Goncharov’s first novel from the trilogy “Ordinary History”, “Oblomov”, “Breakage” was a great success, brought fame to the author and created a reputation as a master in literary circles and throughout reading Russia. Soon after the publication of “An Ordinary History”, Goncharov began his second novel - the implementation of the plan for the novel “Oblomov”. The writer creates the chapter “Oblomov’s Dream,” in which he describes the hero’s childhood in the provincial village of Oblomovka, the family estate where he was born, and outlines an already familiar conflict: the clash of a young local nobleman with the living conditions of the modern big city - St. Petersburg. This part of the work became the main one in the future novel. Goncharov published “Oblomov’s Dream” in a collection of the Sovremennik magazine in 1849 and stopped working on it for a long time. This was probably due to the fact that the author wanted to avoid repeating the old conflict in the future novel, and he had to comprehend in a new light the drama of a man unable to find a full life in a changing Russia. A trip around the world on the frigate Pallada, which took 3 years (1852–1855), also contributed to a distraction from the novel. At the end of the trip, Goncharov wrote a book of essays “Frigate Pallas”, reflecting his impressions and thoughts in it, and only after that he returned to continue working on “Oblomov”.

By 1857, Goncharov had finished the novel in rough form, the writer spent the next year finalizing the essay, and in 1859, reading Russia became acquainted with one of the most significant prose works in Russian literature of the 19th century - the novel Oblomov. In this novel, the author created the image of a national hero of his time in the context of a change in the centuries-old way of life of Russian society, the collapse of the social structure, changes in the economic and cultural situation in the country, and the general spiritual atmosphere. The novel “Oblomov” was completed, along with two other pinnacle works of the pre-reform period - the drama-tragedy “The Thunderstorm” by A.N. Ostrovsky and the novel “Fathers and Sons” by I.S. Turgenev. The decree of Emperor Alexander II of February 19, 1861 on the liberation of peasants from serfdom was a revolutionary event that divided Russian historical life into old and new times.

The hero's choice of the noble landowner Ilya Ilyich Oblomov is determined, first of all, by historical factors, since it was the landed nobility that the abolition of serfdom had the most impact on, mainly on their well-being and prospects. However, Goncharov is not limited to the social side of the depiction of events, involving in the novel problems of an eternal nature, such issues as love, the meaning of life, the human soul and his choice. The famous critic of that time N.A. Dobrolyubov in his textbook article “What is Oblomovism?” noticed that Goncharov’s hero represents the “indigenous, folk” character of the Russian person. Thus, when reading the novel, you need to see in his hero and his life a voluminous phenomenon and large-scale significance: individual-psychological, social, the girl Olga Ilyinskaya and the widow-official Agafya Matveevna Pshenitsina, in comparison with a friend of half-German origin Andrei Stolz, the antipode of Oblomov in character and life activity, in comical skirmishes with the serf servant Zakhar and other characters significant in different plot situations. ??????

G 1. Why is the Decree of Emperor Alexander II of February 19, 1861 called a revolutionary event in the text we read? Expand your position. For the work of which other writers known to you was this event important? In what literary works do you know is this event reflected (directly or indirectly)?

AND 2. It is known that “Oblomov” Goncharov, inspired by his novel with Elizaveta Vasilyevna Tolstoy, quickly completed it in a few weeks: “The main task of the novel, its soul, is a woman.” Read fragments from 32 letters from Goncharov to the young beauty who preferred the brave captain to the middle-aged famous writer. What new did you learn from them about Goncharov’s personality, about his life and moral values?

“...I often bless fate that I met her: I have become a better person, it seems, at least since I have known her, I have not convicted myself of a single mistake against my conscience, not even a single unclean feeling: everything seems to me, that her gentle brown gaze follows me everywhere, I feel constant invisible control over my conscience and will.”

“A look shining with intelligence and kindness... the softness of the lines, so harmoniously merging in the magical colors of blush, whiteness of the face and sparkle of the eyes.”

“I'm sick of it. It became somehow cramped for me to live in the world: it seems that I am standing in terrible darkness, on the edge of an abyss, there is fog all around, then suddenly the light and sparkle of her eyes and face will illuminate me - and it’s as if I will rise to the clouds.”

“I feel, however, that apathy and heaviness are gradually returning to me, and you, with your intelligence and old friendship, stirred up the talkativeness in me.”

“With you, I had some wings that have fallen off now.”

“Oh, how many pages I would write if I decided to count your shortcomings, I would say, but I will say your advantages...”

“Farewell... not now, however, but when you get married, or before my or your death... And now... until the next letter, my wonderful friend, my dear, smart, kind, charming... Lisa!!! suddenly rolled off the tongue. I look around in horror to see if there is anyone around, I respectfully add: goodbye, Elizaveta Vasilievna: God bless you with the happiness you deserve. I am touched, I thank you from the bottom of my heart for your friendship...”

If you're interested in this dramatic story, do some research on your own: Is E.V. Is Tolstaya the prototype of Olga Ilyinskaya?”

B Check yourself: have you carefully read the text of the novel “Oblomov”.

How many questions were you able to answer? Go back to the text again, find answers to the questions you couldn’t answer.

1. Who tells the story of Oblomov’s life?

2. What is the main character's full name? How old is he? What is his education? What is your occupation?

3. Who is Zakhar? What was his fate?

4. Who is Stolz? How does he know Oblomov?

5. Who is Olga? What is the content of Oblomov’s letter to Olga? How does her story end in the novel?

6. What kind of move is Oblomov afraid of? Why and where is Oblomov moving anyway?

7. Who is Agafya Pshenitsyna? What role did she play in Oblomov’s fate?

8. What role does Tarantiev play in the plot of the novel? Why and when did Oblomov slap him in the face?

9. Which of the characters in the novel has a backstory?

What difficulties did you experience while reading the text of the novel? Have you overcome them? How? What did you find interesting? Not interesting? What do you remember most?

