A little prince - this is a symbol of a man - a wanderer in the universe, looking for the hidden meaning of things and his own life. The soul of the Little Prince is not bound 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 be looking for on different planets will be so close - on his home planet. The little prince is laconic - he says very little about himself and his planet. Only little by little, from casual, casually dropped words, the pilot learns that the baby has flown in from a distant planet, "which is all about the size of a house" and is called asteroid B-612. The little prince tells the pilot about how he is fighting the baobabs, which take root so deep and strong that they can tear apart his little planet. The first shoots must be weeded out, otherwise it will be too late, "this is a very boring job." But he has a "firm rule": "... got up in the morning, washed, put himself in order - and immediately put his planet in order." People should take care of the purity and beauty of their planet, jointly protect and decorate it, not let all living things perish. The little prince from the fairy tale of Saint-Exupery cannot imagine his life without love for gentle sunsets, without the sun. "Once I saw the sun go down 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 is good to watch the sun go down ..." The child feels like a part of the natural world, he calls adults to unity with her. The kid is active and hardworking. He watered Rosa every morning, talked to her, cleaned the three volcanoes on his planet so that they would give more warmth, weed out ... And yet he felt very alone. In search of friends, in the hope of finding true love, he sets off on his journey through foreign worlds. He is looking for people in the endless desert surrounding him, because in communication with them he hopes to understand himself and the world around him, to gain the experience that he was so lacking. Visiting six planets successively, the Little Prince on each of them encounters a certain life phenomenon embodied in the inhabitants of these planets: power, vanity, drunkenness, pseudo-scholarship ... The images of the heroes of A. Saint-Exupery's fairy tale "The Little Prince" have their prototypes. The image of the Little Prince is both deeply autobiographical and, as it were, alienated from the adult author-pilot. He was born out of longing for a dying in himself little Tonio - a descendant of an impoverished noble family, who was called in the family for his blond hair (at first) "King-Sun", and in college he was nicknamed Lunatic for his habit of looking at the starry sky for a long time. The very phrase "Little Prince" is found, as you probably noticed, even in the "Planet of People" (like many other images and thoughts). And in 1940, in between battles with the Nazis, Exupery often drew a boy on a piece of paper - when he was winged, when he was riding on a cloud.
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, he was absolutely atypical. The writer is suspicious and distrustful of the changes that began at this time. He was deeply worried about the moral losses in the country associated with the breaking of the age-old foundations of patriarchal Russia. Old Russia attracted I.A.Goncharov with the spirituality of human relations, respect for the memory of ancestors, 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 resistance to all social upheavals. And the main task of the writer is to fix stable forms of life, to create stable types.
During his long life, I. A. Goncharov wrote only three novels, each one took at least ten years (“ An ordinary story"," Oblomov "," Break "), 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 Otechestvennye zapiski for 1859, that is, on the eve of the abolition of serfdom, the way of life that gave birth to the protagonist of the novel, Oblomov. The source for writing the novel was the writer's observations of the life of his own family and the customs of his native Simbirsk.
IA Goncharov's novel introduced into Russian literature a new concept - "Oblomovism", associated with the name of the protagonist, who is called the last one in the gallery of "superfluous" people. In his memoirs, I. A. Goncharov said: “It seems to me that I, a very keen-sighted and impressionable boy, even then, at the sight of all these figures, this carefree life, idleness and lying, and a vague idea of“ Oblomovism ”arose ...
When analyzing the novel "Oblomov", students should pay attention to the concept of "Oblomovism", to the ambiguity of the author's attitude to his main character and to the active Stolz, and to the disputes of critics about the novel and its protagonist (N. A. Dobrolyubov. " What is Oblomovism? "; D. I. Pisarev." Oblomov "; A. V. Druzhinin." Oblomov ").
In literature lessons, there is no opportunity to fully get acquainted with life and creatively I.A.Goncharova, therefore we only touch on the most important issues, bringing out a less important range of problems for independent work students.
TOPICS OF LESSONS ON STUDYING LIFE AND CREATIVITY I. A. GONCHAROVA
Topic one
The main stages of life and creativity
Born June 6 (18), 1812 in a merchant family in Simbirsk.
