What is the artistic originality of the romance novel. Artistic features of the novel "Oblomov" Goncharov I.A.

Oblomov (1859) - novel critical realism, that is, it depicts a typical character in typical circumstances with the correctness of details (this formulation of critical realism is given by F. Engels in a letter to M. Harkness in April 1888). These principles of critical realism each talented writer expresses in its own way, creating an original literary work unlike any other. In Oblomov, Goncharov presented his understanding not of a separate aspect, but of the whole of Russian life at a turning point in history - on the eve of the abolition of serfdom, when both social and moral contradictions were especially aggravated. To reveal the chosen topic, Goncharov describes in the novel the life of one hero - Oblomov, a landowner and a retired official, in whose life nothing special happens: he sleeps or dreams almost all the time, lying on the couch, first in an apartment on Gorokhovaya Street, then on the Vyborg side , and when he is awake, he eats. Thus, in the novel there is very little action, there is no entertaining plot, cunning intrigues, it even seems drawn out.

The exposition occupies the first and the beginning of the second part of the novel (before Oblomov's acquaintance with Olga) and depicts almost one ordinary morning in the life of Ilya Ilyich. The life of the protagonist is limited to the confines of one room, where he cannot get up from the couch all morning. But in the first part, in "Oblomov's Dream", the formation of the character of Ilya Ilyich is shown in detail. Noble origin and the position of the landowner, for whom three hundred Zakharov work, as well as the hothouse upbringing, turned a lively and inquisitive boy into “ extra person", Good for nothing, not able to do anything.

The plot of the novel is the acquaintance of the protagonist with Olga. The love story of Oblomov and Olga constitutes the main plot-forming line of the novel, but in parallel the second plot line develops - the story of friendship between Oblomov and Stolz. The love story in the life of the protagonist was short-lived and, at first glance, very calm: there were no external obstacles for this love (except for the divorced bridges, which separated the lovers for two weeks - 3, VI), nothing prevented the union of the young and loving people, except for Oblomov's laziness and apathy. There are two climaxes in the love storyline: an explanation-confession in a lilac alley (2, VI) and last explanation(3, XI), when both understand that they must part. This second climax almost coincides with the denouement in the love story. However, the novel (Oblomov's life) continues after the breakup: in the fourth part, Goncharov depicts the sleepy existence of Ilya Ilyich in the house of the widow Pshenitsyna and his quiet death. Here is the culmination of the history of friendship: Stolz takes control of Oblomovka and deals with a fake loan letter drawn up by clever fraudsters Mukhoyarov and Tarantiev. So Stolz in fact proves his friendly disposition to the main character, and Oblomov - his complete helplessness, because the hero's vital interests have narrowed to a hearty dinner and a long sleep. Consequently, there is nothing original in the plot of the novel: through the story of love and friendship, the character of both Onegin and Pechorin is revealed. However, these "older brothers" of Oblomov, as Dobrolyubov called them in the article "What is Oblomovism?" (1859), do at least some deeds: they fight in duels, tempt fate, rush through life, trying to find a worthy occupation for themselves. In "Eugene Onegin" and "A Hero of Our Time" the clashes of characters in specific circumstances are shown, and in "Oblomov" a sleepy life reigns, which requires from the author special techniques of artistic embodiment. Goncharov found original way images of his hero - through details and objects, since Oblomov has neither actions nor deeds where he could express himself.

Dobrolyubov noted that the peculiarity of Goncharov's style lies in the thoroughness of the description: full image subject, minted, sculpted it "(" What is Oblomovism? "). Goncharov draws in detail the dressing gown, shoes, Ilya Ilyich's sofa, his dusty room, his awkward, inept servant Zakhara.

Objects become iconic for Oblomov's character. There are books on the table in his room, but they are pretty dusty. When the main character falls in love with Olga, he locks his wonderful robe, wide and warm, in the chest, which in the novel becomes a symbol of dead peace and sleep. But when Oblomov settles down on the Vyborg side, the robe is taken out of the chest, washed, darned by the hands of the caring mistress Agafya Matveyevna, and this is already a signal that sleepy life has again defeated Ilya Ilyich. In Oblomov's Dream, the author tells in detail about one day in Oblomovka: taking care of lunch, arranging manor house, dead sleep after dinner, evening gatherings of a noble family.

