The first part of Goncharov's work "Oblomov" presents an exposition of the novel and the visit of the main character's guests. Ilya Ilyich Oblomov: “He was a man of about thirty-two or three years old, of medium height, of pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his features.” He lives in St. Petersburg on Gorokhovaya street. The main thing in the interior of his apartment is luxury and neglect at the same time: “At first glance, the room seemed beautifully cleaned. There was a mahogany bureau, two sofas, beautiful screens. There were silk curtains, carpets, a few paintings, bronzes, porcelain, and many beautiful little things. But the experienced eye of a man of pure taste would read at a glance the desire to somehow maintain the appearance of inevitable propriety, if only to get rid of them. The back of the sofa slumped down. On the walls, near the paintings, cobwebs were clinging, the carpets were stained ... on the table, a rare morning, there was not a plate with a salt shaker and a gnawed bone that had not been removed from yesterday's dinner, and there were no bread crumbs lying around. Oblomov spends all his time in the same room, lying on the bed.
It is also difficult for Ilya Ilyich to clean his room and he blames everything on the servant Zakhar, who is a copy of his master. Zakhar: “An elderly man, in a gray frock coat, with a hole under his arm, from which a piece of shirt stuck out, in a gray waistcoat, with copper buttons, with a skull bare as a knee, and with immensely wide and thick fair-haired with graying sideburns, of which each it would be three beards.” Zakhar did not like to follow Oblomov's orders, but respected them: “... whims, which, although he grumbled, he respected inwardly, as a manifestation of the master's will. Without these whims, he somehow did not feel the master over him. One of the most important artistic details, of course, is Oblomov's robe. In him main character felt protected: “The dressing gown is soft, flexible, you don’t feel it on yourself.” Oblomov loves freedom: "... he always went home without a tie, because he loved space and freedom." Starting from the second chapter of the first part, a series of Oblomov's guests begins, each of which cannot get him out of bed. Volkov was the first: “A young man of about twenty-five entered, shining with health, with laughing cheeks, lips and eyes. Envy took to look at him.
“He was combed and dressed immaculately, blinded by the freshness of his face, linen, gloves and tailcoat.” Their whole conversation came down to a guest’s monologue about loves, about appointments with the Savinovs, Maklashins, Tyumenevs, Mussinskys, Vyaznikovs. At the end, Volkov invited Ilya Ilyich “ for oysters", but not with his own money. After the departure of a secular character, our protagonist gives him an assessment - "there is no person", he "crumbles" into ten places daily.
Then Oblomov is visited by Sudbinsky: “He was a gentleman in a dark green tailcoat with coat of arms buttons, clean-shaven, with dark sideburns that evenly bordered his face, with a troubled, but calmly conscious expression in his eyes, with a very worn face, with a thoughtful smile” . Sudbinsky is a former colleague of Oblomov. His thoughts are about service, about being beneficial for further career wedding. "... up to his ears bogged down!" - Oblomov thinks about him.
Penkin came next to Oblomov: “Oblomov was philosophizing and did not notice that a very thin, dark-haired gentleman was standing at his bedside, overgrown with sideburns, mustaches and a goatee. He was dressed with deliberate carelessness.” He is a writer and writer. Superficial, narrow-minded "scribbler" of paper. He, a narrow-minded person, does not even try to see in his images a "God's spark", a living person, depicting events in black and white. Penkin offers Oblomov to go to Ekateringof, to help write an article about the walk.
Then Alekseev comes to the main character: “A man of indefinite years entered, with an indefinite physiognomy, at such a time when it is difficult to guess the summer; neither handsome nor ugly, neither tall nor short, neither blond nor brunette. Nature did not give him any sharp, noticeable feature, neither bad nor good. Many called him Ivan Ivanych, others - Ivan Vasilyich, others - Ivan Mikhailovich. Alekseev, an inexpressive person, "gray", not self-confident, devoid of his own thoughts. Alekseev invites to dine with Ovchinin.
At the end of the guest stream, Mikhei Andreevich Tarantiev comes to Ilya Ilyich: “A man of about forty, belonging to a large breed, entered, tall, voluminous in the shoulders and throughout the body, with large features, with a large head, with a strong, short neck, with large bulging eyes, thick lips. A cursory glance at this man gave rise to the idea of something rough and untidy. It was evident that he did not pursue the elegance of the suit. It was not always possible to see him clean-shaven.” This person is as impractical as Oblomov. But, unlike the first, he perfectly mastered the art of verbal fraud. He knows how to captivate with an idea, to emphasize the simplicity and temptation of its implementation, to bring the "victim" to its implementation. But then - Mikhei Andreevich retires. Only they saw him. He is interested in the village estate of the protagonist, he is trying to lure Oblomov into his plans so that he "falls into his network." Tarantyev convinces him to come to the village, change the headman, he promises him a warm welcome at his godfather, Agafya Pshenitsyna. However, for their sake, Oblomov does not get out of bed, still hiding behind a blanket and explaining this by the fact that the visitors came from the cold. Ilya Ilyich seems to be trying by all means to isolate himself from the surrounding, more active world, where people go to visit and go for walks. His bed and old dressing gown become a kind of "refuge", leaving which he can lose his half-asleep state, all-encompassing laziness and lack of will.
