Lessons in practical astrology: Ilya - the meaning of the name and character traits. “The task of existence” and “practical truth” (Oblomov and Stolz) The meaning of the surname wheat in Oblomov’s novel

I.A. Goncharov belongs to those writers for whom the choice of the name of the hero is fundamentally important, serving as one of the key words of the text and usually expressing symbolic meanings. In Goncharov’s prose, proper names consistently act as an important characterological means, are included in the system of comparisons and contrasts that organize the literary text at its different levels, serve as the key to the subtext of the work, highlight its mythological, folklore and other plans. These features of the writer’s style were clearly manifested in the novel “Oblomov”.

The text of the novel contrasts two groups of proper names: 1) widespread first and last names with an erased internal form, which, according to the author’s own definition, are only “dull echoes”, cf.: Many called him Ivan Ivanovich, others - Ivan Vasilyevich, others - Ivan Mikhailovich. His last name was also called differently: some said that he was Ivanov, others called him Vasiliev or Andreev, others thought that he was Alekseev... All this Alekseev, Vasiliev, Andreev or whatever you want to say an incomplete, impersonal allusion to the human mass, a dull echo, its unclear reflection, and 2) “meaningful” names and surnames, the motivation of which is revealed in the text: for example, surname Makhov correlates with the phraseological unit “to give up on everything” and is close to the verb “to wave”; surname Worn out is motivated by the verb “overwrite” in the meaning “to hush up the matter”, and the surname Vytyagushin- the verb “to pull out” in the meaning of “to rob.” The “talking” names of officials thus directly characterize their activities. This group includes the surname Tarantiev, which is motivated by the dialect verb “tarantit” (“to speak briskly, briskly, quickly, hastily, chatter”; cf. region. taranta -"glib and sharp talker"). This interpretation of the surname of the “glib and cunning” hero, according to Goncharov, is supported by the author’s direct description: His movements were bold and sweeping; he spoke loudly, smartly and always angrily; if you listen at some distance, it sounds as if three empty carts are driving across a bridge. Tarantyev’s name - Mikhey - reveals undoubted intertextual connections and refers to the image of Sobakevich, as well as to folklore characters (primarily the image of a bear) - it is no coincidence that a “fairy tale” is mentioned in the description of this character.

The intermediate group between “meaningful” and “insignificant” proper names in the text consists of first and last names with an erased internal form, which, however, evoke certain stable associations among readers of the novel: the surname Mukhoyarov, for example, is close to the word “mukhryga” (“rogue”, "blown deceiver"); the surname of the omnivorous journalist, always striving to “make noise”, Penkin, firstly, is associated with the expression “skimming the foam”, and secondly, with the phraseology “foaming at the mouth” and actualizes the image of foam with its inherent signs of superficiality and empty fermentation.

The names of the characters in the novel are combined in the text with the names of literary and mythological heroes: Achilles, Ilya Muromets, Cordelia, Galatea, Caleb, etc. These "point quotes" determine the multidimensionality of the novel’s images and situations and reflect the hierarchical nature of its structure, including it in dialogue with other works of world literature.

In the novel "Oblomov" anthroponyms are combined into system: its periphery consists of “meaningful” names, which are usually worn by minor characters; in its center, at the core, are the names of the main characters, which are characterized by a plurality of meanings. These anthroponyms form intersecting series of oppositions. Their meaning is determined taking into account repetitions and oppositions in the structure of the text.

The surname of the main character of the novel, listed in strong position text - title, has repeatedly attracted the attention of researchers. At the same time, different points of view were expressed. V. Melnik, for example, connected the hero’s surname with E. Baratynsky’s poem “Prejudice! He chip ancient truth...", noting the correlation of words Oblomov- chip. From the point of view of another researcher, P. Tiergen, the parallel “man is a fragment” serves to characterize the hero as an “incomplete”, “under-embodied” person, “signals about the dominant fragmentation and lack of integrity.” T.I. Ornatskaya connects words Oblomov, Oblomovka with folk poetic metaphor "dream-oblomon." This metaphor is ambivalent: on the one hand, the “enchanted world” of Russian fairy tales with its inherent poetry is associated with the image of sleep, on the other hand, it "bummer dream" disastrous for the hero, crushing him with a gravestone. From our point of view, to interpret the surname Oblomov it is necessary to take into account, firstly, all possible producing words of this proper name, which in a literary text acquires motivation, secondly, the entire system of contexts containing the figurative characteristics of the hero, thirdly, the intertextual (intertextual) connections of the work.

Word Oblomov characterized by a multiplicity of motivation, taking into account the polysemy of a word in a literary text and revealing the multiplicity of meanings embodied by it. It can be motivated either by a verb break off(both in the literal and figurative meaning - “to force someone to behave in a certain way, subordinating his will”), and nouns bummer("everything that is not whole, that is broken) and chip; Wed interpretations given in the dictionary by V.I. Dalia and MAC:

Chip -“a thing broken off all around” (V.I. Dal); fragment - 1) a broken or broken piece of something; 2) transfer: the remnant of something that previously existed, disappeared (MAC).

It is also possible to connect words bummer And Oblomov on the basis of the evaluative meaning inherent in the first word as dialectism - “a clumsy person.”

The noted areas of motivation highlight such semantic components as “static”, “lack of will”, “connection with the past” and emphasize the destruction of integrity. In addition, it is possible that the surname is connected Oblomov with adjective bald("round"): the proper name and this word come together on the basis of obvious sound similarity. In this case, the hero’s surname is interpreted as a contaminated, hybrid formation that combines the semantics of words bald And break: the circle, symbolizing the lack of development, staticity, immutability of order, appears torn, partially “broken.”

In contexts containing figurative characteristics of the hero, images of sleep, stone, “extinction”, stunted growth, dilapidation and at the same time childishness are regularly repeated, cf.: [Oblomov]... I was glad that he was lying there, carefree, How newborn baby; I'm flabby, shabby, worn out caftan; He felt sad and hurt for his underdevelopment, stop in the growth of moral forces, for the heaviness that interferes with everything; From the first minute I became aware of myself, I felt that I was already going out; He... fell asleep soundly, like a stone, sleep; [He]fell asleep leaden, joyless sleep. IN The text, therefore, regularly emphasizes the early “extinction” of the strength of spirit and the lack of integrity in the character of the hero.

