The main character the novel by Ilya Ilyich Oblomov, a landowner who lives, however, permanently in St. Petersburg. Oblomov's character is perfectly sustained throughout the novel. It is far from being as simple as it might seem at first glance. The main character traits of Oblomov are an almost painful weakness of will, expressed in laziness and apathy, then - the absence of living interests and desires, fear of life, fear of any change in general.
But, along with these negative traits, there are also major positive ones in him: wonderful spiritual purity and sensitivity, good nature, cordiality and tenderness; Oblomov has a "crystal soul", in the words of Stolz; these traits attract the sympathy of everyone who comes into close contact with him: Stolz, Olga, Zakhar, Agafya Matveyevna, even his former colleagues who visit him in the first part of the novel. Moreover, Oblomov is far from stupid by nature, but his mental faculties are dormant, suppressed by laziness; there is in him both the desire for good and the consciousness of the need to do something for the common good (for example, for his peasants), but all these good inclinations are completely paralyzed in him by apathy and lack of will. All these traits of Oblomov's character appear vividly and prominently in the novel, despite the fact that there is little action in it; in this case, this is not a drawback of the work, since it fully corresponds to the apathetic, inactive nature of the protagonist. The brightness of the characteristics is achieved mainly through the accumulation of small, but characteristic details, vividly depicting the habits and inclinations of the person depicted; so, from one description of Oblomov's apartment and its furnishings on the first pages of the novel, one can get a fairly accurate idea of the personality of the owner himself. This method of characterization is one of Goncharov's favorite artistic techniques; that is why in his works there is such a mass of small details of everyday life, furnishings, etc.
In the first part of the novel, Goncharov introduces us to Oblomov's lifestyle, his habits, and also talks about his past, about how his character developed. During this whole part, describing one "morning" of Oblomov, he hardly leaves his bed; in general, lying on a bed or on a sofa, in a soft robe, was, according to Goncharov, his "normal state." Any activity tired him; Oblomov once tried to serve, but not for long, because he could not get used to the requirements of the service, to strict accuracy and diligence; hectic office life, writing papers, the purpose of which was sometimes unknown to him, the fear of making mistakes - all this weighed on Oblomov, and once he sent an official paper instead of Astrakhan to Arkhangelsk, he chose to retire. Since then, he lived at home, almost never leaving: neither to society, nor to the theater, almost without leaving his beloved deceased dressing gown. His time passed in lazy "crawling from day to day", in idle doing nothing or in no less idle dreams of loud exploits, of glory. This play of the imagination occupied and amused him, in the absence of other, more serious mental interests. Like any serious work requiring attention and concentration, reading tired him; therefore, he read almost nothing, did not follow life in the newspapers, content with the rumors brought to him by rare guests; the half-read book, unfolded in the middle, turned yellow and covered with dust, and in the inkwell, instead of ink, only flies were found. Every extra step, every effort of will was beyond his strength; even taking care of himself, of his own well-being, weighed down on him, and he willingly left it to another, for example, Zakhara, or relied on "maybe", on the fact that "somehow everything will work out." When he had to make some serious decision, he complained that "life touches everywhere." His ideal was a calm, peaceful life, without worries and without any changes, so that “today” was like “yesterday”, and “tomorrow” is like “today”. Everything that confused the monotonous course of his existence, every concern, every change frightened and depressed him. The letter of the headman, demanding his orders, and the need to move out of the apartment seemed to him real "misfortunes", in his own words, and he was reassured only by the fact that somehow all this would work out.
