The main characters of Oblomov's characteristic briefly. Characteristics of the heroes of the Oblomov novel (description of the main and secondary characters)
Agafya Pshenitsyna
Pshenitsyna Agafya Matveevna - the widow of an official, the illegal wife of Oblomov. “She was about 30 years old. She was very white and full in the face. She had almost no eyebrows at all ... Her eyes were grayish-innocent, like the whole expression of her face; the arms are white, but hard, with large knots of blue veins protruding."
Before Oblomov, P. lived without thinking about anything. She was completely uneducated, even stupid. She was not interested in anything but housekeeping. But in this she excelled.
P. was in constant motion, realizing that "there is always work." It was the work that was the content and meaning of the life of this heroine. In many ways, it was precisely with her activity that P. captivated Oblomov.
Gradually, with the justification of Oblomov in her house, important changes take place in P.'s nature. Anxieties, glimpses of thoughts, and finally, love awaken in her. Her heroine manifests in her own way, taking care of clothes and a table for Oblomov, praying for his health, caring for the hero at night during his illness. “All her household ... received a new, living meaning: the peace and comfort of Ilya Ilyich ... She began to live in her own way, fully and diversely.” P. is the only absolutely disinterested and determined person surrounded by Oblomov. For his sake, she is ready to do anything: pawn jewelry, borrow money from the relatives of her late husband. When P. learns about the intrigues of the "brother" and godfather against Oblomov, she does not hesitate to break off all relations with them. P. and Oblomov have a son. Realizing his difference from the rest of his children, P. after the death of Oblomov meekly gives him up to be raised by Stolz. Becoming a widow, P. realized that she had the meaning of life, she "knew why she lived and that she did not live in vain." At the end of the novel new force P.'s disinterestedness is manifested: she does not need reports from the Oblomov estate and income from it. The light of life P. died out along with the life of Oblomov.
Zakhar
Zakhar is Oblomov's servant. This " old man, in a gray frock coat, with a hole under the arm ... with a skull as naked as a knee and with immensely wide, thick, blond, gray-haired sideburns ... "
Z. is lazy and sloppy. Everything that Z. touches breaks and beats. He can serve food to Oblomov on dirty or beaten dishes, he can serve food raised from the floor, etc. He justifies this philosophically: everything that is done is pleasing to the Lord, and this is not worth fighting. But the outward looseness of Z. is deceptive. He cares about the master's good, knows him without fail. Despite Tarantiev's pressure, Z. does not give him anything from the master's clothes, confident that he will not return it. Z. is a servant of the old school, idolizing his master and his entire family. When Oblomov scolds the servant for likening him to other people living in the world, Z. feels guilty. Indeed, his master is special and the best. But, along with devotion to the owner, Z. is characterized by refinement and depravity of morals. He likes to drink with friends, gossip with other servants, either praising or belittling his master. On occasion, Z. can also pocket money for himself, change from a store, for example. The life of Z. is closely connected with the life of Oblomov. Two last representative Oblomovki, they, each in their own way, sacredly keep her covenants in their souls. Even when Z. marries the cook Anisya, he tries not to let her see the master, but does everything for him himself, considering this his inviolable duty. Z.'s life ends with the life of Oblomov. After his death, Z. is forced to leave Pshenitsyna's house. He ends his life on the porch as a poor old man. This is how Stoltz meets him and offers to take him to the village. But the faithful servant refuses: he cannot leave the grave of his master unattended.
Mikhey Tarantiev
Tarantiev Mikhey Andreevich - Oblomov's countryman. Where he came from and how he got into the trust of Ilya Ilyich is unknown. T. appears on the very first pages of the novel - “a man of about forty, belonging to a large breed, tall, voluminous in the shoulders and throughout the body, with large features, with a large head, with a strong, short neck, with large protruding eyes, thick-lipped . A cursory glance at this man gave rise to the idea of something rough and unkempt.
A similar type of bribe-taking official, a rude person, ready to scold everyone in the world every minute, but in last minute cowardly hiding from a well-deserved reprisal, it was not discovered in literature by Goncharov. It was after Goncharov that it became widespread, in the works of M.E. Saltykov-Shchedrin, A.V. Sukhovo-Kobylin. T. is the one " coming Ham”, which gradually reigned throughout Russia and which grew into a formidable symbol in the image of the Sukhovo-Kobylinsky Rasplyuev.