Plurality of surname motivations Oblomov is connected, as we see, with different meanings realized in the noted contexts: this is, first of all, under-embodiment, manifested in the “bummer” of a possible, but unrealized life path (He hasn’t moved one step forward in any field) lack of integrity, and finally, a circle reflecting the features of the hero’s biographical time and the repetition of “the same thing that happened to grandfathers and fathers” (see description of Oblomovka). The “sleepy kingdom” of Oblomovka can be graphically depicted as a vicious circle. “What is Oblomovka, if not forgotten by everyone, miraculously surviving “blessed corner” - a fragment of Eden?”

Oblomov’s connection with cyclical time, the main model of which is a circle, his belonging to the world of “sluggish life and lack of movement,” where “life ... stretches in a continuous monotonous fabric,” is emphasized by the repetition that combines the hero’s name and patronymic - Ilya Ilyich Oblomov. The first name and patronymic reflect the image of time that runs through the novel. The “fading” of the hero makes the main rhythm of his existence the periodicity of repetitions, while biographical time turns out to be reversible, and in Pshenitsyna’s house Ilya Ilyich Oblomov again returns to the world of childhood - the world of Oblomovka: the end of life repeats its beginning (as in the symbol of the circle), cf.:

And he sees a large, dark living room in his parents’ house, illuminated by a tallow candle, with his late mother and her guests sitting at a round table... The present and the past merged and mixed up.

He dreams that he has reached that promised land, where rivers of honey and milk flow, where they eat unearned bread, walk in gold and silver...

At the end of the novel, as we see, the meaning of “cool” in the hero’s surname especially stands out, at the same time the meanings associated with the verb also turn out to be significant break (break off): in a “forgotten corner”, alien to movement, struggle and life, Oblomov stops time, overcomes it, but the acquired “ideal” of peace “breaks off the wings” of his soul, plunges him into sleep, cf.: You had wings, but you untied them; He is buried, crushed[mind] all sorts of rubbish and fell asleep in idleness. The individual existence of the hero, who “broken off” the flow of linear time and returned to cyclical time, turns out to be the “coffin”, “grave” of the personality, see the author’s metaphors and comparisons: ...He quietly and gradually fits into a simple and wide coffin... of his existence, made with one's own hands, like the desert elders who, turning away from life, dig for themselves grave.

At the same time, the name of the hero - Ilya - indicates not only “eternal repetition”. It reveals the folklore and mythological plan of the novel. This name, connecting Oblomov with the world of his ancestors, brings his image closer to the image of the epic hero Ilya of Muromets, whose exploits after a miraculous healing replaced the hero’s weakness and his thirty-year “sitting” in a hut, as well as to the image of Ilya the Prophet. The name Oblomov turns out to be ambivalent: it carries an indication of both long-term static (“motionless” peace) and the possibility of overcoming it, finding a saving “fire”. This possibility remains unrealized in the hero’s fate: In my life, no fire, either salutary or destructive, had ever lit up... Elijah did not understand this life, or it was no good, and I didn’t know anything better...

Antipode of Oblomov - Andrey Ivanovich Stolts. Their first and last names are also contrasting in the text. This opposition, however, is of a special nature: it is not the proper names themselves that come into opposition, but the meanings they generate, and the meanings directly expressed by the name and surname of Stolz are compared with the meanings only associatively associated with the image of Oblomov. Oblomov’s “childishness”, “under-embodiment”, “roundness” is contrasted with Stolz’s “masculinity” (Andrey - translated from ancient Greek - “courageous, brave” - “husband, man”); Pride (from German. stolz-"proud") an active person and] a rationalist.

Stolz’s pride has different manifestations in the novel: from “self-confidence” and awareness of one’s own willpower to “economy of the soul’s strength” and some “arrogance.” The German surname of the hero, contrasted with the Russian surname Oblomov, introduces into the text of the novel the opposition of two worlds: “our own” (Russian, patriarchal) and “alien”. At the same time, the comparison of two toponyms - the names of the villages of Oblomov and Stolz - turns out to be significant for the artistic space of the novel: Oblomovka And Verkhlevo.“A fragment of Eden”, Oblomovka, associated with the image of a circle and, accordingly, the dominance of statics, is opposed in the text by Verkhlevo. This title suggests possible motivating words: top as a vertical sign and top-headed(“moving”, i.e. breaking the immobility, monotony of a closed existence).

Olga Ilyinskaya (after marriage - Stolz) occupies a special place in the system of images of the novel. Her internal connection with 06-lomov is emphasized by the repetition of his name in the structure of the heroine’s surname. “In the ideal version, planned by fate, Olga was destined for Ilya Ilyich (“I know, you were sent to me by God”). But the insurmountability of circumstances separated them. The drama of human under-incarnation was revealed in the sad ending by the fate of the blessed meeting.” The change in Olga’s surname (Ilyinskaya → Stolz) reflects both the development of the novel’s plot and the development of the heroine’s character. It is interesting that in the text field of this character words with the seme “pride” are regularly repeated, and it is in this field (compared to the characteristics of other characters) that they dominate, cf.: Olga walked with her head tilted slightly forward, resting so slenderly and nobly on her thin, proud neck; She looked at him with calm pride;...in front of him[Oblomov]... offended goddess of pride and anger; ...And him[to Stolz] for a long time, almost my entire life, I had to take... considerable care to maintain at the same height my dignity as a man in the eyes of self-loving, proud Olga...

The repetition of words with the seme “pride” brings the characteristics of Olga and Stolz closer together, see, for example: He... suffered without timid submission, but more with annoyance, with pride;[Stolz] he was chastely proud;[He] was inwardly proud... whenever he happened to notice a crookedness in his path. At the same time, Olga’s “pride” is contrasted with Oblomov’s “meekness,” “softness,” and his “dovelike tenderness.” It is significant that the word pride appears in Oblomov’s descriptions only once, and in connection with the hero’s awakened love for Olga, and serves as a kind of reflex of her text field: Pride began to sparkle in him, life began to shine, its magical distance...

