Test based on the novel by I.A. Goncharov "Oblomov"
1.Which literary movement does Goncharov’s novel “Oblomov” belong to:
a) to classicism
b) to sentimentalism
c) to romanticism
d) to realism.
2. Determine the genre of the novel “Oblomov”
a) epic novel
b) novel-utopia
G) socio-psychological novel.
3. What is main problem novel
a) problem " little man»
b) the problem of the “extra person”
c) the problem of unrequited love
d) the problem of the fate of the Russian intelligentsia.
4. How many chapters does the novel consist of?
a)3
b) 4.
c) 5
d) 6
5. How old is Oblomov in the first chapter of the novel?
a) 18-20
b) 25-26
c)30-32
d) 32-33
6. On what street did Oblomov live?
a) on Podyacheskaya
b) on Nevsky Prospekt
c) on Fontanka
d) on Gorokhovaya Street.
7.Which books did Oblomov like best?
a) scientific
b) adventure
c) romance novels.
D) poetry.
8. To which city did Oblomov send the letter by mistake?
a) to Astrakhan
b) to Anadyr
c) to Arkhangelsk
d) to Amsterdam.
9. Which one artistic detail is a means of characterizing the hero
a) an uncleaned table
b) robe
c) cane
d) cobwebs on the walls.
10. Which Russian writer’s traditions does Goncharov continue when creating the image of Oblomov?
a) A.S. Pushkin
b) M.E. Saltykova - Shchedrin
c) N.V. Gogol
d) A.S. Griboyedova.
11. Which of the heroes of the novel is the antipode of Oblomov?
a) Zakhar
b) Stolz
c) Olga Ilyinskaya
d) Mikhei Tarantiev.
12. Who was Stolz Oblomov related to?
a) neighbor - fellow countryman
b) relative
c) colleague
d) childhood friend.
13. To what class did Stolz belong?
a) to the merchant
b) to a nobleman
c) to the bourgeoisie
d) to commoners.
14. What was Stolz's name?
a) Andrey Ivanovich
b) Ivan Bogdanovich
c) Mikhei Andreevich
d) Ilya Ilyich.
15.Who introduced Oblomov to Olga Ilyinskaya
a) Volkov
b) Sudbinsky
c) Stolz
d) They met by chance.
16. Which flower became a symbol of Oblomov’s love for Olga Ilyinskaya
a) rose
b) snowdrop
c) lily of the valley
d) lilac.
17.Why Oblomov and Olga Ilyinskaya broke up
a) Olga married Stolz
b) Aunt forbade Olga to communicate with Oblomov
c) Oblomov wanted to postpone the wedding for a year
d) Oblomov went to Pshenitsyna.
18.Which of the novel’s heroes is closest to the author’s ideal?
a) Oblomov
b) Stolz
c) Olga Ilyinskaya
d) Agafya Matveevna Pshenitsyna.
19.Who ruined Oblomov
a) headman from Oblomovka
b) Penkin
c) Stolz
d) Tarantiev and Mukhoyarov.
20. Where Oblomov found peace
a) in his native Oblomovka, surrounded by faithful servants
b) in the family of Stolz and Olga
c) next to Zakhar and Anisya
d) on Vyborg side next to Pshenitsyna and her children.
21. Who wrote the critical article “What is Oblomovism?”
a) I.A. Goncharov.
b) V.G. Belinsky
c) N.A. Dobrolyubov
d) D.I. Pisarev.
22. Which actor played the role of Oblomov in N. Mikhalkov’s film “A few days in the life of Oblomov”
a) Nikita Mikhalkov
b) Andrey Mironov
c) Oleg Tabakov
d) Sergei Zhigunov.
23. Recognize the hero by his portrait
A) "… old man in a gray frock coat, with a hole under the arm, from which a piece of a shirt was sticking out, in a gray vest, with copper buttons, with a skull as bare as a knee, and with immensely wide and thick brown sideburns, from which each would be three beards long.”
b) “He is all made up of bones, muscles and nerves, like a blooded English horse. He is thin; he has almost no cheeks at all, that is, there is bone and muscle, but no sign of fatty roundness; complexion is even, darkish and no blush; the eyes, although a little greenish, are expressive.”
c) “... a man of about thirty-two or three years old, of average height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his facial features. The thought walked like a free bird across the face, fluttered in the eyes, sat on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glowed throughout the face.”
d) “...a man of about forty, belonging to a large breed, tall, bulky, in the shoulders and throughout the body, with large facial features, a large head, a strong, short neck, large protruding eyes, thick lips. A quick glance at this man gave rise to the idea of something rude and unkempt.”
e) “She was about thirty years old. She was very white and full in the face, so that the blush, it seemed, could not break through her cheeks. She had almost no eyebrows at all, but in their place there were two slightly swollen, shiny stripes with sparse blond hair. The eyes are grayish-simple, like the whole facial expression; the hands are white, but hard, with large knots of blue veins protruding outward.”
f) “... in the strict sense she was not a beauty, that is, there was no whiteness in her, no bright coloring of her cheeks and lips, and her eyes did not burn with rays of inner fire; there were no corals on the lips, no pearls in the mouth, no miniature hands like five year old child, with grape-shaped fingers.