Gogol was also brilliant in showing the character of the hero through objects. Landowners in "Dead Souls" are depicted satirically, the writer reduces the description of their dead souls to one main feature. For example, in Sobakevich, thrift, solidity, clumsiness are emphasized. These similarities are manifested in the external appearance of the village and in interior decoration a manor house: huts, fences, even a well were built of such thick logs that go only to ship masts, and the furniture in Sobakevich's living room was simple, but strong and stable, like the owner himself, who looked like a medium-sized bear.

Goncharov does not repeat, but develops Gogol's image techniques. Oblomov, perhaps, is somewhat similar to Gogol landlords, but to simplify his character, to see in him only a primitive nature ("dead soul") is impossible. Goncharov shows thinking man who wants to understand himself, dreams, loves. Main feature Oblomov's character - laziness - is revealed in many ways, that is, it is covered in different ways, from different points of view. As a result, the writer creates a complete and complex character of the protagonist, not limited to the satirical sharpening of one or two features.

In the novel, Goncharov shows the dying of the soul of the protagonist, therefore, he conveys in detail the experiences of Ilya Ilyich. Goncharov's psychologism is also special: through the description of objects, everyday details, the author depicts not the soullessness of Oblomov (as it was with Gogol), but the contradictory struggle of his feelings and thoughts. The originality of the psychological disclosure of Oblomov's image is manifested in the fact that Goncharov does not show the process of thinking, like Tolstoy and Dostoevsky, but the stereotype of thoughts that has already formed in the hero, which, like the surrounding objects, characterizes Ilya Ilyich. Indicative in this sense is the emergence of his interest, and then love for Agafya Matveyevna: Oblomov began to look closely at his landlady after she treated him to delicious pie“With chickens and fresh mushrooms” (3, III). The pie reminded Ilya Ilyich Oblomovka.

The hero's state of mind is often conveyed through his physical condition. Anxiety, for example, is expressed by the fact that Oblomov is spinning on his sofa: "Sometimes he was lost in the tide of everyday worries, lay, tossing and turning from side to side, at times his abrupt exclamations were heard:" Oh, my God! He touches life, touches everywhere "" (1, I). As if wishing to hide from a hectic life, Oblomov "wrapped himself in a robe or wrapped himself in a blanket completely with his head." But then a thought arose, a moment of self-criticism came, and “Oblomov freed his head from under the blanket” (1, VIII). Usually, the emotional experiences of Ilya Ilyich are accompanied by painful physical condition: he explains to Olga, and his "hands and feet became cold", "he lost heart", "a slight fever was already playing inside him" (2, XII).

One of the novel's artistic features is the interweaving of lyrical, tragic and comic images. Dobrolyubov noted that Goncharov's writing style is unobtrusive, he does not teach the reader how to understand the character or the situation described in the novel: is Oblomovism? "). But for all the objectivity of the description, Goncharov feels deep sympathy for the main character, condescension to him, dictated by a clear understanding of the evil that destroyed him. It is known that at first the novel was called Oblomovshchina, that is, the ideological emphasis was placed on the social circumstances that formed the lazy, worthless character of the hero. However, in the final version, Goncharov changed the name to Oblomov, thereby emphasizing the importance of the hero's personal drama.

Comedy is present in the first part of the novel, when Oblomov can not get up from the sofa, although several times he has already lowered his feet to his slippers. Each time, some thought stopped the hero and, in order to think it over, he again lay down on the pillow. Already in the first part Oblomov poses a cardinal question: "Why am I like this?" (1, VIII). From that moment on, a tragic mood arises in the novel, which gradually increases towards the end: Oblomov, a smart, conscientious and sensitive person, but weak-willed and passive, cannot overcome his nature and quickly moves towards tragic ending, being fully aware of that. The author shows Oblomov through the struggle of opposing aspirations: this struggle from time to time leads the hero to a painful consciousness of his helplessness and the desire to change his life, but all impulses end in apathy, sleep, the victory of laziness. Unfortunately, of the two possible paths that Oblomov himself sees in front of him ("Now or never! To be or not to be!" 2, V), the second wins - "never", "not to be." Oblomov refuses active life, voluntarily limits his existence by worrying about a delicious lunch and peace in a house on the Vyborg side. The author's lyrical notes are most pronounced in the fourth part of the novel: here the author's sympathy for the helpless hero is clearly expressed.