Thus, Olga both correlates and contrasts the different worlds of the novel’s heroes. Her name itself evokes strong associations among readers of the novel. “Missionary” (according to the subtle remark of I. Annensky) Olga bears the name of the first Russian saint (Olga → German Helge - supposedly “under the protection of a deity”, “prophetic”). As noted by P.A. Florensky, the name Olga... reveals a number of character traits of those who bear it: “Olga... stands firmly on the ground. In her integrity, Olga is unrestrained and straightforward in her own way... Once having set her will towards a known goal, Olga will completely and without looking back go towards achieving this goal, sparing neither those around her, nor those around her, nor herself...”

In the novel, Olga Ilyinskaya is contrasted with Agafya Matveevna Pshenitsyna. The portraits of the heroines are already contrasting; compare:

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... one was a line higher than the other, because of this there was a small fold above the eyebrow, which seemed to say something, as if a thought rested there (portrait of Ilyinskaya).

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 expression on her face... She listened stupidly and stupid thought about it (portrait of Pshenitsyna).

The intertextual connections that bring the heroines closer to literary or mythological characters mentioned in the work are also of a different nature: Olga - Cordelia, “Pygmalion”; Agafya Matveevna - Militrisa Kirbitevna. If Olga’s characteristics are dominated by words thought And proud (pride), then in Agafya Matveevna’s descriptions the words are regularly repeated simplicity, kindness, shyness, finally, Love.

The heroines are also contrasted through figurative means. The comparisons used to characterize Agafya Matveevna figuratively are of an emphatically everyday (often reduced) nature, cf.: - “I don’t know how to thank you,” Oblomov said, looking at her with the same pleasure with which he had in the morning looked at the hot cheesecake; - Now, God willing, we’ll live until Easter, so we’ll kiss,- she said, not surprised, not obeying, not timid, but standing straight and motionless, like a horse being put on a collar.

The heroine's surname at her first perception is Pshenitsyna - also, first of all, reveals the everyday, natural, earthly principle; in her name - Agafya - its internal form “good” (from ancient Greek “good”, “kind”) is actualized in the context of the whole. Name Agafya also evokes associations with the ancient Greek word agape denoting a special kind of active and selfless love. At the same time, this name apparently “reflected a mythological motif (Agathius is a saint who protects people from the eruption of Etna, that is, fire, hell).” In the text of the novel, this motif of “protection from flame” is reflected in the author’s extensive comparison: Agafya Matveevna makes no urgings, no demands. And he has[Oblomova] no selfish desires, urges, aspirations for achievements are born...; It was as if an invisible hand had planted it, like a precious plant, in the shade from the heat, under shelter from the rain, and was caring for it, nurturing it.

Thus, a number of meanings that are significant for the interpretation of the text are updated in the heroine’s name: she is kind mistress(this is the word that is regularly repeated in her nomination series), a selflessly loving woman, a protector from the scorching flame of a hero whose life is “extinguishing.” It is no coincidence that the heroine’s middle name (Matveevna): firstly, it repeats the middle name of I.A.’s mother. Goncharov, secondly, the etymology of the name Matvey (Matthew) - “gift of God” - again highlights the mythological subtext of the novel: Agafya Matveevna was sent to Oblomov, the anti-Faust with his “timid, lazy soul”, as a gift, as the embodiment of his dream of peace , about the continuation of “Oblomov’s existence”, about “serene silence”: Oblomov himself was a complete and natural reflection and expression of that peace, contentment and serene silence. Looking and reflecting on his life and becoming more and more accustomed to it, he finally decided that he had nowhere else to go, nothing to look for, that the ideal of his life had come true. It is Agafya Matveevna, who becomes Oblomova at the end of the novel, compared in the text either to an active, “well-organized” machine or to a pendulum, who determines the possibility the ideally peaceful side of human existence. In her new surname, the image of a circle, which runs through the text, is again actualized.

At the same time, the characteristics of Agafya Matveevna in the novel are not static. The text emphasizes the connection of its plot situations with the myth of Pygmalion and Galatea. This intertextual connection is manifested in the interpretation and development of the three images of the novel. Oblomov is initially compared to Galatea, while Olga is assigned the role of Pygmalion: ...But this is some kind of Galatea, with whom she herself had to be Pygmalion. Wed: He will live, act, bless life and her. To bring a person back to life - how much glory to a doctor when he saves a hopelessly ill person! But to save a morally perishing mind and soul?.. However, in these relations, the lot of 06-lomov becomes “extinction”, “extinction”. The role of Pygmalion passes to Stolz, who revives “pride? Olga and dreaming of creating a “new woman”, dressed in his color and shining with his colors. Ilya Ilyich Oblomov, who awakened the soul in Agafya Matveevna Pshenitsyna, turns out to be not Galatea, but Pygmalion in the novel. At the end of the novel, it is in her descriptions that key lexical units of the text appear, creating images of light and radiance: She realized that she had lost and her life shone, that God put his soul into her and took her out again; that the sun shone in it and darkened forever... Forever, really; but on the other hand, her life also became meaningful forever: now she knew why she lived and that she had not lived in vain. At the end of the novel, the previously opposed characteristics of Olga and Agafya Matveevna come closer: in the descriptions of both heroines such a detail as the thought in the face (look) is emphasized. Wed: Here she is[Agafya Matveevna], in a dark dress, in a black woolen scarf around her neck... with a concentrated expression, with hidden inner meaning in her eyes. This thought sat invisibly on her face...

The transformation of Agafya Matveevna actualizes another meaning of her surname, which, like the name Oblomov, is ambivalent in nature. “Wheat” in Christian symbolism is a sign of rebirth. The spirit of Oblomov himself could not be resurrected, but the soul of Agafya Matveevna, who became the mother of Ilya Ilyich’s son, was reborn: “Agafya... turns out to be directly involved in the continuation of the Oblomov family (the immortality of the hero himself).”

Andrei Oblomov, who is brought up in Stolz's house and bears his name, in the finale of the novel is associated with the plan of the future: the unification of the names of two heroes opposed to each other serves as a sign of a possible synthesis of the best principles of both characters and the “philosophies” they represent. Thus, the proper name also acts as a sign highlighting the plan of prospection in a literary text: Ilya Ilyich Oblomov is replaced by Andrei Ilyich Oblomov.

