Essay plan

1. Introduction. Goncharov's style

2. Main part. Portraiture in the novel “Oblomov”

Portrait-sketch of Oblomov in the novel

Interior as an integral part of the hero's portrait

The motif of immobility in the description of Oblomov’s appearance. Philosophical subtext of the topic

Portrait of Stolz in the novel

The motif of the statue and its meaning in the portrait of Olga Ilyinskaya

Description of the heroine's appearance in dynamics.

The device of psychological parallelism in the portrait of Olga.

The motif of peace in the description of Olga Ilyinskaya’s appearance.

Portrait of Agafya Pshenitsyna in the novel.

Portrait of Tarantiev in the novel.

The meaning of a detailed description of the hero’s appearance.

Fragmentary portraits in the novel.

3. Conclusion. Functions of portraits in Goncharov’s novel.

I.A. Goncharov appears before us as a master of portraiture. His portraits are flexible, detailed, detailed. The portrait includes a description of the hero’s appearance, a description of his clothing, his surroundings, and incidental author’s remarks, and characterization, and landscapes, and the perception of other characters. In a word, in Goncharov we have a detailed portrait-essay. And in this the creative style of the writer is close to the creative style of N.V. Gogol.

Let's try to look at the portraits in Goncharov's novel "Oblomov". We find the first description of appearance already at the beginning of the work. This is a detailed portrait of Oblomov. In this description, Goncharov records the first impression and immediately gives a hint that not everything is as simple as it seems at first glance, that this portrait has its own subtext. There is some uncertainty and vagueness in the very description of the hero’s appearance. At the same time, critics noted that the muted tones here are in harmony with the colors of the landscape of the Central Russian strip (“Oblomov’s Dream”): “He was a man about thirty-two or three years old, of average height, pleasant appearance, with dark gray eyes, but with a lack of any definite idea, any concentration in 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 whole body. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.” And then we read: “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...” This portrait reveals to us the inner qualities of the hero, his habits: laziness, passive attitude towards life, his lack of any serious interests. Nothing occupies Oblomov, he has no habit of either mental or physical labor. The leitmotif of the entire description is softness. In the face of Ilya Ilyich - “the gentleness that was the dominant and main expression,” and this gentleness was an expression not only of the face, “but of the whole soul.” The same “softness” is in the hero’s movements, his oriental robe is “soft,” and his feet have “soft and wide” shoes.

In describing Oblomov’s body, Goncharov emphasizes the hero’s sedentary lifestyle, sybaritism, and lordly effeminacy: “In general, his body, judging by the matte, overly white color of his neck, small plump arms, soft shoulders, seemed too effeminate for a man.” Here the writer denotes the hero’s habits - “lying down”, love of loose clothing. Oblomov's home suit (oriental robe) becomes a symbol of his sedentary, measured life. It is characteristic that Oblomov throws away his robe at the time when he falls in love with Olga. Agafya Pshenitsyna takes it out and returns it to the owner.

Goncharov’s interior is, as it were, a continuation of the portrait: the room only at first glance seems “beautifully decorated.” But the “experienced eye” notes the ungraceful chairs, the unsteadiness of the shelves, the sagging back of the sofa. There are cobwebs scattered across the walls, the mirrors are covered with dust, the carpets are “stained”, there is always a plate left over from dinner on the table, a forgotten towel is lying on the sofa. The motif of sleep, deadness, and fossilization already appears in this interior. Describing the room, Goncharov notes: “one would think that no one lives here - everything was so dusty, faded and generally devoid of living traces of human presence.”

The motif of fossilization and immobility also appears directly in the description of the hero’s appearance. Goncharov notes that “neither fatigue nor boredom” could drive a certain expression from Oblomov’s face, the thought “hid in the folds of his forehead, then completely disappeared,” anxiety also could not take possession of his entire being - “all anxiety was resolved with a sigh and died away in apathy or in a drowsiness." And in this some researchers already find deep philosophical implications. As Weil and Genis note, “these frozen, petrified “folds” suggest an analogy with an ancient statue. The comparison is fundamentally important, which Goncharov consistently makes throughout the novel. In Oblomov’s figure, the golden ratio is observed, which gives a feeling of lightness, harmony and completeness to ancient sculpture. Oblomov’s stillness is graceful in its monumentality, it is endowed with a certain meaning.” The hero becomes funny, clumsy, awkward precisely in movement, in comparison with Stolz and Olga. In the house of Agafya Pshenitsyna, on the Vyborg side, in this “small Oblomovka”, he again turns into a statue: “He will sit, cross his legs, rest his head on his hand - he does all this so freely, calmly and beautifully... he is all so good , is so pure that he can do nothing, and does not.” What is the meaning of this monumentality of the hero? From the point of view of Stolz and Olga, who cannot imagine their life without movement, Oblomov lives without a goal. He is dead while alive. According to Oblomov himself, the border between life and death is conditional, it is rather a kind of intermediate state - a dream, a dream, Oblomovka. He ends up being the only genuine person in the novel. Researchers compare Olga and Stolz to machines, each of which has its own gear to engage with others. Oblomov is a complete, perfect statue. But this is precisely where the tragic paradox lies. Other heroes - “only fragments of Oblomov’s whole personality - are alive due to their imperfection, their incompleteness.” Oblomov is dead, he cannot exist in harmony with the world around him due to his perfection, harmony, and self-sufficiency. Thus, Goncharov’s portrait of the hero is included in the philosophical problematics of the novel.

The portrait of Stolz in the novel is given in contrast to the portrait of Oblomov. And this contrast is in the definiteness, clarity of lines and colors. “He is all made up of bones, muscles and nerves, like a blooded English horse. He is thin; he has almost no cheeks at all, that is, bone and muscle, but no sign of fatty roundness; complexion is even, darkish and no blush; the eyes, although a little greenish, are expressive.” The leitmotif of this portrait is movement. Stolz is pragmatic, businesslike: he serves, takes care of business, participates “in some company.” “He is constantly on the move: if society needs to send an agent to Belgium or England, they send him; you need to write some project or adapt a new idea to business - they choose it. Meanwhile, he goes out into the world and reads: when he has time, God knows.” In the image of Stolz, the writer emphasizes rationalism, the mental principle: “it seems that he controlled both sorrows and joys with the movement of his hands,” “he opened his umbrella while it was raining,” “suffered while the sorrow lasted,” “enjoyed joy as if plucked along the road.” flower." Most of all, Stolz was afraid of “imagination,” “every dream.” Thus, Stolz is presented in the novel not only as the external antipode of Oblomov, but also his antipode in his internal qualities.

