Ivan Aleksandrovich Goncharov used a variety of artistic techniques and means to reveal the characters of his characters and creatively express his ideas. However, the main features creative manner writer is:
“I wrote only what I experienced, what I thought and felt, what I loved, what I saw and knew closely - in a word, I wrote both my life and what grew into it” (I.A. Goncharov)
Artistic means of revealing the characters in a novel
Goncharov uses the following expressive artistic means in his own unique way, revealing the characters of the characters in Oblomov:
- Portrait - highlighting the main feature
“He was a man about thirty-two or three years old, ... of pleasant appearance, with eyes that wandered carelessly along the walls, along the ceiling, with that vague thoughtfulness that shows that nothing occupies him, nothing worries him. Sometimes his gaze darkened with an expression as if of fatigue or boredom. But neither fatigue nor boredom could for a moment drive away the softness from the face, which was the dominant and fundamental expression, not only of the face, but of the whole soul.”
- Direct characterization of a hero by another character
Olga about the main character:
“This is a crystal, transparent soul; there are few such people; they are rare; these are pearls in the crowd!
- Double images and antagonists (see section:);
- Attitude towards other people (Love story for Olga Ilyinskaya).
- Character Speech
“Don’t come, don’t come: you’re coming from the cold!”, “What are you doing? God be with you! A sort of cold..."
- Author's commentary on the hero's actions, including inner speech
“Is it easy? I had to think about the means to take any measures”, “What am I really? You need to know with your conscience: it’s time to get down to business!...", "... but, after thinking a little, with a caring face and a sigh, he slowly lay down in his place again.”
- Details-symbols:
The robe as a symbol of Oblomovism
“The robe had in Oblomov’s eyes a darkness of invaluable merits: it is soft, flexible; you don’t feel it on your shoulders; he, like an obedient slave, submits to the slightest movement of the body,”
The lilac branch is a symbol of nascent love, the motto “Now or never” as an incentive to awaken the character.
The role of artistic detail in the novel “Oblomov”
I. A. Goncharov’s novel “Oblomov” is a novel about movement and peace. The author, revealing the essence of movement and rest, used many different artistic techniques, about which a lot has been and will be said. But often, when talking about the techniques used by Goncharov in his work, they forget about the important importance of details.
Nevertheless, the novel contains many seemingly insignificant elements, and they are not given the last role.
Opening the first pages of the novel, the reader
Finds out that on Gorokhovaya Street in big house Ilya Ilyich Oblomov lives.
Gorokhovaya Street is one of the main streets of St. Petersburg, where representatives of the highest aristocracy lived. Having learned later about the environment in which Oblomov lives, the reader may think that the author wanted to mislead him by emphasizing the name of the street where Oblomov lived. But that's not true. The author did not want to confuse the reader, but, on the contrary, to show that Oblomov could still be something other than he is in the first pages of the novel; that he has the makings of a person who could make his way in life.
That's why he lives not just anywhere, but on Gorokhovaya
Street.
Another detail that is rarely mentioned is the flowers and plants in the novel. Each flower has its own meaning, its own symbolism, and therefore mentions of them are not accidental. So, for example, Volkov, who suggested that Oblomov go to Yekateringhof, was going to buy a bouquet of camellias, and Olga’s aunt advised her to buy ribbons of the color pansies. While walking with Oblomov, Olga plucked a lilac branch.
For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end.
But while they did not think about the end, they were full of hope. Olga sang Sasta diva, which probably won Oblomov completely. He saw in her that same immaculate goddess.
And indeed, these words - “immaculate goddess” - to some extent characterize Olga in the eyes of Oblomov and Stolz. To both of them, she truly was an immaculate goddess. In the opera, these words are addressed to Artemis, who is called the goddess of the Moon.
But the influence of the moon and moon rays negatively affects lovers. That’s why Olga and Oblomov break up. What about Stolz?
Is he really immune to the influence of the moon? But here we see a weakening union.
Olga will outgrow Stolz in her spiritual development. And if for women love is worship, then it is clear that here the moon will have its detrimental effect. Olga will not be able to stay with a person whom she does not worship, whom she does not extol.
Another very significant detail is the raising of bridges on the Neva. Just when in the soul of Oblomov, who lived with Pshenitsyna, a turning point began in the direction of Agafya Matveevna, her care, her corner of paradise; when he realized with all clarity what his life with Olga would be like; when he became frightened of this life and began to fall into “sleep,” that’s when the bridges were opened. Communication between Oblomov and Olga was interrupted, the thread that connected them was broken, and, as you know, a thread can be tied “forcibly,” but it cannot be forced to grow together, therefore, when bridges were built, the connection between Olga and Oblomov was not restored.
Olga married Stolz, they settled in Crimea, in a modest house. But this house, its decoration “bears the stamp of thought and personal taste of the owners,” which is already important. The furniture in their house was not comfortable, but there were many engravings, statues, books, yellowed with time, which speaks of the education, high culture of the owners, for whom old books, coins, engravings are valuable, who constantly find something new in them for myself.
Thus, in Goncharov’s novel “Oblomov” there are many details, to interpret which means to understand the novel more deeply.
(No Ratings Yet)
Related posts:
- In the novel by I. A. Goncharov, Stolz introduces Oblomov to Olga in her house. When he saw her for the first time, he was confused and felt awkward. A whirlwind romance begins between Oblomov and Olga. Oblomov fell in love with Olga, but she pursued her own goals. Olga fell in love not with Ilya, but with her dream. Her mission was to wake up the sleeping […]...
- “Without Olga Ilyinskaya and without her drama with Oblomov, we would not have known Ilya Ilyich as we know him” (based on I. A. Goncharov’s novel “Oblomov”) In Russian literature, a special place has long been given to a woman, her relationship with the main character. Even in “The Tale of Igor’s Campaign,” the author conveyed the magnitude of the tragedy that resulted in the prince’s defeat in [...]
- 1. Oblomov - Stolz. 2. Oblomov - Olga Ilyinskaya Stolz - not positive hero novel, his activity sometimes resembles the activity of Sudbinsky from the despised Stolz of Oblomov’s St. Petersburg entourage: work, work, work again, like a machine, without rest, entertainment and hobbies. His practicality is far from high ideals; he resembles a businessman, a tourist. The image of Stolz is schematic, emotionally faceless. Goncharov […]...