1831 - entered the verbal department of Moscow University.
1834 - graduated from Moscow University.
1835 - the beginning of the service in St. Petersburg.
1846 - acquaintance with Belinsky.
1847 - the novel "An Ordinary History".
1852-1854 - circumnavigation on the sailing military frigate "Pallada" as the secretary of the head of the expedition.
1858 - travel sketches "Frigate" Pallada "".
1859 - the novel "Oblomov".
1869 - the novel "The Break".
1872 - article "A Million of Torments" ("Woe from Wit" by A. Griboyedov).
He died on September 15 (27), 1891 in St. Petersburg.
Questions:
1. What are the main character traits of I. A. Goncharov?
2. How did your childhood impressions influence the work of I. A. Goncharov?
3. What novels belong to the pen of I. A. Goncharov? What is their main conflict?
4. What are the features of Goncharov the writer?
5. What impressions did IA Goncharov make from his trip around the world? How did they affect him further creativity?
6. What famous critical article belongs to I. A. Goncharov? What is it about?
Tasks :
1. Make a detailed plan of 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 IA Goncharov?"
3. Make a synopsis of the articles of the textbook: "On the originality of the artistic talent of I. A. Goncharov", "The cycle of essays" Frigate "Pallas" ".
Topic two
The novel "Oblomov". The image of the main character. Oblomovism
Main questions:
I. The main theme of the novel is the fate of a generation looking for its place in society and history, but failed to find the right path.
II. The life foundations of the novel.
III. The influence of the Gogol tradition in the novel.
IV. Problems of the novel. The main conflict.
V. The image of the main character:
1. Basic character traits.
2. Formation of character. Oblomov's childhood.
3. Oblomov Day.
4. The role of details in depicting the image of the protagonist.
5. Oblomov's life ideals.
Vi. The attitude of the author to his hero.
Vii. What is Oblomovism?
VIII. The artistic originality of the novel.
Questions:
1. What is main topic novel?
2. What problems does I. A. Goncharov raise in the novel?
3. Why does N. A. Dobrolyubov call Oblomov the last in the series “ extra people"? What is Oblomovism?
4. How did Gogol's 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 prevails in the author's coverage of the hero - sympathy or irony?
9. What is artistic identity novel?
10. What is the significance of Oblomov's Dream in the composition of the novel?
11. Which of the heroes of the previous literature can be compared with Oblomov?
Tasks :
1. Write a miniature essay on the theme "The collision of dreams and reality in Oblomov's life."
2. Make a detailed plan of the answer: "Oblomov's Day".
3. Find in the text of the novel characters that have Oblomov's features. What does this mean?
Topic three
Role minor characters in the novel.
Roman "Oblomov" in Russian criticism
Main questions:
I. Who is Stolz?
1. Stolz's activity, his ideological position.
2. The attitude of the author to Stolz.
3. Stoltz - Oblomov's antipode or his double?
II. Zakhar and Oblomov. Oblomov features in Zakhara.
III. Olga Ilyinskaya:
1. The character and ideals of Olga.
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.DI Pisarev. ““ Oblomov ”. A novel by I. A. Goncharov ".
4. A. A. Grigoriev. "A look at Russian literature from the death of Pushkin."
Questions:
1. Why did I. A. Goncharov think that the image of Andrei Stolz was not successful for him?
2. Why is Stolz's activity not shown in the novel?
3. Can Stolz be considered positive hero novel?
4. What features bring Stolz closer to Oblomov?
5. What is common between Zakhar and Oblomov?
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. Whom do you think can be considered positive character novel?
10. What is the essence of the disagreements between Dobrolyubov, Pisarev and Druzhinin in assessing the novel "Oblomov"?
Tasks :
1. Make a table comparative characteristics:
2. Make up quotation plan articles by N. A. Dobrolyubov "What is Oblomovism?"
3. Write a miniature essay on the theme "Portrait of Olga Ilyinskaya".
Final work:
As a final work on the work of I. A. Goncharov, one can offer home essays on the following topics: “This is the“ poisonous ”word“ Oblomovism ”,“ Is there a satire in the novel “Oblomov”? ”,“ What is the tragedy of Oblomov's life? "," Oblomov - a universal human type "," Oblomov and Manilov "," Olga Ilyinskaya and Tatiana Larina "," Old and "new" in Russian life "," Features of the genre and composition of the novel "Oblomov".