But if Oblomov's character had no other traits besides laziness, apathy, weakness, mental sleepiness, then, of course, he could not interest the reader, and Olga would not be interested in him, he could not serve as the hero of a whole extensive novel. For this, it is necessary that these negative aspects of his character be balanced by no less important positive ones that can arouse our sympathy. And Goncharov, indeed, from the very first chapters shows these personality traits of Oblomov. In order to more clearly emphasize its positive, attractive sides, Goncharov introduced several episodic persons that appear in the novel only once and then disappear without a trace from its pages. This is Volkov, an empty socialite, a dandy, looking for only pleasures in life, alien to any serious interests, leading a noisy and mobile life, but nevertheless completely devoid of inner content; then Sudbinsky, an official-careerist, all immersed in the petty interests of the office world and paperwork, and “for the rest of the world he is blind and deaf,” as Oblomov put it; Penkin, a petty writer of a satirical, accusatory trend: he boasts that in his essays he brings out weaknesses and vices to universal ridicule, seeing in this the true vocation of literature: but his smug words are rebuffed by Oblomov, who finds only slavishness in the works of the new school loyalty to nature, but too little soul, little love for the subject of the image, little true "humanity". In the stories that Penkin admires, there are no, in Oblomov's opinion, "invisible tears", but only visible, coarse laughter; depicting fallen people, the authors "forget man." “You want to write with one head! - he exclaims, - do you think that a heart is not needed for thought? No, she is fertilized by love. Stretch out your hand to a fallen person to lift him, or weep bitterly over him if he dies, and do not mock. Love him, remember yourself in him ... then I will read you and bow my head before you ... ”From these words of Oblomov it is clear that his view of the vocation of literature and his demands from the writer is much more serious and lofty than that of a professional the writer Penkin, who, in his words, "spends his thought, his soul on trifles, trades in the mind and imagination." Finally, Goncharov deduces a certain Alekseev, "a man of indefinite years, with an indefinite physiognomy," who has nothing of his own: neither his own tastes, nor his desires, nor sympathies: Goncharov introduced this Alekseev, obviously, in order to show by comparison, that Oblomov, despite all his spinelessness, is not at all impersonal, that he has his own definite moral physiognomy.
Thus, a comparison with these episodic persons shows that Oblomov mentally and morally stood above the people around him, that he understood the insignificance and illusion of those interests with which they were carried away. But Oblomov not only could, but also knew how "in his clear, conscious moments" to critically treat the surrounding society and himself, admit his own shortcomings and it is hard to suffer from this consciousness. Then memories of the years of his youth awakened in his memory, when he was at the university with Stolz, studied science, translated serious scientific works, was fond of poetry: Schiller, Goethe, Byron, dreamed of future activities, of fruitful work for the common good. Obviously, at this time, Oblomov was also influenced by the idealistic hobbies that prevailed among Russian youth in the 1930s and 1940s. But this influence was fragile, because Oblomov's apathetic nature was unusual for a prolonged passion, as systematic hard work was unusual. At the university Oblomov was content with the fact that he had assimilated passively ready-made conclusions of science, without thinking them over on his own, without defining their mutual relationship, without bringing them into a harmonious connection and system. Therefore, “his head was a complex archive of dead deeds, persons, eras, figures, unrelated political, economic, mathematical and other truths, tasks, statements, etc. It was like a library, consisting of some scattered volumes of different parts knowledge. The teaching had a strange effect on Ilya Ilyich: he had a whole abyss between science and life, which he did not try to cross. "He had life by itself, and science by itself." Knowledge divorced from life, of course, could not be fruitful. Oblomov felt that he, as an educated person, needed to do something, he was aware of his duty, for example, to the people, to his peasants, he wanted to arrange their fate, improve their situation, but everything was limited only by many years of pondering the plan of economic reforms, and the actual management of the economy and the peasants remained in the hands of the illiterate headman; and the conceived plan could hardly have practical significance in view of the fact that Oblomov, as he himself admits, did not have a clear understanding of village life at all, did not know "what corvée is, what rural labor is, what does a poor man mean, what is rich."
Such ignorance of real life, with a vague desire to do something useful, brings Oblomov closer to the idealists of the 40s, and especially to "superfluous people", as they are portrayed by Turgenev.
Like “superfluous people”, Oblomov was sometimes imbued with the consciousness of his powerlessness, his inability to live and act, at the moment of such consciousness “he felt sad and painful for his underdevelopment, a stop in the growth of moral forces, for the heaviness that hindered everything; and envy gnawed at him that others lived so fully and widely, and it was as if a heavy stone had been thrown on the narrow and pitiful path of his existence ... then a good, light beginning, maybe now, is already dead, or it lies like gold in the depths of the mountains, and it would be high time for this gold to be a walking coin. " The consciousness that he was not living as it should wandered vaguely in his soul, he suffered from this consciousness, sometimes wept bitter tears of impotence, but could not decide on any change in his life, and soon calmed down again, which contributed to his apathetic nature, incapable of a strong uplifting spirit. When Zakhar inadvertently decided to compare him with "others", Oblomov was severely offended by this, and not only because he felt offended in his lordly pride, but also because in the depths of his soul he realized that this comparison with "others" tended far from in his favor.