Novel "Oblomov". Analysis

The novel begins with showing the morning of the hero - Ilya Ilyich Oblomov. The author describes in detail the appearance and characteristic features of a person who cannot get off the couch for several hours. From the moment he awakens, he is troubled by two “misfortunes”: a letter from the manager came from the family estate about a drop in annual income from the household, and the owner of the house demands that Oblomov move out of the rented apartment. Goncharov builds the plot of the novel in such a way that it is these inevitable changes in life that will determine all subsequent events of the work and its ending.

The room where Ilya Ilyich was lying seemed at first glance to be beautifully decorated. There was a mahogany bureau, two sofas upholstered in silk, beautiful screens with embroidered birds and fruits unprecedented in nature.

There were silk curtains, carpets, several paintings, bronze, porcelain and many beautiful little things.

But the experienced eye of a person with pure taste, with one quick glance at everything that was here, would only read a desire to somehow observe the decorum of inevitable decency, just to get rid of them. Oblomov, of course, only bothered about this when he was cleaning his office. Refined taste would not be satisfied with these heavy, ungraceful mahogany chairs and rickety bookcases.

The back of one sofa sank down, the glued wood came loose in places.

The paintings, vases, and small items bore exactly the same character.

The owner himself, however, looked at the decoration of his office so coldly and absent-mindedly, as if he was asking with his eyes: “Who brought and installed all this here?” Because of Oblomov’s cold view of his property, and perhaps also of the even colder view of his servant Zakhar on the same subject, the appearance of the office, if you examined it more closely, struck you with the neglect and carelessness 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 notes on them in the dust for memory.

The carpets were stained. There was a forgotten towel on the sofa; On rare mornings there was not a plate with a salt shaker and a gnawed bone on the table that had not been cleared away from yesterday’s dinner, and there were no bread crumbs lying around.

If it weren’t for this plate, and the freshly smoked pipe leaning against the bed, or the owner himself lying on it, then one would think that no one lived here - everything was so dusty, faded and generally devoid of living traces of human presence . On the shelves, however, there were two or three open books, a newspaper, and an inkwell with feathers 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 a long time ago; The newspaper's issue was last year's, and if you dipped a pen into it from the inkwell, all that would come out was a frightened fly buzzing.

1. What character traits of Oblomov does the interior reflect? Illustrate your answer with examples from the passage.

2. What contradictions in Oblomov’s personality does this description indicate? Prove your point. To prove it, highlight the epithets in the text. What patterns have you noticed in the use of epithets? How does the antithesis you indicate develop throughout the novel?

3. What significant details (details) seem most important to you in this fragment? Why these? Explain their role.

4. What colors are in the description? Draw a conclusion from your observation.

5. Are sounds and smells described in this fragment? Expand your position.

6. Do you agree with the researcher’s opinion about the features of Goncharov’s depiction of the world of things: “... equalization, close connection, unity of man and the surrounding world. This is due to a special feeling of the inseparability of nature and man, macro- and microcosmos, animate and inanimate.<···>In this case, a person turns out to be inextricably linked with the natural world, with the world of surrounding things, and becomes part of this world.

Everything in the Universe lives a single, coordinated life, as parts of one whole. That is why furnishings, individual details of appearance, animals are just as important to the writer as the experiences, thoughts and feelings of the characters... It is not a person who descends to the level of a dumb creature, furniture or household, but on the contrary, the little things of everyday life rise to the level of a person. A person is merged with the surrounding reality, reflected in it, and she - in him” (E.V. Krasnova)? Prove your position .

If you are interested in fine arts, tell us which direction in painting has these features. What does this observation bring to the understanding of the author's intent in the novel?

D 2. Compare the description of Oblomov’s office with the description of Plyushkin’s room. How are the descriptions similar? Explain this coincidence. How do the descriptions differ? What conclusion can be drawn about the characteristics of the authors' style? Plan your work to complete the task: highlight the parameters by which the fragments should be compared (the general impression caused by the description; artistic details used by the authors; features of visual and expressive means; rhythmic organization of fragments; through whose eyes the reader sees the interiors, etc.). Read the texts carefully, underline key words.

From the hallway he found himself in a room, also dark, slightly illuminated by the light coming out from under a wide crack located at the bottom of the door. Having opened this door, he finally found himself in the light and was amazed at the chaos that appeared. It seemed as if the floors were being washed in the house and all the furniture had been piled here for a while. On one table there was even a broken chair, and next to it a clock with a stopped pendulum, to which the spider had already attached its web. There was also a cabinet leaning against the wall with antique silver, decanters and Chinese porcelain. On the bureau, lined with mother-of-pearl mosaic, which in some places had already fallen out and left behind only yellow grooves filled with glue, lay a lot of all sorts of things: a bunch of finely written papers, covered with a green marble press with an egg on top, some kind of old book bound in leather with a red a sawn-off lemon, all dried up, the height of no more than a hazelnut, a broken armchair arm, a glass with some liquid and three flies, covered with a letter, a piece of sealing wax, a piece of a rag picked up somewhere, two feathers, stained with ink, dried out, as if consumption, a toothpick, completely yellowed, with which the owner, perhaps, picked his teeth even before the French invasion of Moscow.