The motif of the statue is heard in Goncharov and in the description of Olga Ilyinskaya. It is characteristic that she appears this way precisely in the imagination of Oblomov, who cannot forget her image after meeting her. “Olga in the strict sense was not a beauty, that is, there was no whiteness in her, no bright coloring of her cheeks and lips, and her eyes did not burn with rays of inner fire; there were no corals on the lips, no pearls in the mouth, no miniature hands, like those of a five-year-old child, with fingers shaped like grapes.

But if she were turned into a statue, she would be a statue of grace and harmony. The size of the head strictly corresponded to a somewhat tall stature; the size of the head corresponded to the oval and size of the face; all this, in turn, was in harmony with the shoulders, and the shoulders with the body...” However, this immobility here symbolizes not perfection and completeness (as in Oblomov’s portrait), but rather the “sleeping”, not yet awakened soul of the heroine.

Next we see a portrait of her, given in the author’s perception. And here what Oblomov does not notice is emphasized - the predominance of the rational principle. Goncharov here seems to give us a look from the outside: “Whoever met her, even absent-minded, stopped for a moment in front of this so strictly and deliberately, artistically created creature.

The nose formed a slightly noticeably convex, graceful line; the lips are thin and mostly compressed: a sign of a thought constantly directed at something. The same presence of a speaking thought shone in the vigilant, always cheerful, never-missing gaze of dark, gray-blue eyes. The eyebrows gave special beauty to the eyes: they were not arched, they did not round the eyes with two thin strings plucked with a finger - no, they were two light brown, fluffy, almost straight stripes, which rarely lay symmetrically: one was a line higher than the other, hence above the eyebrow there was a small fold in which something seemed to say, as if a thought rested there. Olga walked with her head tilted slightly forward, resting so slenderly and nobly on her thin, proud neck; she moved her whole body evenly, walking lightly, almost imperceptibly..."

The writer gives a dynamic portrait of the heroine, depicting her at certain moments in her life. This is how Olga appears in moments of singing: “Her cheeks and ears were red with excitement; sometimes a play of heart lightning suddenly sparkled on her fresh face, a ray of such mature passion flared up, as if she were experiencing a distant future time of life in her heart, and suddenly this instant ray went out again, again her voice sounded fresh and silvery.” The author uses a comparison with natural phenomena, describing the “awakening of the heroine’s soul” when she understands Oblomov’s feelings: “... her face was gradually filled with consciousness; a ray of thought, guesswork made its way into every feature, and suddenly the whole face was illuminated with consciousness... The sun also sometimes, coming out from behind a cloud, little by little illuminates one bush, another, the roof, and suddenly bathes the whole landscape in light...” In Oblomov’s perception, Olga is given to us in that moment when her feeling is just emerging and Ilya is afraid to frighten him away. “A young, naive, almost childish smile never appeared on her lips, she never looked so wide, openly with her eyes when they expressed either a question, or bewilderment, or simple-minded curiosity, as if she had nothing to ask, there is nothing to know, nothing to be surprised at!

Her gaze did not follow him as before. She looked at him as if she had known him for a long time, studied him, finally, as if he was nothing to her, just like a baron...

There was no sternness, no yesterday's annoyance, she joked and even laughed, answered questions in detail, to which she would not have answered anything before. It was clear that she had decided to force herself to do what others were doing, which she had not done before. The freedom, the ease that allowed her to express everything that was on her mind, was no longer there. Where did everything suddenly go?” Here Ilya Ilyich analyzes Olga’s mood and feelings.

But Olga realizes her power over him, she takes on the role of a “guiding star.” And again the description of her appearance is given here in the perception of Ilya. Goncharov here does not give us a new portrait of the heroine, but uses the technique of psychological parallelism, reminding the reader of her already known features: “Her face was different, not the same one when they walked here, but the one with which he left her for the last time and which gave him such anxiety. And the caress was somehow restrained, the whole facial expression was so concentrated, so definite; he saw that it was impossible to play with guesses, hints and naive questions with her, that this childish, cheerful moment would be survived.”

The author also denotes Olga’s inner qualities, inserting subtle remarks, conveying Stolz’s impressions and the perception of her by secular society. In these descriptions, Goncharov emphasizes the simplicity and naturalness of the heroine. “Be that as it may, in a rare girl you will find such simplicity and natural freedom of look, word, and action. You’ll never read in her eyes: “Now I’ll purse my lip a little and think - I’m so pretty. I’ll look there and get scared, I’ll scream a little, and now they’ll run up to me. I’ll sit by the piano and stick out the tip of my leg a little..."

No affectation, no coquetry, no lies, no tinsel, no intent! For all of this, almost only Stolz appreciated her; for this, she sat through more than one mazurka alone...

Some considered her simple, short-sighted, because neither wise maxims about life, about love, nor quick, unexpected and bold remarks, nor read or overheard judgments about music and literature poured from her tongue: she spoke little, and only her own, unimportant - and smart and lively “gentlemen” walked around her; the quiet ones, on the contrary, considered her too sophisticated and were a little afraid.”

In the last part of the novel, as M.G. notes. Urtmintsev, in Olga’s portrait the motif of peace sounds twice. She finds happiness with the rational, reserved Stolz. “She fixed her eyes on the lake, on the distance, and thought so quietly, so deeply, as if she had fallen asleep. She wanted to catch what she was thinking, what she was feeling, but she couldn’t. Thoughts rushed as smoothly as waves, blood flowed so smoothly in my veins. She experienced happiness and could not determine where the boundaries were, what it was. She thought why she felt so quiet, peaceful, inviolably good, why she was at peace...” And at the end of the chapter we read: “She still sat as if she were sleeping - the sleep of her happiness was so quiet: she did not move, almost did not breathe.” The motif of peace here denotes a certain limitation of the heroine, the only possible life option for her.

