Essay “The role of artistic detail in the novel “Oblomov”. Essay “The role of artistic detail in the novel “Oblomov” The role of artistic detail in the novel Oblomov

I. A. Goncharov’s novel “Oblomov” is a novel about movement and peace. The author, revealing the essence of movement and rest, used many different artistic techniques, about which a lot has been and will be said. But often, when talking about the techniques used by Goncharov in his work, they forget about the important importance of details. Nevertheless, the novel contains many seemingly insignificant elements, and they are not given the last role.
Opening the first pages of the novel, the reader learns that Ilya Ilyich Oblomov lives in a large house on Gorokhovaya Street.
Gorokhovaya Street is one of the main streets of St. Petersburg, where representatives of the highest aristocracy lived. Having learned later about the environment in which Oblomov lives, the reader may think that the author wanted to mislead him by emphasizing the name of the street where Oblomov lived. But that's not true. The author did not want to confuse the reader, but, on the contrary, to show that Oblomov could still be something other than he is in the first pages of the novel; that he has the makings of a person who could make his way in life. That’s why he lives not just anywhere, but on Gorokhovaya Street.
Another detail that is rarely mentioned is the flowers and plants in the novel. Each flower has its own meaning, its own symbolism, and therefore mentions of them are not accidental. So, for example, Volkov, who suggested that Oblomov go to Kateringof, was going to buy a bouquet of camellias, and Olga’s aunt advised her to buy ribbons the color of pansies. While walking with Oblomov, Olga plucked a lilac branch. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end.
But while they did not think about the end, they were full of hope. Olga sang Sas1a ygua, which probably completely conquered Oblomov. He saw in her that same immaculate goddess. And indeed, these words - “immaculate goddess” - to some extent characterize Olga in the eyes of Oblomov and Stolz. To both of them, she truly was an immaculate goddess. In the opera, these words are addressed to Artemis, who is called the goddess of the Moon. But the influence of the moon and moon rays negatively affects lovers. That’s why Olga and Oblomov break up. What about Stolz? Is he really immune to the influence of the moon? But here we see a weakening union.
Olga will outgrow Stolz in her spiritual development. And if for women love is worship, then it is clear that here the moon will have its detrimental effect. Olga will not be able to stay with a person whom she does not worship, whom she does not extol.
Another very significant detail is the raising of bridges on the Neva. Just when in the soul of Oblomov, who lived with Pshenitsyna, a turning point began in the direction of Agafya Matveevna, her care, her corner of paradise; when he realized with all clarity what his life with Olga would be like; when he became frightened of this life and began to fall into “sleep,” that’s when the bridges were opened. Communication between Oblomov and Olga was interrupted, the thread that connected them was broken, and, as you know, a thread can be tied “forcibly,” but it cannot be forced to grow together, therefore, when bridges were built, the connection between Olga and Oblomov was not restored. Olga married Stolz, they settled in Crimea, in a modest house. But this house, its decoration “bears the stamp of thought and personal taste of the owners,” which is already important. The furniture in their house was not comfortable, but there were many engravings, statues, books, yellowed with time, which speaks of the education, high culture of the owners, for whom old books, coins, engravings are valuable, who constantly find something new in them for yourself.
Thus, in Goncharov’s novel “Oblomov” there are many details, to interpret which means to understand the novel more deeply.

The objective world in the novel “Oblomov”

In the novel “Oblomov” we trace how the living conditions in which Oblomov grew up, his upbringing give rise to lack of will, apathy, and indifference in him. “I tried to show in Oblomov,” wrote Goncharov S.A. Nikitenko on February 25, 1873, “how and why our people turn ahead of time into ... jelly - climate, environment, extent - outbacks, drowsy life - and all private, individual each circumstance." (10) And it’s no secret, we will add on our own, that not only upbringing and social environment influence the formation of a person’s personality - everyday life, the environment surrounding a person throughout his life, equally, if not to a greater extent, influence the character and a person's worldview; and this influence is felt especially strongly in childhood. In Oblomov’s “dream,” the writer created a picture of landowner life, amazing in its brightness and depth. Patriarchal morals, the subsistence farming of the landowner, the absence of any spiritual interests, peace and inaction - eternal peace - this is what surrounded Ilya Ilyich from childhood, this is Oblomovism. But it’s no secret that it is in childhood that the main character traits of a person are formed. Social, as well as everyday environment, have a huge impact on a person’s character and worldview.