The study of the work of I.A.Goncharov can be completed by analyzing (in class) various excerpts from the novel. Passages can be self-selected by students or obtained with tickets.
What passages for analysis can be offered to students: "Oblomov's Morning", " Last date Oblomov and Olga Ilyinskaya "," Andrey Stolz's farewell to his father "," Oblomov's letter to Olga "," Trips to Pshenitsyna (I part, III part) "?
In order to assess the students' knowledge of the text of the novel and the critical articles devoted to it, one can suggest the following questions for testing:
I. To whom of the characters in the novel belong the following statements?
1. "What am I to blame that there are bugs in the world?"
2. “Let me write! I don’t write in my post for the third day: as I sit down, a tear from my left eye begins to beat ... "
3. "... I think all a strong thought, so that the peasants do not suffer in anything, so that they do not envy strangers, so that they do not cry to the Lord God at the Last Judgment, but pray and remember me well."
4. “Life: life is good! What to look for there? The interests of the mind, of the heart? Look, where is the center, around which all this revolves: there is none, there is nothing deep that touches the living. "
5. "Your love is not true love, but future love."
6. "... The normal purpose of a person is to live four seasons, that is, four ages, without leaps ..."
7. "... Life is a duty, a duty, therefore, love is also a duty."
8. "Under this all-embracing emptiness, lack of sympathy for everything!"
9. "I want you not to be bored, so that you are at home here, so that you can be clever, free, easy!"
10. "Labor is an image, content, element and purpose of life ..."
II. Who are the critics of 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 with the aim of having the pleasure of being refuted and to hear themselves praise from those in front of whom they scold themselves ... "
3. "... He is kind to us, like an eccentric, who in our era of selfishness, tricks and untruths peacefully ended his life, not offending a single person, not deceiving a single person and not teaching a single person anything bad."
4. "Oblomov was studied and recognized by a whole people, predominantly rich in Oblomovism, and not only did he learn, but loved him with all his heart, because it is impossible to recognize Oblomov and not love him deeply."
5. “Such persons should, in our opinion, be viewed as miserable, but inevitable phenomena of a transitional era; they stand at the border 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 today's Russian life ..."
7. "The higher aspirations of his mind and heart, awakened by education, did not stop, the human feelings put by nature in his soft soul did not harden: they seemed to have swam with fat, but remained in all their primitive purity."
8. “From Goncharov’s novel, we can only see that Stolz is an active person, he is busy with something, runs, acquires, says that to live means to work, etc. But what he does and how he manages to do something decent where others can do nothing - it remains a mystery to us. "
The content of Ivan Aleksandrovich Goncharov's novel Oblomov was familiar to me since childhood, and when the need arose to read it myself, I took the book without much desire, as I thought it would be boring, because this work is not rich in external events, there are no unexpected incidents, spectacular adventures. But very soon I realized that my fears were in vain. From the very first pages I fell under the charm of a leisurely, smooth and at the same time expressive Goncharov's style, as the heroes of the work stood before me alive. Later, while studying the novel in literature lessons, I tried to figure out how the writer manages to achieve such authenticity in the portrayal of his characters, so that even to us who live a century and a half later, they seem close and understandable.
The action of the novel is indeed not full of events, but, it seems to me, this is due to the fact that all the attention of the writer is focused on the inner world of a person, his psychology, the originality of his character. The main technique for revealing character in Goncharov is a portrait. The portrait in the novel, extremely detailed and thorough, sometimes takes several pages, but it gives an idea not only of appearance, but also of the way of life, character, life position hero. Every detail of Oblomov's portrait, from which the novel begins, has some psychological trait. Details such as "the absence of any definite idea", "indifferent" complexion, a dressing gown that looks like an obedient slave, long, soft, wide shoes and the remark that Ilya Ilyich is "flabby beyond his years" paint a lazy and apathetic person ... It is these strokes of the portrait that are striking at the first reading. But when you carefully re-read the first pages of the novel, you notice both "pleasant appearance" and "even light" and "softness" and you begin to understand that this character is not so unambiguous. Attention to detail is a prerequisite for reading Goncharov's novel. Sometimes this or that portrait detail is repeated many times in the text, emphasizing the most significant character trait. In addition to the already named Oblomov's robe, these are mobile, speaking eyebrows and a small fold above one of them in the portrait of Olga Ilyinskaya, Agafya Matveyevna's bare elbow with a dimple, Anisya's nose, as if lagging behind her face, Mukhoyarov's is a characteristic fingernail downward movement.
