calls these messages misfortunes. Wordmove has a terrible meaning for Oblomov. What does it mean to move?
Chapter 8, part one.
Excerpt: from the words “I didn’t get it, so listen and figure out whether you can move or not” to the words “... either lost or forgotten in the old apartment: run there...”
Oblomov is frightened by everything that disturbs the calm flow of life. Moving means “leaving for the whole day and dressed like that in the morning and leave” (dressed means not in a robe and slip-on shoes, but Oblomov is “out of the habit of dressing”). This means withdrawal, noise... You want to sit down, but there’s nothing; whatever he touched, he got dirty; everything is covered in dust,” even the thought of this is scary for Oblomov.
Excerpt: from the words “Zakhar! – he shouted protractedly and solemnly” to the words: “ungrateful ones! “Oblomov concluded with bitter reproach.”

Analysis of Oblomov’s words about the “other” addressed to Zakhar.

1. How does the language of characters serve as a means of characterizing images? What words of Oblomov reveal his concept of life, of happiness, of human dignity? What does Oblomov see as the difference between himself and “others”?
2. In what form does Oblomov express his desires? How can this be explained?
3. What is Oblomov’s ideal of life? In what words does Oblomov express his dreams of life in the village?

Techniques for revealing the image are a description of the relationships of the characters, dialogues and monologues of the characters, the features of their speech - speech characteristics. The language of Oblomov and Zakhar serves as a means of typification and individualization of the image. Reveals typical features through the individual, specific. Oblomov’s words characterize his ideas about life, happiness, human dignity - ideas that have developed over centuries among nobles who were accustomed to living at the expense of serfs and who saw human dignity in an inactive, carefree life, in maintaining peace.
The consciousness of his lordly superiority over everyone around him forces Oblomov to understand the word in his own wayanother , said accidentally by Zakhar. In comparing himself with others, Ilya Ilyich sees the highest level of disrespect for his person. “That’s what you agreed to!” – he exclaims indignantly. In Zakhar’s reduction of him to the level of “others,” he sees a violation of his rights to Zakhar’s exclusive preference for the master’s person. In Oblomov’s understanding of the wordanother his lordly arrogance, his concept of the meaning and purpose of life, his morality are expressed.
With the speech of the main character, Goncharov reveals his essence, his spiritual traits: his lordly inclinations, and spiritual gentleness, and sincerity, and the ability for deep feelings and high experiences.
Thus, speech characteristics are used to highlight the individual characteristics of the characters. It is organically connected with the internal appearance of the heroes.

One of the points we pay attention to is the often heard"Casta diva" motif from Vincenzo Bellini's opera Norma (1831). After Olga performed an aria, Oblomov dreamed of an ideal woman.(Read paragraphs 1-3 of Chapter 6, Part Two. Music plays.)

– Why does Goncharov introduce this particular aria into the novel?

(A prepared student briefly recounts the libretto of V. Bellini’s opera “Norma”)

– Norma, in the name of all-consuming great love, ascends to the fire. And when, during a conversation with Olga, Oblomov begins to doubt whether Olga loves him or is just getting married, a dialogue takes place between them.(Read from the words “But there is another way to happiness,” he said..." and to the end of chapter 12, part two).
We see that Olga, when asked by Oblomov whether she could sacrifice her peace of mind by stepping on a certain path, in the name of love, answers: “Do we really need this path?”, “Never, never!”

– What is the connection between V. Bellini’s opera and the relationship that connected Oblomov and Olga?

– Olga was sure that on the path that Oblomov offered her, “they always… part ways later.” When there was a break between the heroes, the initiator of which was Olga, Oblomov was ill for a long time, and Olga was barely saved. Here is the fire and Norma, about which Olga once said: “I will never go this way.”

III. conclusions

– So what kind of lesson plan can you create? What artistic features of I. A. Goncharov’s novel were discussed?