Introducing us to his hero, lying in a house on Gorokhovaya Street, the writer also notes the attractive traits of his character: gentleness, simplicity, generosity and kindness. At the same time, from the first pages of the novel, Goncharov also shows the weaknesses of Oblomov’s personality - apathy, laziness, “the absence of any specific goal, any concentration...”. (10) The author surrounds his hero with objects (shoes, a robe, a sofa) that accompany him throughout his life and symbolize Oblomov’s immobility and inaction. If we set out to create a museum of a literary hero, then this is exactly the environment we should create in it:

“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 from 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 negligence that prevailed in it.” (10)

As you can see, Oblomov’s apartment was more of a warehouse of unnecessary things, where no human had set foot for a long time, than a living space. With this picture, or objective environment, Goncharov emphasizes the fact that Oblomov himself, perhaps, even feels like an “extra person”, taken out of the context of rapid progress. It is no coincidence that Dobrolyubov called Oblomov “an extra person, reduced from a beautiful pedestal to a soft sofa.” (17)

The robe is perhaps one of the main characteristics of “Oblomovism” in general and Oblomov in particular. This is a cross-cutting image-symbol of the novel; it is not a private detail of descriptions and characteristics, but an artistic detail that becomes the center of the composition of the image. Like the above-mentioned “Oblomovism,” the Oblomov robe has become a common noun, used to designate the personal concept of “Oblomovism,” genetically associated with it. However, unlike “Oblomovism,” which was Goncharov’s special creative find, the image of the robe, which became a symbol of Oblomov’s character, has its own primary source. If the functional role of the image of Oblomov’s robe (typifying, characterological, etc.) in criticism and in scientific literature has been considered many times (remember A.V. Druzhinin’s article about “Oblomov”, in which he admired the truly Flemish extravagance of details in this work), then no one has yet paid attention to its literary source. Oblomov's robe is a symbol equivalent to the hero's spiritual state. This is that “infinite sign” that is created by the relationships between text and context and can have an infinite number of meanings. A symbol is an object and a means of representation at the same time; it is the unity of meaning and image. Oblomov’s robe is a component of Oblomov’s image-symbol, his genetic “code”. In this sense, the symbolic image of the robe is “finite and infinite” at the same time.

Oblomov is almost always inactive. The environment and everyday life are designed to emphasize the inactivity and apathy of the hero, to symbolically reflect everything that happened in reality. “The appearance of the office,” writes Goncharov, “was striking in the neglect and negligence that prevailed in it.” (10) Heavy, tacky chairs, wobbly bookcases, a sagging back of a sofa with peeling wood, cobwebs hanging near the paintings in the form of festoons, a mirror covered with a layer of dust, stained carpets, plates with gnawed bones from yesterday’s dinner, two or three books covered with dust, an inkwell in which flies live - all this expressively characterizes Oblomov and his attitude to life.” (10)

Oblomov would not trade a large sofa, a comfortable robe, or soft shoes for anything - after all, these items are an integral part of his lifestyle, a kind of symbols of this Oblomov lifestyle, a peaceful lifestyle, and if he parted with them, he would cease to be himself. All the events of the novel, which in one way or another influence the course of the hero’s life, are given in comparison with his objective environment. This is how Goncharov describes the role these objects play in Oblomov’s life:

“on the sofa he experienced a feeling of peaceful joy that he could stay on his sofa from nine to three, from eight to nine, and was proud that he did not have to go with a report, write papers, that there was room for his feelings and imagination.” (10)

Lifetime authenticity is achieved by the fact that Oblomov’s character is given in development. In this regard, the ninth chapter is very important - “Oblomov’s Dream”, where the picture of the hero’s childhood is recreated, the life of Oblomov is shown - the conditions that shaped the worldview and character of the hero. Goncharov describes one day in Oblomovka this way: “Everything in the village is quiet and sleepy: the silent huts are wide open; not a soul in sight; Only flies fly in clouds and buzz in the stuffy atmosphere...” (10). Against this background, the Oblomovites are depicted - indifferent people who do not know that somewhere there are cities, another life, etc. The owner of the village, old man Oblomov, leads the same sluggish, meaningless life. Goncharov ironically describes Oblomov’s life:

“Oblomov himself, an old man, is also not without activities. He sits by the window all morning and strictly watches everything that is happening in the yard.

Hey, Ignashka? What are you talking about, fool? - he will ask a man walking in the yard.

“I’m taking the knives to the servants’ room to sharpen,” he answers without looking at the master.

Well, bring it, carry it, and get it right, look, sharpen it!