When Stolz asks Zakhar what Oblomov is, he replies that this is a "master". This is a naive but accurate definition. Oblomov is, indeed, a representative of the old serf lordship, "master", that is, a person who "has Zakhar and three hundred more Zakharov," as Goncharov himself puts it about him. Using Oblomov as an example, Goncharov thus showed how perniciously serfdom was reflected on the nobility itself, hindering the generation of energy, perseverance, initiative, work habits. In the old days, compulsory civil service supported these essential qualities for life in the service class, which gradually began to stall since the compulsory service was abolished. The best people among the nobility they have long been aware of the injustice of this order of things created by serfdom; the government, starting with Catherine II, wondered about its abolition, literature, in the person of Goncharov, showed its perniciousness for the nobility itself.
“It began with the inability to put on stockings, and ended with the inability to live,” Stolz aptly put it about Oblomov. Oblomov himself is aware of his inability to live and act, his inability, the result of which is a vague, but painful fear of life. In this consciousness lies the tragic trait in Oblomov's character, sharply separating him from the previous "Oblomovites". Those were whole natures, with a solid, albeit ingenuous, outlook on the world, alien to any doubts, any inner duality. In contrast to them, it is precisely this duality that exists in Oblomov's character; it was brought into him by the influence of Stolz and the education he received. For Oblomov, it was already psychologically impossible to lead the same calm and self-satisfied existence as his fathers and grandfathers led, because deep down he still felt that he did not live as he should and how “others” like Stolz live. Oblomov already has a consciousness of the need to do something, to be useful, to live not for himself alone; he also has a sense of his duty to the peasants, whose labors he uses; he develops a "plan" for a new structure of village life, which takes into account the interests of the peasants, although Oblomov does not at all think about the possibility and desirability of the complete abolition of serfdom. Until the end of this "plan", he does not consider it possible to move to Oblomovka, but of course, nothing comes of his work, because he lacks neither knowledge of rural life, nor persistence, nor diligence, nor real conviction of the expediency of the "plan itself. ". Oblomov at times grieves deeply, agonizes in the consciousness of his unsuitability, but is not able to change his character. His will is paralyzed, every action, every decisive step scares him: he is afraid of life, as in Oblomovka they were afraid of a ravine, about which there were various unkind rumors.
Oblomov's character
Roman I.A. Goncharov's "Oblomov" was published in 1859. It took almost 10 years to create it. This is one of the most outstanding novels classical literature our time. This is how famous people spoke about the novel literary critics that era. Goncharov was able to convey realistically, objectively and reliable facts of the reality of the layers of the social environment of the historical period. Presumably, his most successful achievement was the creation of the image of Oblomov.
He was a young man of 32-33 years old, of average height, with a pleasant face and intelligent eyes, but without any definite depth of meaning. As the author noted, the thought walked across the face as a free bird, fluttered in the eyes, dropped to half-open lips, hid in the folds of the forehead, then completely disappeared and a careless young man appeared in front of us. Sometimes on his face one could read boredom or fatigue, but still there was a softness of character and the warmth of his soul in him. All his life Oblomov is accompanied by three attributes of bourgeois well-being - a sofa, a robe and shoes. At home Oblomov wore an oriental soft roomy robe. He spent all his free time lying down. Laziness was an integral part of his character. The house was cleaned superficially, creating the appearance of cobwebs hanging in the corners, although at first glance one might think that a well-tidied room. There were two more rooms in the house, but he did not go there at all. If an uncleaned dinner plate with crumbs were everywhere, a half-smoked pipe, one would think that the apartment was empty, no one lived in it. He was always amazed at his energetic friends. How can you waste your life, being scattered over dozens of cases at once. His financial condition wished to be the best. Lying on the sofa, Ilya Ilyich always thought of how to correct him.
Oblomov's image is a complex, contradictory, even tragic hero. His character predetermines an ordinary, not interesting fate, devoid of the energy of life, its bright events. Goncharov draws his main attention to the prevailing system of that era, which influenced his hero. This influence was expressed in the empty and meaningless existence of Oblomov. Helpless attempts to revive under the influence of Olga, Stolz, marriage to Pshenitsyna, and death itself are defined in the novel as Oblomovism.