Summing up, it should be said that the novel "Oblomov" is an extremely unique work, deep in ideological content and unique in the artistic embodiment of this content. The novel is built quite simply, without spectacular plot twists... Its value lies not in external amusement, but in the depth of comprehension of contemporary Russian reality and human life generally. After all, Oblomov is shown both as a product of certain social conditions (Oblomovism) and as a person who tries to resist them, not accepting the empty and vain surrounding reality. Social status(landowner), improper upbringing (he was taught from childhood that labor is a punishment, and rest and peace is fabulous bliss) predetermined, according to Goncharov, tragic fate Main character. However, the rejection of life led to a tragic end in all eras: circumstances defeated a proud person who opposed himself to the unfair world around him. It is not for nothing that "Oblomov" repeats Hamlet's dilemma, while Oblomov himself and Zakhar remind Don Quixote and Sancho Panza... The Spanish knight also went "against the tide" and because of this caused laughter from "normal" people who know in advance that going against the tide is stupid - you will still lose.

Antithesis is artistic medium, which consists in the opposition of images, objects. At the heart of many works, including the novel by I.A. Goncharova "Oblomov", this technique lies. In many ways, the images of Olga Ilyinsky and Agafya Pshenitsyna are opposite, the existence of people in the city and in the countryside is described in contrast, the way of life in Oblomovka and in the Stolz house, the characters of the main characters, Ilya Ilyich Oblomov and Andrei Ivanovich Stolts, are also opposite.
We see the differences even in the story of the childhood of these two people. Oblomov, although he was a cheerful, active child (for example, taking advantage of an hour of afternoon nap, “ran up to the gallery, ran around on creaky boards around, climbed the dovecote, climbed into the wilderness of the garden”), but gradually withered away in the idle atmosphere that surrounded him. After a ten-minute absence of the little master, numerous servants went in search of him, while Stolz from childhood was accustomed to independent activity and could not show up at home for three or four days. He was used to fulfilling his father's orders, for which he often had to travel, he always did everything himself, and Oblomov constantly hoped for his three hundred Zakharov ("three hundred Zakharov").
Since Goncharov was one of the representatives of the natural school and agreed with the slogan of the realists "the environment is seized," he believed that a person's character largely depends on the environment in which this person grew up. Therefore, it becomes clear why so much of the author's attention is paid to the description of the atmosphere that prevailed in Oblomovka and Verheyevo. In the first estate, life flowed unhurriedly, without changing for centuries, far from the noise of cities and their bustle. Here everyone obeyed the old customs and traditions that existed under their fathers and grandfathers. In the house of Stolz lived people accustomed to work, work and independence. Therefore, it is not surprising that the characters of the heroes who grew up in such dissimilar places are so different. This difference is evident even in their portraits. Oblomov was "a young man ... with the absence of any definite idea, any concentration in the features of the face," and in all his movements there was a softness, "which was the dominant and basic expression not only of the face, but of the whole soul." Constant companion his was a robe - a symbol of laziness and inactive lying on the sofa.
Stolz, on the other hand, was “all made up of bones, muscles and nerves”, he did not have a single extra movement, and he often had a cloak with him - a symbol of the constant traveling and vigorous activity of its owner. These portraits reflect the main features of the heroes. Oblomov is characterized by gentleness, kindness, inability to take any action, daydreaming. He did not have a purpose in life, but for himself he decided what kind of person he would not be. This is evident from his reflections on the visitors. Oblomov's opinion about all of them is approximately the same: “Where is the person here? What did it crumble and shatter into? " For Ilya Ilyich, a rejection of secular life with its bustle and mechanism is characteristic, he is able to see the true qualities of a person, understand his feelings, which characterizes him as a deep, thinking person.
Stolz, on the other hand, is constantly busy with something, is on the move: today he is abroad, tomorrow in Oblomovka, the day after tomorrow somewhere else. But nowhere in the novel do we see a detailed story about Stolz's activities, its results, the author only informs us about it, which makes the actions of Andrei Ivanovich look like useless for the reader, that is, like vanity. And this endless bustle of Stolz is not at all better than life Oblomov according to old, unchanging traditions. These features, according to the author, are dominant in two national characters: in Russian and in Western, that is, in German. There is also a contrast in the fact that Oblomov grew up in Russia, having absorbed all the features of this land, and Stolz's father is a German who passed on some of his qualities to his son.
With such different characters, these two characters have different views on many aspects of life, including the problem of family happiness. For Stolz, marriage should be such that lovers “wake up perpetual motion thoughts, eternal irritation of the soul and the need to think together, feel, speak! ". Oblomov, describing a happy family life, mentions first of all everyday details, such as various lunches, dinners, picnics, visiting trips. Stolz would later say that such “marriage would be only a form, not a content, a means, not an end; would serve as a wide and unchanging framework for visits, receptions, dinners and evenings, idle chatter. " And each of the heroes finds his ideal. For Oblomov, this is Agafya Pshenitsyna, and for Stolz, Olga Ilyinskaya.
The images of these two women are also contrasted. Olga is primarily a thinking person, which is emphasized by her portrait: “her lips were for the most part condensed: a sign of thought continuously directed at something. " She is an interesting conversationalist and is the personification of spiritual activity, while Pshenitsyna is primarily physical activity. She is always depicted in motion, in work. But there is no spiritual closeness between her and Oblomov, she performs the function of the mistress of the house, takes care of Ilya Ilyich, takes care of him. Olga, on the other hand, is a friend for Stolz (their feeling grew out of friendship), a companion with whom he could discuss any issues from different spheres life: from politics and art to everyday life and raising children.
But Olga could not defeat Oblomovism in the soul of Ilya Ilyich, although there was a period of life in the country when hopes for his revival awoke in her. Oblomov's daily routine at the dacha is contrasted with his pastime in the city. If at the dacha he often walked, read, studied, even forgot for a while about his dressing gown, then in Petersburg he again either lay dreamily on the sofa, or slept wrapped in this dressing gown.
What are the functions of the antithesis in the novel? One of them is a description of two sides of life, different characters. The second function is the search for the ideal. According to the author, a personality that combines best qualities Oblomov and Stolz, is capable of becoming an ideal. Adherence to certain traditions, kindness, attention to people and a thirst for action, love for work are the traits that a harmonious person of the future should have.