- Test of love in the novel “Oblomov” I. A. Goncharov’s novel “Oblomov” tells about life with all its complexities and tricks. Essentially, this is a novel about the fate of a person who evokes sympathy, pity, and sometimes contempt in the reader. Oblomov faced many trials that revealed his character. However, his inner essence is most clearly manifested through the strongest emotional experiences caused by [...]
- Oblomov and “Oblomovism” in I. A. Goncharov’s novel “Oblomov” I. A. Goncharov’s novel “Oblomov” was published in 1859 and was first published in the journal “Otechestvennye zapiski”. Since then, it has been considered one of the most popular works of Russian classics. Immediately after the appearance of the novel, the word “Oblomovism” came into use, which conveyed idleness and [...]
- Victory and defeat It is known that all victories begin with victory over oneself. However, not all people manage to overcome their shortcomings and take a step towards self-development. Reading Ivan Goncharov’s novel “Oblomov”, we see how main character slowly but surely moving towards defeat. He doesn't have enough internal forces, resources and motivation to be reborn, […]...
- Oblomov and Stolz Comparative characteristics In I. A. Goncharov’s novel “Oblomov” one of the frequent techniques is antithesis. By contrast, the author compares the main character I. I. Oblomov with his childhood friend A. I. Stolts. The first is a real Russian master, and the other is a practical German. Throughout the novel, the similarities and differences between these two characters can be traced. Oblomov […]...
- Choosing a life path I. A. Goncharov’s novel “Oblomov” was written in the mid-19th century and the best way reflected the lifestyle of the nobles of that time. It was first published in 1859, shortly before key reforms in the field of serfdom. The main character of the work, Ilya Ilyich Oblomov, is an incredibly lazy and clumsy man. He leads a monotonous life, not [...]
- Is Oblomov a good person? Oblomov Ilya Ilyich is the main character of the most famous novel I. Goncharova And the man who gave the name to the concept of “Oblomovism”. “Oblomov” appeared in the mid-19th century at a time when changes in the field of serfdom were already brewing in the country. Ilya Ilyich is described by the author as a typical representative of the middle-aged nobility who grew up in such pampered […]...
- Female images in the novel “Oblomov” Of particular interest in I. A. Goncharov’s novel “Oblomov” are female images. It is in relation to them that the positive traits main character - Ilya Ilyich Oblomov. From the content of the novel, it becomes clear that the hero deliberately avoids communication with the opposite sex so as not to burden himself with unnecessary worries. However, the author mentions that […]...
- Love is the desire to live Love in I. A. Goncharov’s novel “Oblomov” is one of the central themes. The author took a special approach to addressing this issue. He was able to show how different people with different ideals perceive love and what place they give to it in their lives. The novel is written in four unequal parts. If in the first part we see only [...]
- Only once did Oblomov have an opportunity when he could take a new path, start new life: this was when he met Olga and fell in love. This love was sincere and deep, it captured his entire being, forced him, at least for a while, to cheer up, to pull himself together; but even this love was unable to revive Oblomov, [...]
- What qualities does love reveal in a person? In his work “Oblomov” I. A. Goncharov tries to find answers to many vital important questions, introducing the theme of love, harmony and happiness. The main character of the work is an extremely lazy, clumsy and passive person. Ilya Ilyich Oblomov is a typical representative of the provincial nobility of the 19th century. He leads a more than idle lifestyle, rarely [...]
- Laziness The novel “Oblomov” was written by I. A. Goncharov in the period from 1847 to 1859, just a few years before key changes in the field of serfdom in Russia. Main character works of a nobleman of 30-35 years old, who became so lazy that he became baggy, obese and uninteresting. No matter how hard his friends tried to drag him into the world, but everything [...]
- In world literature and culture the most long life falls to the lot of those works whose heroes have become symbols of a certain era, human types, characters, the embodiment of the aspirations of humanity. Among such heroes are the man-lover Prometheus, the eternal knight Don Quixote, the philosopher Hamlet, the giant Gulliver and many others. The wider, the more meaningful symbolic meaning image, the closer it is different people, the more popular […]...
- He who does nothing is not mistaken. The main character of Goncharov's most famous novel is Ilya Ilyich Oblomov, a middle-aged nobleman who was by nature a very lazy person. His whole life was predetermined by the upbringing he received as a child. His parents cared for him, cherished him, and did not allow him to do any work, which is why he grew up completely pampered. Ilya Ilyich is very [...]
- Russian literature has a whole gallery of captivating female images, such as Tatyana Larina, Katerina Kabanova, Masha Mironova and others. Woman occupies a very important place in the fate of heroes different works. I. A. Goncharov’s novel “Oblomov” is no exception. Ilya Ilyich Oblomov was truly lucky in life, because it included a meeting with such an extraordinary woman as [...]
- Olga Ilyinskaya is a socialite, she, like Nadenka Lyubetskaya, knows life from her bright side; she is wealthy and is not particularly interested in where her funds come from. Her life, however, is much more meaningful than the life of Nadenka or the wife of Aduev Sr.; she makes music and does it not because of fashion, but because she is able to enjoy the beauty of art; she is very […]...
- The novel “Oblomov” is one of the peaks of the work of the great Russian writer and publicist I. A. Goncharov. The work was published back in 1859, but to this day discussions among critics around its main character and other characters do not subside. In Oblomov, both attractive and sometimes repulsive sides of his contradictory nature are intertwined. He seems kind, gentle, generous at the same time […]...
- Is there satire in the novel “Oblomov”? The novel “Oblomov” is considered the best and most popular work I. A. Goncharova. The author wrote it over ten years, from 1848 to 1859. His goal was to reflect in the novel the most important processes taking place in Russian society in mid-19th century. So, for example, the destructive influence of serfdom was not only [...]
- N. A. Dobrolyubov in the article “What is Oblomovshchina?” (1859) writes about the plot and composition of the novel: “It is, if you like, really drawn out. In the first part, Oblomov lies on the sofa: in the second, he goes to the Ilyinskys and falls in love with Olga, and she with him; in the third she sees that she was mistaken about Oblomov, and they part ways; in the fourth she comes out […]...
- No, I don't blame him. I believe that no one dares to judge a person, no matter what he is. Every person has the right to decide for himself how to live. Oblomov is a man looking for something in his life, thinking about something, he “was no stupider than others, his soul was pure and clear, like glass, noble, gentle.” Ilya Ilyich - master, [...]