In contrast to the poetic portrait of Olga, the novel gives a “prosaically everyday” portrait of Agafya Pshenitsyna. Here Goncharov only indicates the appearance features, describes the clothes, but says nothing about the habits, manners, and character traits of this heroine. “She was about thirty. She was very white and full in the face, so that the blush, it seemed, could not break through her cheeks. She had almost no eyebrows at all, but in their place there were two slightly swollen, shiny stripes with sparse blond hair. The eyes are grayish-simple, like the whole facial expression; the hands are white, but hard, with large knots of blue veins protruding outward.

The dress fit her tightly: it is clear that she did not resort to any art, not even an extra skirt, to increase the volume of her hips and reduce her waist. Because of this, even her closed bust, when she was without a headscarf, could serve a painter or sculptor as a model of a strong, healthy breast, without violating her modesty. Her dress, in relation to the elegant shawl and ceremonial cap, seemed old and shabby.” The hands of this heroine reveal her daily habit of work, and indeed in the future she appears as an excellent housewife. To Oblomov she seems modest and shy, we see that she is capable of much for the sake of love. However, Goncharov does not reflect all these qualities in the description of her appearance.

The novel also gives a detailed portrait of Tarantiev, Oblomov's fellow countryman. This is “a man of about forty, belonging to a large breed, tall, bulky in the shoulders and throughout the body, with large facial features, a large head, a strong, short neck, large protruding eyes, thick lips. A quick glance at this man gave rise to the idea of ​​something rough and unkempt. It was clear that he was not chasing the elegance of the suit. It was not always possible to see him clean shaven. But he apparently didn’t care; he was not embarrassed by his suit and wore it with some kind of cynical dignity.” This portrait is also a sketch portrait. Goncharov gives us the life story of the hero, outlines his manners, habits, and character traits. “Tarantiev was a master only of talking; in words he decided everything clearly and easily, especially when it came to others; but as soon as it was necessary to move a finger, to get under way - in a word, to apply the theory he had created to the case and give it a practical move, to show discretion, speed - he was a completely different person: here he was missing ... "

Why is the description of Tarantiev in such detail in Goncharov’s novel? The fact is that this character not only plays an important role in the plot, but is also connected with the problems of the novel. Goncharov brings this hero closer to Oblomov. And this is not only about their common homeland - Oblomovka. Taranyev, just like the main character, develops in the novel the motif of unfulfilled hopes. By the will of fate, Tarantyev, who had received some education, was to remain a scribe for the rest of his life, “and meanwhile he carried within himself and was aware of a dormant force, locked inside him by hostile circumstances forever, without hope of manifestation, as they were locked, according to fairy tales, within the cramped, enchanted walls are the spirits of evil, deprived of the power to harm.” The same “dormant power” is present in Oblomov. Tarantiev is like a “reduced double” of Oblomov, a kind of parody of the main character.

Other descriptions of appearance in the novel are more brief and fragmentary. These are the portraits of Oblomov’s guests at the beginning of the novel - Volkov, Sudbinsky, Penkin, Alekseev. Researchers have noted here the similarity in the descriptions of these characters with the stylistic manner of N.V. Gogol in the poem “Dead Souls”.

Thus, the portrait in Goncharov’s novel performs a psychological function, revealing the character’s inner world, denoting the subtlety of mental movements, and outlining character. In addition, the portraits of the writer are related to the philosophical issues of the novel.

Introduction

Since the critic Pisarev declared upon the release of the novel that it “in all likelihood will constitute an era in the history of Russian literature,” and prophesied a common noun for the types introduced in it, there is not a single literate Russian who does not know at least approximately that such Oblomovism. The novel was lucky: a month after its appearance, it found not just an intelligent reviewer, but also a serious interpreter in the person of Dobrolyubov; Moreover, the author himself, far from the views and especially the practice of revolutionary democracy, and also an extremely jealous and suspicious person, completely agreed with Dobrolyubov’s article “What is Oblomovism?” “The impression that this novel made in Russia by its appearance cannot be described,” recalled Prince P. Kropotkin forty years later. “All of educated Russia read Oblomov and discussed Oblomovism. The study of Oblomovism in all its manifestations made Goncharov’s novel immortal.