Artistic features of the novel by I. A. Goncharov "Oblomov"

The novel by I. A. Goncharov “Oblomov” was published in 1859. In it, the writer faithfully depicted the life of Russian society contemporary to him. It is hardly possible to find another work that so clearly showed the reader the process of degeneration of the nobility. In the novel, the author asks questions about the meaning of life, the purpose of existence, considers the problem positive hero, the problem of love and friendship. Goncharov was the first to reveal the problem of the nobility in such detail (“The great chain broke, broke, scattered at one end over the master, the other at the muzhik,” wrote N. A. Nekrasov). After the publication of the novel, many did not like it, since the first part is too prolonged, there is no action, there is no intrigue. Perhaps it was a deliberate author's technique to show the reader to what extent the life of even a good person, kind in all respects, can be monotonous and aimless. I think the novel "Oblomov" would not have been remembered and, perhaps, would have been forgotten, if not for his artistic identity, artistic skill.

Starting to read the novel, we immediately pay attention to the detailed portrait description and description of the interior. Here the author uses the method of complementarity: the interior complements the portrait of the hero. From the very first phrases, you can form your opinion about the hero, give him an assessment. Let us recall Oblomov's portrait: “A man of about thirty-two or three years old, of average height ... The body is dull, too white, small plump hands, soft shoulders ...” Before us is a pampered man who is not used to LABOR - Full the opposite is Oblomova Stolz, "all composed of bones, muscles and nerves." Stolz is thin, he has almost no cheeks at all, "that is, bone and muscle, but not a sign of fat roundness." Of course, it is difficult to imagine such a person lying on the sofa in a soft Persian robe.

Let's pay attention to the description of Ilya Ilyich's room. It complements the previously drawn portrait of Oblomov. "At first glance, the room seemed beautifully decorated: a mahogany bureau, two sofas, beautiful screens upholstered in silk, silk curtains, several paintings, many beautiful little things." But an experienced person with a pure taste, with one cursory glance at everything that was here, would have read only the desire to somehow observe the decorum of inevitable decencies, "just to get rid of them." From this description, it also becomes clear to us who Oblomov is. Once upon a time it was a man who lived normal life taking care of himself and the environment; now we have before us a sloth, unable even to force the servant to clean the room.

I. A. Goncharov uses detailed descriptions, detailing everything, this makes the novel more colorful. But not only this goal is pursued by the author. So, the first part in reality lasts only one day, nevertheless, this day in the description of Goncharov seems to be an eternity. And this day Oblomov really is eternity, there is his life. How will the next day change for Oblomov? No way. It will be just as tedious, as endless and joyless as the previous one. The dragging-on technique in the first part of the novel just helps to understand the essence of Ilya Ilyich's life. Oblomov's life is a series of monotonous actions, events, one dimmer than the other.