But T. has another curious feature. “The fact is that Tarantiev was a master only to speak; in words he decided everything clearly and easily, especially as regards others; but as soon as it was necessary to move a finger, move off - in a word, apply the theory he created to the case and give it a practical move ... he was a completely different person: here he was not enough ... "This feature, as you know, characterizes not only rude and uncouth characters of these writers, but to some extent "superfluous people". Like T., they also remained “theoreticians for life”, applying their abstract philosophy to the place and not to the place. Such a theoretician needs a number of practices that could bring his ideas to life. T. finds himself a "godfather" Ivan Matveyevich Mukhoyarov, a morally unscrupulous man, ready for any meanness, who does not disdain anything in his thirst for accumulation.
At first, Oblomov believes that T. is able to help him with the worries on the estate, in changing the apartment. Gradually, not without the influence of Olga Ilyinskaya and Andrei Stolz, Ilya Ilyich begins to understand what a quagmire T. is trying to drag him into, slowly forcing Oblomov to sink to the very bottom of life. T.'s attitude towards Stolz is not so much the contempt of a Russian person for a German, with whom T. rather hides behind, but the fear of exposing the grandiose machinations that T. hopes to bring to an end. It is important for him, with the help of proxies, to seize Oblomovka, receiving interest on the income of Ilya Ilyich, and even to confuse him himself, having obtained proof of Oblomov’s connection with Pshenitsyna.
T. hates Stolz, calling him "a blowing beast." Out of fear that Stolz will still take Oblomov abroad or to Oblomovka, T., with the assistance of Mukhoyarov, is in a hurry to force Ilya Ilyich to sign a predatory contract for an apartment on the Vyborg side. This contract deprives Oblomov of the possibility of any action whatsoever. Following this, T. persuades Mukhoyarov, “until the boobies are gone in Rus',” to have time to marry Oblomov to the new manager of the estate, Isai Fomich Zated, very successful in bribes and forgeries. T.'s next step is to put into practice (with the help of the same Mukhoyarov) the idea of Oblomov's "debt". As if offended for the honor of his sister, Mukhoyarov must accuse Ilya Ilyich of claims to the widow Pshenitsyna and sign a paper on compensation for moral damage in the amount of ten thousand rubles. The paper is then rewritten in the name of Mukhoyarov, and the godfathers receive money from Oblomov.
After the exposure of these machinations by Stolz, T. disappears from the pages of the novel. Only at the very end is he mentioned by Zakhar, who, when meeting with Stolz at the cemetery on the Vyborg side, tells how much he had to endure after the death of Ilya Ilyich from Mukhoyarov and T., who wanted to kill him from the world. “Mikhei Andreevich Tarantyev strove everything, as you pass by, kick him from behind: there was no more life!” Thus, T. took revenge on Zakhar for the neglect shown by the servant in those days when T. came to Oblomov to dine and ask for either a shirt, or a vest, or a tailcoat - of course, without return. Each time, Zakhar stood up for the protection of the master's good, grumbling like a dog at an intruder and not hiding his feelings for a low person.
Oblomov
This is how it appears to the reader Main character at the very beginning of the novel: “He was a man of about thirty-two or three years of age, of medium height, of good appearance, with dark gray eyes, but with no definite idea, no concentration in his features... His movements, when he was even alarmed , were also restrained by softness and laziness, not devoid of a kind of grace. All anxiety was resolved with a sigh and faded into apathy or drowsiness. Lying down with Ilya Ilyich was not ... a necessity ... it was his normal state". Oblomov's home costume - an oriental robe, as well as the life of Ilya Ilyich described in detail by the author, complement the image of the hero and help to better understand his character. “On the walls, near the paintings, a cobweb saturated with dust was molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets for writing down some memoirs on them over the dust.”
Before us appears a character far from impartial, it seems that laziness, passivity, indifference are deeply rooted in him. But at the same time, against the background of his "friends", deceitful, self-serving, boastful people who paid him a visit at the very beginning of the novel, the reader gets acquainted with positive qualities Oblomov: purity of thoughts, honesty, kindness, cordiality.
For a more complete disclosure of Oblomov's character, Goncharov contrasts him with other heroes of the novel, Andrei Stolz and Olga Ilyinskaya.
Stolz is, of course, the antipode of Oblomov. Every trait of his character is a sharp protest against the qualities of Ilya Ilyich. Stolz loves life - Oblomov often falls into apathy; Stolz has a thirst for activity - for Oblomov best activity- relaxing on the couch. The origins of this opposition in the education of heroes.
The author makes one involuntarily compare the childhood of little Andrei with the childhood of Ilyusha. Unlike Stolz, who grew up under the tutelage of his father, independent, stubborn in achieving his goals, thrifty, the main character grew up as a child, accustomed to having all his desires satisfied not as a result of his own efforts, but from the hard work of others. The village where Oblomov was brought up was, according to Dobrolyubov, the soil on which Oblomovism grew. Such an upbringing developed in Ilya Ilyich an apathetic immobility and plunged him into the miserable state of a moral slave. This is one of Oblomov's tragedies touched upon in the novel - the young and active Ilyusha was infected from childhood with an "incurable disease", Oblomovism - laziness generated by fear of change and fear of the future.