Then he stops the woman:

Hey grandma! Woman! Where did you go?

“To the cellar, father,” she said, stopping and, covering her eyes with her hand, looking at the window, “to get milk for the table.”

Well, go, go! - answered the master. - Be careful not to spill the milk. - And you, Zakharka, little shooter, where are you running again? - he shouted later. - Here I will let you run! I already see that this is the third time you are running. I went back to the hallway!

And Zakharka went into the hallway again to doze.

When the cows come from the field, the old man will be the first to make sure they are given water; If he sees from the window that a mongrel is chasing a chicken, he will immediately take strict measures against the riots.” (10)

Lazy crawling from day to day, inactivity, lack of life goals - this is what characterizes Oblomovka’s life. By creating a collective image of Oblomovka, Goncharov, as already noted, depicts an environment that leaves an indelible imprint on everyone it touched. The dilapidated gallery is still not being repaired, the bridge over the ditch has rotted away. And Ilya Ivanovich only talks about fixing the bridge and fence. However, it sometimes works:

“Ilya Ivanovich even extended his thoughtfulness to the point that one day, while walking in the garden, he lifted up a fence with his own hands, groaning and groaning, and ordered the gardener to quickly put up two poles: thanks to this goodwill of Oblomov, the fence stood like that all summer, and only in the winter did it fall down with snow again .

Finally, it even got to the point that three new planks were laid on the bridge, immediately as Antip fell off it, with his horse and barrel, into the ditch. He had not yet recovered from the injury, and the bridge was almost refinished.” (10)

In Oblomovka, literally everything is in disrepair. Laziness and greed are the distinctive features of its inhabitants:

“Not even two candles can be lit for everyone: the candle was bought in the city with money and was taken care of, like all purchased things, under the owner’s own key. The cinders were carefully counted and hidden.

In general, they didn’t like to spend money there, and no matter how necessary the thing was, money for it was always given with great sympathy, and only if the cost was insignificant. Significant spending was accompanied by groans, screams and curses.

The Oblomovites agreed to endure all kinds of inconveniences better, they even got used to not considering them as inconveniences, rather than spending money.

Because of this, the sofa in the living room was covered in stains a long time ago, because of this, Ilya Ivanovich’s leather chair is only called leather, but in fact it is either a washcloth or a rope: there is only one scrap of leather left on the back, and the rest had already fallen into pieces and peeled off for five years; That may be why the gates are all crooked and the porch is wobbly. But to suddenly pay two hundred, three hundred, five hundred rubles for something, even the most necessary thing, seemed almost suicide to them.” (10)

In Oblomovka there is subsistence farming and therefore every penny counts. The Oblomovites knew one and only way to save capital - to store it in a chest. (1)

Goncharov shows the life of the Oblomovites flowing “like a still river.” The external pictures of the manifestation of their life are presented idyllically. Description of Oblomovka. Goncharov, like Turgenev, said a “funeral word” to the nobles’ nests. Both estates are dominated by patriarchal orders, leaving an indelible imprint on their inhabitants. The Lavretsky estate is significantly different from Oblomovka - everything there is poetic, evidence of high culture. There is none of this in Oblomovka.

Oblomov turns out to be incapable of the simplest task, he does not know how to organize his estate, he is not fit for any service, any rogue can deceive him. Any change in life scares him. “Go forward or stay?” - this Oblomov question was deeper for him than Hamlet’s “to be or not to be?” and Chernyshevsky “what to do?”. To go forward means to suddenly throw off the wide robe not only from your shoulders, but also from your soul, from your mind; together with the dust and cobwebs from the walls, sweep the cobwebs out of your eyes and see clearly!

The entire image of the birch grove in the novel “Oblomov” is linked to the image of its main character. While “developing a plan for the estate,” Ilya Ilyich imagines “how he sits on the terrace on a summer evening, at the tea table...”. In the distance, “the fields turn yellow, the sun sinks behind the familiar birch forest and blushes the pond, smooth as a mirror...”. Drawing the ideal of his life in the village in front of Stolz, our dreamer says: “Then, when the heat subsides, we would send a cart with a samovar, with dessert, to a birch grove...”. Or here’s an episode from life on the Vyborg side: “Then they began to plant vegetables in the garden; Various holidays came, Trinity, Semik, May Day; all this was marked by birch trees and wreaths: they drank tea in the grove.” Nothing special seems to be said about birch. But the word “birch” itself is placed in a syntactically verified context that smells of herbs, breathes coziness, family principles, is immersed in the sweet sound of Russian speech, and therefore it exudes imagery. Well, as it is well said: “as soon as the heat comes.” Andrei Stolts appreciates Oblomov’s “pure, bright and kind beginning,” his “eternally trusting heart.” He is often drawn to break out “from the bright crowd” and calm his “anxious or tired soul” with a conversation with Oblomov on his “wide sofa.” And at the same time, experience the feeling as if he, Stolz, had returned “from the beauty of southern nature to the birch grove where he walked as a child.” But why is all the best that is in Oblomov compared with a birch grove, why does the writer decorate Ilya Ilyich’s dreams with it? After all, Goncharov could not stand beautiful things, much less hackneyed comparisons and cliches?