In the novel, the author uses the method of antithesis. The most significant opposition is, of course, the opposition of Stolz to Oblomov. By and large, the entire novel is built on this opposition, it is the compositional core of the novel. These heroes are opposed to each other in everything: in origin (Stolz is a half-German, the son of a manager, Oblomov is a descendant of a noble family), in upbringing (Stolz's father brought up Spartan, taught him to work, instilled in him a sense of purpose - Oblomov grew up in a hall and bliss, was accustomed to an idle life, to a life without labor and hassle), in a way of life (Stolz is always busy with some kind of useful activity, however, Goncharov does not write about it in detail, Oblomov sibaritates, lies on the couch, dreams, builds unrealizable "projects ”). The only thing these characters are close to is their age, but this is also a necessary part of the opposition.

In the novel, female characters are also contrasted: Olga Ilyinskaya and Agafya Matveevna Pshenitsyna. Let's compare them. Agafya Pshenitsyna is the widow of a petty official, "a woman with a bare neck and elbows, plump, barefoot, without a cap." “She had almost no eyebrows at all, but in their place were two slightly puffy, glossy stripes with thin hair.” Such a portrait involuntarily repulses, does not evoke sympathy. Olga Ilyinskaya is a noblewoman who lives with an aunt and a servant. She is not a beauty: “There was no whiteness in her, her eyes did not burn 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 size of the head and the oval of the face corresponded to a somewhat high growth, all this was in harmony with the shoulders. She could be called the goddess of grace. " Agafya Matveevna is a typical housewife, busy in the kitchen, raising children. Olga is a sublime, educated girl. She goes to theaters, knows a lot and reads. Naturally, Agafya Matveyevna is much closer to Oblomov's idea of ​​family happiness.

Musicality plays a special role in the novel. Oblomov falls in love with Olga, listening to her singing, unusually inspired and beautiful. Love for music - this is the common beginning that made the feeling arise, brought these completely dissimilar people together for a short time.

Goncharov is a master of landscape sketches. Images of patriarchal Oblomovka, a shady alley in a park, a blooming garden are impressive. The beauty of the spring landscape is in harmony with the growing feeling in the soul of the hero. And just as Oblomov's soul falls asleep after a break with Olga, as snow falls in the streets and houses.

To reveal in more detail the psychology of his heroes, Goncharov uses internal monologues and remarks. So the writer shows us the attitude of the character to certain events, actions, actions.

The strongest side of Goncharov's talent lies in the ability to capture the full image, object, to stamp it, to sculpt it. And such a phenomenon among the nobility as "Oblomovism", which the author illuminates in many ways in the novel, serves as the key to unraveling many phenomena of Russian life.

Oblomov (1859) is a novel of critical realism, that is, it depicts a typical character in typical circumstances with correct details (this formulation of critical realism is given by F. Engels in a letter to M. Garkness in April 1888). Each talented writer expresses these principles of critical realism in his own way, creating an original literary work, unlike any other. In Oblomov, Goncharov presented his understanding not of a separate aspect, but of the whole of Russian life at a turning point in history - on the eve of the abolition of serfdom, when both social and moral contradictions were especially aggravated. To reveal the chosen topic, Goncharov describes in the novel the life of one hero - Oblomov, a landowner and a retired official, in whose life nothing special happens: he sleeps or dreams almost all the time, lying on the couch, first in an apartment on Gorokhovaya Street, then on the Vyborg side , and when he is awake, he eats. Thus, in the novel there is very little action, there is no entertaining plot, cunning intrigues, it even seems drawn out.

The exposition occupies the first and the beginning of the second part of the novel (before Oblomov's acquaintance with Olga) and depicts almost one ordinary morning in the life of Ilya Ilyich. The life of the protagonist is limited to the confines of one room, where he cannot get up from the couch all morning. But in the first part, in "Oblomov's Dream", the formation of the character of Ilya Ilyich is shown in detail. The noble origin and the position of the landowner, for whom three hundred Zakharov work, as well as the hothouse upbringing, turned a lively and inquisitive boy into a "superfluous person", useless for anything, unable to do anything.