Goncharov's interior serves as an addition to the portrait. The description of Oblomov's office is especially expressive: it has the same duality as in the portrait. Here there is beautiful furniture, carpets, "several paintings, bronze, porcelain", and in general the room "at first glance seemed to be beautifully decorated." However, "the view of the office, if you examine it more closely, amazed with the neglect and negligence prevailing in it." The paintings are covered with cobwebs, the mirrors are covered with dust, the carpets are stained. Of particular importance, in my opinion, are the following details: dusty pages of unfolded books, last year's newspaper issue and an inkwell into which "if you dip a pen, a frightened fly would burst out with a buzzing only." All this testifies to the fact that not only physical, but also spiritual life has come to a standstill in Oblomov's house: he has not read anything for a long time, has not written anything (and meanwhile we find him just at the moment when he should write a letter to the headman and compose the plan for the reconstruction of the estate).
It is interesting that all changes in the character's state of mind will be reflected in the portrait and interior. In those months when Oblomov's life will be filled with love for Olga, both his room and his appearance will be transformed: “There is no sleep, no fatigue, no boredom on his face. Even colors appeared on him, a sparkle in his eyes, something like courage or, according to at least, self-confidence. The dressing gown is not to be seen on him: Tarantyev took him with him to the godfather with other things. " The disappearance of the robe, the symbol of Oblomov's apathy, is very remarkable, just as it is remarkable that a new significant detail appears on these pages of the novel - a branch of lilac - a symbol of hope, love, resurrection of the soul.
The state of mind of the characters is reflected in the landscape, changes in which also accompany changes in their lives. When Olga and Oblomov are in love, “summer is in full swing; July is passing; wonderful weather". But now love remains in the past, and already "the snow fell in flakes and thickly covered the ground."
The novel is written in an amazing language, simple, light and expressive. It contains many witty comparisons that give an extremely accurate and vivid characterization of the hero. Let us recall, for example, that the life of the Oblomovites is compared with the flow of the "deceased river", and the life of Oblomov himself in the Pshenitsyn house is compared with a "simple and wide coffin." But, like a table on a stone tablet, the life of old Stolz was inscribed, open to everyone and everyone. " Goncharov's epithets are just as deep and meaningful. Take, for example, those that relate to Olga and Oblomov. Olga's eyebrows are "talking", the mind is "restless", the heart is "anxious", the imagination is "irritated", the movement of thought is "eternal." Ilya Ilyich's heart is "honest", "faithful", the soul is "crystal", "transparent", "pure". Often the writer uses to characterize the heroes and "apt folk Russian word", about which Gogol so inspired in " Dead souls". This is how Zakhar Alekseeva characterizes; "And this one has no skin, no face, no knowledge!" And it seems that this phrase is more accurate and more expressive than the two pages preceding it describing this hero. Another technique for revealing the character of Goncharov is the speech of the character himself. Even among the minor characters, it is emphatically individual: the speech of the gloomy Zakhar is rude and abrupt, with the talkative Anisya, on the contrary, it flows in a continuous stream, Agafya Matveyevna's vocabulary is not rich, Tarantiev's speech is filled with rude expressions and shouts, the cunning Mukhoyarov in a conversation with Oblomov obsequious "-s", but in a business conversation with Tarantiev expresses his thoughts concisely and definitely. The characters are aptly characterized by Volkov's friendly and familiar language, Sudbinsky's caringly sympathetic intonation, Penkin's affectionately ingratiating manner.