But if she were turned into a statue, she would be a statue of grace and harmony.”
Answers: 1-g;2-g; 3-b; 4-b; 5-g; 6-g;7-g; 8-c;9-b; 10-in; 11-b;12-g; 13-g; 14-a;15-c; 16-g; 17-v; 18-v; 19-g; 20-g; 21-v; 22-v; 23 a) - sugar; b) - Stolz; c) - Oblomov; d) - Tarantiev; e) - Agafya Pshenitsyna; e) - Olga Ilyinskaya.
N. A. Dobrolyubov
What is Oblomovism?
“The life he (Goncharov) depicts serves for him not as a means to abstract philosophy, but as a direct goal in itself. He doesn’t care about the reader or the conclusions you draw from the novel: that’s your business. If you make a mistake, blame your myopia, and not the author. He presents you with a living image and vouches only for its resemblance to reality: and then it’s up to you to determine the degree of dignity of the depicted objects: he is completely indifferent to this.”
“In the first part he 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 in Oblomov, and they separate; in the fourth, she marries his friend Stolz, and he marries the owner of the house where he rents an apartment. That's all... But Goncharov wanted to ensure that the random image that flashed before him was elevated to a type, giving it a generic and permanent meaning. Therefore, in everything that concerned Oblomov, there were no empty or insignificant things for him.”
“Goncharov appears to us, first of all, as an artist who knows how to express the fullness of the phenomena of life.” “The story of how a good-natured sloth lies and sleeps and how neither friendship nor love can awaken and raise him is not God knows what important story. But it reflected Russian life, in it a living, modern Russian type appears before us, minted with merciless severity and correctness, it expressed the new word of our social development, pronounced clearly and firmly, without despair and without childish hopes, but with full consciousness truth. This word is Oblomovism; it serves as a key to unraveling many phenomena of Russian life, and it gives Goncharov’s novel much more social significance than all our accusatory stories have. In the type of Oblomov and in all this Oblomovism we see something more than just the successful creation of a strong talent; we find in it a work of Russian life, a sign of the times. there is a person who is not entirely new in our literature; but before it was not presented to us as simply and naturally as in Goncharov’s novel. In order not to go too far into the old days, let's say that we find the generic traits of the Oblomov type in Onegin and then see their repetition several times in our best literary works. The fact is that this is our indigenous, folk type, from which none of our serious artists could get rid of. But over time, as society consciously developed, this type changed its forms, took on different relationships to life, and acquired a new meaning... What are the main features of Oblomov’s character? In complete inertia, stemming from his apathy towards everything that is happening in the world. The reason for the apathy lies partly in his external position, and partly in the way of his mental and moral development... From an early age he gets used to being a bobak thanks to the fact that he has someone to give and do; here, even against his will, he often sits idle and sybarizes... Therefore, he will not kill himself over work, no matter what they explain to him about the necessity and sanctity of work: from an early age he sees in his house that all household work is performed by lackeys and maids, and daddy and mummy just give orders and scold for bad performance. And now he already has the first concept ready - that sitting with folded hands is more honorable than fussing with work... All his further development goes in this direction.”
“It is clear that he is not a dull, apathetic nature, without aspirations and feelings, but a person who is also looking for something in his life, thinking about something. But the vile habit of receiving satisfaction of his desires not from his own efforts, but from others, developed in him apathetic immobility and plunged him into a pitiful state of moral slavery. This slavery is so intertwined with Oblomov’s lordship, so they mutually penetrate each other and are determined by one another, that it seems there is not the slightest possibility of drawing any boundary between them. This moral slavery of Oblomov constitutes perhaps the most curious side of his personality and his entire history.”