- Who is Oblomov? - you ask. There is a lot to talk about this character. But I would like to highlight the main thing. Ilya Ilyich Oblomov was a landowner, nobleman who lived in St. Petersburg. He led an idle lifestyle. Oblomov’s main and favorite pastime was lying on the couch and thinking about the structure of life. The author says that lying on the sofa was neither necessary, […]...
- What things have become a symbol of “Oblomovism”? The symbols of “Oblomovism” were a robe, slippers, and a sofa. What turned Oblomov into an apathetic couch potato? Laziness, fear of movement and life, inability to carry out practical activities, and the replacement of life with vague daydreaming turned Oblomov from a man into an appendage of a robe and a sofa. What is the function of Oblomov’s dream in I. A. Goncharov’s novel “Oblomov”? The chapter “Oblomov’s Dream” paints an idyll [...]
- Almost every literary work The love of the main characters occupies a special place. After all, how a person loves, what he puts into his feelings, says a lot about him. So in I. A. Goncharov’s work “Oblomov,” the main character Ilya, lying endlessly on the sofa, suddenly becomes completely different when love appears in his life. Life sparkled for him with new […]...
- The meaning of life I. A. Goncharov’s novel “Oblomov” involuntarily makes the reader think about the meaning of life. In order to find the answer to this question, you need to consider the image of the main character in more detail. Ilya Ilyich Oblomov is a typical representative of the nobility of the mid-19th century. During the period described by Goncharov in the book, serfdom has not yet been abolished, but has already become obsolete […]...
- While reading Ivan Goncharov’s famous novel “Oblomov,” it would seem that one should unequivocally condemn the main character Ilya Ilyich, who spent his entire life on the couch in fruitless dreams, unable to do and achieve absolutely nothing. In contrast to him are presented his best friend Andrei Stolts and ex-lover Olga Ilyinskaya, who later married his closest […]...
- Is it possible to live happy life without victories? Is it possible to live a happy life without victories? The answer to this question directly depends on the life position of each person. All people differ in character, temperament, goals, ideals. There are those who crave upswings in their careers and other areas, and there are those who simply want to live a calm, measured life, without rushing anywhere. […]...
- Any classical and artistic work in one way or another reflects historical era And social life of the time in which it was written. In other words, a master cannot create masterpieces in isolation from the time in which he lives. In his novel “Oblomov,” Goncharov showed what a detrimental influence serfdom has on the life of the people. All this happened due to stagnation […]...
- The most important task, which is before any writer, is to evoke in the reader a certain impression of each image. And here an artistic detail is indispensable - one or another expressive or pictorial detail. IN real life There are an infinite number of such details, so the writer faces the problem of selecting the most characteristic, artistically convincing details. It is no coincidence that in the image of Helen Kuragina from “War and […]...
- I. A. Goncharov’s novel “Oblomov” was written in 1859. The main plot is life path Ilya Ilyich Oblomov, who spends his time aimlessly lying on the sofa. He spent his childhood in a noble family, where he was taught to lead a measured lifestyle, although he was an active and curious child, he soon realized that this way of life was the most […]...
- I. A. Goncharov’s novel “Oblomov” is a classic of Russian literature. In this novel, two faces of love appear before us. The first is the love of Oblomov and Olga, the second is the love of Stolz and Olga. How different they are! The first feeling - not having time to bloom - immediately withered, the second - it takes a long time to bloom, but, having blossomed and strengthened, for a long time it retains all […]...
- The main character of the novel by the Russian writer I. A. Goncharov, Oblomov, can be called an “extra” person for several reasons. One of them is quite obvious. The novel was published shortly before the great peasant reform. Against the background of all the characters, and especially in contrast with the active, very active and purposeful Stolz, lazy Oblomov appears to the reader as an obvious couch potato, superfluous, completely stupid [...]
- The plot of I. A. Goncharov’s novel “Oblomov” is the love story of the protagonist for Olga Ilyinskaya. With her appearance, Ilya Ilyich’s life changes for a while. Love seems to burst into him quiet life, and because of this, his habits are becoming a thing of the past. Olga is constantly on the move, she does not manage to take things calmly, [...]
- As Olga Ilyinskaya Goncharov drew a type new woman, struggling with Oblomov’s routine, ignorance and idleness, a woman seeking high life goal and reasonable activity. Olga, in terms of her personal qualities, level of development and degree of consciousness, stands incomparably higher than the women of her circle. She has a strong, inquisitive mind, a persistent will, a developed imagination, and a deep and tender feeling. […]...
- The character of Olga Ilyinskaya was developed very artistically by Goncharov. Olga’s character is reminiscent of Elena Stakhova (“On the Eve”). Gifted by nature with an inquisitive, bright mind, Olga was placed in favorable conditions for her development. The aunt, who replaced her parents, was only her leader and did not prevent her from showing her natural talents. Thanks to this, Olga learned to be independent and hope only […]...
- Agafya Matveevna Pshenitsyna is the widow of a minor official. Her image is contrasted with the image of Olga. The dominant character of Pshenitsyna is selfless love combined with the deepest humility. Her whole life is devoted to caring for her neighbors - about her children, about her unworthy brother, whom she does not even dare to criticize, and then about Oblomov. Deep and simple faith in God, hope in Him [...]
- “Oblomov” - social novel, as in all works of this genre, there is a place of love in it. Oblomov's love is of key importance in the hero's life. This is the best feeling that has ever covered I. I. Oblomov. Only love helps the dreamer to fully open up and bring all his fantasies to life. Simply put, without these feelings, […]...
- Olga Ilyinskaya Olga Sergeevna Ilyinskaya is one of the main heroines of the novel by I. A. Goncharov, Oblomov’s beloved, a bright and strong character. Ilyinskaya was not distinguished by her beauty, but she was quite graceful and harmonious. She had a sincere simplicity and naturalness that was rare. Nothing pretentious, no tinsel. The girl was orphaned early and lived in the house of her aunt, Marya […]...
- Plan Introduction Image of Olga Ilyinskaya Agafya Pshenitsyna The role of female images Introduction I will describe and reveal the main women from Goncharov’s novel “Oblomov”, what connects these women with each other. The women in this novel have completely different lives, complete opposites, and are united only by their experiences with the hero Oblomov. The image of Olga Ilyinskaya The first image of Olga Ilyinskaya […]...