The very character of the hero, as conceived by the writer, is much larger and deeper. Oblomov's dream is the key to the whole novel. The hero moves to another era, to other people. A lot of light, joyful childhood, gardens, sunny rivers, but first you have to go through obstacles, an endless sea with raging waves and groans. Behind him are rocks with abysses, a crimson sky with a red glow. After the exciting landscape, we find ourselves in a small corner where people live happily, where they want to be born and die, it cannot be otherwise, they think so. Goncharov describes these inhabitants: “Everything in the village is quiet and sleepy: the silent huts are wide open; not a soul is visible; some flies fly in clouds and buzz in the stuffy atmosphere. " There we meet young Oblomov. As a child, Oblomov could not get dressed himself, he was always helped by servants. As an adult, he also uses their help. Ilya grows up in an atmosphere of love, peace and excessive care. Oblomovka is a corner where calmness and imperturbable silence reign. This is a dream within a dream. Everything around seemed to stand still, and nothing could wake up these people who uselessly live in a distant village without any connection with the rest of the world. Ilyusha grew up on fairy tales and legends that his nanny told him. Developing dreaminess, the fairy tale tied Ilya more to the house, causing inaction.
Oblomov's dream describes the hero's childhood, his upbringing. All this helps to find out the character of Oblomov. The Oblomovs' life is passivity and apathy. Childhood is his ideal. There, in Oblomovka, Ilyusha felt warm, reliable and very protected. This ideal and doomed him to aimless further existence.
The clue to the character of Ilya Ilyich in his childhood, from where straight threads stretch to the adult hero. The character of the hero is an objective result of the conditions of birth and upbringing.
bummer romance lazy character
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Goncharov's novel Oblomov was written during the period of transition of Russian society from outdated, house-building traditions and values to new, enlightening views and ideas. This process became the most difficult and difficult for the representatives of the landlord social class, since it required an almost complete rejection of the usual way of life and was associated with the need to adapt to new, more dynamic and rapidly changing conditions. And if a part of society easily adapted to the renewed circumstances, for others the process of transition turned out to be very difficult, since it was essentially opposed to the usual way of life of their parents, grandfathers and great-grandfathers. Ilya Ilyich Oblomov is the representative of just such landowners who have not been able to change along with the world, adjusting to it. According to the plot of the work, the hero was born in a village far from the capital of Russia - Oblomovka, where he received a classic landowner, house-building upbringing, which formed many of Oblomov's main character traits - weakness, apathy, lack of initiative, laziness, unwillingness to work and the expectation that someone would do everything for him. Excessive parental care, constant prohibitions, the pacifying and lazy atmosphere of Oblomovka led to a deformation of the character of a curious and active boy, making him introverted, prone to escapism and unable to overcome even the smallest difficulties.
The contradictory character of Oblomov in the novel "Oblomov"
The negative side of Oblomov's character
In the novel, Ilya Ilyich does not solve anything on his own, hoping for help from the outside - Zakhara, who will bring him food or clothes, Stolz, who can solve problems in Oblomovka, Tarantiev, who, although he will deceive, will figure out the situation that Oblomov is interested in, etc. The hero is not interested in real life, it causes him boredom and fatigue, while he finds true peace and satisfaction in the world of illusions invented by him. Spending all the days lying on the couch, Oblomov makes unrealizable plans for arranging Oblomovka and his happy family life, in many ways similar to the calm, monotonous atmosphere of his childhood. All his dreams are directed to the past, even the future that he draws for himself - echoes of the distant past, which is no longer possible to return.
It would seem that a lazy, lazy, lazy hero living in an uncleaned apartment cannot arouse sympathy and favor with the reader, especially against the background of Ilya Ilyich's active, active, purposeful friend - Stolz. However, the true essence of Oblomov is revealed gradually, which allows you to see all the versatility and inner unrealized potential of the hero. Even as a child, surrounded by quiet nature, care and control of parents, subtly feeling, dreamy Ilya was deprived of the most important thing - knowledge of the world through its opposites - beauty and ugliness, victories and defeats, the need to do something and the joy of what he acquired through his own labor. From an early age, the hero had everything he needed - helpful courtyards, at the first call, carried out orders, and parents pampered their son in every possible way. Finding himself outside the parental nest, Oblomov, not ready for the real world, continues to expect that everyone around will treat him as warmly and welcomingly as in his native Oblomovka. However, his hopes were shattered already in the first days in the service, where no one cared about him, and everyone was only for himself. Deprived of the will to live, the ability to fight for his place under the sun and perseverance, Oblomov, after an accidental mistake, leaves the service himself, fearing the punishment of his superiors. The first failure becomes the last for the hero - he no longer wants to move forward, hiding from the real, "cruel" world in his dreams.