Psychological portrait of the main character

The main character is Ilya Ilyich Oblomov, a hereditary nobleman, a smart, intelligent young man who received a good education and dreamed in his youth of selfless service to Russia. Goncharov gives the following description of his appearance: “He was a man of average height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea.” By character, Ilya Ilyich is honest, kind and meek. His childhood friend, Andrei Stolts, says about him: “This is a crystal, transparent soul.” But all these positive character traits are contrasted with such qualities as lack of will and laziness. To understand the reasons for the emergence of such a phenomenon as Oblomovism, you need to remember “Oblomov’s Dream.” In it, Ilya Ilyich sees his parents, his family estate and its entire way of life. It was a way of life that did not change for decades; everything seemed to have frozen, fallen asleep in this estate; life went slowly, measuredly, lazily and sleepily. Nothing disturbed the life of Oblomovka. When describing the life of the landowner's estate, Goncharov often uses the words “silence”, “stagnation”, “peace”, “sleep”, “silence”. They very accurately convey the very atmosphere of the house, where life proceeded without change and excitement from breakfast to lunch, from afternoon nap to evening tea, from dinner - again until the morning, where the most memorable event was how Luka Savelich unsuccessfully slid down a hill in winter on a sled and hurt his forehead. We can say that the life of the Oblomovites was defined by one word - “stagnation”, it was a typical existence of a Russian provincial landowner’s estate, and Goncharov did not invent it: he himself grew up in such a family. And little Ilyusha Oblomov was raised by the very atmosphere of this house, the very life of Oblomovka. As N.A. Dobrolyubov very precisely defined in the article “What is Oblomovism?”, Ilya Ilyich was brought up not just as a nobleman, but precisely as a Russian gentleman who “doesn’t need to fuss every day, doesn’t need to work for the sake of “bread.” essential.” Ilya Oblomov must be considered as a unique result of the upbringing of many generations of Oblomovs, as a product of the “petrified kingdom” of Russian life itself. This upbringing and this way of life killed everything living, everything immediate, accustoming a person to sleepy idleness; master, and the servant. In this sense, the image of Oblomov’s servant is very important - Ilya Ilyich says, turning to him: “Yes, you, brother, are even greater Oblomov than I am!” This is a very accurate remark; Zakhar is like “Oblomov squared”: all the worst qualities of Oblomov are brought to caricature proportions in Zakhar. Oblomov’s life is devoid of aspirations for any changes; on the contrary, most of all he values ​​solitude and peace. Oblomov gradually breaks ties, first with the service, and then with the entire outside world, with society. A robe, shoes and a sofa are what contribute to the young man's immersion in complete apathy. Goncharov makes it clear to us that this man is dying morally by describing Oblomov’s life: “A cobweb, saturated with dust, was clinging to the glass; mirrors... could serve as tablets for writing notes on them in the dust for memory”; “Lying with Ilya Ilyich was his normal state.” Dobrolyubov, and after him other critics, were amazed at the skill of the writer, who structured the novel in such a way that nothing seems to happen in it, and there is no external movement at all, or rather, the usual “romantic” dynamics, but unremitting interest remains. The fact is that under the outer inactivity of the hero, under the leisurely and detailed descriptions, intense internal action lurks. Its driving force turns out to be Oblomov’s stubborn struggle with the life that surrounds him, flowing in from all sides - a struggle that is outwardly inconspicuous, sometimes almost invisible, but that is no less fierce. On the contrary, bitterness only increases due to the fact that vain, in some of its manifestations, life moves slowly and steadily, crushing everything hostile and hostile to it: progress crushes Oblomovism, which is represented in the novel by all kinds of inertia. The meek Ilya Ilyich desperately and to the end fights off the invasion of life, from its great demands, from labor and from the small pricks of the “malice of the day.” Being wrong in his resistance to civic duty, he sometimes turns out to be higher and more right than the vain claims of the then existence. And, without throwing off his robe, without leaving Oblomov’s famous sofa, he sometimes delivers well-aimed blows to the enemy who burst into him and disturbed his peace. Goncharov introduces the reader into the atmosphere of this struggle from the very beginning, immediately outlining the contradictions of the passive, although in its own way, militant position of the hero. “Oh, my God! Life touches you, it reaches you everywhere,” Oblomov yearns. The morning visits to the hero, with which the novel begins, are a whole gallery of types, characteristic masks; some of them then no longer appear in the novel. Here is an empty dandy, a careerist official, and an accusatory writer. The masks are different, but the essence is the same: empty vanity, deceptive activity. It is precisely thanks to the “bringing out” of such “heterogeneous individuals” that the idea about the illusory intensity of the existence of “business” people, the fullness of their lives, becomes fuller and more expressive. Ilya Ilyich Oblomov, once a playful, lively and inquisitive boy, eking out an idle, parasitic existence (why work when there are three hundred Zakharovs to do it!), gradually declines. Idleness becomes his ideal. “Life in his eyes,” the novel says, “was divided into two halves: one consisted of work and boredom - these are synonyms for him; the other - from peace and peaceful fun." Idleness, laziness and apathy are so ingrained in Oblomov that he even considers a different ideal of life unnatural. “Do I really suffer, do I work? - Oblomov passionately explains to his servant Zakhar. - It seems that there is someone to give, to do! I have never pulled a stocking over my feet as I live, thank God! Will I worry? It is not surprising that Oblomov is far from the interests of practical life, is burdened by its demands, and is not able to protect even his own interests. When, taking advantage of his gullibility, the swindler and blackmailer asks Oblomov about the state of his affairs, Oblomov gives an answer that is stunning in its frankness. “Listen...Listen,” he repeated deliberately, almost in a whisper, “I don’t know what corvée is, what rural labor is, what a poor man means, what a rich man means; I don’t know what a quarter of rye or oats means, what it costs, in what month, and what they sow and reap, how and when they sell it; I don’t know whether I’m rich or poor, whether I’ll be full in a year or whether I’ll be a beggar - I don’t know anything! - he concluded with despondency...” This detail is noteworthy - Oblomov makes his confession “almost in a whisper.” Perhaps for the first time, all the tragedy and helplessness of his situation appeared before him. And despite this awareness, Oblomov’s death is inevitable. Goncharov is stern and adamant in analyzing the fate of his hero, although the writer does not gloss over his good qualities. “It started with the inability to put on stockings and ended with the inability to live.” Oblomovism is not only Ilya Ilyich Oblomov himself. This is the fortress Oblomovka, where the hero began his life and was raised; this is the “Vyborg Oblomovka” in the house of Agafya Matveevna Pshenitsyna, where Oblomov ended his inglorious career; this is the serf Zakhar, with his slavish devotion to the master, and a host of swindlers, crooks, hunters of other people's pie (Tarantyev, Ivan Matveevich, Zaterty), scurrying around Oblomov and his gratuitous income. The serf system, which gave rise to such phenomena, spoke with all its content in Goncharov’s novel, was doomed to destruction, its destruction became an urgent requirement of the era. She could not awaken Oblomov’s interest in life and the love of the beautiful girl, Olga Ilyinskaya. “The Poem of Love” with its passions, ups and downs seems to the hero to be “a very difficult school of life.” Oblomov is afraid of those high qualities of the soul that he must possess in order to become worthy of a girl’s love. Olga, trying in vain to save her lover, asks him: “What ruined you? There is no name for this evil...” - “There is... Oblomovism,” answers Ilya Ilyich. Oblomov is much more satisfied with another version of the relationship. He finds his “ideal” in the person of Agafya Matveevna Pshenitsyna, who, without demanding anything from the object of her love, tries to indulge him in everything. But why does one of the best people in the novel, morally pure, honest, kind, warm-hearted Oblomov, die morally? What is the cause of this tragedy? Goncharov, condemning Oblomov’s lifestyle, his laziness, lack of will, inability to carry out practical activities, sees the reasons that gave rise to the phenomenon of Oblomovism in the conditions of Russian local life, which allowed the landowner not to worry about his daily bread. According to Dobrolyubov, “Oblomov is not a stupid, apathetic nature, without aspirations and feelings, but a person who is also looking for something in his life, thinking about something. But the vile habit of receiving satisfaction of his desires not from his own efforts, but from others, developed in him an apathetic immobility and plunged him into the pitiful state of a moral slave.” This is the essence of Oblomov’s tragedy. But while condemning Oblomov’s laziness and apathy, Goncharov has an ambivalent attitude towards another hero, Andrei Stolts, who would seem ideally positive, and does not consider his path of personality development more suitable for Russia. Unlike Oblomov, a warm-hearted man, the author describes Stolz to us as a kind of mechanism. His ideal, which nothing prevented from being realized, is the achievement of material wealth, comfort, and personal well-being. A.P. Chekhov wrote about him: “Stolz does not inspire me with any confidence. The author says that he is a magnificent fellow, but I don’t believe him... He is half composed, three-quarters stilted.” Perhaps the origins of the tragedies of both heroes lie in their upbringing. The reason for Stolz's unnaturalness is his “correct”, rational, burgher upbringing. The Oblomovs are the keepers of ancient traditions. This Oblomov utopia about man coexisting harmoniously with nature was passed down from generation to generation. But the author shows the backwardness of patriarchy, the almost fabulous impossibility of such an existence in his contemporary world. Oblomov's dream collapses under the pressure of civilization. In his rebuke to Zakhar about the lifestyle of “others,” Oblomov looks almost like the personification of the typical psychology of a slave owner, confident in his right to do nothing and only consume the goods of life. But Zakhar, crushed by the master’s “pathetic” words, left, and Oblomov, alone with himself, is already seriously comparing himself with “others” and thinking completely the opposite of what he was explaining with pathos to the old guy. And the “painful consciousness” of the truth almost leads him to that terrible word, which, “like a brand, imprinted his life and the true values ​​of the spirit. Oblomov hid so diligently from life that secret pure gold turns into obvious evil for those who depend on it Touching in his slavish devotion, but completely depraved, exhausted by idleness, Zakhar dies. The other three hundred Zakharovs, invisible in the novel, suffer. Life is like a dream, and a dream is like death - this is the fate of the main character. Oblomov’s novel “The Pigeon Soul” resolutely denies the world of false activity, hostile to man, life, nature - above all, the world of active bourgeois affairs, the world of all predation and meanness. But this soul itself, as Goncharov shows, in its weakness is hostile to life. element. In this contradiction - the real immortality of the tragic image of Oblomov. According to the correct remark of P. A. Kropotkin, “Oblomov’s type is not at all limited to the borders of Russia alone: ​​... Oblomovism exists on both continents and at all latitudes.” This was also recognized by Western European critics. The translator of Goncharov’s works into Danish, P. Ganzen, wrote to him: “Not only at Aduev and Raisky, but even in Oblomov, I found so many things familiar and old, so many dear ones. Yes, there is nothing to hide, and in our dear Denmark there is a lot of Oblomovism.