For all the individual uniqueness of Goncharov's heroes, they are all typical characters. This is emphasized by a detailed depiction of the social and spiritual atmosphere in which these characters were formed. It is in order to explain how this or that type arose that Goncharov often turns to the background of his characters. Such is * Oblomov's Dream ”, in which the origins of Oblomov's character are given in a poetic form. It is he who gives us the answer to the question, where does his duality come from in the hero, why, having a crystal-clear soul, he is absolutely incapable of any decisive action. The hero's childhood pictures, filled with the author's irony and lyricism, depict the world of Blomovka, poetic in its immobility. Stolz's biography is less poetic, but it unequivocally testifies to the fact that it was his father's upbringing and Russian soil that created an active, ebullient, but calculating and rational character.
Thus, we can say that Goncharov appears before us in the novel both as a brilliant artist and as a subtle psychologist. He uses a whole complex of pictorial and expressive means in order to create the character of the hero, bright, voluminous and deeply typical. The ability to draw a psychological portrait of a person, look into the recesses of his soul, without missing a single trifle, not a single detail, and, as Dobrolyubov wrote, “to embrace the full image of an object, to emboss it, sculpt it” seems to me the most valuable in the work of this writer and quite expiates the lack of plot dynamics in the novel.
Ivan Aleksandrovich Goncharov used various artistic techniques and means to reveal the characters of his heroes and creatively express the idea. However, the main features of the writer's creative manner are:
"I wrote only what I was experiencing, that I thought and felt, that I loved, that I saw and knew closely, - in a word, I wrote both my life and what was growing to it" (IA Goncharov)
Artistic means of revealing the characters of the characters in the novel
Goncharov very in his own way uses the following expressive artistic means, revealing the characters of the heroes in Oblomov:
- Portrait - highlighting the main feature
“He was a man of about thirty-two or three years of age, ... pleasant-looking, with eyes that walked carelessly along the walls, along the ceiling, with that vague thoughtfulness that shows that nothing interests him, nothing disturbs him. Sometimes his gaze was darkened by an expression as if tired or bored. But neither fatigue nor boredom could even for a minute drive away from the face the softness, which was the dominant and basic expression, not only of the face, but of the whole soul. "
- Direct characterization of the hero by another character
Olga about the main character:
“This is a crystal, transparent soul; there are few such people; they are rare; these are pearls in the crowd! "
- Double images and antagonists (see section:);
- Attitude towards other people (Love story for Olga Ilyinskaya).
- Character speech
“Do not come, do not come: you are from the cold!”, “What are you? God is with you! Such a cold ... ".
- Author's commentary on the actions of the hero, including inner speech
“Is it easy? I had to think about the means to take any measures "," What am I really? You need to know conscience: it's time to get down to business! ... "," ... but after thinking a little, with a caring face and with a sigh, I slowly lay down in my place again. "
- Details - symbols:
Robe as a symbol of Oblomovism
“The dressing gown had in Oblomov's eyes the darkness of invaluable virtues: it is soft, flexible; you don't feel it on your shoulders; he, like an obedient slave, obeys the slightest movement of the body ",
The lilac branch is a symbol of nascent love, the motto "Now or never" as an incentive to awaken the character.
- The actions of the hero. About the moral forces inherent in Oblomov - a slap in the face to Tarantyev when he speaks badly of Stolz; a worthy answer to Stolz when he calls Agafya Tikhonovna "this woman" - "Wife".
Artistic skill of I. A. Goncharov in the novel "Oblomov"
The novel by I.A.Goncharov is built on the principle of depicting two opposite life fates: Oblomov and Stolz. These heroes are united by the image of Olga Ilyinskaya, whom they both loved. The genre of this work is close to artistic biography. Its content is aimed at comprehending the life of the individual, searching for the origins of social meaningful activities in an individual biographical experience.