Stolz, in whom the author instilled a force capable of reviving the Oblomovs and destroying the Oblomovs, considers it his duty to change the way of life of his friend.
Andrei tries to "walk" Ilya Ilyich into people, goes with him to dinner parties, at one of which he introduces him to Olga Ilyinskaya. She “in the strict sense was not a beauty ... But if she were turned into a statue, she would be a statue of grace and harmony”, “in a rare girl you will find such simplicity and natural freedom of sight, word, deed ... no lie, no tinsel, no intent !" Olga in the novel is the embodiment of grace, concentration, lightness. Oblomov is immediately captivated by the amazing voice of the girl, listening to her magnificent "Casta diva". At the request of Stolz, Olga draws up a plan for how she will take advantage of Oblomov's love in order to "remake" him into an active, active person. Olga understands that in relations with Oblomov she owns the main role, "role guiding star". She was transformed along with Oblomov's changes, because these changes are the work of her hands. “And she will do all this miracle ... She even trembled with proud, joyful awe; I considered it a lesson appointed from above. In the course of her experiment, Olga falls in love with Oblomov, which brings her whole plan to a standstill and leads to tragedy in their further relationship.
Oblomov and Olga expect the impossible from each other. She is from him - activity, will, energy. In her view, he should become like Stolz, but only retain the best that is in his soul. He is from her - reckless, selfless love. But Olga loves that Oblomov whom she created in her imagination, whom she sincerely wanted to create in life. “I thought that I would revive you, that you could still live for me, but you died a long time ago,” Olga says with difficulty and asks a bitter question: “Who cursed you, Ilya? What did you do? What ruined you? There is no name for this evil..." - "Yes, - Ilya answers. - Oblomovism!" The tragedy of Olga and Oblomov becomes the final verdict to that terrible phenomenon, which Goncharov portrayed in his novel.
The main thing, in my opinion, is another tragedy of Oblomov - humility, unwillingness to overcome such an ailment as Oblomovism. In the course of the novel, Oblomov set himself many tasks that, it would seem, are of paramount importance to him: to reform the estate, get married, travel around the world, and, finally, find himself new apartment Petersburg instead of the one from which he was evicted. But a terrible "disease" does not allow him to get down to business, she "dumped him on the spot." But Oblomov, in turn, does not try to get rid of her, but only tries in vain to shift his problems onto the shoulders of another, as he was taught in childhood. The tragedy of Ilya Ilyich is that even such high and noble feelings as love and friendship cannot make him wake up from eternal sleep.
Olga Ilinskaya
Olga Sergeevna Ilyinskaya - Oblomov's beloved, Stolz's wife, bright and a strong character.
“Olga in the strict sense was not a beauty ... But if she were turned into a statue, she would be a statue of grace and harmony”, “In a rare girl you will find such simplicity and natural freedom of sight, word, deed ... no lies, no tinsel, no intent !"
The author emphasizes the rapid spiritual development her heroine: she "as if listening to the course of life by leaps and bounds."
O. and Oblomov introduces Stolz. Ilya Ilyich is immediately captivated by the amazing voice of the girl. Listening to her magnificent "Casta diva", Oblomov falls more and more in love with O.
The heroine is self-confident, her mind demands permanent job. Having fallen in love with Oblomov, she certainly wants to change him, raise him to her ideal, re-educate him. O. draws up a plan to "remake" Oblomov into an active, active person. “And she will do all this miracle ... She even trembled with proud, joyful awe; I considered it a lesson appointed from above. O. understands that in relations with Oblomov she has the main role, "the role of a guiding star." She was transformed along with Oblomov's changes, because these changes are the work of her hands. But the mind and soul of the heroine demanded further development, and Ilya Ilyich changed very slowly, reluctantly and lazily. O.'s feeling resembles rather the experience of re-educating Oblomov than sincere first love. She does not inform Oblomov that all affairs on her estate have been settled only in order to “follow to the end how love will make a revolution in his lazy soul ...” But, realizing that her life ideals never agree with Oblomov’s ideals, O. breaks off relations with him: “... you are ready to coo all your life under the roof ... but I’m not like that: this is not enough for me, I need something else, but I don’t know what!” O. needs to feel that her chosen one is above her. But even Stolz, whom she will marry, does not succeed. "The deep abyss of her soul" haunts O. rest. She is doomed forever striving for development and a richer, spiritually rich life.