Ilya Ilyich Oblomov is the main figure, images, in the entire novel by I.A. Goncharov. It is with a portrait sketch of this hero that the entire work begins:

“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 whole body. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.” Goncharov, I.A. Oblomov. A novel in 4 parts. - M.: Fiction, 1984. - 493 p. - P. 21

There will be such carelessness in the face and throughout the body, wild thoughts will accompany the hero throughout almost the entire novel, and only a short-term interest in Olga Ilyinskaya will somehow change this situation for Oblomov.

Further, the author notes that “the gentleness that was the dominant and main expression, not only of the face, but of the whole soul...” Ibid. - P. 21 of the main character, at the very first meeting she would have endeared herself to herself, and the person 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...” Ibid. - P. 21.

This small part of the portrait reveals the inner essence of Ilya Ilyich, some of his qualities: laziness, passivity, lack of any interest in life at all, nothing occupies him. Even any worries were always resolved simply by sighs, everything simply froze either in apathy or anxiety.

N.A. Dobrolyubov wrote that Oblomov’s laziness and apathy are the only spring in his entire story.

When drawing a portrait, I.A. Goncharov does not forget to mention what and how the character dresses. Ilya Ilyich's home suit is a real oriental robe, which personifies and complements the image of the master. Although this item of clothing had lost its former freshness and brightness of oriental colors, for Oblomov it had “a darkness of invaluable merits.” This robe also plays a symbolic role in the work: the robe is a calm, inactive life. At first, the hero appears in it to the reader, but Oblomov is not in it throughout the entire novel. Having met Ilyinskaya, he is ready for action, for changes in his usual way of life. He no longer needs a robe, now his appearance is important to him, because the hero goes out into the world. And only at the end of the work, the robe returns to Ilya Oblomov, since life with Pshenitsyna returned everything to normal: the same laziness and frailty.

The portrait also complements the interior of the place where this or that hero lives. Oblomov’s room is described in most detail. “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...” Goncharov, I.A. Oblomov. A novel in 4 parts. - M.: Fiction, 1984. - 493 p. - P. 22. If you look with an experienced eye, you can notice the ungraceful chairs, the unsteadiness of the bookcases, and the sagging back of the sofa. “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” Goncharov, I.A. Oblomov. A novel in 4 parts. - M.: Fiction, 1984. - 493 p. - P. 23. All these interior details reflect not only the neglect and negligence of the office, but also show the deadness and fossilization that overwhelmed the hero of the novel.

