In life, each of the people at least sometime has experienced happiness. The reason for this could be anything: it is the achievement of the goals to which he has long strived, and the fulfillment of cherished desires. But, in my opinion, happiness can be realized only after this moment has already been left behind. We often remember the happy moments of our life and forget all our pressing problems.

We often say: "How little a person needs to be happy." We speak, it seems to me, often without understanding the full justice of this phrase. After all, a person who is always not enough of everything will never be happy with what he has, since he cannot get everything in the world.

But there are people who do not demand anything special from life and spend it uselessly and boringly. This is how Ilya Ilyich Oblomov is presented in Goncharov's novel. What is he doing? He lies on the sofa or on the bed under a blanket, receives guests, argues with Zakhar and admires the view from the window of the neighboring house from morning till night. He is also happy in his own way. Some people need movement, love, passion, something new in life in order to feel happy. But Ilya Ilyich does not need any of this, he does not want anything, except that nothing should change in his life. At first, he does not want to move to a new apartment, then he does not even want to think about improving the estate in the village - all this would violate his happiness.

But Oblomov cannot be considered an ordinary lazy person - he simply cannot exist according to the laws of his time, his “dressing gown” is a kind of protest against the emptiness and meaninglessness of active actions that society can offer him: “Light, society! You are right, on purpose, Andrei, you are sending me into this world and society to discourage me from being there! there is nothing deep, touching the quick. You will enter the hall and not admire how the guests are seated symmetrically, how calmly and thoughtfully they sit - at the cards. They are all dead. Why am I more to blame than them, lying at home and not infecting the head with threes and jacks? "

From this monologue Oblomov can understand a lot, in particular, that he is right in his own way: to each his own - one "thoughtfully and quietly" to sit and play cards, others do business, the third to steal, and someone does not want, and completely rightly, to do all this and therefore lies on the couch.

But in Oblomov's life, Olga Ilyinskaya appears, the one who was called upon by Stolz to "stir up" Ilya Ilyich, to show him a different life. In a sense, she did it, and it cannot be said that Oblomov was not happy with Olga, walking with her in the Summer Garden, making her laugh.

But he cannot love the way it is necessary and accepted, and Olga could not completely love Oblomov as he is, and not as Stolz wanted to make him. Possible happiness with Olga frightened Oblomov with too strong changes in his lifestyle, everyday life and economy. And in the end, Olga found her happiness with Stolz, and Oblomov with Mrs. Pshenitsyna.

Here it is - Oblomovism in its purest form: Ilya Ilyich did not have to be active, he just moved to a new apartment, where he found himself a wife, they had a child, and Oblomov in the end died happy.

In almost every novel by Russian writers of the 19th century, heroes are in search of their ideal beloved. Each of them, following Alexander Pushkin, would like to exclaim:

My wishes came true. Creator

He sent you to me, you, my Madonna,

The purest charm, the purest specimen.

The main character of the novel by I.A.Goncharov Ilya Ilyich Oblomov also has his own ideal of a woman. “In his dreams, the image of a tall, slender woman, with her hands folded on her chest, with a quiet but proud look, hovered in front of him. with a swinging waist, with a graceful

on his shoulders with his head, with a thoughtful expression. " Such was Olga Ilyinskaya, alas, who did not become Oblomov's wife. He found his family happiness on the Vyborg side, in the house of the bourgeois woman Pshenitsyna.

Agafya Matveyevna does not at all look like the aristocrat Olga, but how many the gentleman managed to find in her charms corresponding to his female ideal. She “was very white and full in her face, so the blush, it seemed, could not break through her cheeks”, “her closed bust, when she was without a headscarf, could serve as a painter or sculptor as a model of a strong, healthy breast”, “shoulders shone contentment, fullness, meekness shone in my eyes ”. Oblomov needed such a personal wife: calm and modest, caring and sensitive, economic and hardworking. But most importantly, Agafya Matveyevna did not demand anything from Ilya Ilyich: neither visiting exhibitions and concerts, nor reading books and newspapers. She was the woman thanks to whom Oblomov put on his favorite robe again, settled down on a cozy sofa and found his family happiness and peace. In those happy days, he had one desire: "to sit on the sofa and keep my eyes on her elbows."