“It has long been noticed that all the heroes of the most wonderful Russian stories and novels suffer because they do not see a goal in life and do not find decent activities for themselves. As a result, they feel boredom and disgust from every activity, in which they present a striking resemblance to Oblomov. In fact - open, for example, “Onegin”, “Hero of Our Time”, “Who is to Blame?”, “Rudin”, or “The Superfluous Man”, or “Hamlet of Shchigrovsky District” - in each of them you will find features almost literally similar to Oblomov’s features... All our heroes, except Onegin and Pechorin, serve, and for all of them, their service is an unnecessary and meaningless burden; and they all end with a noble and early resignation... In relation to women, all Oblomovites behave in the same shameful manner. They don’t know how to love at all and don’t know what to look for in love, just like in life in general... But doesn’t Ilya Ilyich... in turn, have in himself a Pechorinsky and Rudinsky element, not to mention Onegin? Still How it has something! He, for example, like Pechorin, definitely wants to possess a woman, wants to force her to make all sorts of sacrifices as proof of love. You see, at first he did not hope that Olga would marry him, and timidly invited her to be his wife. She told him something like he should have done this a long time ago. He became embarrassed, he was not satisfied with Olga's consent, and he - what do you think?... he began - to torture her, does she love him so much to be able to become his mistress! And he was annoyed when she said that she would never go down this path; but then her explanation and the passionate scene calmed him down... All Oblomovites love to humiliate themselves; but they do this for the purpose of having the pleasure of being refuted and hearing praise for themselves from those before whom they scold themselves... So after cursing at themselves, they present themselves to Tatyana with their generosity. So, having written a libel about himself to Olga, he felt “that it’s no longer hard for him, that he’s almost happy”... He concludes his letter with the same moral teaching as his speech: “Let history with me,” he says, serve you as a guide in future, normal love.”
“In everything we said, we meant more Oblomovism than the personality of Oblomov and other heroes. As for personality, we could not help but see the difference in temperament, for example, in Pechorin and Oblomov, just as we could not help but find it in Pechorin and Onegin, and in Rudin and Beltov...”
He is idle “no more than all the other Oblomov brothers; only he is more frank - he doesn’t try to cover up his idleness even with conversations in societies and walking along Nevsky Prospekt.”
“...Types created by strong talent are durable: even today people live who seem to be modeled after Onegin, Pechorin, Rudin, etc... Only in the public consciousness they are more and more turning into Oblomov. It cannot be said that the transformation this has already happened: no, even now thousands of people spend time in conversations and thousands of other people are ready to take conversations for action. But that this transformation is beginning is proven by the Oblomov type created by Goncharov. His appearance would have been impossible if at least in some part of society the consciousness had not matured of how insignificant all these talented natures that had previously been admired were. Previously, they covered themselves with different robes, decorated themselves with different hairstyles, attracted different talents. But now he appears before us exposed as he is, silent, brought down from a beautiful pedestal onto a soft sofa, covered instead of a robe only with a spacious robe. Question: what does he do? What is the meaning and purpose of his life? – stated directly and clearly, not filled with any side questions. This is because now the time has come or is urgently coming for public work... And that’s why we said at the beginning of the article that we see a sign of the times in Goncharov’s novel.”
“Goncharov, who knew how to understand and show us our Oblomovism, could not, however, help but pay tribute to the general delusion that is still so strong in our society: he decided to bury Oblomovism, to give it a laudatory funeral oration. “Farewell, old Oblomovka, you have outlived your time,” he says through the mouth of Stolz, and he is not telling the truth. All of Russia, which has read or will read Oblomov, will not agree with this. No, Oblomovka is our direct homeland, its owners are our educators, its three hundred Zakharovs are always ready to serve.”
“Olga, in her development, represents the highest ideal that only a Russian artist can now evoke from present-day Russian life... In her, more than in Stolz, one can see a hint of a new Russian life; One can expect from her a word that will burn and dispel Oblomovism.”
3. The image of Olga Ilyinskaya.
4. Artistic Features novel.
The novel "" attracted the attention of critics and readers primarily for its central character. He evoked conflicting feelings and judgments. Dobrolyubov in the article “What is Oblomovism?” I saw something serious behind Oblomov’s image social phenomenon, it is included in the title of the article.
Following Dobrolyubov, many began to see in Goncharov’s hero not just a realistic character, but a social and literary type, having a genetic relationship with Gogol’s Manilov, with the type of “superfluous man” in Russian literature.
In the image of Oblomov, he saw, first of all, a social-typical content and therefore considered the chapter “Oblomov’s Dream” to be the key to this image. Indeed, the image of Oblomov from the hero’s dream provides rich material for understanding the social, moral and psychological essence of Oblomov as a type. The hero’s “dream” is not quite like a dream. This is a fairly harmonious, logical picture of Oblomovka’s life with an abundance of details. Most likely, this is not a dream itself, with its characteristic illogicality and emotional excitement, but a conditional dream. The task of this chapter of the novel, as V.I. Kuleshov noted, is to give “a preliminary story, an important message about the hero’s childhood... The reader receives important information Thanks to what kind of upbringing the hero of the novel became a couch potato, he gets the opportunity to realize where and in what way this life “broke off.” Everything is contained in the picture of childhood. Life for Oblomovites is “silence and imperturbable calm,” which, unfortunately, are sometimes disturbed by troubles. It is especially important to emphasize that among the troubles, on a par with “illnesses, losses, quarrels,” labor is for them: “They endured labor as a punishment imposed on our forefathers, but they could not love.”