Introduction
Goncharov’s novel “Oblomov” is a socio-psychological work of Russian literature of the mid-19th century, in which the author touches on a number of “eternal” topics that are also relevant for the modern reader. One of the leading literary devices, used by Goncharov, is portrait characteristic heroes. Through a detailed description of the characters' appearance, not only their character is revealed, but also their individual characteristics, similarities and differences between the characters. A special place in the narrative is occupied by the portrait of Oblomov in the novel “Oblomov”. It is with a description of Ilya Ilyich’s appearance that the author begins the work, Special attention paying attention to small details and nuances of the character’s appearance.
Portrait of Ilya Ilyich Oblomov
Ilya Ilyich is depicted as a thirty-two-year-old man, of average height with dark gray eyes. He is quite attractive in appearance, but “flattened beyond his years.” The main feature of the hero’s appearance was softness - in facial expression, in movements and body lines. Oblomov did not give the impression of a man living with great goals or constantly thinking about something - in the features of his face one could read the absence of any definite idea and concentration, “thought walked like a free bird across his face, fluttered in his eyes, sat on his half-open lips, hid in the folds of his forehead, then she completely disappeared, and then an even light of carelessness glowed throughout her face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.”
Sometimes an expression of boredom or fatigue flashed through his gaze, but they could not drive away from Ilya Ilyich’s face the softness that was present even in his eyes and smile. His too fair skin, small plump hands, soft shoulders and a body too pampered for a man betrayed him as a man not accustomed to work, accustomed to spending all his days in idleness, counting on the help of servants. Any powerful emotions did not affect Oblomov’s appearance: “when he was even alarmed,” his movements “were also restrained by softness and laziness, not devoid of a kind of grace. If a cloud of care from the soul came over the face, the gaze became clouded, folds appeared on the forehead, a game of doubts, sadness, and fear began; but rarely did this anxiety congeal in the form of a definite idea, and even more rarely did it turn into an intention. All anxiety was resolved with a sigh and died away in apathy or dormancy.”
The portrait of Ilya Ilyich Oblomov allows us to capture the main character traits of the hero: inner softness, complaisance, laziness, complete calmness and even a certain indifference of the character in relation to the world around him, forming a complex and multifaceted personality. Goncharov himself points out the depth of Oblomov’s character at the beginning of the work: “superficially observant, cold-tempered man, glancing in passing at Oblomov, he would say: “He must be a good man, simplicity!”
“A deeper and prettier man, having peered into his face for a long time, would have walked away in pleasant thought, with a smile.”
The symbolism of clothing in the image of Oblomov
Spending all his days in idleness and all kinds of dreams, making unrealistic plans and drawing in his imagination many pictures of the desired future, Oblomov did not pay attention to his appearance, preferring to wear his favorite home clothes, which seemed to complement his calm facial features and pampered body. He was wearing an old oriental robe with large wide sleeves, made of Persian fabric, in which Ilya Ilyich could wrap himself twice. The robe was devoid of any decorative elements - tassels, velvet, belt - this simplicity, perhaps, was what Oblomov liked most about this element of his wardrobe. It was clear from the robe that the hero had been wearing it for a long time - it “lost its original freshness and in places replaced its primitive, natural gloss with another, acquired one,” although it “still retained the brightness of oriental paint and the strength of the fabric.” Ilya Ilyich liked that the robe was soft, flexible and comfortable - “the body does not feel it on itself.” The second obligatory element of the hero’s home toilet was soft, wide and long shoes “when he, without looking, lowered his feet from the bed to the floor, he certainly fell into them immediately.” Ilya Ilyich did not wear a vest or tie at home, as he loved freedom and space.
The description of Oblomov’s appearance in his home decoration paints before the readers the image of a provincial gentleman who does not need to rush anywhere, because the servants will do everything for him and who spends all his days lounging on his bed. And the things themselves are more like Ilya Ilyich’s faithful servants: the robe, “like an obedient slave,” obeys his every movement, and there was no need to look for shoes or put them on for a long time - they were always at his service.
Oblomov seems to recreate the quiet, measured, “homely” atmosphere of his native Oblomovka, where everything was just for him, and his every whim was fulfilled. The robe and shoes in the novel are symbols of “Oblomovism”, indicating the internal state of the hero, his apathy, detachment from the world, retreat into illusion. Boots become a symbol of real, “uncomfortable” life for Ilya Ilyich: “for whole days,” Oblomov grumbled, putting on a robe, “you don’t take off your boots: your feet itch!” I don’t like this life of yours in St. Petersburg.” However, boots are also a symbol of leaving the power of “Oblomovism”: having fallen in love with Olga, the hero himself throws away his favorite robe and shoes, replacing them with a secular suit and boots that he so dislikes. After parting with Ilyinskaya, Ilya Ilyich is completely disappointed in real world, so he again takes out an old robe and finally plunges into the swamp of “Oblomovism”.
Appearance of Oblomov and Stolz in Goncharov’s novel
Andrei Ivanovich Stolts is according to the plot of the work best friend Oblomov and his complete antipode both in character and appearance. Stolz was “all made up of bones, muscles and nerves, like a blooded English horse,” “that is, there is bone and muscle, but not a sign of fatty roundness.” Unlike Ilya Ilyich, Andrei Ivanovich is thin, with a darkish, even complexion, greenish, expressive eyes and stingy facial expressions, which he used exactly as much as necessary. Stolz did not have that external softness that was the main feature of his friend; he was characterized by firmness and calmness, without unnecessary fussiness and haste. Everything in his movements was harmonious and controlled: “It seems that he controlled both sorrows and joys, like the movement of his hands, like the steps of his feet, or how he dealt with bad and good weather.”
It would seem that both heroes, Oblomov and Stolz, were distinguished by external calm, but the nature of this calm was different among men. The entire inner storm of Ilya Ilyich’s experiences was lost in his excessive softness, carelessness and infantility. For Stolz, strong experiences were alien: he controlled not only the whole world around him and his movements, but also his feelings, not even allowing them to arise in his soul as something irrational and beyond his control.
conclusions
In “Oblomov”, Goncharov, as a skilled artist, was able to show through the portrait of the characters the full depth of their inner world, “drawing” the characteristics of the characters of the characters, depicting, on the one hand, two social characters typical of that time, and on the other, outlining two complex and tragic images, interesting for their versatility to the modern reader.
Work test
To complete the assignment, choose only ONE of the four proposed essay topics (17.1-17.4). Write an essay on this topic in a volume of at least 200 words (if the volume is less than 150 words, the essay is scored 0 points).