Stolz
STOLZ - central character novel by I.A. Goncharov "Oblomov" (1848-1859). Literary sources the image of Sh. - Gogol's Constanjonglo and the merchant Murazov (second volume " dead souls”), Petr Aduev (“Ordinary History”). Later, Sh. Goncharov developed the type in the image of Tushin (“Cliff”).
Sh. is the antipode of Oblomov, a positive type of practical figure. In the image of Sh., according to Goncharov's plan, such opposite qualities as, on the one hand, sobriety, prudence, efficiency, knowledge of people of a practical materialist should have been harmoniously combined; on the other - spiritual subtlety, aesthetic susceptibility, high spiritual aspirations, poetry. Thus, the image of Sh. is created by these two mutually exclusive elements: the first comes from his father, a pedantic, stern, rude German (“his father put him with him on a spring cart, gave the reins and ordered him to be taken to the factory, then to the fields, then to the city , to merchants, to offices"); the second - from her mother, a Russian, poetic and sentimental nature (“she rushed to cut Andryusha’s nails, curl her curls, sew elegant collars and shirt-fronts, sang to him about flowers, dreamed about the poetry of life with him about high role…”). His mother was afraid that Sh., under the influence of his father, would become a rude burgher, but Sh.’s Russian environment prevented (“Oblomovka was nearby: there is an eternal holiday!”), As well as the princely castle in Verkhlev with portraits of pampered and proud nobles “in brocade, velvet and lace." “On the one hand, Oblomovka, on the other, the princely castle, with a wide expanse lordly life, met with the German element, and neither a good bursh, nor even a philistine, came out of Andrei.
Sh., in contrast to Oblomov, makes his own way in life. It is not for nothing that Sh. comes from the bourgeois class (his father left Germany, wandered around Switzerland and settled in Russia, becoming the manager of the estate). Sh. graduates brilliantly from the university, serves with success, retires to study own business; makes a house and money. He is a member trading company sending goods abroad; as an agent of the company, Sh. travels to Belgium, England, throughout Russia. Sh.'s image is built on the basis of the idea of balance, the harmonic correspondence of the physical and spiritual, mind and feelings, suffering and pleasure. Sh.'s ideal is measure and harmony in work, life, rest, and love. The portrait of Sh. contrasts with the portrait of Oblomov: “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 fat roundness ... "The ideal of Sh.'s life is unceasing and meaningful work, this is" the image, content, element and purpose of life. Sh. defends this ideal in a dispute with Oblomov, calling utopian ideal the latter "Oblomovism" and considering it harmful in all spheres of life.
Unlike Oblomov, Sh. passes the test of love. He meets the ideal of Olga Ilyinskaya: Sh. combines masculinity, fidelity, moral purity, universal knowledge and practical acumen, allowing him to emerge victorious in all life's trials. Sh. marries Olga Ilyinskaya, and Goncharov tries in their active alliance, full of work and beauty, to represent ideal family, a true ideal that fails in Oblomov’s life: “they worked together, dined, went to the fields, made music as Oblomov dreamed of ... But they didn’t have drowsiness, despondency, they spent their days without boredom and without apathy; there was no languid look, no word; the conversation did not end with them, it was often hot. In friendship with Oblomov, Sh. also turned out to be on top: he replaced the rogue manager, destroyed the intrigues of Tarantiev and Mukhoyarov, who tricked Oblomov into signing a fake loan letter.
The image of Sh., according to Goncharov, was supposed to embody a new positive type of Russian progressive figure (“How many Stoltsev should appear under Russian names!”), Combining both the best Western tendencies and Russian breadth, scope, spiritual depth. Type Sh. was supposed to turn Russia on the path European civilization to give it the proper dignity and weight among the European powers. Finally, S.'s efficiency does not come into conflict with morality; the latter, on the contrary, complements efficiency, gives it inner strength and strength.
Contrary to Goncharov's intention, utopian features are palpable in the image of Sh. Rationalism and rationalism, embedded in the image of Sh., damages artistry. Goncharov himself was not entirely satisfied with the image, believing that Sh. was “weak, pale,” that “an idea peeps out of him too nakedly.” Chekhov expressed himself more sharply: “Stoltz does not inspire any confidence in me. The author says that this is a magnificent fellow, but I do not believe it. This is a puristic beast who thinks very well of himself and is pleased with himself. It is half composed, three-quarters stilted" (letter 1889). The failure of the image of Sh., perhaps, is due to the fact that Sh. is not artistically shown in the large-scale activity in which he is successfully engaged.
The novel "Oblomov" is one of the the brightest works Russian literature of the 19th century, which even today excites readers with the sharpness of the questions raised by the author. The book is interesting, first of all, because the problematics of the novel is revealed through the method of antithesis. The opposition in Oblomov of the main characters makes it possible to emphasize the conflict between different worldviews and characters, as well as better reveal inner world each character.