The composition of the novel: sleep - awakening - sleep. The author's manner of narration in these parts depends on which of the heroes in question. Where the author writes about Oblomov - humor combined with a lyric element, often irony; where about Stolz - a strict narrative tone. In the first part of the Roma, there is very little action, Oblomov lies on the couch, receiving visitors. The hero is engaged exclusively in "mental" activities. For several years now he has been pondering a plan for transformations in the 06-lomovka (“When he gets up in the morning with sweating, after tea he will lie down immediately on the sofa, rest his head with his hand and ponder, sparing no effort, until finally, -you will get tired of hard work and your conscience will say: it has been done enough today for the common good ... No one knew or saw this inner life of Ilya Ilyich: everyone thought that Oblomov was so-so, only lies and bites to his health , and that there is nothing more to expect from him; that the thoughts in his head hardly match ... ")
Of great importance in the composition of the novel is the chapter "Oblomov's Dream", in which the author, using the method of referring to the memory of the hero, shows the childhood of Ilya Ilyich. The origins of "Oblomovism" are in Oblomov's childhood. The conditions of the landlord's life and the upbringing of the nobility ruined his lively mind, the desire for any kind of activity, and gave rise to apathy and lack of will.
In the second part of the novel, Stolz's strong and harmonious personality is shown, his Russian-German upbringing is described. All of Stolz's attempts to return Oblomov to an active life are shattered by immobility, fear of change and indifference to Ilya Ilyich's own fate.
The fourth part describes the "Vyborg Oblomovshchina". Here Oblomov, after breaking up with Olga, marries Agafya Matveyevna Pshenitsyna, goes into hibernation again, and then dies. This part is the postposition of the novel.
The composition of the work fully corresponds to the idea: to show the conditions that gave rise to laziness, to track how a person turns into a dead
The first part of the novel and the first two chapters of the second part represent an exposition in which I.A.Goncharov shows the conditions in which the personality of the protagonist was formed, and also traces his evolution (or rather degradation).
The plot of the action is Oblomov's acquaintance with Olga Ilyinskaya, incipient love (chapters III and V of the second part). Chapter XII of the third part, where Ilya Il-ich declares his love for Olga, is the culmination. But the inability to sacrifice your peace for love leads to a break. Chapters XI-XII of the third part are devoted to this.
"Oblomov" refers to the psychological direction in literature. The dominant traits (laziness, apathy) stand out in the character of the protagonist; the chapter "Oblomov's Dream" traces the influence of the social environment on the hero. In the image of Oblomov, I.A.Goncharov combined social generalization with the image of an individualized personality. Oblomov's name has become a household name. The writer condemns, exposes his hero, passes a verdict on Oblomovism, but at the same time treats the hero with sympathy. Oblomov is not like the landowners previously depicted by N.V. Gogol, I.S.Turgenev. There is no despotism and cruelty in him, on the contrary, he is meek, kind, grateful.
In the epilogue of the novel, the reader learns about the death of Ilya Ilyich, traces the further fate of Zakhar, Stolz, Olga.
There is no single point of view regarding the plot of the novel. Some literary scholars argue that the novel has two storylines: Oblomov - Olga and Stolz - Olga. And Professor A. G. Tsetlin believes that in the Roma, there is more than one storyline and all events are subordinated to one goal - to show a gradual transformation into a "dead soul"; those chapters in which the relationship between Olga and Stolz is depicted are intended to set off the fate of Oblomov.
The language of the novel is light and clean. The author does not use adorning epithets, metaphors, vocabulary is devoid of archaisms and dialectisms, on the contrary, it is enriched with scientific and journalistic words of the 40-50s. The language of each of the heroes is unique. Although each of the main characters - Olga, Oblomov, Stolz - speaks the correct literary language, each language is associated with traits of the internal appearance.
There are very few descriptions of the landscape in the work, but where the author depicts summer Oblomovka, the park where Olga and Ilya Ilyich meet, the language is unusually clear and expressive.
I. A. Goncharov shows the life of heroes in moments of ups and downs, reveals Oblomov's struggle with himself - and all this is given in vivid pictures of life, the author's reasoning is reduced to a minimum.