Looking through anthologies of poetry from the late 18th to early 19th centuries, we noticed one curious feature: the poets did not seem to notice the birch. In their poems, oaks, oak groves, oak groves, olives, and laurels reign; The linden trees rustle, the willows bend, the pines turn green; palm trees, cypresses, myrtles - everything is there except birch. In any case, she is a rarity. The birch tree in “Russian Song” by N. Ibragimov is memorable:

Goncharov saw the birch as an integral tree of Russian life, peasant life, ceremonial rituals, work and rest. The word itself still shone pristinely and had some now forgotten, lost meaning that connected it with her native land. This, it seems, can be felt when reading the poem “Birch” by P. Vyazemsky. It was written in 1855.

As you can see, here too the subject details are important for Oblomov - both the robe and the cobwebs on the walls - all this personifies Oblomov’s lifestyle, his worldview, and parting with these attributes of his life means for Oblomov to lose himself.

Then a natural question arises: if Oblomov did not have the ability to work, maybe his personal life flowed like a stormy river? Nothing happened. Only in the first years of his life in St. Petersburg “the calm features of his face were more often animated, his eyes shone for a long time with the fire of life, rays of light, hope, and strength flowed from them. In those distant times, Oblomov noticed the passionate looks and promising smiles of beauties. But he did not get close to women, valuing peace, and limited himself to worship from afar at a respectful distance.” (10)

The desire for peace determined Oblomov’s life views - any activity means boredom for him. With his inability to work, Oblomov is close to the type of “superfluous man” - Onegin, Pechorin, Rudin, Beltov.

At the end of the first part, Goncharov poses the question of what will win in Oblomov: vital, active principles or sleepy “Oblomovism”? In the second part of the novel, Oblomov’s life was shaken up. He perked up. However, even at this time there is an internal struggle within him. Oblomov is afraid of the bustle of the city, looking for peace and quiet. And the personification of peace and quiet again becomes: a cozy apartment and a comfortable sofa: Ilya Ilyich admits to Stoltz that only with Ivan Gerasimovich, his former colleague, he feels calm:

“You know, it’s somehow free and cozy in his house. The rooms are small, the sofas are so deep: you’ll get lost and you won’t see a person. The windows are completely covered with ivy and cacti, there are more than a dozen canaries, three dogs, so kind! The appetizer does not leave the table. The engravings all depict family scenes. You come and you don’t want to leave. You sit, not caring, not thinking about anything, you know that there is a person next to you... of course, he is unwise, there is no point in exchanging ideas with him, but he is simple, kind, hospitable, without pretensions and will not hurt your eyes! - What are you doing? - What? When I come, we’ll sit opposite each other on the sofas, with our legs up; he smokes..." (10)

This is Oblomov’s life program: enjoying peace and quiet. And the objects surrounding Oblomov are all intended exclusively for this purpose: the sofa, the robe, and the apartment; and, characteristically, objects intended for activity, for example, an inkwell, are inactive and are completely unnecessary for Oblomov.

As for Oblomov’s “business qualities,” they are also revealed through the objective world. So, in the aspect of rebuilding the estate, as well as in his personal life, Oblomovism won - Ilya Ilyich was afraid of Stolz’s proposal to build a highway to Oblomovka, build a pier, and open a fair in the city. Here is how the author draws the objective world of this reconstruction:

“- Oh, my God! - said Oblomov. - This was still missing! Oblomovka was so quiet, off to the side, and now there’s a fair, a big road! The men will start coming to the city, merchants will come to us - everything is gone! Trouble! ...

How is it not a problem? - Oblomov continued. - The men were so-so, nothing was heard, neither good nor bad, they were doing their job, not reaching for anything; and now they will be corrupted! There will be teas, coffees, velvet trousers, harmonicas, greased boots... there will be no use!