Reveal the topic of the essay fully and multifacetedly.
Justify your theses by analyzing the elements of the text of the work (in an essay on lyrics, you need to analyze at least three poems).
Identify the role artistic means, important for revealing the topic of the essay.
Think over the composition of your essay.
Avoid factual, logical, and speech errors.
Write your essay clearly and legibly, observing the norms of writing.
17.1.The image of Mitrofanushka and the meaning of the title of the play by D.I. Fonvizin "Undergrowth".
Explanation.
Comments on essays
17.1. The image of Mitrofanushka and the meaning of the title of the play by D.I. Fonvizin "Undergrowth".
One of the main characters of this comedy was Prostakov Mitrofan Terentyevich, the son of the Prostakovs, simply Mitrofanushka. As soon as the name of the comedy “Undergrown” is pronounced, the image of a mama’s boy, a quitter and a stupid ignoramus immediately appears in the imagination. Before this comedy, the word “minor” did not carry an ironic meaning. During the time of Peter I, this was the name given to noble teenagers who had not reached the age of 15. After the play appeared, this word became a household word.
It is impossible to instill in Mitrofan any positive qualities or concepts of morality. He is brought up in a family where ignorance and hypocrisy reign. The results of such an upbringing are deplorable: Mitrofanushka is not only ignorant, but also malicious and cunning. He knows how to flatter his mother, skillfully playing on her feelings. For his father, he is a “funny man” and an “entertainer”; his uncle characterizes Mitrofanushka as “mother’s son.” In fact, he is a slacker and a lazy person, a spoiled brat, accustomed to idleness, and quickly learned the customs of the family.
17.2. What is the role of details in creating the image of Oblomov? (Based on the novel by I.A. Goncharov “Oblomov”)
In the novel by I.A. Goncharov’s “Oblomov” contains many seemingly insignificant elements, and they are not given the last role.
Opening the first pages of the novel, the reader learns that Ilya Ilyich Oblomov lives in a large house on Gorokhovaya Street. Gorokhovaya Street is one of the main streets of St. Petersburg, where representatives of the highest aristocracy lived. Having learned later about the environment in which Oblomov lives, the reader may think that the author wanted to mislead him by emphasizing the name of the street where Oblomov lived. But that's not true. The author did not want to confuse the reader, but, on the contrary, to show that Oblomov could still be something other than he is in the first pages of the novel; that he has the makings of a person who could make his way in life. That’s why he lives not just anywhere, but on Gorokhovaya Street.
Another detail that is rarely mentioned is the flowers and plants in the novel. Each flower has its own meaning, its own symbolism, and therefore mentions of them are not accidental. While walking with Oblomov, Olga picked a branch of lilac. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end.
Another very significant detail is the raising of bridges on the Neva. Just when in the soul of Oblomov, who lived with Pshenitsyna, a turning point began in the direction of Agafya Matveevna, her care, her corner of paradise; when he realized with all clarity what his life with Olga would be like; when he became frightened of this life and began to fall asleep, that’s when the bridges were opened. Communication between Oblomov and Olga was interrupted, the thread that connected them was broken, and, as you know, a thread can be tied by force, but it cannot be forced to grow together, therefore, when the bridges were built, the connection between Olga and Oblomov was not restored. Olga married Stolz, they settled in Crimea, in a modest house. But this house, its decoration bore the stamp of thought and personal taste of the owners, which is already important. The furniture in their house was not comfortable, but there were many engravings, statues, books, yellowed with time, which speaks of the education, high culture of the owners, for whom old books, coins, engravings are valuable, who constantly find something new in them for myself.
Based on materials from http://mysoch.ru/sochineniya/goncharov/_story/oblomov/rol_hudozhestvennoi_detali_v_romane_oblomov/
17.3. What ideas about the world and man are reflected in the poem by V.V. Mayakovsky's "Cloud in Pants"?
Researchers call the poem “Cloud in Pants” the pinnacle of V.V. Mayakovsky’s pre-revolutionary creativity, in which the theme of love is combined with themes of the importance of the poet and poetry in society, attitudes to art, and religion. The poem contains lyrical and satirical notes, which gives the work a dramatic sound. The poem is conventionally divided into four parts: “Down with your love”, “Down with your art!”, “Down with your system!”, “Down with your religion!”. Each part of the poem expresses a specific idea.
17.4. Heroes Russian literature XX – beginning of the XXI centuries in search of the meaning of life. (One piece of your choice)
"Is it easy to be young?" One of the most topical works devoted to this topic is Ch. Aitmatov’s novel “The Scaffold”.
Main actor in the book - Avdiy Kallistratov, a young man not particularly distinguished by physical strength or beauty, but with a clearly expressed life position, purposeful and capable of unshakable courage, due to faith in his beliefs, even controversial ones.
Obadiah is a believer, he believes that God exists in every person, but not all people understand this. He is distinguished by his philosophical orientation of thinking, he knows the history of the church and the philosophy of Christianity very well, because the young man graduated from higher spiritual education. educational institution Orthodox Church.
Ch. Aitmatov’s appeal to the hero, who is a church figure, is not accidental. This is, first of all, the emergence of alienation among some of the youth, expressed in drug use, disappointment in previous ideals, etc. All these issues of youth reality are analyzed by the author. Obadiah ultimately rejects the philosophy of religion, putting forward a demand for a revision of the church. Fascinated by the idea of serving the Fatherland, he gets a job at the editorial office of one of the provincial newspapers, trying to reflect the real state of affairs in the country in his correspondence. Then the difficulty of choosing a further path, the complexity of life lead Avdiah to realize the need to re-educate people with the help of religion. And again, Kallistratov, in the steppes of Kazakhstan, is trying to bring drug addicts hunting for marijuana into the bosom of the church. But these non-humans, point-blank shooting defenseless animals, thinking only about their own good, destroying nature, ultimately kill Avdiah.
The reasons why young people face difficulties include economic, political and social ones. Many writers say and write that it is not easy for young people to live and to be, but only young people can decide in which society and how they should live. We hope that the choice of young people will be made in favor of honor, kindness and compassion.
I.Introduction
When reading a book, we usually pay little attention to details; we are captivated by the plot, the very idea of the book. Often we skip some boring, at first glance, description of nature, interior, which, as it seems to us, is not at all important. And if you look closely, read this or that description, pay attention to a small detail, a trifle, then it turns out that it is not as insignificant as it seems. A simple description of nature can convey the mood of the hero, the interior can reveal the character, a fleeting gesture can guess the impulses of the soul, and a thing or object can become a symbol inseparable from the character.