The only person who finally made him get out of bed at five o'clock was Stolz, who had just come to visit Oblomov. The active will of Andrei Ivanovich turned out to be subject not only to Zakhar, who quickly did everything that was required of him, but also Oblomov himself, who reluctantly, but obeyed the will of Stolz. It is noteworthy that if a childhood friend had not come to Ilya Ilyich, Oblomov would not have gotten out of bed all day, brushing off the visitors, whom he perceived as something secondary and unimportant in his life.
The main characters in the first chapter are Oblomov and his servant Zakhar. Oblomov Ilya Ilyich- the main character with whom events occur over some time in the work. He is a nobleman, a landowner of thirty years, a lazy, gentle man who spends all his time in idleness. character with thin poetic soul, prone to constant dreams, which replaces real life. Zakhar Trofimovich- the title character, a faithful servant of Oblomov, who serves him from an early age. Very similar to the owner of his laziness. Applying the method of phased narrowing of images, Goncharov takes us first to one of the main streets of the aristocracy - "Pea Street" in the city of St. Petersburg, moving the essence of the action to a large populated house, where we find ourselves in the dwelling and "bedroom" of the protagonist. The untidy room matches both the appearance and the interior mood of the owner, where we find that "the carpets were stained" and "the cobwebs were scalloped." And the hero himself - Oblomov calls periodically: "Zakhar!". And after the grumbling and clattering of “feet jumping down from somewhere”, the second character of the novel appears before us, the servant, also in a rather unattractive form. The footman Zakhar for the owner of the Oblomov house is not only a “devoted servant”, he also acts as a keeper of family memories, a friend, a nanny. The author clearly demonstrates this by presenting a string of funny everyday scenes as a result of the communication between a footman and a master. Thanks to Zakhar's rude, frank and undisguised hypocrisy manner of communication, we get acquainted with negative traits Oblomov - and with hatred for work, and with a thirst for peace and idleness, and with a tendency to exaggerate the burden of their own worries. There is a clear parallel between the servant and the landowner: just as Ilya Ilyich Oblomov selflessly works on the plan, the footman Zakhar in every possible way demonstrates his intentions to carry out a general cleaning. Goncharov in the work "Oblomov" touched upon many historical, social and philosophical issues, many of which do not lose their relevance to this day. The central problem of the work is the problem of "Oblomovism" as a historical and social phenomenon among Russian philistines who do not want to adopt new social principles and change. Goncharov shows how "Oblomovism" becomes not only a problem for society, but also for the person himself, who is gradually degrading, fencing off his own memories, illusions and dreams from the real world. And also, with the help of a dialogue between Oblomov and Zakhar, one can identify the problems of the hero himself. It is possible to identify one problem that embraces and unites all the others - this is the fear of any change and the need to act. “Now, if you write, by the way, if you please, and check the scores: you have to pay the money.
What accounts? What money? Ilya Ilyich asked with displeasure.
From the butcher, from the greengrocer, from the laundress, from the baker: everyone asks for money.
Only about money and care! grumbled Ilya Ilyich. - A you that little by little don't submit scores, and all of a sudden?
After all, you all drove me away: tomorrow, yes tomorrow ...
Well, now why not until tomorrow?
Not! They are already very annoying: they don’t lend anymore. Today is the first number.
Oh! - Oblomov said with anguish. - New concern! Well, what are you standing? Put it on the table. I'll get up now, wash myself and look, - said Ilya Ilyich. - So, are you ready to wash up?
Ready! Zakhar said.
Well now...
He began, groaning, to push himself up in bed to get up.
I forgot to tell you, - Zakhar began, - just now, while you were still resting, the janitor's manager sent: he says that you definitely need to move out ... you need an apartment.
Well, what is it? If you need it, then, of course, we will go. What are you doing to me? This is the third time you've told me about this.
They come to me too.
Say we'll go.
They say: you've been promising for a month, they say, but you still don't move out; We say we'll let the police know." The mini conflict in the episode is the contradictions within Oblomov himself. Inside him, Personality and Oblomov are fighting. He seems to want to do something, but is absolutely lazy.
The first chapter can be divided into several micro-topics: the first is Oblomov's characterization, a description of his appearance, the second is the place of residence, the interior where Oblomov himself lives, the third is a dialogue between Oblomov and a servant, which touches on the main problems of Ilya Ilyich. In Goncharov's novel "Oblomov" there are many details, to interpret which means to understand the novel more deeply, for example, Gorokhovaya Street is one of the main streets of St. Petersburg, representatives of the highest aristocracy lived on it. Having learned later what kind of environment Oblomov lives in, the reader may think that the author wanted to mislead him by emphasizing the name of the street where Oblomov lived. But it's not. The author did not want to confuse the reader, but, on the contrary, to show that Oblomov could still be something different than he is on the first pages of the novel; that he has the makings of a man who could make his way into life. Therefore, he does not live anywhere, but on Gorokhovaya Street.
The first chapter introduces us to Oblomov, and that is why there are artistic descriptions, that is, a portrait, interior, which have their own meaning in the work, for example, “He was a man of about thirty-two or three years old, of medium height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in facial features. The thought walked like a free bird across the face, fluttered in the eyes, settled on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glimmered in the whole face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.
Sometimes his eyes were darkened by an expression as if of weariness or boredom; but neither fatigue nor boredom could for a moment drive away from the face the gentleness that was the dominant and basic expression, not only of the face, but of the whole soul; and the soul shone so openly and clearly in the eyes, in the smile, in every movement of the head and hand. And a superficially observant, cold person, glancing casually at Oblomov, would say: “There must be a kind man, simplicity!” A deeper and more sympathetic person, peering into his face for a long time, would walk away in pleasant thought, with a smile.