Yes, if this is so, of course, it’s of little use,” Stolz noted... “And you start a school in the village...

Isn't it early? - said Oblomov. “Literacy is harmful to a peasant: teach him, and he probably won’t even start plowing...” (10)

What a bright contrast with the world surrounding Oblomov: silence, a comfortable sofa, a cozy robe, and suddenly - greased boots, trousers, harmonicas, noise, din.

Details of the situation in “Oblomov” by I. A. Goncharov

From the very first pages of the novel by I. A. Goncharov Oblomov, we find ourselves in an atmosphere of lazy and idle spending time, a kind of loneliness. So, Oblomov had “three more rooms... In those rooms the furniture was covered with covers, the curtains were drawn.” In Oblomov’s room itself there was a sofa, the back of which sank down and “the glued wood came loose in places.” All around there was a cobweb filled with dust, “mirrors, instead of reflecting objects, could serve rather as tablets for writing on them, in the dust, some notes for memory,” - here Goncharov is ironic. “The carpets were stained. There was a forgotten towel on the sofa; On the rare morning there was not a plate with a salt shaker and a gnawed bone standing on the table, not cleared from yesterday's dinner, and there were no bread crumbs lying around... If not for this plate, and not for the just smoked pipe leaning against the bed, or not for the owner himself lying on it, then one would think that no one lives here - everything was so dusty, faded and generally devoid of traces of human presence.” Next are listed open, dusty books, last year's newspaper and an abandoned inkwell with feathers.
All these details appear more than once on the pages of the novel. The dusty mirror symbolizes the lack of reflection of Oblomov’s activities. This is how it is: the hero does not see himself from the outside until Stoltz arrives. All his activities: lying on the couch and shouting at Zakhar.
The details of the furnishings in Oblomov’s house on Gorokhovaya Street are similar to what was in his parents’ house. The same neglect, the same clumsiness and lack of visibility of human presence: “a large living room in the parents’ house, with antique ash armchairs, always covered with covers, with a huge, awkward and hard sofa, upholstered in faded blue barracks in spots, and one large leather chair... One tallow candle burns dimly in the room, and this was only allowed on winter and autumn evenings.”
The lack of housekeeping, the habit of inconvenience of the Oblomovites - just so as not to spend money, explains the fact that the porch is wobbly, that the gate is crooked, that “Ilya Ivanovich’s leather chair is only called leather, but in
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In fact, it’s neither a washcloth nor a rope: there’s only one scrap of skin left on the back, and the rest has already fallen into pieces and peeled off for five years now...”
The situation in Oblomov’s house, everything that surrounds him, bears Oblomov’s imprint. But the hero dreams of elegant furniture, books, sheet music, a piano - alas, he only dreams. There is not even paper on his dusty desk, and there is no ink in the inkwell. And he failed “to sweep away the cobwebs from his eyes along with the dust and cobwebs from the walls and to see clearly.” Here it is, the motif of a dusty mirror that gives no reflection.
When the hero met Olga, when he fell in love with her, the dust and cobwebs became unbearable for him. “He ordered several crappy paintings to be taken out, which some patron of poor artists had forced upon him; He himself straightened the curtain, which had not been raised for a long time, called Anisya and ordered him to wipe the windows, brushed away the cobwebs ... "
“Things, everyday details, the author of “Oblomov” characterizes not only the appearance of the hero, but also the contradictory struggle of passions, the history of growth and fall, and his subtlest experiences. Illuminating feelings, thoughts, psychology in their confusion with material things, with phenomena of the external world, which are like an image - the equivalent of the hero’s internal state, Goncharov acts as an inimitable, original artist. (N.I. Prutskov, “The Mastery of Goncharov the Novelist”, Publishing House of the USSR Academy of Sciences, Moscow, 1962, Leningrad, p. 99).
In chapter six of part two, details of the natural setting appear: lilies of the valley, fields, groves - “and the lilacs are still growing near the houses, the branches are climbing into the windows, the smell is cloying. Look, the dew on the lilies of the valley has not yet dried.” Nature testifies to the short awakening of the hero, which will pass just as the lilac branch withers. The lilac branch is a detail that characterizes the peak of the hero’s awakening, as is the robe, which he threw off for a while, but which he will inevitably put on at the end of the novel, repaired by Pshenitsyna, which symbolizes a return to Oblomov’s former life. This robe is a symbol of Oblomovism, as are cobwebs with dust, dusty tables, mattresses and dishes piled up in disarray.
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Interest in details brings Goncharov closer to Gogol. Things in Oblomov's house are described in Gogol's style. Both Gogol and Goncharov do not have everyday surroundings “for background”. All objects in their artistic world are significant and animated. Goncharova's Oblomov, like Gogol's heroes, creates a special microworld around himself that gives him away. Everyday life is filled with his presence, Oblomovism. Likewise, the world around us in Gogol’s “Dead Souls” is animated and active: it shapes the lives of the heroes in its own way and invades it. The artistic methods of Gogol and Goncharov are based on the collision of the external and internal worlds, on their mutual influence and interpenetration.
I. A. Goncharov’s novel “Oblomov” is read with great interest due to the truth in the depiction of the situation.
“The writer uses two main methods of depicting an image: firstly, the method of detailed sketching of the appearance and surroundings; secondly, the method of psychological analysis... Even the first researcher of Goncharov’s work, N. Dobrolyubov, saw the artistic originality of this writer in the uniform attention “to all the small details of the types he reproduced and the entire way of life”... Goncharov organically combined plastically tangible paintings, distinguished by amazing external detail, with a subtle analysis of the heroes’ psychology.” (A.F. Zakharkin, “Novel by I.A. Goncharov “Oblomov”,” State Educational and Pedagogical Publishing House, Moscow, 1963, pp. 123 – 124).
The motif of dust appears again on the pages of the novel in chapter seven of part three. This is a dusty page of a book. Olga understands from it that Oblomov did not read. He didn't do anything at all. And again the motif of desolation: “the windows are small, the wallpaper is old... She looked at the crumpled, embroidered pillows, at the disorder, at the dusty windows, at the desk, sorted through several dust-covered papers, moved the pen in the dry inkwell...”