Agafya Pshenitsyna accepted the master as he is, her selfless and sacrificial love gave Ilya Ilyich Oblomovka in a house on the Vyborg side. A bathrobe, a sofa, elbows, delicious food - that's all Oblomov needs for complete family happiness.

Thus, Agafya Matveevna Pshenitsyna became the ideal of the hero of I. A. Goncharov, the embodiment of "a whole life full of bliss and solemn peace."

Other works on this topic:

1. Agafya Pshenitsyna Agafya Matveevna Pshenitsyna is the widow of an official with two children, later Oblomov's illegitimate wife. She was Mukhoyarov's sister and Tarantieva's godfather. The latter settled the compelled to seek ...
2. It is difficult to say what is the ideal of happiness and love for the writer Goncharov, who did not have his own family. However, the author, as a rule, embodies his dreams, ideas, ideas in ...
3. Comparative characteristics of the main characters of the novel by I. A. Goncharov "Oblomov" In the center of the novel I. A. Goncharov "Oblomov" is the figure of Ilya Ilyich Oblomov - a landowner "about thirty years old ...
4. In almost every literary work, the love of the main characters has a special place. After all, how a person loves, what he invests in his feelings, says a lot about him ...
5. A novel by I. A. Goncharov, the main theme of which is Oblomovism: a way of life characterized by apathy, passivity, isolation from reality, contemplation of life around him in the absence ...
6. IA Goncharov's novel Oblomov was written at a time when the Russian state was undergoing tremendous changes in both the political and economic spheres. Before the country ...
7. I A year has passed since Ilya Ilyich's illness. A colleague of brother Pshenitsyna left for the village, but did nothing positively. After an illness, Ilya Ilyich was at first ...

The writing

“What is happiness?” - this question has been asked by everyone and has not received a satisfactory answer. One thinks that happiness is a moment. Another is labor. The third also seems to have something. But, oddly enough, no one can explain this concept to another in such a way that he changes his idea of \u200b\u200bhappiness. Many great poets, writers, architects and other artists tried to do this, making incredible efforts so that their heroes could seem happy to people, or vice versa. This, at first glance, an insignificant touch sometimes contained the whole value of the work. The famous "Demon" Vrubel showed with all his being how unhappy he was. In many works, Goethe reflected his idea of \u200b\u200bhappiness as a moment.

For a writer, making his character objectively happy or unhappy is probably the most difficult task. After all, any hero lives his own life, which the writer can only partially influence, for this reason all the writer's art manifests itself when creating an image. Therefore, in order to determine whether a hero is happy or not, we must first understand whether he can be happy.

The most objective Russian writer of the XIX century. considered to be Goncharov. In his works, readers cannot determine which side of the author's sympathies are on. Each of his heroes has his own way of thinking, his own inner world and, of course, his own ideas about happiness. Goncharov very subtly guides the reader to the correct understanding of his images.

In his most famous novel Oblomov, there are four main characters: Ilya Ilyich Oblomov, Andrei Ivanovich Stolts, Olga Sergeevna Ilyinskaya and Agafya Matveevna Pshenitsyna. For everyone in the novel, the world around the character and his place in it is very accurately spelled out. We know about almost everyone in what conditions he was born, what factors influenced his character, his perception of the world, and in particular, happiness. However, Goncharov leaves us, readers, the right to consider their concepts of happiness to be true, false, or to respect the opinion of everyone.
The main character of the novel, Ilya Ilyich, was born and raised in that "old era" when the main value was "kindness". Moreover, he did not grow up somewhere, but "in a blessed corner of the earth", in a "wonderful land ... where the sky, it seems, on the contrary, hugs the ground, but not in order to throw stronger arrows, but only to hug her tighter, with love". In a land where everything is conducive to permanent, unceasing happiness. In a land where, it would seem, there is no place for sorrow, suffering, where "from holiday to holiday" time flies quickly and imperceptibly, where people enjoy every day and do not think about the future. All this affected Ilya Oblomov. For him, happiness is life itself, he is content with the essentials and does not want anything more. There were moments in his life when he went to a certain goal, but they "faded" because of his nature. He is happy only with what he has, but he has his dreams: "Oblomov's face was suddenly covered with a blush of happiness: the dream was so bright, alive and poetic that he instantly turned his face to the pillow ... His face shone with a touching feeling: he was happy". However, Oblova should not be counted among people who are absolutely indifferent to the world around them. He simply could not adapt to it, find his place in it, partly due to the fact that the era has changed, and along with it the values \u200b\u200bin which Oblomov were brought up have gone. This confirms Oblomov's love for Olga. He found a person close to him, but the world around them did not allow his feeling to develop: "Happiness, Happiness!" He said tartly later. "How fragile, how unreliable you are! Cover, wreath, love, love! And where is the money? ? And you must be bought, love, pure, legitimate good. "