Ilya Ilyich's complexion was neither ruddy, nor swarthy, nor positively pale, but indifferent or seemed so, perhaps because Oblomov was somehow flabby beyond his years: from a lack of movement or air, or maybe that and another. In general, his body, judging by the dull, too white light of the neck, small plump hands, soft shoulders, seemed too pampered for a man.
His movements, when he was even alarmed, were also restrained by softness and laziness, not without a kind of grace. If a cloud of care came over the face from the soul, the look became foggy, wrinkles appeared on the forehead, a game of doubt, sadness, fright began; but seldom did this anxiety solidify in the form of a definite idea, still more rarely did it turn into an intention. All anxiety was resolved with a sigh and faded into apathy or drowsiness.
How Oblomov's home suit went to his dead features and to his pampered body! He was wearing a dressing gown made of Persian fabric, a real oriental dressing gown, without the slightest hint of Europe, without tassels, without velvet, without a waist, very roomy, so that Oblomov could wrap himself in it twice. The sleeves, in the same Asian fashion, went from fingers to shoulder wider and wider. Although this robe lost its original freshness and in some places replaced its primitive, natural gloss with another, acquired, it still retained the brightness of oriental color and the strength of the fabric.
The dressing gown had in the eyes of Oblomov a darkness of invaluable virtues: it is soft, flexible; the body does not feel it on itself; he, like an obedient slave, submits to the slightest movement of the body.
Oblomov always went home without a tie and without a vest, because he loved space and freedom. His shoes were long, soft and wide; when, without looking, he lowered his legs from bed to the floor, he would certainly hit them right away. ”,“ In the room, which was separated only by a small corridor from Ilya Ilyich’s office, at first it was heard like a grunt of a chained dog, then the sound of legs jumping off from somewhere . It was Zakhar who jumped off the couch, on which he usually spent his time, sitting immersed in a slumber.
Entered the room old man, in a gray frock coat, with a hole under the arm, from which a piece of shirt stuck out, in a gray waistcoat, with copper buttons, with a skull bare as a knee, and with immensely wide and thick blond sideburns with gray hair, of which each would be three beards . Zakhar did not try to change not only the image given to him by God, but also his costume, in which he walked in the village. The dress was sewn for him according to the pattern he had taken out of the village. He also liked the gray frock coat and waistcoat because in this half-uniform he saw a faint recollection of the livery that he had once worn when seeing the late gentlemen to church or on a visit; and the livery in his memoirs was the only representative of the dignity of the Oblomov family.
”- these are portraits of our heroes that help us understand and imagine Oblomov and Zakhar. After reading this passage, not only the author's, but also the reader's attitude towards the hero is immediately formed.
“Ilya Ilyich’s lying down was neither a necessity, like a sick person or a person who wants to sleep, nor an accident, like someone who is tired, nor a pleasure, like a lazy person: this was his normal state. When he was at home - and he was almost always at home - he was always lying, and everyone was constantly in the same room where we found him, which served him as a bedroom, study and reception room. He had three more rooms, but he rarely looked in there, unless in the morning, and then not every day when a person swept his office, which was not done every day. In those rooms, the furniture was covered with covers, the curtains were lowered.
The room where Ilya Ilyich lay seemed at first glance to be beautifully decorated. There was a bureau of mahogany, two sofas upholstered in silk fabric, beautiful screens embroidered with birds and fruits unprecedented in nature. There were silk curtains, carpets, several paintings, bronzes, porcelain, and many beautiful little things.
But the experienced eye of a man of pure taste, with one cursory glance at everything that was here, would read only a desire to somehow maintain the decorum of inevitable propriety, if only to get rid of them. Oblomov, of course, only bothered about this when he cleaned his office. Refined taste would not be satisfied with these heavy, ungraceful mahogany chairs, wobbly bookcases. The back of one of the sofas fell off, the pasted wood lagged behind in places.
Exactly the same character was worn by paintings, and vases, and trifles.
The owner himself, however, looked at the decoration of his office so coldly and absent-mindedly, as if asking with his eyes: “Who dragged and instructed all this here?” From such a cold view of Oblomov on his property, and perhaps even from a colder view of the same object of his servant, Zakhar, the appearance of the office, if you look there more and more closely, struck by the neglect and negligence that prevailed in it.
On the walls, near the paintings, cobwebs saturated with dust were molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets for writing down some memoirs on them over the dust. Carpets were stained. There was a forgotten towel on the sofa; on the table, a rare morning, there was not a plate with a salt shaker and a gnawed bone that had not been removed from yesterday's dinner, and there were no bread crumbs lying around.
If not for this plate, and not for a pipe just smoked leaning against the bed, or not for the owner himself lying on it, then one would think that no one lives here - everything was so dusty, faded and generally devoid of living traces of human presence . True, there were two or three open books on the shelves, a newspaper was lying around, and an inkwell with feathers stood on the bureau; but the pages on which the books were unfolded were covered with dust and turned yellow; it is clear that they were abandoned long ago; the number of the newspaper was last year, and from the inkwell, if you dip a pen into it, only a frightened fly would have escaped with a buzz. ”- The description of the situation is an important means by which the author creates the general atmosphere of the work; it serves not only as a background, but also helps us understand the essence of the book and the characters' characters. Description of the interior
works where the action takes place in the city is very important and represents
is one of the main means of characterization of heroes. The interior characterizes internal state hero, their feelings and experiences.