1. The originality of the genre: socio-psychological and philosophical novel.
2. Everyday life, detail.
3. Psychological portrait.
4. Internal monologue.
5. Landscape.
6. Folklore and fairy tale motifs.
7. Speech characteristics.
8. Musical motif “Casta diva”.

IV. Teacher's final words

– However, the artistic originality of the novel “Oblomov” is much broader. Goncharov uses various methods of “self-disclosure” of the hero: Oblomov’s confession, letter, self-characterization, programmatic speeches of the hero on social, literary, ideological issues, dialogues with other heroes, the soul of Ilya Ilyich is deeply and subtly revealed in love.
Modern critic I. Zolotussky writes: “Goncharov is the calmest of the geniuses of Russian literature. Genius in Russia is a restless nature, but Goncharov’s prose resembles the Volga in its middle course, a smooth mirror of water stretching towards the horizon.
Goncharov does not challenge either the church or the authorities. His ideal is the norm. Goncharov gave us the novel “Oblomov”. Everything in this work is balanced and balanced, which is so lacking in life. Oblomov is the embodiment of evolution, which, unlike the revolution, does not break people, does not break history, but gives them the right to develop freely.”

5. Homework

2.Write a profile of Ilya Oblomov

The Little Prince is a symbol of a person - a wanderer in the universe, looking for the hidden meaning of things and his own life. The soul of the Little Prince is not shackled by the ice of indifference and deadness. Therefore, a true vision of the world is revealed to him: he learns the value of true friendship, love and beauty. This is the theme of the “vigilance” of the heart, the ability to “see” with the heart, to understand without words. The little prince does not immediately comprehend this wisdom. He leaves his own planet, not knowing that what he will look for on different planets will be so close - on his home planet. The little prince is a man of few words - he says very little about himself and his planet. Only little by little, from random, casually dropped words, does the pilot learn that the baby has arrived from a distant planet, “which is the size of a house” and is called asteroid B-612. The little prince tells the pilot about how he is fighting with the baobab trees, which take such deep and strong roots that they can tear apart his little planet. You need to weed out the first shoots, otherwise it will be too late, “this is a very boring job.” But he has a “firm rule”: “...get up in the morning, wash your face, put yourself in order - and immediately put your planet in order.” People must take care of the purity and beauty of their planet, together protect and decorate it, and prevent all living things from perishing. The little prince from Saint-Exupery's fairy tale cannot imagine his life without the love of gentle sunsets, without the sun. “I once saw the sun set forty-three times in one day!” - he says to the pilot. And a little later he adds: “You know... when it becomes very sad, it’s good to watch the sun go down...” The child feels like a part of the natural world, and he calls on adults to unite with it. The kid is active and hardworking. Every morning he watered Rose, talked with her, cleaned the three volcanoes on his planet so that they would give more heat, pulled out weeds... And yet he felt very lonely. In search of friends, in the hope of finding true love, he sets off on his journey through alien worlds. He is looking for people in the endless desert that surrounds him, because in communication with them he hopes to understand himself and the world around him, to gain the experience that he so lacked. Visiting six planets in succession, the Little Prince on each of them encounters a certain life phenomenon embodied in the inhabitants of these planets: power, vanity, drunkenness, pseudo-learning... The images of the heroes of A. Saint-Exupery's fairy tale “The Little Prince” have their own prototypes. The image of the Little Prince is both deeply autobiographical and, as it were, removed from the adult author-pilot. He was born out of longing for little Tonio, who was dying within himself - a descendant of an impoverished noble family, who was called in the family “Sun King” for his blond (at first) hair, and in college was nicknamed Lunatic for his habit of looking at the starry sky for a long time. The phrase “The Little Prince” itself appears, as you probably noticed, in “Planet of People” (like many other images and thoughts). And in 1940, during breaks between battles with the Nazis, Exupery often drew a boy on a piece of paper - sometimes winged, sometimes riding on a cloud.