Several paintings were hung very crowdedly and awkwardly on the walls: a long yellowed engraving of some kind of battle, with huge drums, screaming soldiers in triangular hats and drowning horses, without glass, inserted into a mahogany frame with thin bronze strips and bronze circles at the corners . Along with them, half the wall was occupied by a huge blackened oil painting depicting flowers, fruits, a cut watermelon, a boar's face and a duck hanging upside down. From the middle of the ceiling hung a chandelier in a canvas bag, the dust making it look like a silk cocoon in which a worm sits. In the corner of the room there was a heap of things piled up on the floor that were coarser and unworthy to lie on the tables. It was difficult to decide what exactly was in the pile, because there was such an abundance of dust on it that the hands of anyone who touched it became like gloves; More noticeably than anything else protruding from there was a broken piece of a wooden shovel and an old boot sole. It would have been impossible to say that there was a living creature living in this room if its presence had not been announced by the old, worn cap lying on the table.

Is it possible to draw a conclusion about the traditions of Gogol in Goncharov’s work? Justify your point of view.

Of course, you noticed that the hero is not capable of active, independent actions, so he cannot avert the threat hanging over his calm, sleepy existence. Oblomov has been trying to write a letter to the village all morning, but due to his excitement he is unable to express his thoughts. And the hero also cannot take or decide anything regarding the move, childishly wanting everything to work out by itself. The question arises: is Oblomov such a special person or is he a more common socio-psychological type?

IN 1. Analyze a fragment of the novel

Read the portrait of Oblomov. How does he characterize the hero? What personality contradictions does it indicate? Illustrate your answer with examples from the text.

He was a man about thirty-two or three years old, of average height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his facial features. The thought walked like a free bird across the face, fluttered in the eyes, sat on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glowed throughout the face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.

Sometimes his gaze darkened with an expression as if of fatigue or boredom; but neither fatigue nor boredom could for a moment drive away from the face the softness that was the dominant and fundamental 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 in passing at Oblomov, would say: “He must be a good man, simplicity!” A deeper and prettier man, having peered into his face for a long time, would have walked away in pleasant thought, with a smile.

Ilya Ilyich’s complexion was neither ruddy, nor dark, nor positively pale, but indifferent or seemed so, perhaps because Oblomov was somehow flabby beyond his years: perhaps from lack of exercise or air, or maybe that and another. In general, his body, judging by the matte, too white light of his neck, small plump arms, soft shoulders, seemed too pampered for a man.

His movements, even when he was alarmed, were also restrained by gentleness and laziness, not without a kind of grace. If a cloud of care came over your face from your soul, your gaze became cloudy, wrinkles appeared on your forehead, and a game of doubt, sadness, and fear began; but rarely did this anxiety congeal in the form of a definite idea, and even more rarely did it turn into an intention. All anxiety was resolved with a sigh and died away in apathy or dormancy.

How well Oblomov’s home suit suited his calm facial features and pampered body! He was wearing a robe made of Persian material, a real oriental robe, 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 constant Asian fashion, went wider and wider from the fingers to the shoulder. Although this robe had lost its original freshness and in places replaced its primitive, natural gloss with another, acquired one, it still retained the brightness of the oriental paint and the strength of the fabric.

The robe had in Oblomov’s eyes a darkness of invaluable merits: 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 walked around the house without a tie and without a vest, because he loved space and freedom. His shoes were long, soft and wide; when he, without looking, lowered his feet from the bed to the floor, he certainly fell into them immediately.

Highlight metaphors and comparisons in the text. Expand their role. Explain why these particular figurative and expressive means predominate in describing the hero’s appearance.

What artistic details of a portrait do you consider the most important? Why? Which of them do you think have an allegorical meaning? Open it up and connect it with the content of the novel.

D 2. What artistic detail, significant for creating the image of Oblomov, is also found in the novel “Eugene Onegin” when the author reflects on the possible fate of Lensky? Explain the indicated coincidence.

Perhaps he is for the good of the world
Or at least was born for glory;
His silent lyre
Loud, continuous ringing
In centuries I could lift it. Poet,
Perhaps on the steps of light
A high stage awaited.
His suffering shadow
Perhaps she took it with her
Holy secret, and for us
The life-giving voice has died,
And beyond the grave line
The anthem of the times will not reach her,
Blessing of the Tribes.

Or maybe even that: a poet
The ordinary one was waiting for his destiny.
The youthful summers would have passed:
The ardor of his soul would cool.
He would change in many ways
I would part with the muses, get married,
The village is happy and horny

I would wear a quilted robe;
I would really know life
I would have gout at the age of forty,
I drank, ate, got bored, got fat, grew weaker,
And finally in my bed
I would die among children,
Whining women and doctors. A.S. Pushkin "Eugene Onegin"

G 3. Read the poem by the poet of Pushkin’s time N.M. Yazykov, whom some literary scholars consider as a prototype of Oblomov. What gives the basis for such a statement? Do you share this point of view? Prove your position.

How I love you, robe!
Clothes of idleness and laziness,
Companion of Secret Delights
And poetic joys!
Let the servants of Ares
Their tight livery is cute;
I am as free with my body as I am with my soul.
From our century of infection,
From life abusive and empty
I am healed - and peace be with me:
Kings of pranks and orders
They don't spoil my youth -
And my days are like me in a robe,
A hundred times more captivating than days
A king who does not live in style.

President of the night sky,
The moon shines golden;
Worldly vanity has fallen asleep -
The thinking student does not sleep:
Wrapped in a designer robe,
Disregarding the noise of the blind light,
He laughs, he thinks in delight,
Above the modern Herostratus.
He doesn't see it in his dreams
Daggers of Zand il Luvel,
And our glory is empty
For a sublime soul there is no fear.
A simple chibouk in his mouth,
Before him, sadly burning out,
There is a non-wax candle;
He sits casually and proudly
With the dreams of a living genius -
And a patient tailor
Thank you for your robe!