The positive side of Oblomov's character
The person who could get Oblomov out of this passive state, leading to the degradation of the personality, was Andrei Ivanovich Stolts. Perhaps Stolz appears in the novel as the only character who thoroughly saw not only the negative, but also the positive features of Oblomov: sincerity, kindness, the ability to feel and understand the problems of another person, inner calmness and simplicity. It was to Ilya Ilyich that Stolz came in difficult moments when he needed support and understanding. Oblomov's dovish tenderness, sensuality and sincerity are revealed during a relationship with Olga. Ilya Ilyich is the first to realize that he is not suitable for the active, purposeful Ilyinsky, who does not want to devote herself to "Oblomov" values - this betrays him as a subtle psychologist. Oblomov is ready to give up his own love, as he understands that he cannot give Olga the happiness she dreams of.
The character and fate of Oblomov are closely related - his lack of will, his inability to fight for his happiness, together with spiritual kindness and gentleness, lead to tragic consequences - fear of difficulties and griefs of reality, as well as the complete departure of the hero into a pacifying, calm, wonderful world of illusions.
National character in the novel "Oblomov"
The image of Oblomov in Goncharov's novel is a reflection of the national Russian character, its ambiguity and versatility. Ilya Ilyich is the same archetypal Emelya the fool on the stove, about which the nanny told the hero in childhood. Like the character of a fairy tale, Oblomov believes in a miracle that should happen to him by itself: a benevolent firebird or a kind sorceress will appear, who will take him to the wonderful world of honey and milk rivers. And the chosen one of the sorceress should not be a bright, hard-working, active hero, but necessarily "quiet, harmless", "some kind of lazy person whom everyone offends."
Unquestioning faith in a miracle, in a fairy tale, in the possibility of the impossible - main feature not only Ilya Ilyich, but also any Russian person raised to folk tales and legends. Falling on fertile soil, this faith becomes the basis of a person's life, replacing reality with an illusion, as happened with Ilya Ilyich: “his fairy tale is mixed with life, and he sometimes unconsciously sad, why is a fairy tale not life, but life is not a fairy tale”.
In the finale of the novel, Oblomov, it would seem, acquires that "Oblomov" happiness that he had long dreamed of - a calm, monotonous life without stress, a caring kind wife, an arranged life and a son. However, Ilya Ilyich does not return to the real world, he remains in his illusions, which become more important and significant for him than real happiness next to a woman who adores him. In fairy tales, the hero must withstand three tests, after which he will be expected to fulfill all desires, otherwise the hero will die. Ilya Ilyich does not pass a single test, first giving in to failure in the service, and then to the need to change for Olga's sake. Describing Oblomov's life, the author seems to be ironic about the hero's excessive faith in an impossible miracle, for which one does not need to fight.
Conclusion
At the same time, the simplicity and complexity of Oblomov's character, the ambiguity of the character himself, the analysis of his positive and negative sides, make it possible to see in Ilya Ilyich eternal image unrealized personality "not of his time" - " extra person”, Who failed to find his own place in real life, and therefore went into the world of illusions. However, the reason for this, as Goncharov emphasizes, is not in a fatal combination of circumstances or the plight of the hero, but in the wrong education of Oblomov, who is sensitive and soft in character. Growing up as a "houseplant", Ilya Ilyich turned out to be unadapted to reality, which was harsh enough for his refined nature, replacing it with the world of his own dreams.
Product test
The presented lesson is intended for the 10th grade of a comprehensive school. This is the second lesson in studying the novel by I.A. Goncharova "Oblomov". The first lesson was devoted to the study of the Flemish craftsmanship of I.A. Goncharov, the objective world in the novel.
Lesson type: a lesson in the study of a work of art.
Lesson type: a lesson in in-depth work on the text of the work.
Lesson form: lesson - conversation (with elements of artistic reading, discussion).
The purpose of the lesson: analyze Oblomov's Dream, revealing those aspects of Oblomov's life that influenced the formation of the hero's dual nature (on the one hand, poetic consciousness, on the other, inactivity, apathy, laziness of life).
Tasks:
1. Cognitive:
- Recall with students the function of sleep in fiction; give examples of previously studied works in which there was a dream.
- To acquaint students with the compositional feature of using Oblomov's Dream.
- Reveal positive and negative traits the life of the Oblomovites, who influenced the character of Ilya Ilyich.
2. Developing:
- Development of attention.
- Development of thinking.
- Development of imagination.
- Development of oral speech.
3. Educational:
- Fostering love for literature lessons.
- Fostering interest in Russian traditions, the peculiarities of the Russian national character.
Equipment: portrait of IAGoncharov, cassette with excerpts from the film by N. Mikhalkov "Six days in the life of Oblomov."