Goncharov in the novel "Oblomov" first introduced the concept of "Oblomovism", which remains a household word today to refer to apathetic, stuck in illusions and dreams of the past, lazy people. In the work, the author touches upon a number of social and philosophical issues that are important and relevant in any era, allowing the modern reader to take a fresh look at his own life.
In the novel "Oblomov" Goncharov, considering historical theme changes in society in the 19th century through the prism of such a social phenomenon as "Oblomovism", reveals its destructive effect not only for the new society, but also for the personality of each individual, tracing the influence of "Oblomovism" on the fate of Ilya Ilyich.
Ivan Alexandrovich Goncharov treats his hero quite versatile: not only negatively, seeing him as an “extra” person, but also with regret. Empty life, empty days. He does not need people, people do not need him. Ilya Ilyich Oblomov sees his happiness in passivity, and here a contrast is created between “living” people and the eternally sleepy Oblomov. Goncharov portrayed the tragic story of the extinction of a person for whom the past has become more important than the multifaceted and beautiful present - friendship, love, social well-being. The meaning of the work indicates that it is important not to stop in place, indulging yourself with illusions, but to always strive forward, expanding the boundaries of your own “comfort zone”.
"Goncharov's novel Oblomov" - Features of the composition. The hero died, "as if a clock that had been forgotten to start had stopped." Volkov. Patriarchal. “Stoltz does not inspire any confidence in me. Growing up. Alekseev? Compare Ilyusha at 7 years old and at 14: what changes have occurred in the hero and why? Agafya Matveevna. Criticism about Olga Ilyinskaya.
"Oblomov Goncharov" - Room (interior). From the history of the creation of the river. The frigate "Pallada" (1858) (essays on a round-the-world trip). Precipice (1868). I.A. Goncharov. A. V. Druzhinin, liberal critic. Oblomov in the system of author's reasoning. Episode analysis plan. ordinary story(1844 - 1846). Ivan Alexandrovich Goncharov (1812 - 1891).
"Roman Oblomov" - Zakhar - A. Popov; Oblomov - O. Tabakov. Trilogy by Ivan Aleksandrovich Goncharov: S.M. Shor. A frame from the film A Few Days in the Life of I.I. Oblomov. Frame from the film. ill. Directed by N.S. Mikhalkov. 1980. Yu.Gershkovich 1982. Roman I.A.Goncharova "Oblomov" Ill. In the living room before dinner.
"Oblomov in Goncharov's novel" - No sleep, no fatigue, no boredom on his face. Stolz. One day in the life of Oblomov. The idea of the novel "Oblomov" arose from I.A. Goncharov in the late 40s of the XIX century. Oblomov. In 1849 the first part of the novel was written. Oblomov on the couch. The biggest changes happen to Olga after meeting with Oblomov.
"Roman Goncharov Oblomov" - Druzhinin A.V. 1859 "Oblomov". Writes literary-critical articles, autobiographical works. Secret Committee for Peasant Affairs. 1859 1868 1869 1869 1872 1878 1879 1889. Studying at the verbal department of Moscow University. Homework. Publication of the novel "Ordinary History" in the journal "Contemporary" (conceived in 1844).
“Oblomov” - A.P. Chekhov: “Stolz does not inspire any confidence in me. I. A. Goncharov "Oblomov". M. Yu. Lermontov. Family happiness Oblomov. Complete the table with quotes from the novel. Read chapter 1 and answer the question: Portrait as a means of creating an image. Materials for lessons. Andrey Stolz (part 2, chapters 1 - 5). Olga Ilinskaya.
In total there are 8 presentations in the topic
Goncharov's work "Oblomov" was written in 1858, in an era of social reforms and intense changes in Russian society. Particularly acute during this period were the issues of preserving or completely eradicating the petty-bourgeois foundations, traditional for most of the Russian nobility and landowners. One of the representatives of this social class in the work is Ilya Ilyich Oblomov - a lazy, apathetic and dreamy hero who is afraid to step over his aspirations for "Oblomovism" and illusions for the sake of a full-fledged future. It is "Oblomovism" that becomes the cause of the monotonous, half-asleep life of the hero. The tragedy of this phenomenon Goncharov reflected, first of all, in the first part of the novel, describing one day in the life of Oblomov.
Morning Oblomov
At the beginning of the work, the author depicts Oblomov's usual day before the reader - waking up, Ilya Ilyich only thinks that it is time to get out of bed, but is in no hurry to deal with urgent matters. Lying on his wide sofa in his favorite dressing gown in the room that served him as a bedroom, and a living room, and a dining room, and an office, Ilya Ilyich is bored, he is overcome by annoyance and longing. After drinking tea, he already lowered his foot to his shoes to get up, but changed his mind in time and decided to call Zakhar for help.
In the morning dispute between the servant and the master about the untidy room and the upcoming move, the characters of the characters are revealed - they are both "Oblomov". Zakhar, as a servant, nevertheless does something, but does it reluctantly - through force and only by order, while Oblomov is too lazy to even decide something himself. Ilya Ilyich is trying in every possible way to shift matters to the servant (and then to his acquaintances), if only to continue to lie on the sofa himself and only think about how and what he could do.