So, without losing sight of every detail, you can more fully reveal the hero and the whole meaning of the book, see the hidden, interpret the obvious. This is the most the main role details.
II."Through" parts
In Goncharov’s novel “Oblomov” there are several details that run through the entire novel, so I will call them “cross-cutting”. This is a robe that suited “the calm features of his face and his pampered body” and had “in Oblomov’s eyes a darkness of invaluable merits”; it became not just home clothes, but literally a symbol of the hero himself, his way of life, his soul. He is as broad, free, soft, and light as the character of Ilya Ilyich. It contains Oblomov’s whole life, so spacious, homely, lazy, cozy.
Before Stolz appeared, the main character could not imagine himself in any other clothes, just as he did not want to change his lifestyle for anything. But then the spark of life, the desire to live and act, ignites in him: “What should he do now? Go forward or stay? This Oblomov question was deeper for him than Hamlet’s. Going forward means suddenly throwing off the wide robe not only from your shoulders, but also from your soul, from your mind...” The robe disappeared along with mental apathy and laziness when Olga and love appeared in his life: “The robe was not to be seen on him: Tarantyev took it with him to his godfather with other things.”
Although in love for Olga Oblomov began to feel, burn, live, she was afraid that he would return to his peaceful, lazy life, again throw on himself the robe of drowsiness, apathy and indifference: “What if,” she began with a heated question, “you you will get tired of this love, just as you are tired of books, of service, of light; if over time, without a rival, without another love, you suddenly fall asleep next to me, as if on your own sofa, and my voice does not wake you up; if the tumor near the heart goes away, even if not another woman, but your robe will be more valuable to you?..."
Later, Pshenitsyna found a robe and offered to wash and repair it, but Ilya Ilyich refused, saying: “In vain! I don’t wear it anymore, I’m behind, I don’t need it.” It was like a warning of upcoming events. After all, after breaking up with his beloved, immediately that evening the recently forgotten robe found itself again on his shoulders: “Ilya Ilyich almost did not notice how Zakhar undressed him, pulled off his boots and threw a robe on him!”
So Oblomov remained to live in laziness, idleness, apathy, wrapped in them like a robe, until his death. The robe was worn out, just like its owner.
Another, no less important subject in the novel “Oblomov” is lilac. The smell of lilac first appears in Ilya Ilyich’s dream. Olga picked a lilac branch during a meeting with Oblomov and dropped it out of surprise and disappointment. The branch deliberately thrown by Olga becomes a symbol of her annoyance. As a hint of reciprocity and hope for possible happiness, Ilya Ilyich picked her up and came with her on the next date. As a symbol of revitalization, a blossoming feeling, Olga embroiders lilacs on canvas, pretending that she chose the pattern completely by accident. But for both, the lilac branch became a symbol of their love and happiness. “While love was between us in the form of a light, smiling vision, while it sounded in Casta diva, it was carried in the smell of a lilac branch...” Oblomov wrote in his letter. It seemed to them that love was fading like a lilac:
Well, if you don’t want to tell me, give me a sign… a lilac branch…
The lilacs... moved away, disappeared! - she answered. - Look, see what remains: faded!
The author also mentions lilac branches as a symbol of loneliness and lost happiness in the final lines: “Lilac branches, planted by a friendly hand, doze over the grave, and wormwood smells serenely...”
Shoes are another important detail. At first they appear as an item of clothing for Oblomov, confirming his contentment with his life, comfort, confidence: “The shoes he was wearing were long, soft and wide; when he, without looking, lowered his feet from the bed to the floor, he certainly fell into them immediately.”
Looking at whether Ilya Ilyich gets his feet into his shoes, we can guess his thoughts, uncertainty, doubts, indecision: “Now never!” "To be or not to be!" Oblomov started to get up from his chair, but didn’t immediately hit his shoe and sat down again.” 1 Another time we will read boredom from inaction: “Ilya Ilyich lay carelessly on the sofa, playing with a shoe, dropped it on the floor, lifted it into the air, twirled it there, it would fall, he would pick it up from the floor with his foot...” 2
In general, shoes are very talking object. Boots seem to define social status Oblomov. This is clearly visible in the scene where Stolz asked Zakhar who Ilya Ilyich was. “Master,” the servant answered, and although Oblomov corrected him, saying that he was a “gentleman,” his friend had a different opinion:
No, no, you are a master! - Stolz continued with a laugh.
What's the difference? - said Oblomov. – A gentleman is the same gentleman.
A gentleman is such a gentleman, Stolz defined, who puts on his stockings himself and takes off his boots himself. 3
In other words, the inability to take off and put on boots on one’s own speaks of the hero’s extreme laziness and spoilage. Zakhar, who learned that the master was going to go abroad, shared the same opinion: “Who’s going to take off your boots there? – Zakhar remarked ironically. - Girls, or what? You’ll be lost there without me!” 4
The same idea is confirmed by another detail found throughout the book - stockings. It all started with the fact that even in childhood, the nanny pulled on Ilya’s stockings, and his mother did not allow him to do anything on his own, because if Andrei were not next to him, who knows if he would ever get up from the sofa. “...But there is no need, I still don’t know how, and my eyes can’t see, and my hands are weak! You lost your skill as a child, in Oblomovka, among aunts, nannies and uncles. It started with the inability to put on stockings and ended with the inability to live,” 6 Stolz concluded and he was right. Oblomov’s life was worn out, frayed, leaky, like a stocking. No wonder Pshenitsyna, having sorted out his stockings, counted “fifty-five pairs, and almost all of them were thin...” 7
III.Hint details. Oblomov's dream.
Oblomov's dream is replete with various details and many of them not only reproduce details of the situation, appearance, landscape, but acquire symbolic meaning. The inhabitants of Oblomovka themselves attached great importance to their dreams: “If the dream was terrible, everyone thought about it, they were afraid in earnest; if prophetic, everyone was unfeignedly happy or sad, depending on whether the dream was sad or comforting. If the dream required the observance of any sign, active measures were immediately taken for this.” 1
I think that Ilya Ilyich’s dream also has a special, hidden subtext that requires decoding. Although at first glance it seems that this is simply a description of the life of the inhabitants of Oblomovka, it is still a dream in which almost every item mentioned has a secret meaning.