The fossil motif was also reflected in Oblomov’s appearance. And as P. Weil and A. Genis note, the frozen “folds” on Ilya Ilyich’s face draw an analogy with an ancient statue. “In Oblomov’s figure, the golden ratio is observed, which gives a feeling of lightness, harmony and completeness to ancient sculpture. Oblomov's immobility is graceful in its monumentality, it is endowed with a certain meaning. In any case, as long as he does nothing, but only represents himself” Weil P., Genis A. Oblomov and “Others” [Electronic resource]: Access mode URL: www.oblomov.omsk.edu (date access: 12/21/2014). Looking at the main character in motion, you can see him quite clumsy, funny and awkward, but he only looks like this when he is in the company of Stolz or in comparison with Olga. While in the house of Agafya Matveevna Pshenitsyna, I.I. Oblomov again becomes a statue: “He will sit down, cross his legs, rest his head on his hand - he does all this so freely, calmly and beautifully... he is all so good, so pure, can and does not do anything” Goncharov, I.A. Oblomov. A novel in 4 parts. - M.: Fiction, 1984. - 493 p. - P. 394. A certain monumentality and fossilization of the hero, in the opinion of Olga and Stolz, who are constantly in motion, is an indicator of a person without a goal. He is dead while alive. A number of researchers compare Stolz and Olga with machines that have their own washers and gears in order to find an approach to others. Oblomov is a statue. The hero appears complete and perfect in the novel. “He has already taken place, having fulfilled his purpose only by being born” Weil P., Genis A. Oblomov and “Others” [Electronic resource]: Access mode URL: www.oblomov.omsk.edu (date of access: 21.12. 2014). His life not only took shape, but was also created, further intended so simply, no wonder, to express the possibility of an ideally peaceful side of human existence - Oblomov comes to this conclusion towards the end of his days.

This is how Ilya Ilyich Oblomov appears on the pages of I. A. Goncharov’s novel “Oblomov”. The portrait of this hero is organically included in the philosophical issues of the novel.

In the novel "Oblomov" the skill of Goncharov as a prose writer was fully demonstrated. Gorky, who called Goncharov “one of the giants of Russian literature,” noted his special, flexible language. Goncharov’s poetic language, his talent for figuratively reproducing life, the art of creating typical characters, compositional completeness and the enormous artistic power of the picture of Oblomovism and the image of Ilya Ilyich presented in the novel - all this contributed to the fact that the novel “Oblomov” took its rightful place among the masterpieces of the world classics.

The portrait characteristics of the heroes play a huge role in the work, with the help of which the reader gets to know the characters and gets an idea about them and their character traits. The main character of the novel, Ilya Ilyich Oblomov, is a man of thirty-two to thirty-three years old, of average height, pleasant appearance, with dark gray eyes in which there is no idea, with a pale complexion, plump hands and a pampered body. Already from this portrait characteristic we can get an idea of ​​the hero’s lifestyle and spiritual qualities: the details of his portrait speak of a lazy, immobile lifestyle, of his habit of aimlessly spending time. However, Goncharov emphasizes that Ilya Ilyich is a pleasant person, gentle, kind and sincere. The portrait description, as it were, prepares the reader for the collapse in life that inevitably awaited Oblomov.

In the portrait of Oblomov's antipode, Andrei Stolts, the author used different colors. Stolz is the same age as Oblomov, he is already over thirty. He is in motion, all made up of bones and muscles. Getting acquainted with the portrait characteristics of this hero, we understand that Stolz is a strong, energetic, purposeful person who is alien to daydreaming. But this almost ideal personality resembles a mechanism, not a living person, and this repels the reader.

In the portrait of Olga Ilyinskaya, other features predominate. She “was not a beauty in the strict sense of the word: she had neither whiteness nor bright color of her cheeks and lips, and her eyes did not glow with rays of inner fire, there were no pearls in her mouth and corals on her lips, there were no miniature hands with fingers in the form of grapes." The somewhat tall stature was strictly consistent with the size of the head and the oval and size of the face; all this, in turn, was in harmony with the shoulders, the shoulders with the figure... The nose formed a slightly noticeable graceful line. Lips that are thin and compressed are a sign of a searching thought directed at something. This portrait indicates that before us is a proud, intelligent, slightly vain woman.

In the portrait of Agafya Matveevna Pshenitsyna, such traits as gentleness, kindness and lack of will appear. She is about thirty years old. She had almost no eyebrows, her eyes were “grayish-obedient,” like her entire facial expression. The hands are white, but hard, with knots of blue veins protruding outward. Oblomov accepts her for who she is and gives her an apt assessment: “How... simple she is.” It was this woman who was next to Ilya Ilyich until his last minute, his last breath, and gave birth to his son.

The description of the interior is equally important for characterizing the character. In this, Goncharov is a talented continuer of Gogol’s traditions. Thanks to the abundance of everyday details in the first part of the novel, the reader can get an idea of ​​the hero’s characteristics: “How Oblomov’s home suit suited his deceased facial features... He was wearing a robe made of Persian fabric, a real oriental robe... He had shoes on long, soft and wide, when, without looking, he lowered his legs from the bed to the floor, he certainly fell into them right away...” Describing in detail the objects surrounding Oblomov in everyday life, Goncharov draws attention to the hero’s indifference to these things. But Oblomov, indifferent to everyday life, remains his captive throughout the novel.

The image of a robe is deeply symbolic, repeatedly appearing in the novel and indicating a certain state of Oblomov. At the beginning of the story, a comfortable robe is an integral part of the hero's personality. During the period of Ilya Ilyich’s love, he disappears and returns to the owner’s shoulders on the evening when the hero’s breakup with Olga occurred.

The lilac branch picked by Olga during her walk with Oblomov is also symbolic. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end. Another important detail is the raising of bridges on the Neva. The bridges were opened at a time when in the soul of Oblomov, who lived on the Vyborg side, there was a turning point towards the widow Pshenitsyna, when he fully realized the consequences of life with Olga, was afraid of this life and again began to plunge into apathy. The thread connecting Olga and Oblomov broke, and it cannot be forced to grow together, therefore, when the bridges were built, the connection between Olga and Oblomov was not restored. The snow falling in flakes is also symbolic, which marks the end of the hero’s love and at the same time the decline of his life.

It is no coincidence that the author describes in such detail the house in Crimea in which Olga and Stolz settled. The decoration of the house “bears the stamp of thought and personal taste of the owners,” there were many engravings, statues, and books, which speaks of the education and high culture of Olga and Andrey.