I. A. Goncharov uses several "through" artistic details that serve as a means of additional characterization of the hero, revealing the state of his inner peace... Lilacs in the novel symbolize the possibility of changes for the better. A lilac branch thrown by Olga and picked up by 06-lomov helps both of them understand each other's feelings. But just as lilacs bloom in spring, the love of young people is becoming a thing of the past. Everything in life is transient, and Oblomov knows this: “The lilacs have departed,., Yesterday has departed, and the night with ghosts, with suffocation, has also departed ... Yes! And this moment will pass away like lilacs! .. What is it? .. And - love too ... love? And I thought that she, like a sultry noon, would hang over the lovers and nothing moves or dies in her atmosphere: there is no peace in love, and everything changes, everything moves forward ... ”Lilacs and on Oblomov's grave: “The branches of lilac, planted by a friendly hand, doze over the grave. Yes, wormwood smells serenely.
The novel has its own "music". This is the opera Casta diva, performed by Olga and which Oblomov cannot forget, even falling asleep a second time. The feeling of love in the novel develops according to the laws of a piece of music. In the history of the relationship between Olga and Ilya Ilyich, there are "unison" and "dissonance" and "counterpoints". The plot of this opera predicts the tragic end of love.
The portrait description of the hero in the novel is an important element in creating his image. For example, Oblomov and Stolz are people of the same age, but strikingly different in interests, lifestyle. And such a different attitude to life influenced the appearance of the heroes. Oblomov's "dominant and basic expression" was softness, which neither fatigue nor boredom could "drive away for a minute", "Ilya Ilyich's complexion was neither ruddy, nor dark, nor positively pale, but indifferent. ny ... ", and he himself is" somehow flabby beyond his years. " His body, “judging by the matte finish, is too white neck, little plump arms, soft shoulders, it seemed too pampered for a man "; "His movements, when he was even alarmed, were also restrained by gentleness and laziness, not devoid of a kind of grace."
Stolz is the complete opposite of him. “It is all made up of bones, muscles and nerves, like a bloody English horse. He is thin; he has almost no cheeks at all, that is, there is bone and muscle, but not a sign of fat roundness; the complexion is even, swarthy and no blush; the eyes, although a little greenish, are expressive.
He had no unnecessary movements. If he sat, he sat calmly, if he acted, then he used as much facial expressions as was necessary. "
The portraits of both heroes reflect their characters. Oblomov is a gentle, generous, kind person, but at the same time apathetic, lazy, indifferent to himself and his health. He has no purpose in life and no interest, values \u200b\u200bonly his peace of mind, is completely unprepared and not adapted to life.
Stolz, however, does not see the meaning of life without labor, he is enterprising and unusually efficient: “He is incessantly on the move: if society needs to send an agent to Belgium or England, they will send him; you need to write a project or adapt new idea to the point - choose him. Meanwhile, he travels to the light, and reads ... ”Even in his face - strength, energy and tranquility. But in Andrei there is no dream, in ezia, he is a bourgeois businessman, striving only for personal independence.
When describing the life of heroes I.A.Goncharov also uses small parts... In the image of Ilya Ilyich Ob-lomov, his robe is a "talking detail". He becomes an integral part of the life of his master, as he possesses the darkness of “invaluable virtues: he is soft, flexible; you don't feel it on yourself; he is like an obedient slave, obeys the slightest movement of the body. " The dressing gown first disappears, then appears again - depending on Oblomov's life circumstances. After meeting Olga Ilyinskaya and as a consequence - awakening to life - the robe disappeared: "Tarantiev took him with him to the godfather with other things." There are no long, soft and wide shoes that you get into right away. Now Oblomov “sits ... in his home coat; a light kerchief is worn around the neck; the collars of the shirt are released on the tie and shine like snow. He comes out in a frock coat, beautifully sewn, in a smart hat ... "And Oblomov himself no longer lies on the sofa all day, but" is cheerful, hums ... ". But after breaking up with Olga and moving to the Vyborg side, the robe reappears with Agafya Matveyevna's concerns. During the financial crisis in Oblomov's life, one of the signs of need is also a bathrobe. It "was worn out, and no matter how carefully the holes on it were sewn up, it is spreading everywhere and not at the seams: a new one would have been needed long ago."
Descriptions of interiors are very detailed, the author pays special attention to everyday details. For example, Oblomov's cabinet "amazed with the neglect and negligence prevailing in it." “The room ... at first glance seemed beautifully decorated. There was a mahogany bureau, two sofas upholstered in silk, beautiful screens with embroidered birds and fruits that had never been seen in nature. There were silk curtains, carpets, several paintings, bronzes, porcelain and many beautiful little things.