Decoration: a portrait of I.A. Goncharov is attached to the board, the first part of the topic and questions to which students will answer during the lesson are written.
During the classes:
I. Introductory stage:
Teacher's word: Today we have to get acquainted with a very significant chapter in the context of the novel, which is called "Oblomov's Dream". In addition, we will find out the compositional features of its use, identify the features of the Oblomovites' life, which influenced the formation of the character of Ilya Ilyich.
Conversation (about the tradition of using sleep in literature):
Note: Y is the teacher's question; y is the student's answer.
W: Let's remember in which works we studied earlier there was a dream?
y: A.S. Pushkin "Eugene Onegin" - Tatyana's dream.
at: A.S. Pushkin " Captain's daughter"- the dream of Petrusha Grinev.
y: "Ballads" by V. Zhukovsky.
* Y - teacher's question; y is the student's answer.
W: Yes, you are absolutely right. And what, in your opinion, is the function of sleep in these works, why do the authors use them?
y: Through a dream, the peculiarities of the character's inner world are revealed, here the thoughts, fears of the heroes are reflected, in a distorted form, in dreams the future can also be represented.
W: Let's think about the peculiarity of the compositional use of sleep in the novel "Oblomov"?
y: The dream represents Oblomov's childhood, but Goncharov does not begin the novel with a description of childhood, but transfers it to Chapter 9. Thus, at first, the hero appears to us, and then only his personality is revealed.
II. Analysis of the work:
Teacher's word: And now let's move on to the consideration of "Sleep". Now we will hear a description of Oblomovka, which opens the "Dream". Let's try to find meaningful words, epithets (definitions that give the expression imagery and emotionality) in it, with which the author conveys his attitude to this place.
Artistic reading of an excerpt by a student:
"Where are we? To what blessed corner of the earth did Oblomov's dream take us? What a wonderful land! No, really, there are seas, there are no high mountains, rocks and abysses, no dense forests - there is nothing grandiose, wild and gloomy ...
The sky there, it seems, is pressing closer to the ground, but not in order to throw arrows stronger than arrows, but only to hug her tighter, with love: it stretched so low overhead, like a parent's reliable roof, in order to protect, it seems, the chosen one a corner from all sorts of adversity.
The sun shines brightly and hot there for about six months and then leaves there not suddenly, as if reluctantly, as if turning back to look once or twice at his favorite place and give him a clear, warm day in the fall, in the midst of bad weather.
The mountains there seem to be only models of those terrible mountains erected somewhere that terrify the imagination. This is a series of sloping hills, from which it is customary to ride, frolic, on your back or, sitting on them, gaze in thought at the setting sun.
The river runs merrily, naughty and playing; it then spills into a wide pond, then strives with a fast thread, or becomes subdued, as if lost in thought, and creeps a little over the pebbles, releasing frisky streams on the sides, under the murmur of which it slumbers sweetly.
The entire corner of fifteen or twenty versts around was a series of picturesque sketches, cheerful, smiling landscapes. Sandy and sloping banks of a bright river, small shrubbery creeping up from the hill to the water, a curved ravine with a stream at the bottom and Birch Grove- everything seemed to be deliberately tidied up one to one and masterfully drawn.
A heart worn out by unrest or not at all familiar with them asks to hide in this forgotten corner and live happiness unknown to anyone. Everything promises there a calm, long-term life to yellow hair and imperceptible, sleep-like death. "
The student highlights epithets and significant words, the rest complement him: blessed corner; wonderful land; favorite place; picturesque sketches; cheerful, smiling landscapes, everything is quiet and sleepy, etc.
W: Make a conclusion about what this place was in Oblomov's life.
y: This is an ideal place, paradise for Oblomov.
Teacher's word: And now let's turn to real life in Oblomovka. And let's see if everything in it is really as perfect as presented in the description.
In order to recall the key aspects of Oblomov's life, we will look at fragments from the film by N. Mikhalkov "Six days in the life of Oblomov." I ask you to split into two teams, the task of one team will be to find positive moments in Oblomov's life, and the other - moments of negative, negative ones. And in order to make it easier for you to highlight aspects, I suggest you pay attention to 3 areas:
- Picture of the world.
- Philosophy of life.
- Child education.
And then, using examples from the film and supplementing them with examples from the text, we will answer the question: "Can we really call Oblomovka paradise and why?"
Watching episodes from the movie:
- Ilya's curiosity.