The action of the work revolves around the fate of the four main characters of the book: Ilya Ilyich Oblomov, Andrey Ivanovich Stolz, Olga Ilyinskaya and Agafya Pshenitsyna (some researchers supplement this list with Zakhar, but in terms of importance in the narrative, he still belongs to the secondary actors). Through male and female characters in the novel, the author analyzes various aspects of social and personal life man, reveals many "eternal" themes.
Characteristics of male characters
Ilya Oblomov And Andrey Stoltz – the main characters of "Oblomov" Goncharova. According to the plot of the novel, the men met in school years and, having become friends, continued to support each other even after decades. Oblomov and Stolz are an example of a really strong, reliable and fruitful friendship for both men. Ilya Ilyich saw in Andrei Ivanovich a person who is always ready and, most importantly, knows how to solve his problems with those around him, with the expenses and income of the estate. For Stolz, Oblomov was a pleasant conversationalist, whose company had a pacifying effect on Andrei Ivanovich and helped him return to peace of mind which he often lost in pursuit of new achievements.
In Oblomov, the characters are presented as antipodes - completely different and almost nothing similar characters. This is clearly seen in the depiction of the fates of Oblomov and Stolz. Ilya Ilyich grew up as a "hothouse", "indoor" child, who from an early age was taught to a lordly lifestyle, laziness and attitude to new knowledge as something optional and unnecessary. After graduating from school and university “for show”, Ilya Ilyich enters the service, where one of the first disappointments in life awaits him - at work you need to fight for your place, constantly work and be better than others. However, the most unpleasant thing for Ilya Ilyich is that his colleagues remain unfamiliar people rather than become for a man new family. Not accustomed to disappointments and blows, Oblomov, after the first failure at work, gives up and closes himself from society, creating his own special world of illusory Oblomovka.
Against the background of the active, striving forward Stolz, Ilya Ilyich looks like a lazy, apathetic bumpkin who simply does not want to do anything himself. Andrei Ivanovich's childhood and youth were filled with new impressions. Without suffering from excessive parental care, Stoltz could leave home for several days, choose his own way forward, read a lot and was interested in almost everything. Andrei Ivanovich learned his love for knowledge from his mother, while his practical approach to everything, perseverance and ability to work came from his German father. At the end of the university, Stolz leaves his native estate, independently building his own destiny, earning wealth and meeting the right people.
The interdependence of male images
The male images of the heroes in the novel "Oblomov" are two ways of realizing a person in society, two leading principles that do not find a harmonious combination in any of the characters. On the other hand, Stolz and Oblomov complement each other perfectly, help each other in finding the most important things to achieve true, not illusory happiness. After all, Oblomov, in his dreams of rebuilding Oblomovka, appeared to be a person no less active and sociable than his friend, while Stolz throughout the novel continues to reach for the peace of mind that he found in Oblomov. As a result, unconsciously for himself, Andrei Ivanovich creates a kind of Oblomovka in his own estate after marriage with Olga, gradually turning into a person tied to his home and appreciating the monotonous, calm flow of time.
Despite the fact that the characteristics of the heroes of Oblomov are based on antithesis, neither Oblomov nor Stolz are Goncharov's ideals, but rather are presented as an extreme manifestation of Oblomov's and progressive features in a person. The author showed that without the harmony of these two principles, a person will not feel full and happy, will not be able to realize himself both socially and spiritually.
Characteristics of female images
The main characters of the novel "Oblomov" are also opposed to each other. Olga Ilyinskaya is a young lady from a wealthy family, from childhood she studied literacy, science and the art of singing, an active and purposeful girl who likes to choose her own fate on her own, without adjusting to her husband or loved ones. Olga is not at all like the meek, homely Agafya, ready for anything for the sake of a loved one, able to adapt to any lifestyle, if only Oblomov was happy. Ilyinskaya was not ready to follow the wishes of Ilya Ilyich, to become his ideal "Oblomov" woman, whose main area of \u200b\u200bactivity would be the household - that is, the framework prescribed by Domostroy.
Unlike the uneducated, simple, quiet - the true prototype of the Russian woman - Agafya, Olga is an absolutely new type of emancipated woman for Russian society, who does not agree to limit herself to four walls and cooking, but sees her destiny in continuous development, self-education and striving forward . However, the tragedy of Ilyinskaya's fate lies in the fact that even having married an active, active Stolz, the girl still takes on the role of a wife and mother, classic for Russian society, not much different from the role described in Domostroy. The discrepancy between desires and the real future leads to Olga's constant sadness, the feeling that she did not live the life she dreamed of.