Throughout the novel, the ink never appeared in the inkwell. Oblomov does not write anything, which indicates the degradation of the hero. He doesn't live, he exists. He is indifferent to the inconvenience and lack of life in his home. It was as if he had died and wrapped himself in a shroud when, in the fourth part, in the first chapter, after breaking up with Olga, he watches the snow fall and cause “large snowdrifts in the yard and on the street, as it covered firewood, chicken coops, a kennel, a garden, vegetable garden beds, how pyramids were formed from fence posts, how everything died and was wrapped in a shroud.” Spiritually, Oblomov died, which resonates with the situation.
On the contrary, the details of the furnishings in the Stolts house prove the love of life of its inhabitants. Everything there breathes life in its various manifestations. “Their house was modest and small. Its internal structure had the same style as the external architecture, and all the decoration bore the stamp of thought and personal taste of the owners.” Here, various little things speak of life: yellowed books, and paintings, and old porcelain, and stones, and coins, and statues “with broken arms and legs,” and an oilcloth raincoat, and suede gloves, and stuffed birds, and shells...” But among this multi-century furniture, paintings, among those that had no meaning for anyone, but were marked for both of them by a happy hour, a memorable moment of little things, in the ocean of books and sheet music, there was a breath of warm life, something irritating the mind and aesthetic sense; Everywhere there was either a vigilant thought or the beauty of human affairs shone, the eternal beauty of nature shone all around.”
Wasn’t this the kind of decoration Oblomov dreamed of when he told Stolz about elegant furniture, a piano, sheet music and books? But the hero did not achieve this, “did not keep up with life” and instead listened to “the crackling of a coffee mill, the jumping on a chain and the barking of a dog, the cleaning of Zakhar’s boots and the measured knock of a pendulum.” It is precisely this regularity and slowness that marks Oblomov’s life. This is the psychology of Oblomovism. He has no business that would be a vital necessity for him, he will live anyway. He has Zakhar, he has Anisya, he has Agafya Matveevna. His house has everything he needs for his regular life. Lots of dishes: round and oval dishes, gravy boats, teapots, cups, plates, pots. “Entire rows of huge, pot-bellied and miniature teapots and several rows of porcelain cups, simple, with
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With paintings, with gilding, with mottos, with flaming hearts, with the Chinese. Large glass jars with coffee, cinnamon, vanilla, crystal teapots, bowls with oil and vinegar.
Then whole shelves were cluttered with packs, bottles, boxes of home medicines, herbs, lotions, plasters, alcohols, camphor, powders, and incense; there was also soap, potions for cleaning lace, removing stains, etc. - everything that you would find in any house in any province, from any housewife.”
More details of Oblomov’s abundance: “hams were hung from the ceiling so that mice would not spoil them, cheeses, heads of sugar, hanging fish, bags of dried mushrooms, nuts bought from a Chukhonka... On the floor there were tubs of butter, large covered pots with sour cream, baskets with eggs - and something didn’t happen! You need the pen of another Homer to count in completeness and detail everything that was accumulated in all the corners, on all the shelves of this little ark of home life”...
But despite all this abundance, there was no main thing in Oblomov’s house - there was no life itself, there was no thought, everything went on by itself, without the participation of the owner. Even with the appearance of Pshenitsyna, the dust did not completely disappear from Oblomov’s life - it remained in the room of Zakhar, who at the end of the novel became a beggar.
Oblomov’s apartment on Gorokhovaya Street, Pshenitsyna’s house - everything is drawn lushly, colorfully, with rare meticulousness... “Goncharov is known as a brilliant writer of everyday life of his era. Numerous everyday paintings are usually associated with this artist”...(E. Krasnoshchekova, “Oblomov” by I. A. Goncharov,” publishing house “Khudozhestvennaya Literatura”, Moscow, 1970, p. 92)
Describing everyday life, Goncharov characterizes the inhabitant of the house, Oblomov, his inaction and mental laziness. Details of the setting in the novel are the main witnesses to the character of the owner.