Visitors to Oblomov
The monotonous day of Ilya Oblomov does not change its measured course even with the arrival of numerous visitors. The first three guests - Volkov, Sudbinsky and Penkin - are simply acquaintances of Oblomov. They come to talk about their successes and invite Ilya Ilyich to go for a walk with them or to visit somewhere. The reader meets these characters only in the first chapter, they act as episodic images, which Oblomov himself perceives as passing by and insignificant - he is even too lazy to get up in bed to meet those who have come, and remaining in one place. Volkov, Sudbinsky and Penkin can rightly be called representatives of a new generation of people - active, purposeful, sociable. They are somewhat similar to Stolz and in their own way they are trying to get Ilya Ilyich out of the "Oblomovism", but they are not interesting to the hero, so he communicates with them rather out of politeness, so that they leave quickly.
Completely different characters are Alekseev and Tarantiev. They are interesting to Oblomov, as they entertain him - Alekseev as a quiet, inconspicuous listener, and Tarantiev as an active principle, which, nevertheless, does not prevent Oblomov from remaining in his dreamy-apatatic state. It is precisely the loyal attitude of Alekseev and Tarantiev to the “Oblomovism” that makes them “pleasant” people to Ilya Ilyich (even despite the fact that the characters profit in every possible way on Oblomov).
However, for their sake, Oblomov does not get out of bed, still hiding behind a blanket and explaining this by the fact that the visitors came from the cold. Ilya Ilyich seems to be trying by all means to isolate himself from the surrounding, more active world, where people go to visit and go for walks. His bed and old dressing gown become a kind of "refuge", leaving which he can lose his half-asleep state, all-encompassing laziness and lack of will.
The only person who finally made him get out of bed at five o'clock was Stolz, who had just come to visit Oblomov. The active will of Andrei Ivanovich turned out to be subject not only to Zakhar, who quickly did everything that was required of him, but also Oblomov himself, who reluctantly, but obeyed the will of Stolz. It is noteworthy that if a childhood friend had not come to Ilya Ilyich, Oblomov would not have gotten out of bed all day, brushing off the visitors, whom he perceived as something secondary and unimportant in his life.
Oblomov's dream
Society and real life are perceived by Oblomov as if through the prism of a dream, as if the true reality took place on a completely different plane - in dreams and dreams of the hero's native estate - Oblomovka. It is not surprising that the dream about Oblomovka, about the hero’s childhood and family, becomes the brightest moment for the whole day of the hero’s life. Ilya Ilyich feels happy, full of strength and energy when he returns there, but does not understand that these are just illusions that have nothing to do with reality. Oblomovka is for the hero the same beautiful and unattainable fairy tale as the myths and legends that his nanny told him in childhood.
For Ilya Ilyich, his bed and dressing gown, which acquires a special symbolic, “fabulous” function of the subject of “Oblomovism” in the work, become the focus of that unreal world of sleep and dreams that the hero does not want to part with. And while Stolz literally does not force Oblomov to change clothes and get out of bed, Ilya Ilyich clings to his illusory world in every possible way - even the hero’s tastefully furnished apartment, at first glance, resembles Oblomovka with old, dilapidated things and stopped time. The dispute between Ilya Ilyich and Zakhar that the room needs to be cleaned is intended simply to keep the conversation going - after all, any activity, any change in order and the need for action could destroy the "Oblomovism" of the hero's soul, his illusory world - and Zakhar understands this.
Conclusion
Depicting in the novel "Oblomov" one day in the life of the protagonist Ilya Ilyich, Goncharov revealed the tragedy of not so much a social as a spiritual "breakdown", when a person tries in every possible way to run away and hide from the real world, holding on with all his might to his own dreams, dreams and vague memories . For Oblomov, plans and dreams did not intersect with the real world, remaining in the pantries of his consciousness, where the hero lived "a full life." Ilya Ilyich does not want to give up the “Oblomovism”, which has long been destroying his soul and plunging him into a half-asleep apathetic existence - he continues to dream of the unrealizable, ceasing to develop.
Already at the beginning of the work, it becomes clear that the destruction of the hero's personality is too strong, so even a high feeling or shock could not change Oblomov, finally pulling Oblomovism out of the swamp. In his novel, Goncharov portrayed a good, kind, but extra person who does not understand the values of the new society, living on old, archaic foundations with deliberately tragic fate. Ilya Ilyich Oblomov is a character that reminds modern readers of the need for constant development, intensive work on oneself and one's life.
A detailed description of Oblomov's day and an analysis of all its components will be useful to students in grade 10 when preparing materials for an essay on the topic "One day in the life of Oblomov Ilya Ilyich."
Artwork test
Sections: Literature
Methodological substantiation
Methodical passport of the educational project
1. Theme of the project: Creation of the screenplay “One day in the life of Oblomov” (based on the novel “Oblomov” by I.A. Goncharov)
2.Item: Russian literature XIX century.
3. Educational and educational goals:
- lead to a generalization of “what is Oblomovism”, “the ideal of peace of inaction”, why the author chose this particular day, with the help of what techniques the main image is created,
- continue work on the development of monologue speech, improve the ability to analyze literary texts,
- the ability to identify the role of the episode in revealing the author's concept,
- arouse interest in research activities, creative understanding of historical reality.
4. Motivation for knowledge, work: personal interest of students.
5. Knowledge targeted by the result of the project: culture and history of the 19th century, personality characteristics
6. Skill development:
- independent work with historical sources, information technologies;
- independent decision making;
- communication in role-playing interaction, information exchange;
- mental activity in the design, analysis, synthesis, structuring of information;
- introspection.