Throughout the dream, a ravine is mentioned, which so attracted and at the same time frightened little Ilyusha. A ravine or cliff is considered a symbol of collapse, failure of plans, collapse of hopes. All this happened to our hero soon. Let us also remember the hut hanging half over the ravine: “Just as one hut fell on the cliff of a ravine, it has been hanging there since time immemorial, standing with one half in the air and supported by three poles.” 2 It seems to me that this seems to show the hero’s state of mind, suggests that with one foot he is already in the abyss, with the other he is still standing on solid ground and has a chance to avoid falling.
Let us now remember the Oblomovs’ house itself, with its crooked gates, dilapidated gallery, shaky porch, “with a wooden roof sagging in the middle, on which delicate green moss grew.” 1 All this portends decline and failure in future life. A destroyed porch in a dream, through the steps of which “not only cats and pigs crawl into the basement,” 2 means that “soon you will have to part with your old life and need, failures, deprivations, worries and troubles await you ahead.” 3 Moss in a dream is “a sign of unfulfilled hopes and sad memories" 4 The steep staircase that Ilyusha climbed symbolizes the danger from too hasty and risky actions. This is a warning that could save Oblomov from cruel doubts, writing a letter to Olga and their serious quarrel and misunderstanding.
If we pay attention to small objects in a dream, we will see that they, too, often predict the sad future of the hero. A dimly burning candle “means a meager existence, dissatisfaction with oneself and the state of affairs”, 5 “a clock in a dream is a symbol of life, change (good or bad), movement, success or defeat.” 6 Twice in a dream, along with the knocking of a clock and the sound of the father’s steps, the sound of a bitten thread is heard: “Quiet; Only the footsteps of Ilya Ivanovich’s heavy homework boots are heard, the wall clock in its case is still dully tapping with a pendulum, and a thread is torn from time to time by hand or teeth<…>breaks the deep silence." 7 I think this is clearly not without reason, because “rough shoes in a dream predict difficulties, discontent, obstacles in business,” 8 and “torn threads are a sign that trouble awaits you due to the treachery of your friends” 9 and a symbol of torn, broken the life that Oblomov lived, although the fact that Ilya Ilyich heard only sound softens the difficult prediction.
However, there are also details here that promise a pleasant future. The fact that Ilyusha’s mother combs and admires his beautiful, soft hair suggests that love joys and happiness await him. The fact that the boy watches sleeping people (during the general afternoon nap) means that “by seeking someone’s favor, he will sweep away all obstacles in his path.” 10 But Oblomov did not even try to understand the meaning of his dream. Perhaps, having seen at least a couple of symbols, he would have heeded the warnings and predictions and tried to change something. However, unlike his relatives, he did not attach any significance to the dream and apathy, ruin, disappointment, and difficulties entered his life.
IV.Symbolism of details. Flowers.
I found it very unusual how the flowers themselves were described in the novel. We don’t know whether Goncharov put some kind of secret meaning into them, but if you look into the dictionary of flower symbolism, it turns out that each flower seems to have been specially selected in order to more fully reveal the hero’s mental state, to convey his hidden thoughts and feelings in that or another episode of the novel.
Flowers are first mentioned at the very beginning of the story, when Volkov comes to Oblomov. A young man in love dreams of getting camellias for his beloved. Camellias are a rare flower for the Russian tradition, like Volkov himself, all refined, like a “cambric scarf” with “aromas of the East.” In the sacred Druid calendar, camellia means pleasant appearance, sophistication, artistry and, oddly enough, childishness. Therefore, probably, the mood after reading the scene with Volkov’s arrival remains somehow light, unreal, a little feigned, theatrical.
Oblomov, in a conversation with Olga, openly declares that he does not like flowers, especially those with a strong smell; his preferences are given to wild and forest flowers. Lily of the valley has long been considered a symbol of hidden love. Slavic tradition calls this flower “maiden tears.”
Oblomov gives Olga lilies of the valley, as if suggesting that his love will make her cry in the future: “You made it so that there were tears, but it is not in your power to stop them... You are not so strong! Let me in! - she said, waving a handkerchief in her face.” 2
During one of their dates, Olga lists flowers that Ilya might like, and he rejects lilac, as if sensing that this flower is very symbolic. Unlike the symbolism of dreams, in the Druid calendar lilacs meant loneliness. It was generally considered an ominous shrub that should not even be used to decorate your home. Oblov picks up the branch abandoned by Olga and brings it home, as if accepting loneliness.
Ilya Ilyich did not like both mignonette and roses. The rose is the queen of flowers, the favorite flower of the Muses and Queen Aphrodite, symbolizing innocence, love, health, coquetry and love play.
In Oblomov’s denial of love for roses, I see a huge contradiction inherent in the author’s character of Ilya Ilyich. He craves full-fledged feelings and is afraid of them, loves and remains a cold observer, sees Olga’s love play and dreams and chastely rejects them.
If we describe the love story of Oblomov and Olga in the language of objects, then we, of course, will put flowers in first place, namely lilacs, and only then music, letters, books.
In the scene where Oblomov meets Pshenitsyna there are surprisingly many colors. Starting from the road to Vyborg side: “Oblomov drove off again, admiring the nettles near the fences and the mountain ash peeking out from behind the fences.” 1 Nettle symbolizes sadness and betrayal, and rowan, which is a symbol of submission, appears here as confirmation of the servility and weak-willedness of Ilya Ilyich, who voluntarily submits to circumstances without trying to fight. In Agafya Matvevna's house, the windows were lined with marigolds, symbolizing the remembrance of the dead (as we remember, she was a widow), aloe - a symbol of sadness, marigolds - harbingers of deep mental suffering, and mignonette. Mignonette means secrecy, maybe that’s why Oblomov, who himself was a very open and sincere person, didn’t like its smell so much. Over the grave of Ilya Ilyich “the serene smell of wormwood” 2 is the flower of separation.
Such an unusual detail as flowers, with their hidden meaning, complement even better and more fully reveal the subtleties of relationships, characters and moods of the heroes.
2) Interior details.
Interior details, as well as clothing details, are widely used by Goncharov to visually present and characterize the characters and their habitat.
From the very first pages we see a description of the interior - Oblomov's room.