N. M. Yazykov, 1823

AND If you are interested in Yazykov’s work, prepare a message about him. When selecting material from books or the Internet, highlight what you think is most important. Think about your presentation to your classmates: what in Yazykov’s life and work might interest them? What is important for studying literature? Be sure to analyze your presentation and find out what your classmates think about your message. If there were shortcomings in the speech, explain to yourself the reasons for them and come up with a plan for eliminating them.

The complexity of the idea of the novel lies in the fact that in order to understand it, you need to be sympathetic to the hero and deeply analyze the historical situation of that time in Russia. To truly comprehend the meaning of the work, one should also turn to its timeless layer and the eternal questions raised in it.

G 1. Re-read the textbook texts about A.I. Goncharov (p.) and about the history of the creation of the novel “Oblomov” (p.). Find in them a characteristic of the time depicted in the novel. Supplement this description with information you found yourself in reference books or on the Internet. Formulate the most important features of the historical situation in Russia in the 40-50s of the 19th century. Prove, based on the text, that this particular era is reflected in the novel “Oblomov”.

G 2. What other periods in the history of Russia in the 19th century can be called transitional? Why? What works do you know that reflect these historical periods? In what ways can these works be compared with the novel “Oblomov”?

IN 1. Analyze a fragment of the novel - the chapter “Oblomov’s Dream”.

Work on the fragment in the form of a scientific-practical conference. Distribute the questions, conduct an independent mini-research. Report your results at the conference. Be sure to select a facilitator who will guide the discussion and summarize the results.

The purpose of the conference is to explain, based on observations of the text, why Goncharov called “Oblomov’s Dream” “the overture of the entire novel.”

Problems of mini-studies:

1) For what purpose do writers depict the hero’s dream? Give a detailed answer, highlight the different functions of sleep. Illustrate your answer with examples from works of literature known to you.

2) Why does this chapter have a title?

4) Is life in Oblomovka really monotonous? Why does the author emphasize its cyclical nature?

5) What is the significance of the motifs of sleep and death in this chapter?

6) What images of the heroes in this chapter seem to you the most important? Why?

8) How does this chapter solve the problem of education? Why are the Skotinins and Prostakovs mentioned in it?

9) What is the role of fairy tale and fable motifs in “Oblomov’s Dream”?

10) Explain, based on text analysis, what N.A. meant. Nekrasov, the author of one of the first reviews of “Oblomov’s Dream,” when he metaphorically called Goncharov’s mastery “the artistic perfection” of his “ pen-brush»?

11) Do you agree with the position of V.G. Korolenko: Goncharov “mentally denied Oblomovism,” but internally loved it unconsciously with deep love”? Justify your point of view.

D 2. Read a fragment from the novel by A.S. Pushkin "Eugene Onegin". How is “the village where Evgeny was bored” similar to Oblomovka, how is it different? It is this comparison that will allow you to see the most important feature of Oblomov’s childhood, which determined his life ideals and future fate.XXVI. XXXVII.

And what about Onegin? By the way, brothers!

I ask for your patience:

His daily activities

I'll describe it to you in detail.

Onegin lived as an anchorite;

He got up at seven o'clock in the summer

And went light

To the river running under the mountain;

Imitating the singer Gulnara,

This Hellespont swam,

Then I drank my coffee,

Looking through a bad magazine

And got dressed...

Walking, reading, deep sleep,

Forest shadow, murmur of streams,

Sometimes black-eyed whites

Young and fresh kiss,

An obedient, zealous horse is bridle,

Lunch is quite whimsical,

A bottle of light wine,

Solitude, silence:

This is Onegin’s holy life;

And he is insensitive to her

Surrendered, red summer days

In careless bliss, apart from

Forgetting both the city and friends,

And the boredom of holiday activities.

What to do in the wilderness at this time?

Walk? The village at that time

Involuntarily bothers the eye

Monotonous nakedness.

Ride on horseback in the harsh steppe?

But a horse with a blunted horseshoe

Unfaithful catching the ice,

Just wait for it to fall.

Sit under a desert roof,

Read: here is Pradt, here is W. Scott.

Don't you want to? - check the consumption

Be angry or drink, and the evening will be long

Somehow it will pass, and tomorrow too,

And you will have a wonderful winter.

However, neither childhood nor the further circumstances of his stay in St. Petersburg provide a complete explanation of Oblomov’s character and his complete inaction. So, on the first day of events in the novel, the hero is visited by different people. Three of them represent, through their occupations, possible life options for Oblomov (social life, service and writing), two are indifferent to the temptations demonstrated by visitors, and he cannot be humble or arrogant, since he is a man of a beautiful soul - kind and gentle. ??????

Z 1. Restore the names of the characters in the novel that were missing in the following critical article:

The parade of guests in front of Oblomov, who is reclining on the bed, is deliberately orderly: the characters replace each other in strict order, as in a classicist play... The guests are essentially “extra-plot characters”, replacing the description of the “environment”... - secular success (___________), bureaucratic career (_____________), game of “accusation” (____________).

Oblomov’s friends (____________ and ____________) are a kind of “doubles” of the hero... Oblomov’s inability to act is repeated in (________________) - “a man without actions”, and in (_____________), who “was a master only of talking... but as soon as necessary it was enough to move a finger, get moving - in a word, to apply the theory he had created to the case and give it a practical move, to show management, speed - he was a completely different person: here he was missing.”

Z 2. Imagine that you need to finish this article. Answer the questions below and format your answers as a continuation of the article.