The plot of the novel is the acquaintance of the protagonist with Olga. The love story of Oblomov and Olga constitutes the main plot-forming line of the novel, but in parallel the second plot line develops - the story of friendship between Oblomov and Stolz. The love story in the life of the protagonist was short-lived and, at first glance, very calm: there were no external obstacles to this love (except for the divorced bridges, which separated the lovers for two weeks - 3, VI), nothing prevented the connection of young and loving people, except Oblomov's laziness and apathy. There are two climaxes in the love storyline: an explanation-confession in the lilac alley (2, VI) and the last explanation (3, XI), when both understand that they have to leave. This second climax almost coincides with the denouement in the love story. However, the novel (Oblomov's life) continues after the breakup: in the fourth part, Goncharov depicts the sleepy existence of Ilya Ilyich in the house of the widow Pshenitsyna and his quiet death. Here is the culmination of the history of friendship: Stolz takes control of Oblomovka and deals with a fake loan letter drawn up by clever fraudsters Mukhoyarov and Tarantiev. So Stolz in fact proves his friendly disposition to the main character, and Oblomov - his complete helplessness, because the hero's vital interests have narrowed to a hearty dinner and a long sleep. Consequently, there is nothing original in the plot of the novel: through the story of love and friendship, the character of both Onegin and Pechorin is revealed. However, these "older brothers" of Oblomov, as Dobrolyubov called them in the article "What is Oblomovism?" (1859), do at least some deeds: they fight in duels, tempt fate, rush through life, trying to find a worthy occupation for themselves. In "Eugene Onegin" and "A Hero of Our Time" the clashes of characters in specific circumstances are shown, and in "Oblomov" a sleepy life reigns, which requires from the author special techniques of artistic embodiment. Goncharov found an original way of portraying his hero - through details and objects, since Oblomov has neither actions nor deeds where he could express himself.

Dobrolyubov noted that the peculiarity of Goncharov's style is in the thoroughness of the description: “The author is not amazed by one side of the object, one moment of being, but twirls the object from all sides, which allows him to embrace the full image of the object, to stamp, sculpt it” (“What is Oblomovism? "). Goncharov draws in detail the dressing gown, shoes, Ilya Ilyich's sofa, his dusty room, his awkward, inept servant Zakhara.

Objects become iconic for Oblomov's character. There are books on the table in his room, but they are pretty dusty. When the main character falls in love with Olga, he locks his wonderful robe, wide and warm, in the chest, which in the novel becomes a symbol of dead peace and sleep. But when Oblomov settles down on the Vyborg side, the robe is taken out of the chest, washed, darned by the hands of the caring mistress Agafya Matveyevna, and this is already a signal that sleepy life has again defeated Ilya Ilyich. In Oblomov's Dream, the author tells in detail about one day in Oblomovka: taking care of dinner, setting up a manor house, dead sleep after dinner, evening gatherings of a noble family.

Gogol was also brilliant in showing the character of the hero through objects. Landowners in "Dead Souls" are depicted satirically, the writer reduces the description of their dead souls to one main feature. For example, in Sobakevich, thrift, solidity, clumsiness are emphasized. These similar features are manifested in the external appearance of the village and in the interior decoration of the landlord's house: the huts, fences, even a well were built of such thick logs that go only to ship masts, and the furniture in Sobakevich's living room was simple, but strong and stable, like himself host, similar to a medium-sized bear.

Goncharov does not repeat, but develops Gogol's image techniques. Oblomov, perhaps, is somewhat similar to Gogol's landowners, but it is impossible to simplify his character, to see in him only a primitive nature ("dead soul"). Goncharov shows a thinking person who wants to understand himself, dreams, loves. Oblomov's main character trait - laziness - is revealed in many ways, that is, it is covered in different ways, from different points of view. As a result, the writer creates a complete and complex character of the protagonist, not limited to the satirical sharpening of one or two features.

In the novel, Goncharov shows the dying of the soul of the protagonist, therefore, he conveys in detail the experiences of Ilya Ilyich. Goncharov's psychologism is also special: through the description of objects, everyday details, the author depicts not the soullessness of Oblomov (as it was with Gogol), but the contradictory struggle of his feelings and thoughts. The originality of the psychological disclosure of Oblomov's image is manifested in the fact that Goncharov does not show the process of thinking, like Tolstoy and Dostoevsky, but the stereotype of thoughts that has already formed in the hero, which, like the surrounding objects, characterizes Ilya Ilyich. Significant in this sense is the emergence of his interest, and then love for Agafya Matveyevna: Oblomov began to look closely at his landlady after she treated him to a delicious pie “with chickens and fresh mushrooms” (3, III). The pie reminded Ilya Ilyich Oblomovka.