So, proper names play an important role in the structure of the text and the figurative system of the novel under consideration. They not only determine the essential features of the characters’ characters, but also reflect the main plot lines of the work and establish connections between different images and situations. Proper names are associated with the spatiotemporal organization of the text. They “reveal” hidden meanings that are important for the interpretation of the text; serve as the key to its subtext, actualize the intertextual connections of the novel and highlight its different plans (mythological, philosophical, everyday, etc.), emphasizing their interaction.

Goncharov, like Gogol, has a logically verified system of personal naming in his works, which applies to both the main characters and episodic ones:

1. Ilya Ilyich Oblomov . Name: echoes the name of a folk hero, as well as the name of the god of thunder (Ilya the Prophet), associated with the cult of fertility. Surname: the fact that the name and patronymic are duplicated indicates the hero’s close connection with his ancestors, with his father. The “doubleness” of the name shows the immutability, closed nature of Oblomov’s world Etymology of the surname: oblo - round, “cloud, envelop”, a fragment of one’s past, part of the whole, “fragmentable” - fragile, brittle (at the edges), dialectal “oblomon” - a dream , lean on your elbows (connected with the special role of such a detail as Agafya Matveevna’s bare arms, expressing the semantics of roundness, softness, bliss and laziness).

2. Olga Ilyinskaya . The method of connecting the characters with each other through names is obvious. Olga's surname indicates her closeness to the image of Oblomov. Her surname and the hero’s first name and patronymic together form a full circle of absolute consonance, the name “Ilya” repeated three times. The names of the heroes establish a hidden contact from the very beginning; the communication between Olga and Ilya is predetermined from the very beginning - the initials of the heroes mirror each other. Olga and Andrei Stolts are also related to each other.

3. Stolz stolz – pride, pride. The very adjective “pride” marks the quality attributed to foreigners by the stereotypical consciousness of Russian people. A Russian person, according to these ideas, is characterized by humility and obedience, while a foreigner is characterized by pride, even some arrogance. Pride has long been considered in Rus' one of the seven deadly sins. Dahl: “to be proud is to be considered stupid”, “Pride is the devil’s delight.” (An example of Andrei’s pride. His father advises him, having arrived in St. Petersburg, to go to Ivan Bogdanovich’s friend (Andrei’s father) Reingold: “He will teach...We came from Saxony together...He has a four-story house. I'll tell you the address" Andrey: " Don’t, don’t say it, I’ll go to him when I have a four-story house, but now I’ll do without him" When Olga agreed to become his wife, he “went home with pride.” Olga also has pride: she reads Ilya’s letter and cries “with pride,” then says: “I am punished for pride.” Olga and Stolz are as if on the border of two worlds: “theirs” and “theirs”. In the “foreign” world, pride is welcomed, in “our own” it is condemned. In the Russian consciousness, the concept of “pride” is associated with individualism, selfishness, and is viewed as negative, associated with feelings of shame and guilt.

4. Oblomov's guests:

ü Volkov – a character who constantly makes "visits". His surname matches his character and is reminiscent of the famous expression: “The wolf is fed by the legs.” Volkov advises Ilya to go to Goryunov, Tyumenev, Mussinsky, Mezdrov- Volkov lists a number of surnames that imitate the euphonious surnames of middle-class nobles. (the space of the text is filled with “off-stage”, “off-screen” characters), Musinsky - from the word “muse”, Apollo Musaget, Mezdrov - from “mezdra” - a thin subcutaneous layer of tissue in animals, “mezdryak” (dialect) - crybaby, weak person .

ü Sudbinsky – By constant work he achieves ranks and money. This character's last name hints at the concept of "fate" that will be developed later. Thanks to Sudbinsky, a number of surnames of Oblomov’s former colleagues appear in the text: Svinkin (lost his “business” in the department, for which he was deprived of an award. The surname is associated with the common comparison of a careless worker with a pig: to work like a pig. But the rude style is softened due to the suffix ^ " TO") .

Metaphysics of the finale

Sun. Sechkarev: “The fourth part of the novel is the most delightful and most metaphysically significant part of the novel.” The charm of Goncharov's prose is not easy to decipher. Goncharov’s great artistic talent is a kind of Venus de Milo: his beauty is felt, his strength is beyond doubt, but almost impossible to analyze and define.

The rhythm and coloring of the fourth part of the novel is set by the phrase: “ Everything fell into sleep and darkness around him" The pink-lilac color that accompanies a summer romance (two soft pink spots on the cheeks of the excited Olga, pinkish rays of the sun) was replaced by white - the color of snow slowly falling to the ground: “ Everything died and was wrapped in a shroud" These words can be read metaphorically: under the snow, as well as under the shroud, his love, his hope were buried. Although Ilya will live another seven years (a significant number!), it will only be survival. As the hero admits: “ Once upon a time I lived and was in paradise", Now " bitter, lost life b". On the last pages, as if in focus, all the ideas of the novel are concentrated. Motive " crystal soul“(nobility, kindness, purity of nature) of Oblomov, doomed to death, is not just stated, as in the first part, but convincingly embodied (the scene of Ilya Ilyich’s sincere joy when reporting the family happiness of Stolz and Olga). The problematics of the “novel of education” come to life again in the hero’s reflections on the “ideal of life” and “the purpose of man.”

Death of Ilya Ilyich

His departure took place organically and painlessly, becoming a step in the usual direction: “eternal peace, eternal silence and lazy crawling from day to day quietly stopped the machine of life.” Usually the death of a hero is perceived as blessed by God. This phrase is forgotten: “ He had a presentiment of imminent death and was afraid of it.” This phrase is not passing, not accidental, it is in the logic of the leading theme of Oblomov’s entire story: childhood fears, frightening fantasies - the product of an unfree, monotonous life. Perhaps the philosophical approach to death, which Ilya cultivated in himself in recent years, changed him at the very end, the soul of the little boy was exposed. Shyness and fear, which originated in childhood, also colored the last days of the hero’s stay on earth.

The role of proper names in I. A. Goncharov’s novel “Oblomov”.

Objective of the lesson:

To prove that for I. A. Goncharov in his novel “Oblomov” the choice of the hero’s first and last name is fundamentally important, that they, as a rule, are one of the key words of the text and usually contain symbolic meanings;

Improve skills in analyzing literary texts;

Contribute to the formation of an active life position of students.