Conclusion
The main characters of the novel "Oblomov" are interesting, attractive personalities, whose stories and destinies make it possible to better understand ideological meaning works. For example male characters the author analyzes the topics human development, becoming in society, the ability to set goals and achieve them, and on the example of women - reveals the theme of love, devotion, the ability to accept a person as he is.
Oblomov and Stolz are characters not only opposed, but also complementary, just like Olga and Agafya, by the way. Having adopted or developed in themselves the features and qualities of the antipode image, the characters could become absolutely happy and harmonious, because it is precisely in the misunderstanding of the path to true happiness that the tragedy of the characters of Oblomov lies. That is why their characteristics in Goncharov's novel do not have an exclusively negative or positive connotation - the author does not lead the reader to ready-made conclusions, suggesting that he himself choose the right path.
Artwork test
The novel "Oblomov" is integral part Goncharov's trilogy, which also included "Cliff" and "Ordinary History". It was first published in 1859 in the journal Otechestvennye Zapiski, but the author published a fragment of the novel Oblomov's Dream 10 years earlier, back in 1849. According to the author, a draft of the whole novel was already ready at that time. A trip to his native Simbirsk with its old patriarchal way of life inspired him in many ways to publish the novel. However, I had to take a break creative activity in connection with the trip around the world.
Analysis of the work
Introduction. The history of the creation of the novel. Main idea.
Much earlier, in 1838, Goncharov published humorous story"Dashing Pain", where it condemningly describes such a pernicious phenomenon that flourishes in the West as a tendency to excessive daydreaming and blues. It was then that the author first raised the issue of Oblomovism, which he subsequently fully and multifacetedly revealed in the novel.
Later, the author admitted that Belinsky's speech on the topic of his " Ordinary history"made him think about the creation of" Oblomov. In his analysis, Belinsky helped him outline a clear image of the protagonist, his character and personality traits. In addition, the hero-Oblomov, in some way, Goncharov's recognition of his mistakes. After all, he was once also an adherent of a serene and meaningless pastime. Goncharov spoke more than once about how hard it was sometimes for him to do some everyday things, not to mention how difficult it was for him to decide to go to circumnavigation. Friends even nicknamed him "Prince De Laziness".
The ideological content of the novel is extremely deep: the author raises deep social problems that were relevant to many of his contemporaries. For example, the dominance of European ideals and canons among the nobility and the vegetation of native Russian values. eternal questions love, duty, decency, human relationships and life values.
General characteristics of the work. Genre, plot and composition.
According to genre features, the novel "Oblomov" can be easily identified as typical work directions of realism. It has all the features that are characteristic of the works this genre: the central conflict of interests and positions of the protagonist and the society opposing him, a lot of details in the description of situations and interiors, reliability from the point of view of historical and everyday aspects. So, for example, Goncharov very clearly draws the social division of the strata of society inherent in that time: petty bourgeois, serfs, officials, nobles. During the course of the story, some characters get their development, for example, Olga. Oblomov, on the contrary, is degrading, breaking down under the pressure of the surrounding reality.
A phenomenon typical of that time, described on the pages, later called "Oblomovism", allows us to interpret the novel as social and everyday. The extreme degree of laziness and moral licentiousness, the stagnation and decay of the individual - all this had an extremely detrimental effect on the philistines of the 19th century. And "Oblomovshchina" became a household name, in general sense reflecting the lifestyle of contemporary Russia.
In terms of composition, the novel can be divided into 4 separate blocks or parts. At the beginning, the author makes us understand what the main character is like, to follow the smooth, not dynamic and lazy course of his boring life. This is followed by the culmination of the novel - Oblomov falls in love with Olga, comes out of "hibernation", strives to live, enjoy every day and receive personal development. However, their relationship is not destined to continue and the couple is going through a tragic break. Oblomov's short-term insight turns into further degradation and disintegration of the personality. Oblomov again falls into despondency and depression, plunging into his feelings and a joyless existence. The denouement is the epilogue, which describes future life hero: Ilya Ilyich marries a woman who is homely and does not sparkle with intellect and emotions. Conducts last days in peace, indulging in laziness and gluttony. The finale is the death of Oblomov.
Images of the main characters
In opposition to Oblomov, there is a description of Andrei Ivanovich Stolz. These are two antipodes: Stolz's view is directed clearly forward, he is sure that without development there is no future for him as an individual and for society as a whole. Such people move the planet forward, the only joy available to him is constant work. He enjoys achieving goals, he has no time to build ephemeral castles in the air and vegetate like Oblomov in the world of ethereal fantasies. At the same time, Goncharov does not try to make one of his heroes bad and the other good. On the contrary, he repeatedly emphasizes that neither one nor the other male image is not ideal. Each of them has both positive features, as well as disadvantages. This is another feature that allows us to classify the novel as a realistic genre.