List of used literature:
1) I. A. Goncharov, “Oblomov”, Moscow, PROFIZDAT, 1995;
2) A.F. Zakharkin, “Roman by I.A. Goncharov “Oblomov”,” State Educational and Pedagogical Publishing House, Moscow, 1963;
3) E. Krasnoshchekova, “Oblomov” by I. A. Goncharov,” publishing house “Khudozhestvennaya Literatura”, Moscow, 1970;
4) N. I. Prutskov, “The Mastery of Goncharov the Novelist”, Publishing House of the USSR Academy of Sciences, Moscow, 1962, Leningrad.

Reviews

Well, I’ve read this and many others, and I’m writing.
Your point of view is interesting - we noticed the situation. If you don’t specifically set such a task, then you won’t pay attention at all. Here they even described it all correctly. For some reason, it seemed to me that the novel “Oblomov” was a comedy when I started reading it, but there I came across such passages from reading, where Oblomov breaks up with his bride, and is left alone, that this is no longer a comedy at all. However, you have a more professional look. The article is well written - intelligibly. But this is literary criticism, i.e. a look as if in hindsight, reflection; when you write it all yourself, the furnishings and clothes and everyday life somehow come out spontaneously, intuitively, and you even surprise yourself later. I think this is familiar to you. If you write according to a certain scheme - so, here I will have a situation, in this chapter there is everyday life, this and that, then bullshit comes out - you immediately feel it and will become noticeable even to the reader.
I liked the memoirs about Pusya. Well written and, most importantly, easy and interesting to read. But I think there is some delay with moving into 2 parts and with the prices, what, and how much it costs.
The rest of the memoirs are also interesting, and after reading your phrase “An inexplicable melancholy gnaws at the heart...” I immediately understood where your sympathy for L. Andreev came from. Take care of yourself - I think you are a good and bright person Marina!
The last miniature you posted, or the chapter of the novel, is very sincere. I wouldn’t dare to write something like that, I don’t know, maybe it was somehow inconvenient. However, this is a male gaze; a certain weakness and nudity are subconsciously visible here. And this is alien to men's prose. Our brother will be much quicker to flaunt dirt and depravity than to show the so-called. “snot” - weakness, melancholy and other experiences, and even in public. But after reading something, my heart sank so much, I don’t even know how I got excited. You have a huge advantage over other women writers - you are frank and honest. You can count on my help, if any of the “brilliant” women rock the boat here, I’ll kill you!
I liked the poems. In general, I really like poetry when it rhymes, as if like a song.
That's what I could have written, but you won't remember it right away.
Good luck to you Marina, success!
I'm going to bed.
Sincerely,

Gorokhovaya Street is one of the main streets of St. Petersburg, where representatives of the highest aristocracy lived. Having learned later about the environment in which Oblomov lives, the reader may think that the author wanted to mislead him by emphasizing the name of the street where Oblomov lived. But that's not true. The author did not want to confuse the reader, but, on the contrary, to show that Oblomov could still be something other than he is in the first pages of the novel; that he has the makings of a person who could make his way in life. That’s why he lives not just anywhere, but on Gorokhovaya Street.