- The mismanagement of the Oblomovites.
- An all-encompassing sleep like death.
- Repetitive, barren evenings. The unifying principle is in laughter.
- Prayer.
Discussion between two groups of students. The results of the discussion are drawn up in a notebook and on a blackboard in the form of the following table.
| "+" Oblomov life | "-" Oblomov life |
Picture of the world |
|
1. The unity of people with nature, nature is anthropomorphic, a person has no fear of it.
|
|
Philosophy of life. |
|
| 1. A measured, calm life, where, as in nature, there are no cataclysms. Death, which comes imperceptibly, is also perceived as a natural process. 2. There is no place for evil in Oblomovka, the greatest evil is “stealing peas in the gardens”. |
|
|
|
| 1. Mother's love. 2. Formation of a poetic spirituality in a child with the help of fairy tales, folklore. |
|
Teacher's word: So, we have reflected in our table the opposite sides of Oblomovka's life. And more often than not, the hero of the novel himself was assessed only taking into account one side that influenced his life. Here are two comments from critics, which side did they take in Oblomov?
N. Dobrolyubov: “In the book of Goncharov we see a living modern Russian type, minted with merciless severity and correctness. What are the traits of Oblomov's character? In complete inertia, resulting from apathy to everything that is done in the world ... "
A.V. Druzhinin: “Sleepy Oblomov, a native of the sleepy and yet poetic Oblomovka, is free from moral diseases ... He is not infected with everyday debauchery. A child by nature and by the conditions of his development, Ilya Ilyich largely left behind him the purity and simplicity of a child, who put the dreamy eccentric above the prejudices of his age. "
W: Which of these researchers do you think is right?
The students come to the conclusion that both of these sides are in Oblomov's personality and neither one nor the other can be excluded or absolutized.
III. Lesson summary:
The class comes up with a topic for the lesson that would reflect the bi-directional nature of Oblomov's essence. (For example, "Oblomov's dream is the world of a sleepy and poetic soul.")
One of the largest Russians writers XIX century Ivan Aleksandrovich Goncharov - the author of well-known novels: “ An ordinary story"," Oblomov "and" Break ".
Especially popular Goncharov's novel Oblomov... Although it was published over a hundred years ago (in 1859), it is still read with great interest today, as a vivid artistic image musty landlord life. It captures a typical literary image huge impressive power - the image of Ilya Ilyich Oblomov.
The remarkable Russian critic N. A. Dobrolyubov, in his article "What is Oblomovism?"
Oblomov's character
The main Oblomov's character traits- weakness of will, passive, indifferent attitude to the surrounding reality, a tendency to a purely contemplative life, carelessness and laziness. The common name "Oblomov" came into use to refer to an extremely inactive, phlegmatic and passive person.
Oblomov's favorite pastime is lying in bed. “Lying down for Ilya Ilyich was neither a necessity, like a sick person or a person who wants to sleep, nor an accident, like someone who is tired, nor pleasure, like a lazy person — this was his normal state. When he was at home - and he was almost always at home - he was still lying, and everything was always in the same room. " Oblomov's office was dominated by neglect and negligence. If not for the plate lying on the table uncleared from the evening dinner with a salt shaker and with a gnawed bone and a pipe not leaning against the bed or the owner himself lying in bed, "One would think that no one lives here - everything was so dusty, faded and generally deprived of living traces of human presence."
Oblomov is too lazy to get up, too lazy to get dressed, too lazy to even concentrate his thoughts on something.
Living a sluggish, contemplative life, Ilya Ilyich is not averse to dreaming sometimes, but his dreams are fruitless and irresponsible. So he, a motionless lump, dreams of becoming a famous commander, like Napoleon, or a great artist, or a writer, before whom everyone bows down. These dreams did not lead to anything - they are just one of the manifestations of idle passing of time.
A state of apathy is also typical of Oblomov's character. He is afraid of life, tries to isolate himself from life's impressions. He says with effort and entreaty: "Life touches." At the same time, Oblomov is deeply inherent in lordship. Once his servant Zakhar hinted that "others lead a different life." Oblomov answered this reproach as follows:
“Another works tirelessly, runs, fusses ... If he doesn’t work, he doesn’t eat like that ... But I? .. But do I rush about, do I work? .. Eat little, or what? .. Am I missing something? It seems there is someone to give, to do: I have never pulled a stocking on my legs, as I live, thank God! Am I going to worry? What am I from? "
Why Oblomov became “Oblomov”. Childhood in Oblomovka
Oblomov was not born such a worthless bum as he is presented in the novel. All his negative character traits are the product of depressing living conditions and upbringing in childhood.