7. Age of students: 10th grade.
8. Time of work on the project: 1 week of the 1st half of the year
9. Working hours: after hours
10. Material - technical and educational - methodological equipment: a novel by I.A. Goncharov "Oblomov", the book "History of the costume" computer, scanner,
11. Planned creation of student projects: graphic scheme “Climbing to the Sofa”, “Draft script for part 1 of the film”, sketches for part 1.
Characteristics of the educational project
(according to typological features)
1. By dominant activity: creative, role-playing
2. In terms of subject-substantive activity: an interdisciplinary project (literature, fine arts, history, computer science).
3. By the nature of contacts: internal
4. By the number of participants: group.
5. According to the duration of implementation: short-term - 1 week.
During the classes
Teacher: Roman I.A. Goncharov "Oblomov" - novel - monograph. Monographic character is generally characteristic of Russian classical literature. This is an unusually centripetal work. All storylines are drawn to the main character, the characteristics of other characters are turned to him.
I.I. Oblomov is the center of the idea of the novel, it contains the soul of the book. To understand the “soul” means to unravel the best creation of I.A. Goncharova.
Why the fate of the landowner, the famous owner of 300 serfs Zakharov, that is, the character of bygone times, deeply worries readers - this is the question that we have to answer in the lessons on studying the work.
Before us is the novel "Oblomov".
What is the novel about? In the first part?
Student: About one day of the hero
Student: A typical Oblomov day, unremarkable, only the arrival of visitors and a letter from the headman, revealing the affairs of the estate, violate the usual routine.
Teacher: How this day will affect the further course of events, for which the author needed this particular day, we will try to understand today in the lesson.
We have to make a journey into the world of another person, get acquainted with the skill of the writer, go the way to a deeper understanding of the main idea of the author. And for this, I propose to imagine yourself in the role of the creators of a feature film - a cameraman who, with one movement of the camera, can convey details that elude the reader's attention, production designers who recreate the spirit of the era, a director who can choose key scenes that reveal the main intention of the author to the audience . Shortly before the lesson, we divided into 4 creative groups that worked on the proposed topics, today at the lesson we will defend your creative projects, which will form the basis of a class project - the script for part 1 of the feature film “One Day in the Life of Oblomov” - this will be the topic of our lesson. And the epigraph to our work will be the words of Dobrolyubov: "One day - and all life."
Answer the questions. How many parts are in the novel?
Student: Four.
Teacher: What is the role in the novel part 1?
Student: She plays a kind of role of prologue - "introduction to the novel." Here is the introduction of the hero to the reader. A picture of life is presented.
Teacher: How is the first part structured?
Student: There are 11 chapters in the first part, the first 4 chapters tell about Oblomov's visitors.
Student: Composition, style, manner, characterization techniques are similar to Gogol's style of writing. Namely, with the novel Dead Souls". The novel opens with a detailed description of the hero's appearance. “He was a man of 32-33 years of age…”.
Such is the manner in which Gogol depicted Manilov. Portrait first.
Teacher: What is your first impression of the meeting with Oblomov?
(Protection of the operator group project)
Scenario Project Fragment
1 part feature film
"One day in the life of Oblomov".
1 picture. A typical apartment of a middle class person. Silence. Heavy crimson curtains are drawn. A ray of light breaks through, which so far only in a foggy haze represents a good decoration of the room, through the dim light everything looks decent. Here a beam of light hits the sofa, and the motionless body, covered with a blanket of an indefinite color, begins to move.
2 picture. The camera is moving displeased face the owner of the house, he is dissatisfied with the bright light, brushes it off. Indistinct muttering, then: “Zakhar… Zakhar? Zakhar!”
3 picture. A servant shuffles in. Curtains the room. Mumbles.
4 picture. Oblomov grudgingly stands up. Bare feet. looking for slippers. Stands up. Close-up nightcap and nightgown.
5 picture. Zakhar slowly pulls the halves of the curtains in different directions. The camera starts tracking over the same parts of the room as before. All the good decoration of the room is seen differently in bright light. Dust, somewhere by chance brushed away. Oiled armrests.
6 picture. hanging robe. Show the details decorating the robe. Hold the “look” of the camera on it for a long time.
7 picture. Oblomov reaches for his robe. Barely noticeable movement strokes the soft tissue. Putting it on, slowly wraps it around.
Student: A person that evokes sympathy in us, following the portrait of I.I. Oblomov describes the furnishings of his room, the personality is revealed through the things that surround him.
(Fragments of the defense of the project of the group "Artists - directors" - illustrations for the novel, recommendations for directors).
Oblomov on the couch. The face that makes us sympathetic, good-natured, big eyes, soft oval of the face, sits reclining on the sofa in a relaxed pose. The hero is dressed in a dressing gown, through which a nightgown peeps through, a nightcap with a tassel is on his head. In the 19th century, this piece of clothing was not for women, on the contrary, it was customary for men from an aristocratic society to sleep with their heads covered. Instead of pajamas, which appeared at the beginning of the 20th century, men, like women, wore a nightgown. Moreover, wealthy people had up to two dozen of them, they were sewn from cambric, with long sleeves trimmed with hand sewing.