WITH early childhood the very way of life instilled in Ilyusha a sense of lordly superiority. He has Zakhars for all his needs, they told him. And very soon he “learned to shout: “Hey, Vaska!” Give me this, give me that! I don't want this, I want that! Run and get it!”
In the depths of Oblomovka, a life ideal Oblomov - life in the estate, “fullness of satisfied desires, meditation of pleasure.” Although Ilya is ready to make some changes to his idyll (he will stop eating Old Testament noodles, his wife will not hit girls on the cheeks, and will take up reading and music), its fundamentals remain unchanged. Earning a living for a nobleman, in his opinion, is unworthy: “No! Why make craftsmen out of nobles!” He confidently stands in the position of the serf-owner, resolutely rejecting Stolz’s advice to start a school in the village: “Literacy is harmful to a peasant, teach him, so he probably won’t plow.” He has no doubt that the peasant should always work for the master. Thus, Oblomov’s inertia, lazy vegetation in a dressing gown on the sofa of his St. Petersburg apartment in Goncharov’s novel are fully generated and motivated by the social and everyday way of life of the patriarchal landowner.
But the image of Oblomov is still not exhausted by this interpretation. After all, he is endowed with an amazing heart, “pure”, “like a deep well.” The bright, good beginning in Oblomov is felt so well. It was this “honest, faithful heart” that Olga Ilyinskaya fell in love with in him. He is selfless and sincere. And how deeply he experiences beauty! Olga's performance of Norma's aria from Bellini's opera changes his soul. Oblomov has his own idea of art. He appreciates the beauty and humanity in him. That is why, even at the beginning of the novel, he argues so heatedly with the “progressive” writer Penkin, who demands from art merciless denunciations and the “naked physiology of society.” objects to him: “You want to write with your head... Do you think that a heart is not needed for thought? No, she is fertilized by love.”
Ilya Ilyich doesn’t just lie on the couch, he constantly thinks about his life. The author, reflecting on the image of Oblomov, saw in him not only the social type of a certain era, but also the expression of traits national character: “I instinctively felt that little by little they were getting into this figure elementary properties Russian person..."
The dual nature of Oblomov was emphasized in an article about the novel by the critic Druzhinin. He believes that in the hero there is a constant struggle between the principles of Oblomovka and the “true active life of the heart.” It was this feature of Oblomov’s image that determined the originality of the novel’s composition. The chapter “Oblomov’s Dream” plays a decisive role in it. The first eight chapters of the novel show Oblomov on his much-loved sofa in an apartment on Gorokhovaya. A series of visitors replacing each other creates a kind of generalized and almost symbolic image Petersburg, which pushes the hero away. Each of Ilya Ilyich’s guests lives in hustle and bustle, is constantly in a hurry (“Ten places in one day - unfortunate!”), busy chasing a career, gossip, and social entertainment. An image of emptiness, the appearance of life, appears. cannot accept such a life: he rejects all invitations, preferring loneliness. This reveals not only his eternal laziness, but also his rejection of the very essence of St. Petersburg life, this crazy busyness with nothing to do. The dream, which stopped the “slow and lazy flow of his thoughts,” makes his ideals clear to us. They are directly opposite to the fundamentals of St. Petersburg life.
Oblomov dreams of childhood, an idyllic childhood in a land of peace, of stopped time, where a person remains himself. How can he accept this onslaught and the bustle of St. Petersburg, where life “gets him!” The chapter “Oblomov’s Dream” separates visitors from Stolz’s arrival. Will he be able to overcome Oblomovka's power over his friend?
At the core of his nature and worldview, he is an idealist, living his never realized dream of lost harmony and peace. Goncharov, reflecting on his novel hero, directly defined him: “From the very minute when I started writing... I had an artistic ideal: this is an image of an honest, kind, sympathetic nature, in highest degree an idealist who has been struggling all his life, truth seeker, encountering lies at every step, being deceived and, finally, completely cooling off and falling into apathy and powerlessness from the consciousness of his own and others’ weakness, i.e. universal human nature."