The hero's state of mind is often conveyed through his physical condition. Anxiety, for example, is expressed by the fact that Oblomov is spinning on his sofa: "Sometimes he was lost in the tide of everyday worries, lay, tossing and turning from side to side, at times his abrupt exclamations were heard:" Oh, my God! He touches life, touches everywhere "" (1, I). As if wishing to hide from a hectic life, Oblomov "wrapped himself in a robe or wrapped himself in a blanket completely with his head." But then a thought arose, a moment of self-criticism came, and “Oblomov freed his head from under the blanket” (1, VIII). Usually, the emotional experiences of Ilya Ilyich are accompanied by a painful physical state: he explains himself with Olga, and his "hands and feet became cold", "he lost heart", "a slight fever was already playing inside him" (2, XII).

One of the novel's artistic features is the interweaving of lyrical, tragic and comic images. Dobrolyubov noted that Goncharov's writing style is unobtrusive, he does not teach the reader how to understand the character or the situation described in the novel: is Oblomovism? "). But for all the objectivity of the description, Goncharov feels deep sympathy for the main character, condescension to him, dictated by a clear understanding of the evil that destroyed him. It is known that at first the novel was called Oblomovshchina, that is, the ideological emphasis was placed on the social circumstances that formed the lazy, worthless character of the hero. However, in the final version, Goncharov changed the name to Oblomov, thereby emphasizing the importance of the hero's personal drama.

Comedy is present in the first part of the novel, when Oblomov can not get up from the sofa, although several times he has already lowered his feet to his slippers. Each time, some thought stopped the hero and, in order to think it over, he again lay down on the pillow. Already in the first part Oblomov poses a cardinal question: "Why am I like this?" (1, VIII). From that moment on, a tragic mood arises in the novel, which gradually increases towards the end: Oblomov, a smart, conscientious and sensitive person, but weak-willed and passive, cannot overcome his nature and quickly moves to a tragic ending, realizing that he is fully aware of it. The author shows Oblomov through the struggle of opposing aspirations: this struggle from time to time leads the hero to a painful consciousness of his helplessness and the desire to change his life, but all impulses end in apathy, sleep, the victory of laziness. Unfortunately, of the two possible paths that Oblomov himself sees in front of him ("Now or never! To be or not to be!" 2, V), the second wins - "never", "not to be." Oblomov refuses an active life, voluntarily limits his existence to worries about a delicious lunch and peace in a house on the Vyborg side. The author's lyrical notes are most pronounced in the fourth part of the novel: here the author's sympathy for the helpless hero is clearly expressed.

Summing up, it should be said that the novel "Oblomov" is an extremely unique work, deep in its ideological content and unique in its artistic embodiment of this content. The novel is built quite simply, without spectacular plot twists. Its value lies not in external amusement, but in the depth of comprehension of contemporary Russian reality and human life in general for Goncharov. After all, Oblomov is shown both as a product of certain social conditions (Oblomovism) and as a person who tries to resist them, not accepting the empty and vain surrounding reality. The social position (landowner), improper upbringing (he was taught from childhood that labor is a punishment, and rest and peace is fabulous bliss) predetermined, according to Goncharov, the tragic fate of the protagonist. However, the rejection of life led to a tragic end in all eras: circumstances defeated a proud person who opposed himself to the unfair world around him. It is not for nothing that "Oblomov" repeats Hamlet's dilemma, and Oblomov himself with Zakhar resemble Don Quixote and Sancho Panza. The Spanish knight also went "against the tide" and because of this caused laughter from "normal" people who know in advance that going against the tide is stupid - you will still lose.

Goncharov's novel "Oblomov" was published in 1859 and immediately interested the writer's contemporaries in the depth of the issues disclosed in the work. In the novel, the author for the first time described such a tendentious Russian society phenomenon as "Oblomovism", sharply identifying the conflict between the heroes living in the past and the heroes-creators of the future. However, an equally important aspect to understand ideological meaning works is the composition "Oblomov", built of four main parts, reflecting different stages personality formation and state of mind Ilya Ilyich.

Subject-compositional construction of "Oblomov"

To understand the ideological and semantic functions of the composition of the novel "Oblomov" by Goncharov, it is necessary to briefly retell the main storylines works.

In the first part, the author draws before the reader one day in the life of Ilya Ilyich. Lazy, mired in "Oblomovism" Oblomov spends the whole day in bed, never daring to get up and do any business. Moreover, he does not even rise to greet Volkov, Sudbinsky and Penkin, who came to him, and then Alekseev and Tarantiev. The first part ends with the chapter "Oblomov's Dream" - the only chapter in the novel that has a title. This is due not only to the history of the creation of the work (the idea of ​​the book appeared back in 1847, and in 1849 Goncharov published Oblomov's Dream as an independent work, which then formed the basis of the Oblomov novel), but also the importance of sleep for understanding the phenomenon of Oblomovism ”, Her influence on Ilya Ilyich as the central goal of his life.