But the experienced eye of a person with pure taste, with one cursory glance at everything that was here, would only read the desire to somehow observe the decorum of inevitable decencies, just to get rid of them ... Refined taste would not be satisfied with these heavy, ill-graced mahogany chairs, wobbly etas. The back of the sofa sagged down, the glued wood fell behind in places ...
On the walls, near the paintings, a cobweb saturated with dust was molded in the form of scallops; mirrors, instead of reflecting objects, could rather serve as tablets, for writing on them, by dust, some notes for memory. The carpets were stained. A forgotten towel lay on the sofa; on the table, on a rare morning, there was not a tray with a salt shaker and a gnawed bone that was not cleaned from yesterday's supper, and no bread crumbs were lying around.
If it were not for the plate, but not for the newly smoked pipe leaning against the bed, or for the owner himself, lying on it, then one would think that no one lives here - everything was so dusty, faded and generally deprived living traces of the human presence. On the shelves, it is true, there were two or three open books, a newspaper was lying around, and an inkwell with feathers was on the bureau; but the pages on which the books were unfolded were covered with dust and yellowed; it is evident that they were abandoned long ago; the number of the newspaper was last year's, and from the inkwell, if a feather were dipped in it, a frightened fly would have escaped with a buzzing only. " All this reminds of Gogol's Plyushkin, who turned into a "hole in humanity." Probably, Oblomov would have become the same "problem" if it were not for Stolz's participation in his fate and love for Olga, which awakened (at least for a while!) Ilya Ilyich to life.
The motive for food is one of the main ones in the novel. In Oblomovka, “the main concern was the kitchen and lunch. The whole house consulted about dinner ... Everyone offered their own dish: some soup with giblets, some noodles or a stomach, some scars, some red, some white gravy to soy ... Caring for food was the first and main life concern in Oblomovka ... What calves were getting fat there for the annual holidays! What a bird was brought up! .. What stocks were there of jams, pickles, cookies! What honey, what kvass were cooked, what pies were baked in Oblomovka! " The main task of mothers in Ob-lomovka was to "leave a healthy child, protect him from colds, eyes and other hostile circumstances ...", and also "so that the child was always cheerful and ate a lot." Food in Oblomovka brings not only physical, but also, to some extent, spiritual saturation. Cooking dinner is a whole ritual, a favorite pastime of the whole family and courtyards. In the dining chores in Oblomovka, "everything was fussing and worried, everything lived in such a full, ant-like, such noticeable life."
The foundations of life, laid in the mind of Ilya Ilyich from childhood, influenced his entire future life. He strives for a quiet, calm family life without hassle and turmoil. Oblomov's dreams include wonderful weather, swimming in the river, making a bouquet for his wife, a delicious breakfast: “Tea is ready ... What a kiss! What tea! What a quiet chair! I sit down by the table; on it crackers, cream, fresh butter ... "
When comparing life in Oblomovka and in the supposed future of Ilya Ilyich, a clear similarity is visible. In Oblomovka “on Sunday and on holidays ... the knock of knives in the kitchen was heard more often and stronger; the woman made several trips from the barn to the kitchen with double the amount of flour and eggs; there were more groans and bloodsheds in the poultry yard. They baked a gigantic pie ... ".
And Oblomov finds his ideal of life - in the house of Agafya Matveyevna Pshenitsyna. Thanks to her cares at Ilya Ilyich's in the morning "the coffee is just as glorious, the cream is thick, the rolls are rich and crumbly." In addition, the hostess still constantly treats him with homemade vodka with alcohol, or pie with onions and carrots (again, "not worse than our Oblomovs," as Zakhar notes).
The novel by I.A.Goncharov was highly appreciated by contemporaries, evoking numerous critical responses. One cannot but agree with the assessment of I. S. Turge-nev, who remarked after reading it: "As long as there is at least one Russian left, they will remember Oblomov until then." Using artistic means, Goncharov masterfully conveyed the characters and lifestyle of the heroes of the novel. And the character and destiny of the protagonist make readers think about the most complex issues of life, about their purpose in it.