Stolz is in a completely different situation. From childhood he was accustomed to work: his father, a German by nationality, opened a factory in Russia and, "when he (Andrei) grew up, his father put him with him on a spring cart, gave the reins and ordered him to be taken to the factory, then to the fields, then to the city, then ... ". But still Andrei did not become "the German burgher, from which his father came." This was largely due to his mother, who "rushed to cut Andryusha's nails, curl curls, sew elegant collars and bibs; ordered jackets in the city; taught him to listen to Hertz's pensive sounds, sang to him about flowers, about the poetry of life, whispering about a brilliant vocation either a warrior or a writer, she dreamed with him of the high role that falls to others ... "In addition, he" grew up on Russian soil. " All these conditions "turned the narrow German track into such a wide road that neither his grandfather, nor his father, nor himself dreamed of." Andrei, of course, became a person, with a broad soul, a rich inner world, but his ideas about happiness have hardly changed. For him, "labor is an image, element, goal, meaning of life," and, accordingly, he finds happiness in work.

Olga Sergeevna's idea of \u200b\u200bhappiness is described rather vaguely, but we see that from childhood she was deprived of people who could help her understand life. Therefore, she is constantly developing: she is looking for the meaning of life, trying to understand herself, that is, she is trying to understand that happiness is for her. She, in fact, cannot decide what she needs. However, she is happy in her own way, at some moments her feeling is similar to that of Oblomov: "She firmly shook his hand and gaily, carelessly looked at him, so clearly and openly enjoying the moment stolen from fate ... At these moments her face breathed such trustfulness to fate, fortunately, to him ... "
Agafya Matveevna, in my opinion, is the simplest image of all. Her world is very strictly defined, she never tries to expand it. She cannot live without household work, because she has no other interests. Since childhood, she meets the established ideal of a man - a master, and taking care of him subconsciously becomes happiness for her.

Happiness is a subjective, complex and multifaceted concept. Everyone understands it differently, but no one has permanent happiness, therefore in life it is impossible that one person is happy and the other is not. And, since Goncharov managed to objectively convey the real picture of the world, we can only conclude that the main characters of the novel are not happy, but also unhappy. They are real.

Paronyms - words that are similar in sound, but different in semantics; first of all, they are differentiated, of course, according to their inherent meaning. Mixing paronyms leads to a distortion of the meaning of the statement. Wed examples of M. Gorky: “Put your foot back, - advises one poet, not noticing some dissimilarity between the foot and the rung of the stairs ... The prose writer writes: He clicked the ankle of the gate instead of - the heck " (in the second example, mixing of differently rooted, but similar in sounding words can be used to create paronomasia).

Paronomasia is a stylistic figure, which consists in the formulation of a number of words that are similar in sound, but different in meaning; The fight extort, yes fight and will learn; The one not stupid who's words stingy.

Often the confusion of paronyms is associated with the possibility of their synonymous rapprochement in one of their inherent meanings. Wed:

make experiments - make experiments - "to do, to do, to carry out" (in other meanings, these verbs are clearly delineated; compare: conduct a rehearsal, conduct a complex military operation, do a lot of work, but: excavate, make an inquiry); master the read material - master the read material - "to comprehend" (but: master the craft - learn good manners; in the first case, the meaning is "to completely master", in the second - "to perceive"); heroic feat - heroic feat (but: hero guy - heroic effort); lucky hunt - lucky hunt(but: successful work - a lucky person) etc.

Numerous cases of parallel use of verbs stand up and stand: stand up / stand on tiptoe; stand up / rears up; hair stood up / stood on end; stand up / take sides; stand up / defend the Motherland; stand up / stand behind the machine etc. Wed also in fiction: Having bathed, Hadji Murad became bare feet on a burka (L.T.); I brought the board to the shore and got up not her (M.G.).