He did not succumb to the energy and heartfelt participation of his childhood friend Andrei Stolts in his fate. Even his love for the amazing Olga Ilyinskaya only temporarily brings him out of hibernation. He will escape from them, finding peace in the house of the widow Pshenitsyna on Vasilyevsky Island. For him, this house will become a kind of Oblomovka. Only there will be no poetry of childhood and nature in this Oblomovka, and the expectation of a miracle will completely disappear from his life. As was the case with the inhabitants of Oblomovka in his childhood, death will come unnoticed by Ilya Ilyich - his sleep will turn into eternal sleep.
The image of Oblomov in the novel is an expression of the outgoing old patriarchal-tribal way of life. He led him to inaction and apathy, but he also made him noble, gentle, and kind. - a dreamer, unable to direct the strength of the soul, mind, feelings to achieve practical goals. Goncharov, having created the image of Stolz, showed that in Russia there is new type personality, a person free from idealism and daydreaming. A man of action and calculation, Andrei knows his goals well. Even in his youth, he clearly defined his main life goal - to achieve success, to stand firmly on his feet. A practical goal replaced an ideal for him. He went towards achieving it without doubts and emotional storms and achieved his goal. Apparently, such practical figures, according to Goncharov, should represent new Russia, her future. But in the novel it is only next to Oblomov that he is interesting as a human being. In his activities, given, however, only in passing, he is one-dimensional and boring. Their marriage with Olga seems to be quite happy, but the smart one sees that something is bothering and tormenting Olga. Olga, unlike her husband, cannot exchange the “rebellious issues” of existence for a lasting, prosperous existence. What did Goncharov show in Stoltz? The fundamental inferiority, the spiritual winglessness of the bourgeois man, and therefore his inability to become a true hero of the time, the hope of Russia? Or is this the way the author’s sympathy for the hero of old Russia, Oblomov, is expressed (despite the fact that all negative traits his nature and behavior are not softened at all?) It is difficult to give an unambiguous and definite answer to these questions. Rather, these heroes of the novel revealed the objective contradictions of Russian reality of that time. True, the real bourgeois businessman of Russia was more similar to the scoundrels Tarantiev and Mukhoyarov than to the intelligent and noble Stolz.
Goncharov's real discovery was the creation of a new female type in the novel. Olga Ilyinskaya is different from all previous ones female characters in Russian literature. She is an active nature, not a contemplative one, and lives not only in the world of feelings, but is looking for a specific task. Her love for Oblomov was born from the desire to revive and save a fallen man. Olga is distinguished by her “beauty and natural freedom of look, word, and action.” Having fallen in love with Oblomov, she hopes to cure him of apathy, but, realizing the hopelessness of the disease, she breaks up with him. Despite all his love for Olga, he is afraid of the strength of her feelings, sees “not peace” in love and is ready to escape. The spring novel by Oblomov and Olga Ilyinskaya was written with such poetic force that the image of Olga turns out to be unusually attractive and contains the typical features of a new female character.
Goncharov is a realist artist. The “organic” movement of everyday life interests him much more than violent passions and political events. The novel recreates everyday life people. The writer pays great attention background stories of the central characters, telling about their family and everyday upbringing. The origins of the characters lie precisely in him. In creating characters, he always strived to reveal the inner content through external details and portraits. For example, a portrait detail – “bare elbows” – plays an important role in creating the image of Pshenitsyna. Basically, portrait and object details indicate the social structure in which the hero was formed and whose features he carries. Olga’s “little glove”, forgotten by Oblomov, is expressive in this regard; "Oblomov's robe." Portrait details and objective world Goncharov's works are not so much psychological as epic in nature.
In the novel "" the skill of individualizing the speech of characters was demonstrated. The dialogues are expressive. Goncharov's novel "" still attracts readers and researchers, giving rise to new interpretations of the characters and the author's position.
The novel “Oblomov” is a landmark work, which to a certain extent sums up a large and important period in the development of our people and society as a whole. It shows us the end of the era of serfdom, although serfdom was abolished only in 1861. It clearly reveals the inconsistency of serfdom and shows that man could not develop normally under the conditions of serfdom. Goncharov embodied these thoughts in the image of Oblomov, a landowner who served in St. Petersburg, but left the service and now, being thirty-two years old, lies in his apartment, cannot join in any basic business and does not know how to live further. The meaning lies in a deep understanding of the psychology of a person disfigured by his lordly upbringing. The author revealed here the consequences of a terrible disease - “Oblomovism”. This is a generalization and a symbol of certain human qualities, which manifest themselves in many people over a number of generations.
Oblomov is a mixture of romantic daydreaming with a person’s unsuitability in absolutely any field, paralysis of the mind and an extremely weakened will due to a landowner’s unearned lifestyle.