“The room where Ilya Ilyich was lying seemed at first glance to be beautifully decorated. There was a mahogany bureau, two sofas upholstered in silk, beautiful screens embroidered with flowers and fruits unprecedented in nature. There were silk curtains, carpets, several paintings, bronze, porcelain and many other beautiful little things.” 1 All this, it would seem, speaks of the excellent taste of the owner, but the author immediately explains to us that this is only an appearance, an illusion of “inevitable decency.”
“On the walls, near the paintings, cobwebs, saturated with dust, were molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets for writing down on them, in the dust, some notes for memory. The carpets were stained. There was a forgotten towel on the sofa; On rare mornings there was not a plate with a salt shaker and a gnawed bone on the table that had not been cleared away from yesterday’s dinner, and there were no bread crumbs lying around.” 2
These two almost contradictory descriptions of one room also show us the contradictory nature of its occupant. We can say that Ilya Ilyich is not devoid of taste, although it cannot be called subtle and refined. There are such expensive luxury items as porcelain, bronze, mirrors. But all the dirt, dust, cobwebs indicate negligence, carelessness, laziness of the owner and his servant, who understands the word “cleanliness” in his own way. Oblomov neglected, one might say, disfigured everything that was beautiful and expensive that he had; such expensive things as mirrors became tablets on which one could write in the dust, knowing that no one would erase it. Noticing such an abundance of small details in the description of Oblomov’s room, you involuntarily draw a parallel with the description of Gogol’s Plyushkin’s house from Dead Souls:
“On one table there was even a broken chair, and next to it a clock with a stopped pendulum, to which the spider had already attached a web. There was also a cabinet leaning sideways against the wall with antique silver, decanters and Chinese porcelain.” 3
And here is “Oblomov”:
“If it weren’t for the plate, and the freshly smoked pipe leaning against the bed, or the owner himself lying on it, then one would have thought that no one lived here - everything was so dusty, faded and generally devoid of living traces of humanity presence" 2 - writes Goncharov.
“It would have been impossible to say that there was a living creature living in this room if his presence had not been announced by the old, worn cap lying on the table,” 3 writes Gogol.
The influence of Gogol is also clearly visible here, since the idea in both passages is common: both rooms are so uncomfortable and uninhabited that they almost do not betray human presence. This feeling is created in one case due to dirt, dust and neglect, in another - due to a pile of furniture and various unnecessary rubbish.
Oblomov’s books are a detail that I would like to pay special attention to.
“On the shelves, however, there were two or three open books,<…>but the pages on which the books were unfolded were covered with dust and turned yellow; it was clear that they had been abandoned a long time ago.” 4
In the same condition we find books from another Gogol hero, Manilov: “In his office there was always some kind of book, bookmarked on page fourteen, which he had been constantly reading for two years.” 5
From this detail we can determine the common feature of Manilov and Oblomov - lack of forward movement, lack of interest in life, tendency towards apathy and idleness. However, if we talk about Manilov as negative character, then I have a feeling of sympathy and participation for Oblomov. Books as one of the things that indicate to us the revival of the hero’s soul, the manifestation of interest in life while communicating with Olga: he reads newspapers, takes it upon himself to recommend books to her, having previously familiarized himself with them, “his inkwell is full of ink, on the table there are letters lying around."
But then Olga disappeared from his life, interest in life, cheerfulness, and activity disappeared, and the books again gathered dust, no one needed, and the filled inkwell was bored and idle.
Another very important and eloquent interior detail is the sofa. In the novel, descriptions of sofas appear many times (sofas in Oblomov’s room, a sofa in his parents’ house, Tarantiev’s sofa), and this detail has become iconic. This piece of furniture implies rest, sleep, doing nothing.
By the way, for Oblomov the sofa is a very important thing in the interior. He had two whole sofas, “upholstered in silk,” but he finds the ideal of comfort in Tarantiev’s house: “You know, it’s somehow right, cozy in his house. The rooms are small, the sofas are so deep: you’ll get lost and you won’t see a person.<…>The windows are completely covered with ivy and cacti.” 1 Such an environment is conducive to laziness and bliss. Light twilight and soft deep sofas, which are so good to hide in, create an intimate, cozy atmosphere that Ilya Ilyich loves so much. After all, home for him is like a shell in which he hides, like a snail, from outside world. It seems to me that the reasons for his fears and self-doubt are rooted in childhood.
If you remember the description of the living room in Oblomovka, you can understand why Ilya Ilyich’s room was so dark, uncomfortable, dusty and neglected: “Ilya Ilyich also dreams of a large dark living room in his parents’ house, with antique ash armchairs, always covered with covers, with a huge, awkward and a hard sofa, upholstered in faded blue barkan with stains, and one large leather chair.” 2 Oblomov was used to this from childhood, and his house was just as dark, he lived in only one room, and in the other two “the furniture was covered with covers” and was also not used. It seems as if what he has is enough for him, so he is too lazy to move into other rooms, even if they are cleaner, more beautiful and more comfortable. Let’s remember a sofa with a broken back, stained carpets in Ilya Ilyich’s room, Ilya Ivanovich’s leather chair with a remaining scrap of leather on the back, for which they always either spared money or had no desire to put them in order: “Oblomov’s people agreed to better tolerate all kinds of inconveniences, we even got used to not considering them as inconveniences rather than spending money.” 3
Having analyzed the interior of the house of Stolz and Olga, you notice that the objects that filled their house perfectly reflect the psychology of the owners: “All the decoration bore the stamp of the thoughts and personal taste of the owners.” 4 The main thing for owners when choosing the decoration of their home is that the thing is memorable, beloved, and significant for them. One gets the feeling that they were not guided by fashion and secular taste: “A lover of comfort, perhaps, would shrug his shoulders, looking at all the external assortment of furniture, dilapidated paintings, statues with broken arms and legs, sometimes bad, but dear in memory, engravings, little things " 5 The individualism and self-sufficiency of the owners of the house is immediately felt.
In all the interior items, “either a vigilant thought was present or the beauty of human affairs shone, just as the eternal beauty of nature shone all around.” 1
As confirmation of this, among the “ocean of books and notes” there was found a place “a high desk, like Andrei’s father had, suede gloves; an oilskin raincoat hung in the corner.” 2 “...And the oilskin raincoat that his father gave him, and the green suede gloves - all the rough attributes of working life.” 3 Stolz’s mother hated these things so much, and in Andrei’s house they took pride of place. I would like to note that if Oblomov copied the life of his father, then Stolz took with him only the objects of hard work and moved away from the “track drawn by his father.” 4