At the same time, in some cases it is possible to speak of stylistic differences in the use of the named verbs. So, in the meanings "stop acting or move", "cover with ice, freeze" the use of the verb stand up has a colloquial character (in the “Explanatory Dictionary of the Russian Language” edited by DI Ushakov it is even noted as erroneous); the clock has stopped, the motor has stopped, the horses have stopped, the river has stopped.

For a long time, the use of verbs is mixed in speech put on (put on) and dress (dress), but their stylistic distinction remains. According to the literary norm, the verb put on (put on) used in cases where the action is directed at its manufacturer (put on a coat, fur coat, boots, glasses, ring etc.), as well as in constructions with the preposition on (put on a coat on a child, put on a cover on a chair etc.). Verb dress (dress) used in cases where the action is directed to another object, indicated by a direct addition: dressing a child, a doll; dress a horse with a blanket. In colloquial speech, such a clear distinction is not observed, and the verb "wins" dress (dress).

In literary speech, the use of verbs pay and pay is differentiated: pay for travel, but pay for travel. However, in business and colloquial speech, the combination pay for anything.

The difference between adjectives formed using correlative suffixes, in some cases, is associated with semantic shades that come to light in combinations with nouns: intellectual habits - intelligent people and; cabinet a crisis - cabinet grand piano;

tourist control - tourist trail etc. In other cases, a stylistic difference is seen. So, in pair a similar case - analogical happening the second phrase is outdated. The same shade is observed in phrases economic housekeeping - economical housekeeping (cf .: economical housekeeping). Paired with human voice - human vote the second option is different

talkative shade. The same shade is inherent in the adjective raspberry compared with crimson (for example, in combination with a noun jam).

The stylistic functions of paronyms are varied. First of all, paronyms are used to clarify the meaning of a word;

wed: Face I know him; His personality is familiar to me. The deliberate combination of paronyms serves as a means of creating an image:

And removing the former wreath - they crown thorns, entwined with laurels, put on it ... (L.); I am worried about meeting in vain that neither heart nor mind, and that is not festivity, and idleness, in my guest house (Eut.). Paronyms are often used to describe a character's speech: He was assigned the title role in the play Wolves and Sheep; finally, to create a comic effect: Urgent need to accept virgin measures (from the feuilleton).

Exercise 8. Complete the offers by choosing of brackets are the best option. Motivate your choice.

1. The speaker slowly pronounced the words, giving each of them (special meaning - special importance - special importance). 2. Simple-minded people accept (desired - desired) for valid. 3. The author of the brochure does not provide any (justifications - grounds) for their conclusions. 4. Several times during the day on the radio is produced (verification - verification) time. 5. Explanatory dictionaries give various kinds of stylistic (marks - marks). 6. Many students of our group (introduced herself - provided) the opportunity to take part in a dialectological expedition. 7. The solution suggested in the article seems (problematic - problematic - problematic). 8.The hero of the film constantly has some (romantic - romantic - romantic) stories. 9. The editor read the manuscript and added some (stylistic - stylistic) amendments. 10. Approved (status - statute) a new organization uniting nature lovers. 11. The work is written in simple language, it is immediately clear (being - essence) question. 12. Oblomov considered the ideal of happiness (well-fed - hearty) a life.

Ideal and idyll

Belokurova S.P., teacher of gymnasium No. 405 of Krasnogvardeisky district of St. Petersburg Drugoveiko S.V., teacher of the Russian language department of St. Petersburg State University