There are also secondary properties of Oblomovism - this is the reluctance of the individual to come to terms with a very spiritually meager and vulgar existence. The author depicts the suffering of the hero, and we see that Oblomov is not only a couch potato and a lazy person, but also a man who decided to stop and not lose anything, since everything around him is base and vulgar.
The novel is characterized by leisurely presentation and an abundance of all kinds of details and details. Goncharov uses such a style of presentation, called epic, in order to show the reasons for the fall of the hero. The motive of lying down becomes central, symbolizing the spiritual weakness of a person. Once upon a time he dreamed of useful work, but all efforts to turn to business ended in failure. Ilya Ilyich has already come to terms with his immobility, so he spends most of his time on the sofa, which grows in the work to a symbol of immobility and a stop in life.
Oblomov's last attempt to break out of this state is connected with the story of his love for Olga Ilyinskaya, when it is clearly exposed force majeure Oblomovism, fear of life and inability to take any decisive action. The motive of love in the most unexpected way turns out to be a means of testing the hero: internally Oblomov was not capable of great, real feeling, since the best sides of his soul had atrophied.
What made Oblomov like this? The answer to this question is contained in the chapter “Oblomov’s Dream,” which is expositional, but the author deliberately moves it to the end of the first part of the novel in order to more convincingly and clearly show the reasons for Oblomovism. The author depicts the childhood years of his hero, who was the only son and grew up in complete lordly landlordism. His relatives protected him from all imaginable troubles. This guardianship from an early age made it impossible to manifest own initiative a boy who entered adulthood without feeling capable of anything.
Depicting the life of a landowner, Goncharov sees in it not only negative, but also something positive, valuable that has gone away, retreating under the pressure of the so-called urban civilization. In Oblomovka, not everything is bad: goodness and kindness reign here, there is no cunning, which sometimes rules the world. Goncharov believed that a certain ability to resist should be present in the character of people environment, if it is addressed to a person negative side, ability to perceive mother in the same environment positive aspects, and on the basis of such a synthesis, each person must form his own line of behavior. A human life, according to Goncharov, is moving towards progress, and the duty of every person is to find his place in it.
Thus, Oblomov as a type and Oblomovism itself interest the author not only as particular manifestations of human destiny, but also as an analogue to many destinies. And at the end of the novel, it becomes obvious that, having sharply condemned the main character for laziness and inactivity, the writer makes it clear that an essentially good person from birth, who dreams of a truly beautiful life, where there is no callousness or commercialism, is disappearing. Material from the site But his trouble is that he only dreams, only condemns evil, but does nothing to eliminate it.
The antipode of Oblomov is the image of Andrei Stolz, who personifies the advanced forces of his time. He is needed in the novel so that all the inadequacy of people like Oblomov is clear. It is no coincidence that everything that Ilya Ilyich once owned went to Stolz. Stolz is businesslike, persistent, and clearly sees his goal, which is work. In a word, this is a businessman of a new capitalist formation. The author shows us how some people die, while others find their place in life.
First of all, the novel “Oblomov” in the history of Russian literature should be perceived as best work critical realism.
Plan
- Getting to know the main character and his way of life.
- Oblomov's dream, in which all stages of his life's journey are presented.
- Childhood and youth of Andrei Ivanovich Stolts.
- Oblomov and Olga Ilyinskaya.
- Oblomov and Agafya Matveevna Pshenitsyna.
- Stolz's new meeting with Olga in Paris, love for her and marriage.
- Oblomov's life in Pshenitsyna's house.
- The happiness of Stolz and Olga Ilyinskaya.
- Stolz's last attempt to change his friend's lifestyle, which again failed.
- Changes that occurred in Pshenitsyna’s house after Oblomov’s death.
- Meeting of Stolz and his literary friend with the beggar Zakhar.
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- brief description of Oblomov's novel
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- What did Oblomov plan?
- education and training of Oblomov analysis plan
Goncharov’s novel “Oblomov” was written in 1858, and in 1859 published in Otechestvennye zapiski. However, the first part of the work, “Oblomov’s Dream,” was published back in 1849 in the “Literary Collection,” becoming an iconic element of the plot and ideological structure of the novel. “Oblomov” is one of the works of Goncharov’s novel trilogy, which also includes “ An ordinary story" and "Breakage". In the book, the author touches on many acute social issues for his era - the formation of a new Russian society and the confrontation with the original Russian mentality European origins, and the “eternal” problems of the meaning of life, love and human happiness. Detailed analysis“Oblomov” by Goncharov will allow us to more closely reveal the author’s idea and better understand the brilliant work of Russian literature of the 19th century.