The decor of the room on the hero. Goncharov, with his characteristic art, describes and paints the office: “The room where Oblomov lay at first glance seemed to be perfectly cleaned ...”. book, environment, finally a whole poem about Oblomov's robe:“He was wearing a bathrobe…”. Robe. This detail is then consistently used by Goncharov. There were several dressing gowns in the man's wardrobe; they served as home clothes in the morning and in the evening. There were usually quilted satin robes worn over nightwear, and silk robes worn over nightgowns. The author intentionally stopped at a detailed description of Oblomov's dressing gown, because through things dear to the owner, we learn his main passions. In this case, the dressing gown is Oblomov's favorite thing, because he spends most of his time at home, and since the dressing gown is silk, therefore, he prefers not to change clothes at all during the day as unnecessary.
In the monograph by V.A. Kotelnikov, the following historical and literary parallels associated with this detail are given. Poet P.A. Vyazemsky, having received an appointment in Novosiltsev's Warsaw office and, parting with his carefree Moscow life, wrote a farewell ode to his dressing gown. It was not only a poetic joke. The robe meant something more than the traditional attire of an epicurean poet. This “comrade of idle bliss, friend of leisure, witness of secret thoughts” deserved odic praise already because in him alone both the body and the soul of the poet were free:
Like me in your accommodating attire
In movements he was not a slave to the tailor,
So my thought rushed in the open
With hope and memory three together.
A poet dressed in a robe,
Bringing the distance closer, lived in a distant life.
And with truth, mixing deceit,
He painted the plan of castles in the air.
Vyazemsky sharply contrasts the dressing gown with the “living room livery”, “the yoke of the exacting scene” - this is how he calls the tailcoat and uniform with sophisticated causticity. The difference between them and the robe takes on a moral meaning, emphasized in the poem:
In the living room I'm a slave
In my corner I am master,
Your height is not measured by someone else's arshin.
For Vyazemsky, the dressing gown personifies personal independence, so valued by a freedom-loving poet, an aristocrat - a frondeur, and becomes all the more expensive because circumstances force us to leave this attire and, “huddled in the ranks of servants of the authorities”, embark on a path “where under the fog the light of truth cannot be distinguished from deceit."
The nature of the poet was deeply disgusted by the spirit of the official, court environment. He cherished the hope of returning to the cherished robe in order to find “quiet peace” with him, a clear conscience and the freedom to beat himself:
In the silence of passions, with a calm soul.
And, without blushing, before the secret judge,
Find yourself in yourself.
(Isn't that why Oblomov also values his robe?) Doesn't he see in this attire a kind of half-worn, maybe a symbol of inner freedom - despite the vanity and lack of freedom of the surrounding reality ”?
Directors' comments.
Oblomov is initially fully revealed through everyday life, sad associations, observations of the author "everything is dusty ...". An extensive plot exposition paints a picture of the spiritual desolation of the hero. Such is he in a squabble with Zakhar. Here Zakhar and Oblomov are equal in their lack of spirituality, preoccupation with trifles, they quarrel over dirt in the room, over money. “Vulgarity of a vulgar person” Goncharov exposes with ruthlessness. The little things in everyday life grow to world proportions. The exposition of the 1st part of the novel ends with the words of Oblomov “Oh, my God, it touches life, it gets everywhere!” The author's pathos of merciless denial infects readers. However, external details do not exhaust and do not reveal Oblomov's character. Behind the “outer” person, the “inner” is revealed
Teacher: What does his dialogue with visitors give for understanding Oblomov?
Student: This is another of the writer's tricks. Disclosure of character through conversations with visitors.
The directors represent the PARADE OF GUESTS.
Student: Volkov: dandy, secular lion, aware of all events. He is flirtatious, happens where there is fun, where famous, fashionable people gather in houses, where everyone talks about everything, he is busy all the days. Everything is scheduled (even love with Lidinka). The detail that should be highlighted is dressed in fashion, clothes are selected with special care.
Sudbinsky: official. “It was a gentleman in a dark green tailcoat with coat of arms buttons, clean-shaven, with dark sideburns.” “Business” person, has big earnings, talks about friends. Oblomov had not seen them for a long time. Sudbinsky could easily fit into the gallery of Gogol's portraits of "dead souls". Speech characteristic - uses clerical speech.
Penkin: novelist. Advocates for a real direction in literature, writes a story. Vulgar and banal themes. Even the name testifies to the low level of "The love of a bribe-taker for a fallen woman." The arguments about “A person, a person must be written ...” are interesting.
These three types are a kind of personification of the spiritual passions of "a vulgar person, secular success, a career, a game of accusation." The characteristics of the guests are one-dimensional, real. These are images equal to Oblomov - dwellers. Images help to reveal the image of the main character, but they are independent.
Alekseev: a man of indefinite years ... indefinite. Manages to love everyone. Saying: “They love everyone and therefore are good, but, in essence, they love no one and are good because they are not evil. Nobody notices when they are born. It is "an impersonal allusion to the human mass, a dull echo, an indistinct reflection."
Zakhar: “And this one has no faces, no skin, no vision.” This is the first person Oblomov told about his trouble.
Tarantiev: gloomy, unfriendly, arrogant, smart, cunning, rather in our language - a bureaucrat. Unlike other visitors, a complete biography of Tarantiev is given. Father podyachy, he (Tarantiev) studied with a priest, was waiting for a place in court, the death of his father, the St. Petersburg service. "He was a bribe taker"
Teacher: These two types are the “twins” of the hero, as he is shown at the beginning: the bobak and the goon. Oblomov's inability to act independently is repeated in Alekseev - "a man without deeds" and in Tarantiev "a master of speaking, but how it was necessary to move a finger, move off, apply the theory he created to business and give a practical move - he was a different person. ”
Answer the question: why did the guests come, why did Oblomov tolerate them?