1. Why do so many guests come to Oblomov? Why do they all want to get the hero off the couch?

2. What means of psychologism does Goncharov use to create images of these heroes? Illustrate your answer with text.

3.Is there anything in common between these characters? What compositional features of chapters 2-5 of the first part of the novel help compare the characters? How does the result of your comparison help you understand one of the author’s main ideas of the novel?

4. Do Oblomov and his visitors have any common features? Justify your point of view.

5. Explain the allegorical meaning of the phrase that Oblomov addresses to the guests: “Don’t come, don’t come! You're coming out of the cold!

6. What scenes of “Dead Souls” by N.V. Does Gogol resemble Oblomov’s “parade of guests”? Draw a conclusion from this observation.

3. Complete a task similar to task 1 - the article is completed.

The author’s idea, which brought to life the “demonstration” of guests and friends, sounded with sharp directness in one of the later remarks (_______________): “Am I alone? Look: Mikhailov, Petrov, Semenov, Stepanov... you can’t count them, our name is legion!” Krasnoshchekova E.A.

Goncharov leads the reader to the understanding that some big change in life, a lofty goal, can lift Oblomov off the couch, and introduces into the action of the novel Ilya Ilyich’s friend, Andrei Ivanovich Stolts, and the pure, wonderful girl whom the hero will fall in love with, Olga Ilyinskaya.

IN 1. Analyze a fragment of the novel - Stolz’s first appearance, accompanied by an open author’s characterization.

Formulate Stolz’s life principles. Analyze: which of them does he actually implement during the development of the novel, and which ones does he retreat from? Why? How does the author's position manifest itself in this?

Just as he has nothing superfluous in his body, so in his moral

In the course of his life, he sought a balance between practical aspects and subtle

needs of the spirit.

He walked firmly, cheerfully... trying to spend every day as

every ruble, with every minute, never-slumbering control of what is spent

time, labor, strength of soul and heart.

It seems that he controlled both sorrows and joys, like the movement of his hands, like

footsteps or how he dealt with bad and good weather.

He opened his umbrella while it was raining, that is, he suffered while it lasted

grief, and suffered without timid submission, but more with annoyance, with pride,

and endured it patiently only because the cause of all suffering

attributed it to himself, and did not hang it, like a caftan, on someone else’s nail.

A simple, that is, direct, real view of life - that was his

a constant task... "It is tricky and difficult to live simply!" - he often said to himself and with hasty glances looked at where it was crooked, where it was askew, where the thread of the cord of life began to wrap itself in an irregular, complex knot.

The dream, the enigmatic, the mysterious had no place in his soul. What is not

was subjected to analysis of experience, practical truth, it was in his eyes

optical illusion, one or another reflection of rays and colors on the mesh of an organ

sight or, finally, a fact to which experience has not yet reached.

Just as subtly and carefully as he watched his imagination, he watched his heart.

Here, often slipping, he had to admit that the sphere of the heart

poisoning was still terraincognita.

Passions, passions justify everything,” they said around him, “and you

In your selfishness, you are saving only yourself: let’s see for whom.

For someone, I’ll take it to the shore,” he said thoughtfully, as if looking

into the distance, and continued not to believe in the poetry of passions, did not admire their stormy

manifestations and destructive traces, but everyone wanted to see the ideal of being and

human aspirations in the strict understanding and administration of life.

E 2. Do you agree with the opinion of literary scholars: “Goncharov shows Oblomov, but talks about Stolz”, “Stolz can be retold, Oblomov - in no case”? (P. Weil and A. Genis) Justify your point of view.

G 3. How does Stolz characterize his attitude towards Oblomov: “In him, more valuable than any mind... is an honest, faithful heart! He fell from the tremors, cooled down, fell asleep, finally, killed, disappointed, having lost the strength to live, but did not lose honesty and loyalty. His heart did not emit a single false note, nor did any dirt stick to it. No elegant lie will seduce him, and nothing will lure him onto a false path; let a whole ocean of rubbish and evil swirl around him, let the whole world be poisoned with poison and go topsy-turvy - Oblomov will never bow to the idol of lies... There are few such people; they are rare; these are pearls in the crowd! When answering the question, pay attention not only to the content of Stolz’s statement, but also to its speech design.

E 4. Do you agree with the statement: “There is no centuries-old way of life behind Stolz, he is not accompanied by any traditions, he is not characterized by doubts and is not inherent in contradictions. This is a man without a past” (L.S. Geiro)? If the class is divided, have a discussion. All points of view of the participants must be supported by the text of the novel. It is necessary to identify a leader who will guide the discussion and summarize the results.

E 5. Can Chichikov be called Oblomov’s predecessor? Justify your point of view. This assignment can be completed in writing or orally (your choice).

E 6. Which critic do you agree with in assessing the image of Olga Ilyinskaya? Justify your point of view.

N.A. Dobrolyubov: “Olga, in her development, represents the highest ideal that a Russian artist can now evoke from present-day Russian life.”

A.V. Druzhinin: “She gets close to him (Oblomov) out of curiosity, he likes it because he has nothing to do... Goncharov gave a large share of the intrigue to the comic element. His incomparable, mocking, lively Olga, from the first minutes of rapprochement, sees all the funny features of the hero, but is deceived only in her calculations about the solid foundations of Oblomov’s character.”

I.F. Annensky: “Olga is one of the Russian missionaries... She does not have a desire to suffer, but a sense of duty. For her, love is life, and life is duty. Her mission is modest - to awaken a sleeping soul... She fell in love not with Oblomov, but with her dream.”

If the class is divided, hold a discussion or conference. All points of view of the participants must be supported by the text of the novel. It is necessary to identify a leader who will guide the discussion and summarize the results.