Genre and literary direction
The novel "Oblomov" was written in the traditions literary direction realism, as evidenced by the following signs: the central conflict of the work, developing between the main character and a society that does not share his way of life; realistic image reality, reflecting many everyday historical facts; the presence of characters typical of that era - officials, entrepreneurs, townspeople, servants, etc., who interact with each other, and in the process of the narrative the development (or degradation) of the personality of the main characters is clearly visible.
The genre specificity of the work allows us to interpret it, first of all, as a social and everyday novel, revealing the problem of “Oblomovism” in contemporary author era, its harmful effect on the bourgeoisie. In addition, the work must be considered as philosophical, touching on many important “eternal questions”, and psychological novel– Goncharov subtly reveals inner world and the character of each hero, analyzing in detail the reasons for their actions and their future fate.
Composition
An analysis of the novel "Oblomov" would not be complete without considering compositional features works. The book consists of four parts. The first part and 1-4 chapters of the second are a description of one day in Oblomov’s life, including events in the hero’s apartment, his characterization by the author, as well as a chapter important for the entire plot - “Oblomov’s Dream”. This part the work is an exposition of the book.
Chapters 5-11 and the third part represent the main action of the novel, describing the relationship between Oblomov and Olga. The culmination of the work is the separation of the lovers, leading to Ilya Ilyich again falling into the old state of “Oblomovism”.
The fourth part is an epilogue to the novel, telling about later life heroes. The denouement of the book is the death of Oblomov in a kind of “Oblomovka” created by him and Pshenitsyna.
The novel is divided into three conventional parts - 1) the hero strives for an illusory ideal, the distant “Oblomovka”; 2) Stolz and Olga bring Oblomov out of a state of laziness and apathy, forcing him to live and act; 3) Ilya Ilyich again returns to his previous state of degradation, having found “Oblomovka” from Pshenitsyna. Despite the fact that the main plot point was love story Olga and Oblomov, from a psychological point of view, the leitmotif of the novel is the depiction of the degradation of Ilya Ilyich’s personality, its gradual disintegration right up to actual death.
Character system
The central core of characters is represented by two contrasting male and female images - Oblomov and Stolz, as well as Ilyinskaya and Pshenitsyna. Apathetic, calm, more interested in everyday life, the warmth of home and a rich table, Oblomov and Pshenitsyna act as bearers of outdated, archaic ideas of Russian philistinism. For both of them, “breakdown” as a state of calm, detachment from the world and spiritual inactivity is the primary goal. This is contrasted with the activity, activity, practicality of Stolz and Olga - they are bearers of new, European ideas and norms, a renewed Russian-European mentality.
Male characters
The analysis of Oblomov and Stolz as mirror characters involves considering them as heroes of different time projections. So, Ilya Ilyich is a representative of the past tense, for him the present does not exist, and the ephemeral “Oblomovka of the Future” does not exist for him either. Oblomov lives only in the past tense; for him, all the best was already a long time ago in childhood, that is, he strived back, not appreciating the experience and knowledge gained over the years. That is why the return to “Oblomovism” in Pshenitsyna’s apartment was accompanied by a complete degradation of the hero’s personality - it was as if he was returning to a deep, weak childhood, which he had been dreaming about for many years.
For Stolz there is no past and present, he is focused only on the future. Unlike Oblomov, who realizes the goal and outcome of his life - the achievement of the distant “paradise” Oblomovka, Andrei Ivanovich does not see the goal, for him it becomes a means of achieving goals - constant work. Many researchers compare Stolz to an automated, masterfully tuned mechanism, devoid of the inner spirituality that he finds when communicating with Oblomov. Andrei Ivanovich appears in the novel as a practical character who has no time to think while he needs to create and build something new, including himself. However, if Oblomov was fixated on the past and was afraid to look into the future, then Stolz did not have time to stop, look back and understand where he was coming from and where he was going. Perhaps it is precisely because of the lack of exact landmarks at the end of the novel that Stolz himself falls into the “traps of debris”, finding peace in his own estate.
Both male characters are far from the ideal of Goncharov, who wanted to show that remembering your past and honoring your roots is just as important as constant personal development, learning something new and continuous movement. Only such a harmonious personality, living in the present tense, combining the poetry and good nature of the Russian mentality with the activity and hard work of the European, is worthy, in the author’s opinion, to become the basis for a new Russian society. Perhaps Andrei, Oblomov’s son, could become such a person.
Female characters
If, when depicting male characters, it was important for the author to understand their direction and meaning of life, then female images associated primarily with issues of love and family happiness. Agafya and Olga not only have different origins, upbringing and education, but also have different character. Meek, weak-willed, quiet and economical, Pshenitsyna perceives her husband as a more important and significant person, her love borders on adoration and idolization of her husband, which is normal within the framework of the old, archaic traditions of house-building. For Olga, a lover is, first of all, a person equal to her, a friend and teacher. Ilyinskaya sees all Oblomov’s shortcomings and tries to change her lover until the very end - despite the fact that Olga is portrayed as an emotional, creative person, the girl approaches any issue practically and logically. The romance between Olga and Oblomov was doomed from the very beginning - in order to complement each other, someone would have to change, but none of them wanted to give up their usual views and the heroes continued to unconsciously oppose each other.