The second part begins with the arrival of Stolz, who pulls Oblomov out of his half-asleep state and takes him with him among the guests. The life of Ilya Ilyich is changing dramatically - Andrei Ivanovich introduces him to Olga Ilyinsky, with whom Oblomov falls in love. The girl also fell in love with Ilya Ilyich and the second part ends with their confessions and plans for a happy future.

The third part is devoted to the development of relations between Olga and Oblomov. Goncharov describes both the happiness of lovers and the difficulties of mutual understanding. At the end of the third part, Oblomov and Olga part, as they understand that the idealized images of each other, with which they fell in love, do not correspond to reality.

The fourth part talks about later life Olga and Oblomov. Oblomov finds his family happiness at Pshenitsyna, who creates for him the very desired atmosphere of Oblomovka. Olga is getting married to Stolz. The novel ends with Oblomov's death.

The semantic features of the composition "Oblomov"

In the novel Oblomov, the composition is divided into four main parts, symbolizing the four stages of the hero's life, corresponding to the seasons of the year. It is not surprising that the theme of nature in the novel occupies one of the central places - all events seem to be complemented by landscapes, weather or depictions of nature.

"Spring" and "Summer" by Oblomov

The novel begins with the "winter" in Oblomov's life - a state of half-sleep, almost "dying", when a person practically does not get out of bed, waiting for his death. The next stage - the second part - is the "spring" of Ilya Ilyich - the rebirth from the "winter" sleep and steps towards a new life and new love... The borderline moment between the "winter" of the first part and the "spring" of the second is Oblomov's dream, which tells about the actual "spring" of the hero's life - his childhood in his native village. The functional role of sleep in the composition of the novel is a smooth transition from apathy and "winter" to "spring" through memories of youth, joy and life through a dream - that is, in fact, Oblomov's dream is prophetic, since then his life again becomes similar to his youth - filled with the enchanting beauty of nature, new impressions and love. On the other hand, the arrival of the hero's "spring" in a dream indicates that the following events are a continuation of this dream, and not really happening to the hero. This is also indicated by Olga's words during their parting that she is not able to change Oblomov, since he is already dead. That is, starting the novel with Oblomov's “winter”, the author points out that the hero is already irrevocably immersed in a state of sleepiness, leading to the collapse of “Oblomovism”.

The spring love of the heroes, the symbol of which is the fragile branch of lilac, is replaced by "summer" (the third part of the novel) both in the soul of the hero and in the relationship between Olga and Oblomov. They think about the need to get married, but Oblomov's lack of initiative and fear of the future does not allow this to happen. The parting of the beloved represents the end of the "summer" highlighted by the snowfall, into which Oblomov falls on the way home - as if a reminder that the hero again fell into a winter death sleep and apathy, from which only Olga and Stolz could get him out.

"Autumn" and "Winter" by Oblomov

The fourth part of the novel represents the "autumn" and "winter" of Oblomov's personality - calm, deathly quiet life at Pshenitsyna. Before his death, Ilya Ilyich seems to be returning to his native Oblomovka, while plunging more and more into dreams that are not destined to come true. At the time of his actual death, Oblomov's personality was already dead - he had existed for a long time the real world plunged into the illusory world of "winter" half-nap.

At the same time, the real calendar of events is somewhat displaced in relation to the development of events that begin in May and end in late autumn, thus symbolizing the period of the hero's life corresponding to his real age - from 30 years old (late spring) to late autumn - about 50 years old.

conclusions

The main feature of the composition of the novel "Oblomov" is "looping" internal state Main character. At the beginning of the work, Ilya Ilyich is not only immersed in "Oblomovism", he himself is a part of this distant, divorced from big world Oblomovki. We see the same thing at the end of the work - Oblomov spiritually and physically dies, just as his native village dies. On a philosophical scale, the composition of the novel indicates the inevitability of the passage of time, changes of seasons and stages of life, the finiteness of not only man and the village, but also the whole story kind with its traditions, which are necessarily replaced by something new.

This characteristic and a description of the features of the composition of the novel are recommended for study in 10 grades before writing an essay on the topic "Compositions of the novel" Oblomov "".

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