In the novel "Oblomov" the skill of Goncharov as a prose writer was fully demonstrated. Gorky, who called Goncharov “one of the giants of Russian literature,” noted his special, flexible language. Goncharov’s poetic language, his talent for figuratively reproducing life, the art of creating typical characters, compositional completeness and the enormous artistic power of the picture of Oblomovism and the image of Ilya Ilyich presented in the novel - all this contributed to the fact that the novel “Oblomov” took its rightful place among the masterpieces of the world classics.

The portrait characteristics of the characters play a huge role in the work, with the help of which the reader gets to know the characters and gets an idea about them and their character traits. The main character of the novel, Ilya Ilyich Oblomov, is a man of thirty-two to thirty-three years old, of average height, pleasant appearance, with dark gray eyes in which there is no idea, with a pale complexion, plump hands and a pampered body. Already from this portrait characteristic we can get an idea of ​​the hero’s lifestyle and spiritual qualities: the details of his portrait speak of a lazy, immobile lifestyle, of his habit of aimlessly spending time. However, Goncharov emphasizes that Ilya Ilyich is a pleasant person, gentle, kind and sincere. The portrait description, as it were, prepares the reader for the collapse in life that inevitably awaited Oblomov.

In the portrait of Oblomov's antipode, Andrei Stolts, the author used different colors. Stolz is the same age as Oblomov, he is already over thirty. He is in motion, all made up of bones and muscles. Getting acquainted with the portrait characteristics of this hero, we understand that Stolz is a strong, energetic, purposeful person who is alien to daydreaming. But this almost ideal personality resembles a mechanism, not a living person, and this repels the reader.

In the portrait of Olga Ilyinskaya, other features predominate. She “was not a beauty in the strict sense of the word: she had neither whiteness nor bright color of her cheeks and lips, and her eyes did not glow with rays of inner fire, there were no pearls in her mouth and corals on her lips, there were no miniature hands with fingers in the form of grapes." The somewhat tall stature was strictly consistent with the size of the head and the oval and size of the face; all this, in turn, was in harmony with the shoulders, the shoulders with the figure... The nose formed a slightly noticeable graceful line. Lips that are thin and compressed are a sign of a searching thought directed at something. This portrait indicates that before us is a proud, intelligent, slightly vain woman.

In the portrait of Agafya Matveevna Pshenitsyna, such traits as gentleness, kindness and lack of will appear. She is about thirty years old. She had almost no eyebrows, her eyes were “grayish-obedient,” like her entire facial expression. The hands are white, but hard, with knots of blue veins protruding outward. Oblomov accepts her for who she is and gives her an apt assessment: “How... simple she is.” It was this woman who was next to Ilya Ilyich until his last minute, his last breath, and gave birth to his son.

The description of the interior is equally important for characterizing the character. In this, Goncharov is a talented continuer of Gogol’s traditions. Thanks to the abundance of everyday details in the first part of the novel, the reader can get an idea of ​​the hero’s characteristics: “How Oblomov’s home suit suited his deceased facial features... He was wearing a robe made of Persian fabric, a real oriental robe... He had shoes on long, soft and wide, when, without looking, he lowered his legs from the bed to the floor, he certainly fell into them right away...” Describing in detail the objects surrounding Oblomov in everyday life, Goncharov draws attention to the hero’s indifference to these things. But Oblomov, indifferent to everyday life, remains his captive throughout the novel.

The image of a robe is deeply symbolic, repeatedly appearing in the novel and indicating a certain state of Oblomov. At the beginning of the story, a comfortable robe is an integral part of the hero's personality. During the period of Ilya Ilyich’s love, he disappears and returns to the owner’s shoulders on the evening when the hero’s breakup with Olga occurred.