Another detail that is rarely mentioned is the flowers and plants in the novel. Each flower has its own meaning, its own symbolism, and therefore mentions of them are not accidental. So, for example, Volkov, who suggested that Oblomov go to Kateringof, was going to buy a bouquet of camellias, and Olga’s aunt advised her to buy ribbons the color of pansies. While walking with Oblomov, Olga plucked a lilac branch. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end.

But while they did not think about the end, they were full of hope. Olga sang Casta diva, which probably won Oblomov completely. He saw in her that same immaculate goddess. And indeed, these words - “immaculate goddess” - to some extent characterize Olga in the eyes of Oblomov and Stolz. To both of them, she truly was an immaculate goddess. In the opera, these words are addressed to Artemis, who is called the goddess of the Moon. But the influence of the moon and moon rays negatively affects lovers. That’s why Olga and Oblomov break up. What about Stolz? Is he really immune to the influence of the moon? But here we see a weakening union. Olga will outgrow Stolz in her spiritual development. And if for women love is worship, then it is clear that here the moon will have its detrimental effect. Olga will not be able to stay with a person whom she does not worship, whom she does not extol.

Another very significant detail is the raising of bridges on the Neva. Just when in the soul of Oblomov, who lived with Pshenitsyna, a turning point began in the direction of Agafya Matveevna, her care, her corner of paradise; when he understood with all clarity what his life would be like” with Olga; when he became frightened of this life and began to fall into “sleep,” that’s when the bridges were opened. The communication between Oblomov and Olga was interrupted, the thread that connected them was broken, and, as you know, a thread can be tied “forcibly,” but it cannot be forced to grow together, therefore, when the bridges were built, the connection between Olga and Oblomov was not restored. Olga married Stolz, they settled in the Crimea, “in a modest house. But this house, its decoration, “carried the stamp of the thoughts and personal taste of the owners,” which is already important. The furniture in their house was not comfortable, but there were a lot of engravings, statues, books, yellowed with time, which speaks of the education, high culture of the owners, for whom old books, coins, engravings are valuable, and who constantly find something new for themselves in them.

Thus, in Goncharov’s novel “Oblomov” there are many details, to interpret which means to understand the novel more deeply.

“Oblomov’s Dream” is a magnificent episode that will remain in our literature. In my opinion, the dream is nothing more than an attempt by Goncharov himself to understand the essence of Oblomov and Oblomovism. Goncharov, apparently, felt that I, for example, had become too sensitive when reading the novel, that Oblomov was sweet and attractive to him. Why? For what qualities of the soul? For what actions?

Most likely, the novelist received the answer to this question from Russian poetry. “Oblomov’s Dream” poeticized the appearance of the hero and... connected him with the hearts of readers with thousands of invisible threads. In this regard, I believe that “The Dream” itself has undoubted merits as an independent work of art. Now it is clearly visible that the novel without “The Dream” would have been an unfinished work and readers would not have loved it so much. “The Dream” clarified a lot in the image of the hero and reconciled us with a lot. “The Dream” was written by Goncharov like a poem in which you won’t find an extra word and all the laws of poetry are observed. Onisim Suslov, whose porch could only be reached by grasping the grass with one hand and the roof of the hut with the other, immediately becomes dear to the reader’s heart. And the sleepy servant blowing sleepily into kvass, in which the drowning flies are rustling violently, and the dog, recognized as mad only because he rushed to run from people who threatened her with pitchforks and axes, and the nanny, falling asleep after a fatty dinner with a premonition that Ilyusha will go teasing the goat and climbing the gallery, and many other fascinating details.

So, “Oblomov’s Dream” expanded, legitimized and clarified the somewhat fragmented and polysemantic image of the hero.

“The Dream,” as we know, has another story. Readers of Otechestvennye Zapiski, where Goncharov’s new novel was published, noticed that the work was divided into two unequal sections. Under the first part there was a date - 1849, under the other three - 1857 and 1858. Ten years separated the initial plan from its final implementation. Between Oblomov, who mercilessly tormented his Zakhar, and Oblomov, who was in love with Olga, there may be a whole abyss. As much as Oblomov, lying on the sofa between Alekseev and Tarantiev, seems unpleasant to us,” the same hero, who himself destroys the love of the woman he has chosen and weeps over the ruins of his happiness, is deep, touching and evokes sympathy among readers. Goncharov tried in vain to smooth out the line dividing the heroes , making their relationship unnatural. “Oblomov’s Dream” put everything in its place.

For me, as a reader who loves not only prose, but also poetry, “Oblomov’s Dream” gives true poetic pleasure.