Just like men, women in this novel are also opposed to each other. Pshenitsyna Agafya Matveevna - Oblomov's wife is presented as a narrow-minded, but extremely kind and accommodating nature. She literally idolizes her husband, trying to make his life as comfortable as possible. The poor thing does not understand that by doing so she is digging his grave herself. She is a typical representative of the old system, when a woman is literally a slave of her husband, who does not have the right to own opinion, and a hostage of domestic problems.
Olga Ilinskaya
Olga is a progressive young girl. It seems to her that she will be able to change Oblomov, guide him on the true path, and she almost succeeds. She is incredibly strong in spirit, emotional and talented. In a man, she wants to see, first of all, a spiritual mentor, a strong whole personality, at least equal to her in her mindset and beliefs. This is where the conflict of interest with Oblomov occurs. Unfortunately, he cannot and does not want to meet her high demands and goes into the shadows. Unable to forgive such cowardice, Olga breaks with him and thereby saves herself from Oblomovshchina.
Conclusion
The novel raised quite serious problem from point of view historical development Russian society, namely "Oblomovshchina" or the gradual degradation of certain sections of the Russian public. Old foundations that people are not ready to change and improve their society and way of life, philosophical issues of development, the theme of love and weakness human spirit- all this rightfully allows us to recognize Goncharov's novel work of genius 19th century.
"Oblomovism" from a social phenomenon gradually flows into the character of the person himself, drags him to the bottom of laziness and moral decay. Dreams and illusions are gradually crowding out real world where there is simply no place for such a person. This leads to another problematic topic raised by the author, namely the question " Extra person", which is Oblomov. He is stuck in the past and sometimes his dreams even prevail on the real important things, for example, love for Olga.
The success of the novel was largely due to the deep crisis of the feudal system that coincided in time. The image of a bored landowner, incapable of independent living, was very sharply perceived by the public. Many recognized themselves in Oblomov, and Goncharov's contemporaries, for example, the writer Dobrolyubov quickly picked up the theme of "Oblomovism" and continued to develop it on the pages of his scientific papers. Thus, the novel became an event not only in the field of literature, but the most important socio-political and historical event.
The author is trying to reach out to the reader, to make him look at own life, and perhaps something to rethink. Only by correctly interpreting the fiery message of Goncharov, you can change your life and then, you can avoid the sad ending of Oblomov.
Characteristics of Ilya Ilyich Oblomov very ambiguous. Goncharov created it complex and mysterious. Oblomov separates himself from the outside world, fences himself off from it. Even his dwelling bears little resemblance to habitation.
WITH early childhood he saw a similar example among his relatives, who also fenced themselves off from the outside world and protected it. In his home was not allowed to work. When he was still a child, he played snowballs with peasant children, then he was then warmed up for several days. In Oblomovka, they were wary of everything new - even a letter that came from a neighbor in which he asked for a beer recipe was afraid to open for three days.
But Ilya Ilyich happily recalls his childhood. He idolizes the nature of Oblomovka, although this is an ordinary village, nothing particularly remarkable. He was brought up by rural nature. This nature instilled in him poetry and a love of beauty.
Ilya Ilyich does nothing, only complains about something all the time and engages in verbiage. He is lazy, does nothing himself and does not expect anything from others. He accepts life as it is and does not try to change anything in it.
When people come to him and talk about their lives, he feels that in the hustle and bustle of life they forget that they are wasting their lives in vain ... And he does not need to fuss, act, do not need to prove anything to anyone. Ilya Ilyich simply lives and enjoys life.
It's hard to imagine him in motion, he looks funny. At rest, lying on the couch, he is natural. It looks at ease - this is his element, his nature.
Let's summarize what we've read:
- The appearance of Ilya Oblomov. Ilya Ilyich is a young man, 33 years old, of good appearance, of medium height, overweight. The softness of his expression betrayed in him a weak and lazy person.
- Family status. At the beginning of the novel, Oblomov is unmarried, lives with his servant Zakhar. At the end of the novel, he marries and is happily married.
- Description of the dwelling. Ilya lives in St. Petersburg in an apartment on Gorokhovaya Street. The apartment is neglected, the servant Zakhar rarely sneaks into it, who is as lazy as the owner. The sofa occupies a special place in the apartment, on which Oblomov lies around the clock.