IN 7. Analyze a fragment of the novel - the scene of the meeting between Oblomov and Olga.

Oblomov went around, past the mountain, from the other end entered the same alley and, having reached the middle, sat down in the grass, between the bushes, and waited.

“She will pass here,” he thought, “I’ll just look at her unnoticed and leave forever.”

He waited with bated breath for her steps. No, it's quiet. Nature lived an active life; invisible, petty work was in full swing around, and everything seemed to lie in solemn peace.

Meanwhile, in the grass everything was moving, crawling, fussing. There the ants are running in different directions so fussily and fussily, colliding, scattering, hurrying, it’s like looking at some human market from above: the same groups, the same crush, the same crowd of people.

Here a bumblebee buzzes near a flower and crawls into its cup; there are flies in a heap near a drop of sap appearing on a crack in a linden tree; here is a bird somewhere in the thicket that has been repeating the same sound for a long time, maybe calling another.

Here are two butterflies, spinning around each other in the air, rushing headlong, as if in a waltz, around tree trunks. The grass smells strong; an incessant crackling sound comes from it...

“What a fuss there is! - thought Oblomov, peering into this bustle and listening to the small noise of nature. “But everything is so quiet and peaceful outside!”

But you still can’t hear the steps. Finally, here... “Oh! - Oblomov sighed, quietly parting the branches. - She, she... What is this? crying! My God!"

Olga walked quietly and wiped away her tears with a handkerchief; but as soon as they are wiped off, they appear new.

She is ashamed, swallows them, wants to hide them even from the trees, but cannot.

Oblomov never saw Olga’s tears; he did not expect them, and they seemed to burn him, but in such a way that it made him not hot, but warm.

He quickly followed her.

Olga, Olga! - he said tenderly, following her.

She shuddered, looked back, looked at him in surprise, then turned away and walked on.

He walked next to her.

Creative history of the novel by I.A. Goncharov "Oblomov"

The history of the creation of the novel "Oblomov"

Oblomov image Stolz novel

The famous ninth chapter of the first part (“Oblomov’s Dream”), according to Goncharov, “the overture of the entire novel” (VIII, 111), was published in 1849 in the “Literary Collection with Illustrations,” published by the editors of the Sovremennik magazine. “An Episode from an Unfinished Novel” was noticed by critics. Many of Goncharov's contemporaries left rave reviews about Oblomov's Dream.

M.E. Saltykov-Shchedrin in a letter to P.V. Annenkov (January 29, 1859) called this chapter “extraordinary,” “a lovely thing.” Some of his contemporaries, including M.E. Saltykov-Shchedrin, the novel in its entirety was not accepted. In the minds of many readers, “Oblomov’s Dream” will continue to exist in two forms: both as a chapter from a novel and as a separate work.

It has long been noted that the creation of “Oblomov” was influenced by the writer’s experience working on a book about a trip around the world - “The Frigate “Pallada””. As Goncharov himself admitted, sailing on a frigate gave him “a universal and private lesson” (II, 45). The writer had the opportunity not only to compare different countries, entire worlds separated by vast spaces, but also to compare, having seen them almost simultaneously, live different historical eras: the “today” life of bourgeois-industrial England and the life, so to speak, of the past, even the life of the “ancient world, as the Bible and Homer depict it" (III, 193). As is clear from the book “Frigate “Pallada””, Goncharov, comparing East and West, trying to comprehend the transition from “Sleep” to “Awakening” on a global scale, constantly thought about Russia, about his native Oblomovka.

The story of the completion of Oblomov in literature has long been called the “Marienbad miracle”: in a few weeks he - “as if under dictation” (VII, 357) - wrote almost all of the last three parts of the novel. The “miracle” has an explanation: all these ten years he thought about the novel, wrote it in his head. Finally, in one of his letters in 1857, Goncharov summed up: “I did what I could” (VIII, 238).

In the responses of famous writers (I.S. Turgenev, V.P. Botkin, L.N. Tolstoy), who became acquainted with the novel in the author’s reading from the manuscript or immediately after its journal publication, the same epithet was repeated: “Oblomov is a thing , capital"".

So, L.N. Tolstoy, a strict judge, not inclined to indulge the author’s pride, writes A.V. Druzhinin: “Oblomov is the most important thing, which has not happened for a long, long time. Tell Goncharov I'm delighted with Oblom<ова>and I re-read it again. But what will be more pleasant for him is that Oblomov’s success is not accidental, not miserably, but healthy, thorough and timeless in a real public.”

In 1838, Goncharov wrote a humorous story called “Dashing Illness,” which dealt with a strange epidemic that originated in Western Europe and came to St. Petersburg: empty dreams, castles in the air, “the blues.” This “dashing sickness” is a prototype of “Oblomovism”.

The entire novel “Oblomov” was first published in 1859 in the first four issues of the magazine “Otechestvennye zapiski”. The beginning of work on the novel dates back to an earlier period. In 1849, one of the central chapters of “Oblomov” was published - “Oblomov’s Dream”, which the author himself called “the overture of the entire novel.” The author asks the question: what is “Oblomovism” - a “golden age” or death, stagnation? In “The Dream...” the motifs of staticity and immobility, stagnation predominate, but at the same time one can feel the author’s sympathy, good-natured humor, and not just satirical negation.

As Goncharov later claimed, in 1849 the plan for the novel “Oblomov” was ready and the draft version of its first part was completed. “Soon,” Goncharov wrote, “after the publication of Ordinary History in 1847 in Sovremennik, I already had Oblomov’s plan ready in my mind.” In the summer of 1849, when “Oblomov’s Dream” was ready, Goncharov made a trip to his homeland, to Simbirsk, whose life retained the imprint of patriarchal antiquity. In this small town, the writer saw many examples of the “sleep” that the inhabitants of his fictional Oblomovka slept.