One of the modern researchers, once again reflecting on the pages of the novel "Oblomov", comes to the following, at first glance, rather paradoxical conclusion: "The structural construction of the novel is symmetrical. Between two idealized centers - the idyll in Oblomovka and on the Vyborgskaya side - Oblomov's temporary residence on Gorokhovaya street: an intermediate state of homelessness. Three places are places of three states of mind and everyday life: paradise - paradise lost - paradise returned "[Haynadi Zoltan. Paradise Lost / Literature. 2002. N 16]. Note that attempts to see in Goncharovskaya Oblomovka a description of the earthly paradise, a kind of "Theocritus idyll" in the Russian manner, have already been repeatedly undertaken in domestic literary criticism. If the writer's contemporaries - both Dobrolyubov and Apollo Grigoriev - were still able to assess the depiction of Oblomov's idyll as very ironic, in the criticism of the turn of the 19th and 20th centuries, "ironic intonations were somehow supplanted from the definition of Oblomovka as an idyllic place. From capitalizing Russia they sought refuge in the past, in patriarchal Russia, in Oblomovka "[Kantor V. Long Skill to Sleep: Reflections on the novel by I. A. Goncharov" Oblomov "/ Voprosy literatury. 1989. No. 1. P.154]. So, Y. Eichenwald Oblomovka resembled "a clear and quiet lake", "idyll of settled life" [Eichenwald Y. Silhouettes of Russian writers. Issue 1.- M., 1906. P.143-144], D. Merezhkovsky - "scenery for the idyll of Theocritus shepherds" [Merezhkovsky DS Eternal companions. - SPb.-M., 1911. P.238]. In the second half of the twentieth century, in the era of stagnation, Oblomovka began to seem at all "a dream of a lost paradise", one of the "most defenseless, albeit charming, idylls that man has ever dreamed of" [Loshchits Yu. Goncharov. - M., 1986. P.201]. However, when analyzing the text of the chapter "Oblomov's Dream", the position of the author himself in relation to the "ideal of peace and inaction", which is how the main character of the novel thinks the existence of Oblomovka residents, is clearly clear. It is not for nothing that in the description of Oblomovka, the images of sleep and death are not only endlessly repeated, but are also equated to each other, because peace and silence serve as characteristics of both "twins", as F. I. Tyutchev called these states of the human soul ("There are twins - for the earthly / Two deities - then Death and Sleep, / Like a brother and sister wonderfully similar, / She is sullen, he is gentle ... "(F. Tyutchev. Gemini)):

everything promises there a deceased long-term life to yellow hair and imperceptible, Sleep like death Quiet and sleepy everyone in the village<…> in vain you will click loudly: Dead silence will be the answer ... and if anyone<…> and Died in eternal sleep … Sleepy life her, which without that, maybe Would fade away ... the house reigned Dead silence... The hour of universal afternoon has come Sleep It was some kind of all-consuming, invincible Sleep, true likeness of death... Everything in Oblomovka Rest so tight and Peacefully.

Moreover, quite often in the same context, symbolic designations of life and death collide:

everything promises there Deceased long-term A life A life, as Deceased river A life under this program stretches in a continuous monotonous fabric, imperceptibly breaking off at the very Graves three main acts Of life <…>: homeland, wedding, The funeral Sleep, Eternal silence sluggish Of life etc.

The concepts of life, death, sleep, rest and silence, in fact, do not have independent characteristics - which means that these states themselves are no different for Oblomovites. Not only the annual, but also the life circle is completed for the inhabitants of Oblomovka "correctly and calmly." "Sleepy Oblomovka is the afterlife, this is the absolute peace of man<…>... Oblomovka is death "[Weil P., Genis A. Native speech. - M., 1991. S. 123-124] (In general, the topic Dreams plays an extremely important role in the structure of the novel. We can recall the description of Olga and Stolz's dreams (part four, chapter VIII), and Agafya Matveyevna's insomnia (part four, chapter I).). In essence, the same "equating" can be observed in the description of Oblomov's life on the Vyborg side:

World and Silence Rest over the Vyborg side All Quiet and in Pshenitsyna's house. Come in<…> and you will be covered Alive idyll Oblomov himself was a complete and natural reflection and expression of that Rest, contentment and serene Silence And here, as in Oblomovka, he managed to cheaply get rid of Of life, bargain from her and insure yourself an imperturbable Rest if reproaches for Lived so and not otherwise A life, he Sleeps restlessly looking like Quiet and peaceful drowning in the fire of dawn the evening sun finally decides that A life it was not only developed, but also created, it was even intended so simply, no wonder, to express the possibility of ideally Deceased human side Of being he Quiet and gradually fit into Coffin the rest Of its existencemade with his own hands, like the desert elders, who, turning away from Of lifedig themselves Grave in Dream whether he saw the phenomenon taking place in front of him, Lived has ever been everlasting Rest, eternal Silence <…> Quiet stopped the car Of lifeetc.