Equipment: portrait of I. A Goncharov, blank posters and diagrams.

Lesson progress:

Teacher: In many studies devoted to artistic speech, the enormous expressive possibilities and constructive role of proper names in the text are constantly noted. Proper names also participate in the creation of images of the heroes of a literary work, the development of its main themes and motifs, the formation of artistic time and space, and contribute to the disclosure of the ideological and aesthetic content of the text, often revealing its hidden meanings.

Next, the teacher formulates the goals of the lesson. It is noted that in the process of preparing the lesson, all students in the class received the task: to work with the names and surnames of the novel, using the explanatory dictionaries of V. I. Dahl, MAS and “Explanatory Dictionary” ed. Ozhegova. In parallel with this, creative groups worked, engaged in a more detailed study of proper names.

So, how many names did you find in the text? Do these surnames have the same meaning?

The floor is given to the creative group involved in this issue.

Teacher: Do you agree with the conclusions of our researchers?

How many names are there in the novel? Do they play any role in the text?

The floor is given to the second creative group dealing with this issue.

Teacher: Do you agree with her research?

I specifically asked not to touch on the first 4 surnames of the main characters, knowing that the class had done a lot of work researching them and finding the lexical meanings of the words from which, in their opinion, these surnames were derived. Of course, the first in this row is the name of the main character. The lexical meanings of what words did you look up in dictionaries to explain this surname?

Answer: Broken, broken, broken off, bummer.

Teacher: Which of these words would you put in first place?

Answer: Fragment. Meaning is a remnant of something that previously existed and disappeared.

Students explain that this is a symbol of the past.

Teacher: What does the past symbolize in the novel?

Answer: Oblomovka.

The answer is supported by quotations.

Teacher: What imprint did the old world leave on Oblomov?

The students talk about the upbringing Oblomov received in Oblomovka, and about how he grew up thanks to this upbringing.

On a large poster entitled “Oblomov” the first entry appears:

Oblomov - a resident of Oblomovka - is a fragment of the past world, which left its mark on the hero (upbringing, future life).

Teacher: Is only Oblomov a fragment of the past?

Answer: No, also Zakhar.

Students provide evidence: an indication of Zakhar’s connection with the surname Oblomov, and pay attention to the meaning of his name. He carefully preserves the memory of the past and values ​​it as a shrine. (All evidence is supported by quotations).

Teacher: Some students in your class found a connection between the surname “Oblomov” and the old adjective “obly” - round. This is how we formed our third creative group. Let's give her the floor.

After the performance of the creative group, another entry appears on the poster: a circle is a symbol of isolation, lack of development, immutability of order (images of sleep, stone, extinction), to go out - the extinction of strength, spirit; The circle is the biographical time of the hero, attempts to escape from which led to nothing.

Teacher: Why did it become possible for Oblomov to return to cyclic time?

What did such a return bring him?

Why? After all, it seems that he has found what was ideal for him?

Are there any clues in the text that Oblomov will remain the same?

Answer: The combination of the first and last name Ilya Ilyich means sluggish life, lack of monotony.

Teacher: What other words have you written down the lexical meanings of? Prove that they are related to the hero's surname.

Answer: Break off - break off the edges, ends of something, break off - a place where something broke off, broke off.

The students remember the phrase about broken wings. Another entry appears on the poster: broken wings - dreams, best aspirations.

Teacher: Let's pay attention to other heroes of the novel. Who is the antipode of Oblomov?

Answer: Stolz.

Students, proving the answer, compare the sound recording of the names and surnames of the characters, their character traits. It is noted that the opposition also applies to proper names. Stolz - translated from him. "pride". The name Ilya is an old name - unearthly, dreamy, Andrey - courageous, a man, brave, according to the names of the estates: Oblomovka - a fragment of the past, Verkhlevo - upper-handed - mobile - a violation of monotony, statics. Everything is confirmed by quotes. The conclusions are recorded on the second poster, entitled “Oblomov - Stolz”.

Teacher: What united these different people?

Students support their answers with text.

Teacher: Are there any other antipodes in the text of the novel?

Answer: Olga Ilyinskaya and Agafya Matveevna Pshenitsyna.

The conclusions are recorded on the third poster, entitled “Ilyinskaya” - “Pshenitsyna”.

Teacher: What does the surname “Ilyinskaya” mean?

Students note the sound design and say that Olga is more suitable for Oblomov, and note the commonality of their interests.

Teacher: Why didn’t Olga stay with Oblomov?

Are there any clues in the text that she will not be with Oblomov?

Answer: Repeatedly emphasizing such a quality of her character as pride. This is a hint that she will be with Stolz.

Students compare the heroines by appearance (eyebrows - elbows), by names, and note the similarity of the name Agafya with the name of St. Agafia - the protector of people from fire.

Teacher: Maybe the mention of the saint was made in vain?

Students talk about the motif of fire in the novel. Olga is the fire of feelings and actions (Oblomov’s words, her impulses), Agafya is connected with fire as the keeper of the hearth. Oblomov's life is fading. She, like the saint, protects him from fire.

Answer: She was sent to the hero by God as the embodiment of his dream.

The teacher draws attention to the poster and asks if it is finished.

Answer: At the end of the novel, Agafya Matveevna changes and becomes closer to Olga Ilyinskaya. Olga dreamed of reviving Oblomov, but as a result Agafya Matveevna is reborn. No wonder her last name comes from the word “wheat,” and wheat was a Christian symbol of rebirth.

Teacher: Is there a unification of the two antipodes Oblomov - Stolz in the novel?

The students talk about Oblomov’s son Andrei, who took his surname and patronymic from his father, and his first name and upbringing from Stolz. They find two meanings in this: either he will take the best from both heroes, or Oblomovism is immortal.

At the end of the lesson, students make written conclusions.

Home > Abstracts

Anthroponyms in the novels of I.A. Goncharova

“Oblomov”, “Cliff” and “Ordinary History”

Andrey Fedotov, 10th grade student at the gymnasium

№ 295 St. Petersburg, scientific. hands Belokurova S.P.