Work on the novel was interrupted due to Goncharov's trip around the world on the frigate Pallada. Only in the summer of 1857, after the publication of the travel essays “Frigate “Pallada””, Goncharov continued work on “Oblomov”. In the summer of 1857, he went to the resort of Marienbad, where within a few weeks he completed three parts of the novel. In August of the same year, Goncharov began working on the last, fourth, part of the novel, the final chapters of which were written in 1858. “It will seem unnatural,” Goncharov wrote to one of his friends, “how can a person finish in a month what he could not finish in a year? To this I will answer that if there were no years, nothing would be written per month. The fact of the matter is that the novel was taken down to the smallest scenes and details and all that remained was to write it down.” Goncharov recalled this in his article “An Extraordinary History”: “The entire novel had already been completely processed in my head - and I transferred it to paper, as if taking dictation...” However, while preparing the novel for publication, Goncharov rewrote it in 1858 "Oblomov", adding new scenes to it, and made some cuts. Having completed work on the novel, Goncharov said: “I wrote my life and what grows into it.”

Goncharov admitted that the idea of “Oblomov” was influenced by Belinsky’s ideas. The most important circumstance that influenced the concept of the work is considered to be Belinsky’s speech on Goncharov’s first novel, “An Ordinary Story.” In his article “A Look at Russian Literature of 1847,” Belinsky analyzed in detail the image of a noble romantic, an “extra person” claiming an honorable place in life, and emphasized the inactivity of such a romantic in all spheres of life, his laziness and apathy. Demanding the merciless exposure of such a hero, Belinsky also pointed to the possibility of a different ending to the novel than in “An Ordinary History.” When creating the image of Oblomov, Goncharov used a number of characteristic features outlined by Belinsky in his analysis of “An Ordinary History.”

The image of Oblomov also contains autobiographical features. By Goncharov’s own admission, he himself was a sybarite, he loved serene peace, which gives rise to creativity. In his travel diary “Frigate “Pallada””, Goncharov admitted that during the trip he spent most of the time in the cabin, lying on the sofa, not to mention the difficulty with which he decided to sail around the world. In the friendly circle of the Maykovs, who treated the writer with great love, Goncharov was given the ambiguous nickname - “Prince de Lazy.”

The appearance of the novel “Oblomov” coincided with the most acute crisis of serfdom. The image of an apathetic landowner, incapable of activity, who grew up and was brought up in the patriarchal atmosphere of a manorial estate, where the gentlemen lived serenely thanks to the labor of serfs, was very relevant for contemporaries. N.A. Dobrolyubov in his article “What is Oblomovism?” (1859) praised the novel and this phenomenon. In the person of Ilya Ilyich Oblomov, it is shown how environment and upbringing disfigure a person’s beautiful nature, giving rise to laziness, apathy, and lack of will.

Oblomov's path is a typical path of provincial Russian nobles of the 1840s, who came to the capital and found themselves outside the circle of public life. Service in the department with the inevitable expectation of promotion, from year to year the monotony of complaints, petitions, and establishing relationships with department heads - this turned out to be beyond Oblomov’s strength. He preferred colorless lying on the couch, devoid of hopes and aspirations, to moving up the career ladder. One of the reasons for “dashing illness,” according to the author, is the imperfection of society. This thought of the author is conveyed to the hero: “Either I don’t understand this life, or it’s no good.” This phrase by Oblomov makes us recall well-known images of “superfluous people” in Russian literature (Onegin, Pechorin, Bazarov, etc.).

Goncharov wrote about his hero: “I had one artistic ideal: this is the image of an honest and kind, sympathetic nature, an extremely idealist, struggling all his life, seeking the truth, encountering lies at every step, being deceived and falling into apathy and impotence.” In Oblomov, the dreaminess that was rushing out in Alexander Aduev, the hero of “An Ordinary Story,” lies dormant. At heart, Oblomov is also a lyricist, a person who knows how to feel deeply - his perception of music, immersion in the captivating sounds of the aria “Casta diva” indicate that not only “dove meekness”, but also passions are accessible to him. Each meeting with his childhood friend Andrei Stolts, the complete opposite of Oblomov, brings the latter out of his sleepy state, but not for long: the determination to do something, to somehow arrange his life takes possession of him for a short time, while Stolts is next to him. However, Stolz does not have enough time to put Oblomov on a different path. But in any society, at all times, there are people like Tarantiev, who are always ready to help for selfish purposes. They determine the channel along which Ilya Ilyich’s life flows.

Published in 1859, the novel was hailed as a major social event. The Pravda newspaper, in an article dedicated to the 125th anniversary of Goncharov’s birth, wrote: “Oblomov appeared in an era of public excitement, several years before the peasant reform, and was perceived as a call to fight against inertia and stagnation.” Immediately after its publication, the novel became the subject of discussion in criticism and among writers.

The history of the creation of the novel "Oblomov"

As Goncharov later claimed, in 1849 the plan for the novel “Oblomov” was ready and the draft version of its first part was completed. “Soon,” wrote Goncharov, “after the publication of Ordinary History in 1847 in Sovremennik, I already had Oblomov’s plan ready in my mind.” In the summer of 1849, when “Oblomov’s Dream” was ready, Goncharov made a trip to his homeland, to Simbirsk, whose life retained the imprint of patriarchal antiquity. In this small town, the writer saw many examples of the “sleep” that the inhabitants of his fictional Oblomovka slept.