Find in the text. Those (Z) had to be reciprocated, but these were not.
Student: The author’s thought, which brought to life the “demonstration” of guests and friends, will sound with sharp directness in one of Oblomov’s future remarks: “Am I alone ?! Look: Mikhailov, Petrov, Alekseev, Stepanov… you can’t count, our name is legion!” Oblomov is above his guests. Despite all the efforts of the guests to get Oblomov out of bed, the attempts are unsuccessful.
How does Oblomov evaluate each of the visitors?
Oblomov's statements about the guests are a consistent criticism of an incomplete, narrowly focused, functional existence. "Man, man, give me!" - Oblomov said, - love him ... ”Instead of a perfect person, random details flash before him, particulars of a fragmented image. He condemns the St. Petersburg officials for their lack of serious interests, for their passionate desire for money-grubbing and careerism, for mutual ill-will disguised as mutual courtesy, and so on.
What drives Oblomov, what tells him to insist so passionately on love for a person?
Here, through his mouth, speaks the conviction of the novelist himself that in every person there is a “higher beginning”, that this beginning is also in him, in Oblomov, and in any other, be it a completely “unusable vessel”, which Penkin is already ready to “spew out of civil environment."
The character of the hero is also revealed through the story of his life (analysis of chapter 5)
Teacher: What do we learn about the hero?
Student: Sofa, bathrobe, slippers. These things were direct attributes of sleep, a symbol of laziness. “Laziness, boredom, adaptation - that's what ruled life.
Teacher: But have they always been the hero's companions?
Like Gogol, who, having shown Chichikov, talks about his past, Goncharov in chapter 5 proceeds to tell about Oblomov's youth.
Let's go to chapter 5. What do we learn about the hero?
Student: Oblomov, a nobleman by birth, has been living without a break for 12 years in St. Petersburg. When he was young, he was livelier, he hoped for something. But unearthly dreams prevented him from settling in life. Like many, he hoped to become famous by serving the Fatherland, but in the service he was disappointed, an empty passion for the world, and, finally, disappointed, he retires in dreams, because in dreams you can achieve a lot.
(From homework. Students present statements from the novel that characterize each period of the life of the protagonist, build a graphic scheme, which is conditionally called “Ascent to the Sofa”)
W O C H O F D E N I E K D I V A N U
Student: So, Oblomov appears before us as a dreamer - a romantic.
He creates poetically bright, full of artistic details, plans for beneficence to mankind, projects for the reconstruction of the estate, a picture of his village idyll, drawing in his imagination the pattern of his life. And let, drawing Oblomov’s dreams, the author resorts to irony: “he, driven by moral strength, in one minute will quickly change 2-3 poses with shining eyes, stand up to half on the bed, stretch out his hand and look around with inspiration”, - we no longer have that Oblomov, who is all in a vulgar way of life, ridiculous deeds. For a moment, Oblomov's soul reveals itself in such depths that it would seem difficult to imagine in him. The interest inherent in high romanticism in the hidden sides of human nature is revealed.
Oblomov would be a vulgar character if he appeared to us in the original one-dimensional characterization. But Chapter 6 unexpectedly introduces new human signs that are dissonant with the previous one. “One of the clear conscious moments in Oblomov’s life has come ...” He lifts the veil over the hero’s past spiritual hobbies. Find in the text a phrase that shows the difference between Oblomov and others.
Student: The KEY to a new page of history becomes the PHRASE “HE was no longer in his father and not in his grandfather. He studied, lived in the world, all this led to various considerations alien to them.
Oblomov could not make the knowledge gained in the boarding school of the university his own, which means the phrase "He had life on its own, science on its own." The main sphere of Oblomov's spiritual life is daydreaming.
“No one knew or saw this inner life of Ilya Ilyich: everyone thought that Oblomov was so-so, lying and eating on health and that there was nothing more to be expected from him”; that they talked about him like that everywhere they knew. The writer himself suggests a “seditious” thought. Perhaps Oblomov at the beginning of the novel is the Oblomov he only seemed to be, and not the real one, about whom the novel was written. Thus, the image of the protagonist becomes more complex, the new content removes the Gogol mask. Behind the act is psychology. Scene: Oblomov and Zakhar “Another one?!”
There is no return to the one-plane characteristic. The climax is the scene of confession, enlightenment. “He was sad and hurt because of his backwardness, the halt in the growth of moral forces, for the heaviness that deprives him of everything ...” Meanwhile, he painfully felt that some kind of bright beginning was buried in him, as in a grave, maybe now deceased.
Secret confession to himself was painful. But on whom to overthrow the burden of reproaches? And the answer follows the question. It is contained in chapter 9 "Oblomov's Dream".
Teacher: The specifics of the author can be traced already in the first part of our work - this is the solution of a complex aesthetic task: to reveal the inner dynamism of the personality outside of unusual plot events. In the everyday life, an ordinary day, the surprising slowness of its course, he managed to convey inner tension.
SUMMARY OF THE LESSON AND DISCUSSION OF PROJECTS
HOMEWORK FOR THE NEXT LESSON