- Behavior, actions of the hero. Ilya Ilyich is difficult to name active person. Only his friend Stolz manages to bring Oblomov out of his slumber. The protagonist lies on the couch and only dreams that he will soon get up and go about his business. He cannot solve even the most pressing problems. His estate has fallen into disrepair and does not bring money, so Oblomov even has nothing to pay for the apartment.
- The attitude of the author to the hero. Goncharov sympathizes with Oblomov, he considers him a kind, sincere person. At the same time, he sympathizes with him: it is a pity that young, capable, not foolish man lost all interest in life.
- My attitude to Ilya Oblomov. In my opinion, he is too lazy and weak-willed, so he cannot command respect. Sometimes he just infuriates me, I want to come up and shake him. I don't like people who live their lives like that. Perhaps I react so strongly to this character because I feel the same shortcomings in myself.
The female characters in the novel were no exception. Women's images in Goncharov's novel "Oblomov" Despite the significant volume of the work, there are relatively few characters in the novel. Ilya Oblomov and Andrey Stolz are the main characters of Goncharov's Oblomov.
He is 32-33 years old. He lives in St. Petersburg and rarely leaves the house. Oblomov is a homebody. Oblomov falls in love with a young noblewoman, Olga Ilyinskaya, but their romance ends in a breakup. Oblomov and Stolz have been friends since childhood. Olga and Oblomov fall in love with each other. Olga tries to wean Oblomov from laziness and boredom, but she fails. At the end of the novel, Olga marries Stolz. Agafya, kind, sweet, hardworking, but stupid. At the end of the novel, she becomes Oblomov's wife.
Zakhar is very similar to his master: he is the same lazy person as Oblomov. After the death of Oblomov and his wife Anisya, Zakhar becomes a vagabond. Mukhoyarov and Tarantiev pull off several scams in order to rob Oblomov. In the end, Stolz reveals Mukhoyarov's scams and saves Oblomov from ruin. Volkov is the first guest who comes to Oblomov at the beginning of the novel. Every day, Volkov goes to balls, to the theater, and so on.
Characteristics of female images
Tarantiev and Mukhoyarov deceive Oblomov and "pump" money out of him. The novel "Oblomov" is one of the brightest works of Russian literature of the 19th century, which even today excites readers with the sharpness of the questions raised by the author. The opposition in Oblomov of the main characters makes it possible to emphasize the conflict between different worldviews and characters, as well as to better reveal the inner world of each character.
According to the plot of the novel, the men met during their school years and, having become friends, continued to support each other even decades later. In "Oblomov" the characters are presented as antipodes - completely different and almost in no way similar characters. This is clearly seen in the depiction of the fates of Oblomov and Stolz.
Characteristics of male characters
The male images of the heroes in the novel "Oblomov" are two ways of realizing a person in society, two leading principles that do not find a harmonious combination in any of the characters.
The main characters of the novel "Oblomov" are interesting, attractive personalities, whose stories and destinies make it possible to better understand the ideological meaning of the work. Unlike Oblomov, Stolz is a completely odious person, he is not prevented from living by “extra” thoughts about his destiny, place in life, and other philosophical delights. With her brightness and eccentricity, she attracted the attention of Oblomov. She delighted him, fascinated and at the same time tired.
The interdependence of male images
It seems to me that Olga is a common person striving for comfort and coziness, only her concept of well-being is somewhat different than that of Oblomov. Olga and Agafya are complete antipodes both in terms of character and lifestyle. But it is no coincidence that Agafya Pshenitsyna appears in Oblomov's life to replace Olga. Finished school essays and retellings of literature.
Welcome!
I think Oblomov is just such a book. Reading the first part of the novel, I was inexpressibly bored and did not even imagine that this laziness of Oblomov would lead him to some kind of sublime feeling. What is love for Oblomov? Oblomov's personality is far from ordinary, although other characters treat him with slight disrespect.
He loves to sleep and eat delicious food. Oblomov is a kind, soft, weak-willed and lazy person. Andrey Ivanovich Stolz - best friend Ilya Oblomov. He always helps Oblomov in his affairs. Stolz appreciates Oblomov for his pure heart.
She cooks deliciously, sews, etc. Zakhar Trofimovich - Oblomov's servant. Zakhar for 50 years. He has served with Oblomov since his youth. Zakhar always grumbles, steals food from Oblomov and often lies to him. But at the same time, Zakhar is devoted to Oblomov.
Oblomov and Volkov have common acquaintances in secular society
Mukhoyarov has served as a secretary in the office for many years. Outwardly, Mukhoyarov seems to be a meek and quiet person, but in his soul he is mean, cunning, shameless person. Mr. Volkov is an acquaintance of Oblomov. Volkov is 25 years old. He is a wealthy nobleman, fashionista, and lover secular life. He wears the most fashionable clothes and hair.