Work on the novel was interrupted due to Goncharov's trip around the world on the frigate Pallada. Only in the summer of 1857, after the publication of the travel essays “Frigate “Pallada””, Goncharov continued work on “Oblomov”. In the summer of 1857, he went to the resort of Marienbad, where within a few weeks he completed three parts of the novel. In August of the same year, Goncharov began working on the last, fourth, part of the novel, the final chapters of which were written in 1858. “It will seem unnatural,” Goncharov wrote to one of his friends, “how did a person finish in a month what he could not finish in a year? To this I will answer that if there were no years, nothing would be written per month. The fact of the matter is that the novel was taken down to the smallest scenes and details and all that remained was to write it down.” Goncharov recalled this in his article “An Extraordinary History”: “The whole novel had already been completely processed in my head - and I transferred it to paper, as if taking dictation...” However, while preparing the novel for publication, Goncharov rewrote it in 1858 “Oblomov”, adding new scenes to it, and made some cuts. Having completed work on the novel, Goncharov said: “I wrote my life and what grows into it.”

Goncharov admitted that the idea of Oblomov was influenced by Belinsky’s ideas. The most important circumstance that influenced the concept of the work is considered to be Belinsky’s speech on Goncharov’s first novel, “An Ordinary Story.” In his article “A Look at Russian Literature of 1847,” Belinsky analyzed in detail the image of a noble romantic, an “extra person” claiming an honorable place in life, and emphasized the inactivity of such a romantic in all spheres of life, his laziness and apathy. Demanding the merciless exposure of such a hero, Belinsky also pointed to the possibility of a different ending to the novel than in “An Ordinary History.” When creating the image of Oblomov, Goncharov used a number of characteristic features outlined by Belinsky in his analysis of “An Ordinary History.”

Oblomov’s path is a typical path of provincial Russian nobles of the 1840s, who came to the capital and found themselves outside the circle of public life. Service in the department with the inevitable expectation of promotion, from year to year the monotony of complaints, petitions, establishing relationships with clerks - this turned out to be beyond Oblomov’s strength. He preferred colorless lying on the couch, devoid of hopes and aspirations, to moving up the career ladder. One of the reasons for “dashing illness,” according to the author, is the imperfection of society. This thought of the author is conveyed to the hero: “Either I don’t understand this life, or it’s no good.” This phrase by Oblomov makes us recall well-known images of “superfluous people” in Russian literature (Onegin, Pechorin, Bazarov, etc.).

Goncharov wrote about his hero: “I had one artistic ideal: this is the image of an honest and kind, sympathetic nature, an extremely idealist, struggling all his life, seeking the truth, encountering lies at every step, being deceived and falling into apathy and powerlessness.” In Oblomov, the dreaminess that was rushing out in Alexander Aduev, the hero of “An Ordinary Story,” lies dormant. At heart, Oblomov is also a lyricist, a person who knows how to feel deeply - his perception of music, immersion in the captivating sounds of the aria “Casta diva” indicate that not only “dove meekness”, but also passions are accessible to him. Each meeting with his childhood friend Andrei Stolts, the complete opposite of Oblomov, brings the latter out of his sleepy state, but not for long: the determination to do something, to somehow arrange his life takes possession of him for a short time, while Stolts is next to him. However, Stolz does not have enough time to put Oblomov on a different path. But in any society, at all times, there are people like Tarantiev, who are always ready to help for selfish purposes. They determine the channel along which Ilya Ilyich’s life flows.

Goncharov’s main work, which secured him one of the first places among Russian writers, is the novel “Oblomov”. The significance of this work, in addition to its purely artistic merits, is based on the broad typicality that Goncharov was able to give to his main character. Thanks to this typicality, the words “Oblomov” and “Oblomovshchina” acquired a common noun meaning and are still used to characterize either an individual person or an entire system of life.

Oblomov as a type can be considered from two sides: on the one hand, he is a representative of the old Russian nobility, as it developed under the influence of the conditions of serfdom; on the other hand, his face embodies some features of the Russian national character, as evidenced by Goncharov himself, who admits that Oblomov’s character included some “elementary properties of the Russian person”; it must, however, be borne in mind that these “elementary properties” do not yet constitute the entire national character, that along with the traits noted by Goncharov in the image of Oblomov, there are many others, completely different from them, such as, for example, those traits that depicted in Turgenev's folk types.

Goncharov wrote “Oblomov” for almost ten years. In 1849, he published an excerpt from the first part of the novel, “Oblomov’s Dream,” and only in 1859 the novel appeared in its entirety. Its content was inspired by childhood memories: Goncharov himself, describing in the chapter “In the Motherland” the situation and life of his native home, drawing portraits of the people around him, the sailor “godfather” (Yakubov) and his friends, educated and intelligent people at that time, but those who did not do anything, did not leave their dressing gowns, gave all their economic and financial affairs to the care of the headman, remarks on this matter: “It seems to me that I, a very sharp-eyed and impressionable boy, even then, at the sight of all these figures, this carefree living and being, idleness and lying down, and a vague idea of Oblomovism arose.”

This idea became more conscious when Goncharov, after graduating from university, returned to his hometown: provincial life at that time presented a complete “picture of sleep and stagnation”, it was dominated by the same “Oblomovism” that was familiar to him since childhood. Goncharov himself said to himself: “generalization is my second nature”; Therefore, from small observations of sleepy provincial life, from acquaintance with its individual representatives, from childhood memories and, finally, from an analysis of one’s own character, a living image of Oblomov was gradually formed as a typical generalization of laziness, apathy, and stagnation that prevailed in Russian provincial society.

Goncharov. Novel "Oblomov" (1859)

Creative history of the novel by I.A. Goncharov "Oblomov"

The history of the creation of the novel "Oblomov"