When comparing the two fragments of the novel, one can see other similar details: a description of household chores, the cult of food reigning in both worlds; numerous "reflections" of some microplots of the chapter "Oblomov's Dream" in the description of the hero's life on the Vyborg side; the similarity of Agafya Matveevna's attitude to Oblomov with maternal feelings for little Ilyusha, etc. The basis of the surname of Agafya Matveyevna Pshenitsyna reminds of the everyday, natural, earthly beginning. According to one of the researchers, the fact that the reader's acquaintance with the novel begins in Gorokhovaya Street and ends with the hero's marriage to a woman named Pshenitsyn is also not accidental: “Oblomov's existence is inserted into the frame of vegetative associations, as if hinting that this human life is essentially vegetable "[Mildon V. On the meaning of Oblomov / XX century and the world. 1995. No. 1]. On the other hand, wheat is associated with the word bread - a symbol of life. Agafya Matveyevna, who became the mother of the son of Ilya Ilyich Oblomov, "is directly involved in the continuation of the Oblomov family (the immortality of the hero himself)" [Krasnoshchekova E. Ivan Aleksandrovich Goncharov: The World of Creativity. SPb., 1997. S. 343]. Name - common, leading its origin from the Greek "good, kind". The epithet kind is most often repeated in the description of this heroine. In addition, the sound of the name Agafya evokes associations with the ancient Greek agape, meaning a special kind of love - selfless and devoted. The patronymic of Matveevna is just as no coincidence: first, it repeats the patronymic of the mother of the author of the novel himself; secondly, the etymology of the name Matthew (Matthew) - "the gift of God" - "again highlights the mythological subtext of the novel: Agafya Matveyevna was sent to Oblomov, anti-Faust with his" timid, lazy soul ", as a gift, as the embodiment of his dream of peace" [Nikolina N. A. Philological analysis of the text. M., 2003. P.205]. The name of the heroine also reminds of Oblomov's childhood dream "to marry some unheard-of beauty Militrisa Kirbityevna" from nanny's tales about a magical land "where there are no worries and sorrows." It is here, on the Vyborg side, that Ilya Ilyich Oblomov dreams that he "reached that promised land where rivers of honey and milk flow" - it was here that "the ideal of his life was realized, although without poetry." A paradoxical conclusion, because the ideal (\u003d dream) is impossible without "poetry". In fact, this is not an ideal that has come true - it is an idyll that has come true. The words Ideal and Idyll although they were formed on the basis of a common Greek root for them, they later received fundamentally different meanings. And in the text of Goncharov's novel, they appear as a kind Antonyms... According to the dictionary interpretation, the ideal (\u003e gr. Idea - "prototype, essence") is perfection, the highest ultimate goal of aspirations, activities; while idyll (\u003e gr. eidyllion - "external image, picture") - 1. One of the genre forms of ancient poetry, painting the atmosphere of a peaceful life in the bosom of nature, paying special attention to describing happy love experiences; 2. (usually ironic) Peaceful, serene, happy, unclouded existence. "What is Oblomovism"? Oblomovism is the reluctance, impossibility and incapacity of striving for the ideal: the substitution of an unattainable ideal with a completely feasible idyll, which means the substitution of the inner with the outer, the essence with visibility, the high poetry of the spirit with the prose of real existence. To understand the secret of "Oblomov" means in many ways to comprehend the secret of human existence. According to one of the researchers, "Oblomov" "was a stern warning to culture, which contemporaries did not realize, referring the problems of the novel to a bygone or already passing time. More than a hundred years had to pass, it had to survive the revolution, the civil war, Stalinist terror, decades of stagnation. and immobility, so that the cultural relevance of the great novel becomes obvious "[Kantor V. Long habit to sleep: Reflections on the novel by I. A. Goncharov" Oblomov "/ Questions of literature. 1989. No. 1. P.185]. The ability to overcome OblomovismObviously, I. A. Goncharov saw himself in the future: Oblomov's son, Andrei Ilyich, given to Olga Ilyinskaya and Stolts for upbringing, had to combine the kindness and "dovish gentleness" of Ilya Ilyich and Agafya Matveyevna with the practicality and active spirit of Stolts and Olga Ilyinskaya - to bring reality closer to the ideal.