In the chapter "Oblomov's Dream" Goncharov shows why Oblomov became "Oblomov"... But how active, inquisitive and inquisitive little Ilyusha Oblomov was and how these features were extinguished in the ugly surroundings of Oblomovka:
“A child looks and observes with a sharp and perceptive gaze how and what adults do, what they devote the morning to. Not a single trifle, not a single feature escapes the inquisitive attention of a child, a picture of home life cuts into the soul indelibly, a soft mind is saturated with living examples and unconsciously draws a program of his life according to the life that surrounds him. "
But how monotonous and boring are the pictures of household life in Oblomovka! The whole life consisted in the fact that people ate many times a day, slept to the point of stupidity, and in their free time from eating and sleeping, they wandered around.
Ilyusha is a lively, agile child, he wants to run, watch, but his natural childish inquisitiveness is hindered.
“- Let's go, mom, for a walk,” says Ilyusha.
- What are you, God bless you! Now go for a walk, - she replies, - it's damp, you'll catch a cold; and scary: now the goblin walks in the forest, he takes away small children ... "
Ilya was protected from labor in every possible way, created a lordly state in the child, taught him to be inactive. “Whether Ilya Ilyich wants anything, he has only to blink - already three or four servants rush to fulfill his desire; whether he drops something, does he need to get a thing, but does not get it, - whether to bring something, or why run away; sometimes he, like a playful boy, just wants to rush and redo everything himself, and then suddenly his father and mother and three aunts in five voices and shout:
"Why? Where to? And Vaska, and Vanka, and Zakharka for what? Hey! Vaska! Roly! Zakharka! What are you looking at, razini? Here I am! .. "
And Ilya Ilyich will never be able to do something for himself. "
Parents looked at Ilya's education only as an inevitable evil. They did not awaken respect for knowledge, not the need for it, in the child's heart, but rather disgust, and in every possible way tried to "facilitate" this difficult task for the boy; Under various pretexts, Ilya was not sent to the teacher: either under the pretext of ill health, then in view of someone's upcoming birthday, and even in those cases when they were going to bake pancakes.
The years of his studies at the university passed without a trace for the mental and moral development of Oblomov; nothing came of this man who was not accustomed to work with the service; Neither his smart and energetic friend Stolz, nor his beloved girl Olga, who set out to return Oblomov to an active life, did not have a deep influence on him.
Parting with his friend, Stolz said: "Goodbye, old Oblomovka, you have outlived your age."... These words refer to tsarist pre-reform Russia, but even under the conditions of the new life, there are still a lot of sources that nourished Oblomovism.
Oblomov today, in the modern world
No today at modern world Oblomovka, no and oblomovyh in the sharply expressed and extreme form in which it is shown by Goncharov. But with all this, from time to time we encounter manifestations of Oblomovism as a relic of the past. Their roots must be sought, first of all, in the wrong conditions of the family upbringing of some children, whose parents, usually without realizing it, contribute to the appearance of Oblomov moods and Oblomov behavior in their children.
And in the modern world there are families where love for children is manifested in providing them with such amenities, in which children, as far as possible, are freed from work. Some children reveal the traits of Oblomov's weakness only in relation to certain types of activity: to mental or, on the contrary, to physical labor. Meanwhile, without a combination of mental work with physical development, development is one-sided. This one-sidedness can lead to general lethargy and apathy.
Oblomovism is a sharp expression of weak character. To prevent it, it is necessary to educate in children those strong-willed character traits that exclude passivity and apathy. First of all, one of these features is purposefulness. A person with a strong character has the traits of volitional activity: decisiveness, courage, initiative. Especially important for a strong character is perseverance, manifested in overcoming obstacles, in the struggle with difficulties. Strong characters are formed in the struggle. Oblomov was freed from all efforts, life in his eyes was divided into two halves: “one consisted of labor and boredom - these were his synonyms; the other is from peace and peaceful fun. " Unaccustomed to labor effort, children, like Oblomov, tend to identify work with boredom and seek peace and peaceful fun.
It is useful to re-read the wonderful novel "Oblomov", so that, imbued with a feeling of disgust for Oblomovism and its roots, carefully monitor whether there are any remnants of it in the modern world - even if not in a harsh, but sometimes, disguised form, and take all measures to overcome these remnants.
Based on the materials of the magazine "Family and School", 1963