Introduction

The purpose of this work is to study proper names (anthroponyms) in I.A. Goncharov’s novels “An Ordinary Story”, “Oblomov”, “Cliff”, since the analysis and identification of the features and patterns of naming heroes allows, as a rule, to more fully reveal the author’s intention, identify the features of the author's style. In the work “The role of names and surnames in the novels of A.I. Goncharov’s “Oblomov”, “Ordinary History” and “Cliff””, the meanings of names were explored, the connections between the hero’s name and his character functions were revealed, as well as the relationships of the heroes with each other. The result of the research was the compilation of the dictionary “Goncharov’s Onomasticon” for the novels “Ordinary History”, “Oblomov” and “Precipice”. In the science of language there is a special section, a whole area of ​​linguistic research devoted to names, titles, denominations - onomastics. Onomastics has a number of sections, which are traditionally distinguished in accordance with the categories of proper names. ANTHROPONYMYS studies people's proper names. ANTHROPONYMS- proper names of people (individual and group): personal names, patronymics (patronyms), surnames, family names, nicknames, nicknames, pseudonyms, cryptonyms (hidden names). In fiction, the names of the characters participate in the construction of the artistic image. The character's first and last name, as a rule, is deeply thought out by the author and is often used by him to characterize the hero. Character names are divided into three types: meaningful, speaking, And semantically neutral.Meaningful Usually names are given that fully characterize the hero. N.V. Gogol, for example, in the comedy “The Inspector General,” gives his heroes meaningful surnames: this is Lyapkin-Tyapkin, for whom nothing worthwhile ever came of it and everything fell out of hand, and Derzhimorda, a policeman, who was appointed so that he would not let petitioners into Khlestakov’s presence. To the second type of naming - speaking- these include those names and surnames whose meanings are not so transparent, but are quite easily detected either in the phonetic appearance of the hero’s name and surname. In the poem “Dead Souls”, telling surnames abound: Chichikov - the repetition of the syllable “chi” seems to make the reader understand that the hero’s naming is reminiscent of either a monkey’s name or the sound of a rattle. TO semantically neutral includes all other names and surnames. As for such works as “Ordinary History”, “Oblomov” and “Cliff” by I.A. Goncharov, then here are mainly presented to the reader meaningful And speaking first and last names, and the latter should be deciphered. Since the works of I. A. Goncharov are not historical chronicles, the naming of the heroes is determined only by the will of the writer.

II. Names of characters and their role in "Ordinary History"

“An Ordinary Story”, the first novel of Goncharov’s famous trilogy, was published in 1847. This work is smaller than others in volume and simpler in composition - there are practically no additional plot lines in it, so there are few characters. This makes it easier to analyze anthroponyms. Let's dwell on the names of the main characters. Alexander Fedorovich Aduev . Alexander, translated from Greek, means ‘courageous fighter, defender of people’, and Fedor means ‘God’s gift’. Thus, if you combine the name and patronymic of Aduev Jr., it turns out that the combination of the name and patronymic of Alexander Fedorovich is not accidental: it assumes that its bearer must have a gift sent from above: to help people and protect them. Uncle Alexander is the representative of capital St. Petersburg life in the novel. Petr Ivanovich Aduev , a successful official and at the same time a breeder 1 is a pragmatic, skeptical person. Probably, the explanation for this can be found in his name, which is translated from Greek as ‘ stone’ 2. Let us also pay attention to what phonetic associations the surname Aduev evokes . Hell, hellish, hellish- words with the root “hell” remind, on the one hand, of the underworld, on the other, of the first man Adam (remember that the hero first walked the path that his nephew will repeat after him, that he is a “breeder - a pioneer”). The sound of the surname is firm, energetic - phonetically consonant not only with “hell”, but also with the command “Atu!” - sending the dog forward, setting it on the animal. Senior Aduev repeatedly talks about the need for action, active work, and career advancement. In terms of character naming, it would probably look like this: Alexander (courageous fighter, protector of people) – romantic and idealist, faces Peter (stone) – septic and pragmatic. And... the wave breaks on a stone. Let's look at the naming of the main female images: Hope – one of the most popular names in Rus' (in Russia). Obviously, the naming of the heroine is by no means accidental - the author pins hopes for the future, for its development, on this female type, since the formation of this type has not yet been completed, everything is still ahead of him. For the hero of the novel, Alexander Nadenka, this is literally his “hope for love,” for the embodiment of all his ideas about an eternal, heavenly feeling. But the romance with Nadenka Lyubetskaya is doomed. Love for Julia Tafaeva, who gave Alexander hope for the resurrection of the soul, gradually, over time, turns under the pen of Goncharov almost into a farce. The name Julia is considered a divine name, and translated from Greek means ‘ the first fluff on the beard’, thus, the reader can understand that its bearer is a very weak person by nature. Lizaveta – translated from Hebrew means ‘ oath, I swear to God. Lisa - Alexander Aduev’s third lover - the namesake of Pyotr Ivanovich’s wife Lizaveta Alexandrovna. What unites the heroines is their position as victims of the interests of their lovers: the heroes are not able to give Lisa and Lizaveta Aleksandrovna the main thing they want - love. Both heroines are ready to make a sacrifice, to fulfill their “oath,” but find themselves hostages of callous and insensitive men. In the novel “An Ordinary Story” there is not only a conflict of ideas, but also a conflict of naming. Names, colliding with each other, give us an understanding of the characteristics of the characters’ characters and help to deepen our understanding of the author’s intention.