An integral part of the artistic images created by Goncharov and the ideological content of the work as a whole are the proper names of the characters. The surnames of the characters in the novel “Oblomov” carry a great meaning. The main character of the novel, according to the primordial Russian tradition, received his surname from the Oblomovka family estate, the name of which goes back to the word “fragment”: a fragment of the old way of life, patriarchal Rus'. Reflecting on Russian life and its typical representatives of his time, Goncharov was one of the first to notice a failure of internal national traits, fraught with a cliff, or a bummer. Ivan Aleksandrovich foresaw the terrible state into which Russian society began to fall in the 19th century and which by the 20th century had become a mass phenomenon. Laziness, the lack of a specific goal in life, passion and desire to work has become a distinctive national feature. There is another explanation for the origin of the main character’s surname: in folk tales the concept of “dream-oblomon” is often found, which enchants a person, as if crushing him with a gravestone, dooming him to slow, gradual extinction.

Analyzing his contemporary life, Goncharov looked for the antipode of Oblomov among the Alekseevs, Petrovs, Mikhailovs and other people. As a result of these searches, a hero with a German surname emerged Stolz(translated from German - “proud, full of self-esteem, aware of his superiority”).

Ilya Ilyich spent his entire adult life striving for an existence “that would be both full of content and flow quietly, day after day, drop by drop, in silent contemplation of nature and the quiet, barely creeping phenomena of a peaceful, busy family life.” He found such an existence in Pshenitsyna’s house. “She was very white and full in the face, so that the color did not seem to be able to break through her cheeks (like a “wheat bun”). The name of this heroine is Agafya- translated from Greek means “kind, good.” Agafya Matveevna is a type of modest and meek housewife, an example of female kindness and tenderness, whose life interests were limited only to family concerns. Oblomov's maid Anisya(translated from Greek - “fulfillment, benefit, completion”) is close in spirit to Agafya Matveevna, and that is why they quickly became friends and became inseparable.

But if Agafya Matveevna loved Oblomov thoughtlessly and selflessly, then Olga Ilyinskaya literally “fought” for him. For the sake of his awakening, she was ready to sacrifice her life. Olga loved Ilya for his own sake (hence the surname Ilyinskaya).

Last name of “friend” Oblomov, Tarantieva, carries a hint of the word ram. In Mikhei Andreevich's relationships with people, such qualities as rudeness, arrogance, persistence and unprincipledness are revealed. Isai Fomich Worn out, to whom Oblomov gave power of attorney to manage the estate, turned out to be a fraudster, grated roll. In collusion with Tarantyev and brother Pshenitsyna, he skillfully robbed Oblomov and erased your tracks.

Speaking about the artistic features of the novel, one cannot ignore the landscape sketches: for Olga, walking in the garden, a lilac branch, flowering fields - all this is associated with love and feelings. Oblomov also realizes that he is connected with nature, although he does not understand why Olga constantly drags him out for walks, enjoying the surrounding nature, spring, and happiness. The landscape creates the psychological background of the entire narrative.

To reveal the feelings and thoughts of the characters, the author uses a technique such as an internal monologue. This technique is most clearly revealed in the description of Oblomov’s feelings for Olga Ilyinskaya. The author constantly shows the thoughts, remarks, and internal reasoning of the characters.

Throughout the entire novel, Goncharov subtly jokes and sneers at his characters. This irony is especially noticeable in the dialogues between Oblomov and Zakhar. This is how the scene of placing the robe on the owner’s shoulders is described. “Ilya Ilyich almost did not notice how Zakhar undressed him, pulled off his boots and threw a robe over him.

What is this? - he asked only, looking at the robe.

The hostess brought it in today: they washed and repaired the robe,” said Zakhar.

Oblomov sat down and remained in the chair.”

The main compositional device of the novel is antithesis. The author contrasts images (Oblomov - Stolz, Olga Ilyinskaya - Agafya Pshenitsyna), feelings (Olga’s love, selfish, proud, and Agafya Matveevna’s love, selfless, forgiving), lifestyle, portrait characteristics, character traits, events and concepts, details (branch lilac, symbolizing hope for a bright future, and a robe as a quagmire of laziness and apathy). Antithesis makes it possible to more clearly identify the individual character traits of the heroes, to see and understand two incomparable poles (for example, Oblomov’s two colliding states - stormy temporary activity and laziness, apathy), and also helps to penetrate into the hero’s inner world, to show the contrast that is present not only in the external , but also in the spiritual world.

The beginning of the work is built on the collision of the bustling world of St. Petersburg and the isolated inner world of Oblomov. All visitors (Volkov, Sudbinsky, Alekseev, Penkin, Tarantiev) who visit Oblomov are prominent representatives of a society living according to the laws of falsehood. The main character seeks to isolate himself from them, from the dirt that his friends bring in the form of invitations and news: “Don’t come, don’t come! You're coming out of the cold!

The whole system of images in the novel is built on the device of antithesis: Oblomov - Stolz, Olga - Agafya Matveevna. The portrait characteristics of the heroes are also given in contrast. So, Oblomov is plump, plump, “with the absence of any definite idea, any concentration in his facial features”; Stolz consists entirely of bones and muscles, “he is constantly in motion.” Two completely different types of character, and it’s hard to believe that there could be anything in common between them. And yet it is so. Andrey, despite his categorical rejection of Ilya’s lifestyle, was able to discern in him traits that are difficult to maintain in the turbulent flow of life: naivety, gullibility and openness. Olga Ilyinskaya fell in love with him for his kind heart, “dovelike tenderness and inner purity.” Oblomov is not only inactive, lazy and apathetic, he is open to the world, but some invisible film prevents him from merging with it, from walking the same path with Stolz, from living an active, full life.

Two key female characters of the novel - Olga Ilyinskaya and Agafya Matveevna Pshenitsyna - are also presented in opposition. These two women symbolize two life paths that are given to Oblomov as a choice. Olga is a strong, proud and purposeful person, while Agafya Matveevna is kind, simple and economical. Ilya would only have to take one step towards Olga, and he would be able to immerse himself in the dream that was depicted in “The Dream...”. But communication with Ilyinskaya became the last test for Oblomov’s personality. His nature is not able to merge with the cruel outside world. He abandons the eternal search for happiness and chooses the second path - he plunges into apathy and finds peace in the cozy house of Agafya Matveevna.