The lilac branch picked by Olga during her walk with Oblomov is also symbolic. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end. Another important detail is the raising of bridges on the Neva. The bridges were opened at a time when in the soul of Oblomov, who lived on the Vyborg side, there was a turning point towards the widow Pshenitsyna, when he fully realized the consequences of life with Olga, was afraid of this life and again began to plunge into apathy. The thread connecting Olga and Oblomov broke, and it cannot be forced to grow together, therefore, when the bridges were built, the connection between Olga and Oblomov was not restored. The snow falling in flakes is also symbolic, which marks the end of the hero’s love and at the same time the decline of his life.

It is no coincidence that the author describes in such detail the house in Crimea in which Olga and Stolz settled. The decoration of the house “bears the stamp of thought and personal taste of the owners,” there were many engravings, statues, and books, which speaks of the education and high culture of Olga and Andrey.

An integral part of the artistic images created by Goncharov and the ideological content of the work as a whole are the proper names of the characters. The surnames of the characters in the novel “Oblomov” carry a great meaning. The main character of the novel, according to the primordial Russian tradition, received his surname from the Oblomovka family estate, the name of which goes back to the word “fragment”: a fragment of the old way of life, patriarchal Rus'. Reflecting on Russian life and its typical representatives of his time, Goncharov was one of the first to notice a failure of internal national traits, fraught with a cliff, or a bummer. Ivan Aleksandrovich foresaw the terrible state into which Russian society began to fall in the 19th century and which by the 20th century had become a mass phenomenon. Laziness, the lack of a specific goal in life, passion and desire to work has become a distinctive national feature. There is another explanation for the origin of the main character’s surname: in folk tales the concept of “dream-oblomon” is often found, which enchants a person, as if crushing him with a gravestone, dooming him to slow, gradual extinction.

Analyzing his contemporary life, Goncharov looked for the antipode of Oblomov among the Alekseevs, Petrovs, Mikhailovs and other people. As a result of these searches, a hero with a German surname emerged Stolz(translated from German - “proud, full of self-esteem, aware of his superiority”).

Ilya Ilyich spent his entire adult life striving for an existence “that would be both full of content and flow quietly, day after day, drop by drop, in silent contemplation of nature and the quiet, barely creeping phenomena of a peaceful, busy family life.” He found such an existence in Pshenitsyna’s house. “She was very white and full in the face, so that the color did not seem to be able to break through her cheeks (like a “wheat bun”). The name of this heroine is Agafya- translated from Greek means “kind, good.” Agafya Matveevna is a type of modest and meek housewife, an example of female kindness and tenderness, whose life interests were limited only to family concerns. Oblomov's maid Anisya(translated from Greek - “fulfillment, benefit, completion”) is close in spirit to Agafya Matveevna, and that is why they quickly became friends and became inseparable.

But if Agafya Matveevna loved Oblomov thoughtlessly and selflessly, then Olga Ilyinskaya literally “fought” for him. For the sake of his awakening, she was ready to sacrifice her life. Olga loved Ilya for his own sake (hence the surname Ilyinskaya).

Last name of “friend” Oblomov, Tarantieva, carries a hint of the word ram. In Mikhei Andreevich's relationships with people, such qualities as rudeness, arrogance, persistence and unprincipledness are revealed. Isai Fomich Worn out, to whom Oblomov gave power of attorney to manage the estate, turned out to be a fraudster, grated roll. In collusion with Tarantyev and brother Pshenitsyna, he skillfully robbed Oblomov and erased your tracks.

Speaking about the artistic features of the novel, one cannot ignore the landscape sketches: for Olga, walking in the garden, a lilac branch, flowering fields - all this is associated with love and feelings. Oblomov also realizes that he is connected with nature, although he does not understand why Olga constantly drags him out for walks, enjoying the surrounding nature, spring, and happiness. The landscape creates the psychological background of the entire narrative.

To reveal the feelings and thoughts of the characters, the author uses a technique such as an internal monologue. This technique is most clearly revealed in the description of Oblomov’s feelings for Olga Ilyinskaya. The author constantly shows the thoughts, remarks, and internal reasoning of the characters.