III. The role of the names of heroes in the novel by I.A. Goncharov "Oblomov"

Continuing the study of names and surnames in the texts of I.A. Goncharov, let us turn to Goncharov’s main work - the novel “Oblomov”. “Oblomov” - the second novel of the trilogy, the most famous among a wide range of readers from the creative heritage of I.A. Goncharov, was completed in 1857. According to the testimony of both contemporaries and descendants, the novel was a significant phenomenon in Russian literature and public life, because it touches on almost all aspects of human life, in it one can find answers to many questions to this day, and not least thanks to image of the title character Ilya Ilyich Oblomov . One of the meanings of this name, Hebrew in origin, is ‘ My God Yahweh', ‘God's help’. The patronymic repeats the name, Goncharov’s hero is not only Ilya, but also Ilya’s son, “Ilya in the square” - a worthy successor of family traditions (this will be discussed in detail in the work). The motif of the past is also reinforced by the fact that the name of Goncharov’s hero involuntarily reminds the reader of the epic hero Ilya Muromtse. In addition, at the time of the main events of the novel, Oblomov is 33 years old - the time of the main feat, the main achievement of a man in most of the fundamental legends of world culture, both Christian and folklore. Oblomov evokes associations with the word bummer, which in literary language means action on a verb break off: 1. By breaking, separate the ends, extreme parts of something; break off around the edge. 2. trans. Simple To force someone to behave in a certain way, subjugating his will, breaking stubbornness. // It is difficult to persuade, convince, force to agree with something 3. Let's move on to the interpretation of first and last names Andrey Ivanovich Stolts . As for the surname, it came from Germanstolz– ‘proud’. The very name of this hero - the antipode of Ilya Ilyich - is in contrast to the name Oblomov. Russian name Andrey translated from Greek means ‘ courageous, brave'. The meaning of Stolz's name continues and strengthens the opposition between two heroes: meek and soft Ilya- stubborn, unbending Andrey. It is not for nothing that the most important order of the Russian Empire was and remains the Order Andrew the First-Called. Let us also remember that it is Andrei, in honor of Stolz’s old friend, that Oblomov names his son. It is also worth mentioning Stolz's patronymic. At first glance, this is a purely Russian patronymic - Ivanovich. But let us remember that his father is German, and, therefore, his real name is Johann . As for the name Ivan itself, this name has long been considered a typical, characteristic Russian name, beloved among our people. But it is not originally Russian. Thousands of years ago, the name was common among the Jews of Asia Minor Yehohanan. Gradually the Greeks remade Yehohanan V Ioannes. In German this name sounds like Johann. Thus, Stolz’s naming is rather not “half German”, but two-thirds, which is of great importance: it emphasizes the predominance of the “Western”, that is, the active principle in this hero, as opposed to the “Eastern”, that is, the contemplative principle in Oblomov. Let us turn to the female images of the novel. The role of the Beautiful Lady, who inspires Ilya Ilyich Oblomov to perform feats in the name of love, is played in the novel Olga Sergeevna Ilyinskaya . What is this heroine in terms of her naming? Name Olga- presumably from Scandinavian - means “holy, prophetic, bright, bringing light.” The surname of Oblomov’s beloved is Ilyinskaya- it is by no means accidental that by its very form it represents a possessive adjective formed from the name Ilya. According to fate, Olga Ilyinskaya was destined for Ilya Oblomov - but the insurmountability of circumstances separated them. It is curious that in the description of this heroine the words proud And pride, reminiscent of another character in the novel, whom she would later marry, turning from Olga Ilyinskaya to Olga Stolz.

IV. Anthroponyms in the novel “Cliff”

The novel “The Cliff” was created by I.A. The Goncharovs are about 20 years old. It was started almost simultaneously with Oblomov, but saw the light only in 1869. The main characters of the novel are Boris Raisky, Vera and Mark Volokhov. More precisely, as the author himself defines, “in “The Precipice” ... the three faces that occupied me most were Grandma, Raisky and Vera” 4. A bright, positive hero speaks on behalf of good Boris Pavlovich Raisky. The surname is clearly derived from the word “paradise”. Faith occupies a central position between two male antipodean characters in the novel. Vera, in her own way, continues to develop the image of Olga Ilyinskaya. Raisky is passionate about his cousin, but Vera cannot choose him, realizing that this is not the hero who can lead her forward and become her chosen one. Boris - the name of one of the heavenly princes-snake fighters. The serpent with whom he fights for Faith - Mark Volokhov . Volokhov, although lacking faith, is distinguished by his inner strength and originality. The hero’s false prophecy is also emphasized by the fact that the Volokhov surname goes back, perhaps, not only to the word “wolf”, but also to the name of the pagan god Veles 5. This is one of the most ancient Slavic gods, who was also considered the patron saint of hunters (remember the gun from which Volokhov shot). Confirmation of the component of the already mentioned meaning of “serpent” in the naming of the hero is the scene of Volokhov’s acquaintance with Vera. Mark steals apples (remember that Raisky speaks of Vera’s feeling as a “boa constrictor”, and that in the meaning of his name Boris there is a “snake-fighting” theme). One of the main characters of the novel is grandmother Tatyana Markovna Berezhkova - a very interesting character. At first glance, it seems that the surname comes from the word “to protect” - the grandmother takes care of the way of the estate, traditions, peace of pupils, and nephew. But on the last pages of the novel it turns out that the grandmother is still keeping a terrible secret. And her surname can easily be traced back to the “shore” with its terrible cliff.

V. Conclusion

It becomes obvious that thoughtful reading of fiction is impossible without researching the proper names that appear in a particular work. The study of proper names in the writer’s novels allowed us to do the following: conclusions: 1. Works by I.A. Goncharov’s works are full of “meaningful” and “speaking” proper names, and the most significant in the system of means of artistic expression of the work are the names of the main characters. 2. In the text of works, naming performs various functions: they serve to deepening the character's characteristics(Oblomov, Pyotr Aduev, Agafya Matveevna Pshenitsyna), to reveal it inner world(Oblomov, Stolz), create emotional-evaluative characteristics character (minor characters in Oblomov), serve to create contrast(Oblomov – Stolz) or, conversely, designations continuity of worldview heroes (Petr Ivanovich Aduev and Alexander Aduev, Oblomov and Zakhar), etc. 3. Compared with “Ordinary History,” the writer’s earlier work, in “Oblomov” and “Cliff” one can note a greater semantic load of proper names.

1 In the 40s, there were practically no entrepreneurs who came from the nobility in Russia. Usually this activity was carried out by merchants.

2 On the interpretation of patronymics Ivanovich see page 14.

3 Dictionary of the Russian language in 4 volumes. T.P - M., 1986.

4 Goncharov I.A. Intentions, objectives and ideas of the novel “The Precipice”. Sob. Op. in 8 vols. – M.: Pravda, 1952.

5 Veles (Velekh) is a Slavic god. The patron of livestock and wealth, the embodiment of gold, the trustee of merchants, cattle breeders, hunters and cultivators... All lower spirits obey him. The name Veles, according to many researchers, comes from the word “hairy” - shaggy, which clearly indicates the connection of the deity with cattle, of which he is the patron.