Introduction Portrait of Ilya Ilyich Oblomov Symbolism of clothing in the image of Oblomov Appearance of Oblomov and Stolz in Goncharov’s novel Conclusions

Introduction

Goncharov’s novel “Oblomov” is a socio-psychological work of Russian literature of the mid-19th century, in which the author touches on a number of “eternal” topics that are also relevant for the modern reader. One of the leading literary techniques used by Goncharov is the portrait characterization of heroes. Through a detailed description of the characters' appearance, not only

their character, but also emphasizes the individual characteristics, similarities and differences of the characters. A special place in the narrative is occupied by the portrait of Oblomov in the novel “Oblomov”. It is with a description of Ilya Ilyich’s appearance that the author begins the work, paying special attention to the small details and nuances of the character’s appearance.

Portrait of Ilya Ilyich Oblomov

Ilya Ilyich is depicted as a thirty-two-year-old man, of average height with dark gray eyes. He is quite attractive in appearance, but “flattened beyond his years.” The main feature of the hero’s appearance was softness - in facial expression, in movements and body lines. Oblomov

did not give the impression of a man living with great goals or constantly thinking about something - in the features of his face one could read the absence of any definite idea and concentration, “thought walked like a free bird across his face, fluttered in his eyes, sat on his half-open lips, hid in the folds of his forehead, then completely disappeared, and then an even light of carelessness glowed throughout her face.
From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.” Sometimes an expression of boredom or fatigue flashed through his gaze, but they could not drive away from Ilya Ilyich’s face the softness that was present even in his eyes and smile. His too fair skin, small plump hands, soft shoulders and a body too pampered for a man betrayed him as a man not accustomed to work, accustomed to spending all his days in idleness, counting on the help of servants. Any strong emotions were not reflected in Oblomov’s appearance: “when he was even alarmed,” his movements “were also restrained by gentleness and laziness, not without a kind of grace. If a cloud of care from the soul came over the face, the gaze became clouded, folds appeared on the forehead, a game of doubts, 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.”

The portrait of Ilya Ilyich Oblomov allows us to capture the main character traits of the hero: inner softness, complaisance, laziness, complete calmness and even a certain indifference of the character in relation to the world around him, forming a complex and multifaceted personality. Goncharov himself points out the depth of Oblomov’s character at the beginning of the work: “a superficially observant, cold person, looking casually at Oblomov, would say: “He must be a good man, simplicity!” A deeper and prettier person, having peered into his face for a long time, would have walked away in pleasant thought, with a smile.”

The symbolism of clothing in the image of Oblomov

Spending all his days in idleness and all kinds of dreams, making unrealistic plans and drawing in his imagination many pictures of the desired future, Oblomov did not pay attention to his appearance, preferring to wear his favorite home clothes, which seemed to complement his calm facial features and pampered body. He was wearing an old oriental robe with large wide sleeves, made of Persian fabric, in which Ilya Ilyich could wrap himself twice. The robe was devoid of any decorative elements - tassels, velvet, belt - this simplicity, perhaps, was what Oblomov liked most about this element of his wardrobe. It was clear from the robe that the hero had been wearing it for a long time - it “lost its original freshness and in places replaced its primitive, natural gloss with another, acquired one,” although it “still retained the brightness of oriental paint and the strength of the fabric.” Ilya Ilyich liked that the robe was soft, flexible and comfortable - “the body does not feel it on itself.” The second obligatory element of the hero’s home toilet was soft, wide and long shoes “when he, without looking, lowered his feet from the bed to the floor, he certainly fell into them immediately.” Ilya Ilyich did not wear a vest or tie at home, as he loved freedom and space.

The description of Oblomov’s appearance in his home decoration paints before the readers the image of a provincial gentleman who does not need to rush anywhere, because the servants will do everything for him and who spends all his days lounging on his bed. And the things themselves are more like the faithful servants of Ilya Ilyich: the robe, “like an obedient slave,” obeys his every movement, and there was no need to look for shoes or put them on for a long time - they were always at his service.

Oblomov seems to recreate the quiet, measured, “homely” atmosphere of his native Oblomovka, where everything was just for him, and his every whim was fulfilled. The robe and shoes in the novel are symbols of “Oblomovism”, indicating the internal state of the hero, his apathy, detachment from the world, retreat into illusion. Boots become a symbol of real, “uncomfortable” life for Ilya Ilyich: “for whole days,” Oblomov grumbled, putting on a robe, “you don’t take off your boots: your feet itch!” I don’t like this life of yours in St. Petersburg.” However, boots are also a symbol of leaving the power of “Oblomovism”: having fallen in love with Olga, the hero himself throws away his favorite robe and shoes, replacing them with a secular suit and boots that he so dislikes. After parting with Ilyinskaya, Ilya Ilyich becomes completely disillusioned with the real world, so he again takes out an old robe and finally plunges into the swamp of “Oblomovism”.

Appearance of Oblomov and Stolz in Goncharov’s novel

According to the plot of the work, Andrei Ivanovich Stolts is Oblomov’s best friend and his complete antipode both in character and appearance. Stolz was “all made up of bones, muscles and nerves, like a blooded English horse,” “that is, there is bone and muscle, but not a sign of fatty roundness.” Unlike Ilya Ilyich, Andrei Ivanovich is thin, with a darkish, even complexion, greenish, expressive eyes and stingy facial expressions, which he used exactly as much as necessary. Stolz did not have that external softness that was the main feature of his friend; he was characterized by firmness and calmness, without unnecessary fussiness and haste. Everything in his movements was harmonious and controlled: “It seems that he controlled both sorrows and joys, like the movement of his hands, like the steps of his feet, or how he dealt with bad and good weather.”

It would seem that both heroes, Oblomov and Stolz, were distinguished by external calm, but the nature of this calm was different among men. The entire inner storm of Ilya Ilyich’s experiences was lost in his excessive softness, carelessness and infantility. For Stolz, strong experiences were alien: he controlled not only the whole world around him and his movements, but also his feelings, not even allowing them to arise in his soul as something irrational and beyond his control.

Conclusions

In “Oblomov” Goncharov, as a skilled artist, was able to show through the portrait of the characters the full depth of their inner world, “outlining” the characteristics of the characters, depicting, on the one hand, two social characters typical of that time, and on the other, outlining two complex and tragic images, interesting for their versatility to the modern reader.

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