Throughout the entire novel, Goncharov subtly jokes and sneers at his characters. This irony is especially noticeable in the dialogues between Oblomov and Zakhar. This is how the scene of placing the robe on the owner’s shoulders is described. “Ilya Ilyich almost did not notice how Zakhar undressed him, pulled off his boots and threw a robe over him.

What is this? - he asked only, looking at the robe.

The hostess brought it in today: they washed and repaired the robe,” said Zakhar.

Oblomov sat down and remained in the chair.”

The main compositional device of the novel is antithesis. The author contrasts images (Oblomov - Stolz, Olga Ilyinskaya - Agafya Pshenitsyna), feelings (Olga’s love, selfish, proud, and Agafya Matveevna’s love, selfless, forgiving), lifestyle, portrait characteristics, character traits, events and concepts, details (branch lilac, symbolizing hope for a bright future, and a robe as a quagmire of laziness and apathy). Antithesis makes it possible to more clearly identify the individual character traits of the heroes, to see and understand two incomparable poles (for example, Oblomov’s two colliding states - stormy temporary activity and laziness, apathy), and also helps to penetrate into the hero’s inner world, to show the contrast that is present not only in the external , but also in the spiritual world.

The beginning of the work is built on the collision of the bustling world of St. Petersburg and the isolated inner world of Oblomov. All visitors (Volkov, Sudbinsky, Alekseev, Penkin, Tarantiev) who visit Oblomov are prominent representatives of a society living according to the laws of falsehood. The main character seeks to isolate himself from them, from the dirt that his friends bring in the form of invitations and news: “Don’t come, don’t come! You're coming out of the cold!

The whole system of images in the novel is built on the device of antithesis: Oblomov - Stolz, Olga - Agafya Matveevna. The portrait characteristics of the heroes are also given in contrast. So, Oblomov is plump, plump, “with the absence of any definite idea, any concentration in his facial features”; Stolz consists entirely of bones and muscles, “he is constantly in motion.” Two completely different types of character, and it’s hard to believe that there could be anything in common between them. And yet it is so. Andrey, despite his categorical rejection of Ilya’s lifestyle, was able to discern in him traits that are difficult to maintain in the turbulent flow of life: naivety, gullibility and openness. Olga Ilyinskaya fell in love with him for his kind heart, “dovelike tenderness and inner purity.” Oblomov is not only inactive, lazy and apathetic, he is open to the world, but some invisible film prevents him from merging with it, walking the same path with Stolz, living an active, full life.

Two key female characters of the novel - Olga Ilyinskaya and Agafya Matveevna Pshenitsyna - are also presented in opposition. These two women symbolize two life paths that are given to Oblomov as a choice. Olga is a strong, proud and purposeful person, while Agafya Matveevna is kind, simple and thrifty. Ilya would only have to take one step towards Olga, and he would be able to immerse himself in the dream that was depicted in “The Dream...”. But communication with Ilyinskaya became the last test for Oblomov’s personality. His nature is not able to merge with the cruel outside world. He abandons the eternal search for happiness and chooses the second path - he plunges into apathy and finds peace in the cozy house of Agafya Matveevna.

Ilya Ilyich Oblomov is a very complex, ambiguous character. To create the image of the main character I.A. Goncharov used many means and techniques.

The revelation of the image begins with the name Oblomov. The same name and patronymic speak of the cyclical nature of the life of Ilya Ilyich and his family.

A very important detail is his portrait. With its help, the author more fully reveals the character of the hero, shows his inner world: “The thought walked like a free bird across the face, fluttered in the eyes, sat on half-open lips...

then it completely disappeared, and then an even light of carelessness glowed throughout his face." The entire portrait emphasizes the softness, the delicacy of the hero, his phlegmatic nature: "... neither fatigue nor boredom could drive the softness from his face for a minute...". The portrait shows the main character traits of Ilya Ilyich, which were developed in the novel.