Reveal the secret of the surname OBLOMOV(in Latin transliteration OBLOMOV) looking at the results of calculations in numerological magic of numbers. You will discover hidden talents and unknown desires. You may not understand them, but you feel that you don’t know something about yourself and your loved ones.

The first letter of the surname OBLOMOV will tell you about the character

The ultimate dream is to be just the two of us. You see your happy life only in a closed world. Communicate with friends more often and remember: Your love for logical analysis can ruin even the best relationships.

Characteristic features of the surname OBLOMOV

• constancy
• penetration abilities
• capacity for great feelings
• unity with nature
• impermanence
• lack of systematicity
• artistry
• great ingenuity
• logics
• pettiness
• thoughtfulness
• shyness
• pedantry
• hard work
• great emotionality
• mysterious disturbances

OBLOMOV: number of interaction with the world “8”

People under the influence of the number eight are characterized by a restless and purposeful character. They are rarely satisfied with what they have and strive to expand the boundaries of their capabilities as much as possible. The potential of "eight-athletes" is very great, but their demands cannot be called small, so they rarely experience a feeling of satisfaction from the work done or the joy of victory. Eight people know how to make plans and implement them, but they have to put up with the fact that everything turns out a little (or even completely) differently than planned.

Eight players are afraid of little. Responsibility for others and leading large teams is natural for them, as are drastic changes in life. As a rule, they get along well with others, but try to avoid too much intimacy and prefer to play the role of leader in relationships. Highly valuing intelligence, moral qualities and a sense of humor, they cannot tolerate flattery and lies, and are also very sensitive to manifestations of impoliteness and tactlessness.

The marital relationships of the “Eighters” develop peacefully, although there is not always passion or even deep affection in them. However, people of number 8 almost always strive for stable relationships and marriage - without a permanent life partner they feel uncomfortable. Their innate tact helps them avoid quarrels in the family, and their ability to both act independently and distribute responsibilities helps them cope with everyday problems.

Eights love to receive guests and do not miss the opportunity to show off their home, which is usually large and cozy. Own housing is a “fad” for many people of eight; They usually don’t feel too comfortable in rented apartments or their parents’ house. At the same time, they cannot be called money-grubbers, interested only in material goods; Many octuplets generously share everything they earn, take an active part in the activities of charitable organizations and help close and distant relatives with money. But the main thing that Eight people give to others is their love and sincere interest.

Eights care so much about others that sometimes they lack the strength and energy to organize their own lives. Another common problem is the pursuit of unattainable goals and the inability to remain calm and common sense when obstacles appear along the way.

OBLOMOV: the number of spiritual aspirations is “3”

The Troika has an ambiguous influence on its clients: they can be friendly and arrogant, compliant and uncompromising, sociable and closed. They like to be visible, they love comfort, but they certainly cannot be called stable, so their behavior always remains extremely unpredictable.

Those born under the sign of three equally listen to the voice of the heart and mind, and in adulthood they carry with them a baggage of invaluable experience and worldly wisdom. Accustomed to being guided in everything by the arguments of reason, C students are completely incapable of empathy, but among their acquaintances there are many vulnerable, impressionable and even unbalanced people.

Those under the influence of three can achieve success in any profession, but still prefer areas that can provide stability. They have a great understanding of people, can draw a psychological portrait of everyone and easily find a way out of even the most difficult situations. C students feel very comfortable in secular society, know how to carry on a conversation, and have not only oratory skills, but also the ability to listen to others. They love friendly gatherings, and if they take on the task of organizing a holiday, they do it better than any professional.

In the sphere of personal relationships, strange as it may seem, people of three regularly face problems. They seem callous and indifferent, are not inclined to demonstrate positive traits of their character and are rarely themselves. Such a person may well be known as a cunning liar and a hypocrite, since his desire to embellish the truth sometimes knows no bounds. He is not used to sharing his thoughts and desires with his other half, but at the same time he lives in a castle in the air that he built with his own hands.

Those born under the influence of three always find their place in the sun. He likes to tell people about his successes, often greatly exaggerating the reality. Many consider this man to be an ordinary braggart, but at the same time they do not judge him too harshly, because he is not without charm. In addition, a C student is happy to give gifts, is attentive to those in need, and often participates in charity.

OBLOMOV: the number of true features is “5”

If a person is influenced by A, then they remain adult children for a long time. Even at an advanced age, such people behave like rebellious teenagers. Such a person is ready to risk everything for a mere trifle. Thinking through and planning the consequences of their decisions is not for them. Sometimes the protest of such persons is directed against generally accepted rules and looks rather ridiculous.

In general, we can say that this is a kind of entertainment. Inventing enemies for yourself and fighting them is the main fun for an “excellent” person. A stable, calm life causes him melancholy, dissatisfaction and a desire for change.

It is interesting that even if there is temporarily no struggle in the life of such a person, he himself is drawn to dramas and tragedies. It is not only interesting to him, but also feeds his vitality. Suffering and dark stories make him curious. And this can lead to stupid actions and fatal mistakes. But an “excellent” person is simply unable to overcome this attraction. He wants to know this world thoroughly and from all sides.

Often the culprit is too vivid imagination and self-confidence. With such a set of traits, they rarely become good spouses or reliable business partners. After all, they don’t care about the future at all. They will never raise funds for significant purchases - they would rather take out a loan. They are also not able to plan their lives - the trip can be disrupted at any moment.

At the same time, they believe that fate favors them and if suddenly a serious trouble happens, they will be able to mobilize all their talents and everything will be resolved in the best way. Even if they have already made mistakes, this does not teach them anything. They rarely draw conclusions from the situation. This is the skill they lack most.

What cannot be taken away from people under the sign of A is their erudition and outlook. They can talk about everything in the world, and it’s exciting and emotional. They will always be listened to with pleasure. If such a person has a hobby, he will try to benefit from it. In general, we can say that these people are always at the forefront.

Where the more cautious would never go, the “excellent” students will follow with joy. And for such adventures you always need to be in good physical shape, so they love sports, watch their diet and often remain slim and fit into old age.

Illness and monotonous life drive such people into depression, from which it is not easy for them to get out.