I.A. Goncharov aggravates the image of Oblomov through the interior in which the hero lives and the things that surround him in everyday life.

The interior emphasizes the character of Ilya Ilyich. The situation in the apartment speaks of a certain duality of the hero. On the one hand, he tries to surround himself with expensive things (this detail speaks of the desire to live): “The room where Ilya Ilyich was lying, at first glance seemed beautifully decorated.” On the other hand, all the premises were neglected (one of the manifestations of that very “Oblomovism” ridiculed by the author): “On the walls... cobwebs were molded in the form of festoons; ...; mirrors... could have served more like tablets... ". But Oblomov does not pay attention to dirt and dust, he is indifferent to the disorder that surrounds him. He was used to such an environment, just as he was used to lying on the sofa, almost without getting up. One of the main character's traits is resignation to his current life, laziness, reluctance to move and do anything.

The things around him are unique symbols of Oblomov’s lifestyle: a robe, slippers, books, a sofa, etc. The author speaks especially warmly about the robe and slippers, although they are ordinary things. This entire set of objects does not suggest anything other than a quiet, homely life.

The sofa is a special place in Oblomov’s life. There he feels in harmony with himself, and he calls lying on it a “ritual.” For him, the sofa has become a place where he can dream and build his own fantastic world. It’s not only laziness that prevents the hero from getting up from the couch. He is frightened by that hectic life, which is beyond his usual state and in which he was once disappointed.

Despite the fact that Oblomov did not go out into the world, he had acquaintances and comrades who visited him. The author emphasizes that Ilya Ilyich does not need these people - they come to him themselves, because they find a real human soul in him. The “others” are minor characters, but I.A. It is no coincidence that Goncharov introduces them into the exposition part: with the help of these heroes, he more accurately reveals the character of Oblomov, who against their background looks like a positive hero. “Where is the man here? When should we live? - Ilya Ilyich’s question to almost all of his guests, whom the author calls indifferent. To Oblomov, he often uses the word “soul”.

For revealing the Image of Oblom, his servant Zakhar is also important. He is a kind of double of Ilya Ilyich, his distorting mirror. The servant “reflects” the worst qualities of his master. For example, Zakhar’s awkwardness is a reflection of Oblomov’s inability to adapt to life. To some extent, the servant prevented the main character from getting out of the state of “Oblomovism” and influenced the process of fading of his personality. ON THE. Dobrolyubov wrote about Oblomov: “He is the slave of his serf Zakhar, and it is difficult to decide which of them is more submissive to the power of the other.”

I.A. Goncharov uses the technique of retrospection in his work in the chapter “Oblomov’s Dream.” The chapter explains where this complex, contradictory image comes from. The plot of the dream takes the reader to Oblomov’s childhood, to his native village, where he was born and raised: “To what blessed corner did Oblomov’s dream take us? What a wonderful land!” Little Ilyusha’s ideas about life were formed from fairy tales that his nanny told him. Retrospection shows that the main character's dreams ultimately did not coincide with reality and explains how and why Oblomov came to such a life. Druzhinin wrote in his critical article that the ninth chapter of the first part turned Oblomov from “a greasy, awkward piece of meat” into “the heart of dear Oblomov.”

An important role in shaping the character of Ilya Ilyich was played by his best friend, Andrei Stolts, a very active and active person. Next to Stoltz, Oblomov felt more confident, because he helped him in difficult situations: “If only Stoltz would come soon!... He would sort it out.” Andrei tried to pull Oblomov out of a state of complete peace: “Look, you drove work out of life: what does it look like?... I’ll try to lift you up.”

All means of creating the Image of Oblomov add up to an ambiguous picture. The hero cannot be presented as unambiguously positive or unambiguously negative. The author wanted to show the complexity of the image. You should never evaluate a person by his appearance and behavior: sometimes a seemingly unpleasant, negative hero hides inside himself the deep soul of a dreamer and a real person.