Symbolism of Oblomovka
Oblomovka appears before the reader as a kind of fabulous, unattainable place, where not only Oblomov strives, but also Stolz, who constantly settles his friend’s affairs there and tries at the end of the work to take home the last thing that remains of that old Oblomovka - Zakhara. However, if for Andrei Ivanovich the village is devoid of its mythical qualities and attracts rather on an intuitive, unclear level for the hero, connecting Stolz with the traditions of his ancestors, then for Ilya Ilyich it becomes the center of his entire illusory universe in which the man exists. Oblomovka is a symbol of everything old, dilapidated, passing away, which Oblomov keeps trying to grab onto, which leads to the degradation of the hero - he himself becomes decrepit and dies.
In Ilya Ilyich’s dream, Oblomovka is closely connected with rituals, fairy tales, and legends, which makes it itself a part ancient myth about the village-paradise. Oblomov, associating himself with the heroes of fairy tales told by his nanny, seems to find himself in this ancient, existing in parallel real world. However, the hero does not realize where dreams end and illusions begin, replacing the meaning of life. The distant, unattainable Oblomovka never becomes closer to the hero - it only seems to him that he found it with Pshenitsyna, while he slowly turned into a “plant”, ceasing to think and live a full life, completely immersing himself in the world of his own dreams.
Issues
Goncharov in his work “Oblomov” touched upon many historical, social and philosophical issues, many of which do not lose their relevance to this day. The central problem The work is the problem of “Oblomovism” as a historical and social phenomenon among Russian philistines who do not want to adopt new social principles and change. Goncharov shows how “Oblomovism” becomes not only a problem for society, but also for the person himself, who is gradually degrading, fencing off his own memories, illusions and dreams from the real world.
Of particular importance for understanding the Russian national mentality is the depiction of classical Russian types in the novel - both in the example of the main characters (landowner, entrepreneur, young bride, wife), and secondary ones (servants, swindlers, officials, writers, etc.), and also revealing the Russian national character in contrast with the European mentality using the example of the interaction between Oblomov and Stolz.
An important place in the novel is occupied by questions of the meaning of the hero’s life, his personal happiness, place in society and the world in general. Oblomov is typical " extra person“, for whom the world striving for the future was inaccessible and distant, while the ephemeral, essentially existing only in dreams, ideal Oblomovka was something close and more real than even Oblomov’s feelings for Olga. Goncharov did not portray the all-encompassing true love between the characters - in each case it was based on other, prevailing feelings - on dreams and illusions between Olga and Oblomov; on the friendship between Olga and Stolz; on respect from Oblomov and adoration from Agafya.
Theme and idea
In the novel "Oblomov" Goncharov, considering historical topic changes in society in the 19th century through the prism of such a social phenomenon as “Oblomovism”, reveals its destructive effect not only for the new society, but also for the personality of each individual, tracing the influence of “Oblomovism” on the fate of Ilya Ilyich. At the end of the work, the author does not lead the reader to a single thought, who was more right - Stolz or Oblomov, however, an analysis of the work “Oblomov” by Goncharov shows that a harmonious personality, like a worthy society, is only possible with full acceptance of one’s past, drawing spiritual values from there basics, with constant striving forward and continuous work on oneself.
Conclusion
Goncharov, in his novel “Oblomov,” first introduced the concept of “Oblomovism,” which remains a common noun today to designate apathetic, lazy people stuck in the illusions and dreams of the past. In the work, the author touches on a number of important and relevant social and philosophical issues in any era, allowing the modern reader to take a fresh look at his own life.
Work test
Analysis of part 1 of the novel by I.A. Goncharov "Oblomov".
Lesson objectives:
1) Development of episode analysis skills work of art. Studying the author's style at all levels of the text.
2) Development logical thinking(deductive and inductive methods), improvement oral speech and enrichment vocabulary students.
3) Formation of active life position students.
4) Developing competent independent reading skills.
Teaching methods:
Explanatory and illustrative, search, problem-solving.
Techniques:
Explanatory with the use of ICT, search, research.
Lesson type:
Traditional with the use of ICT.
Literature used:
Text of the work; textbook of Literature. Literature. 10th grade. At 2 o'clock / V.G. Marantsman, E.K. Marantsman, O.D. Polonskaya and others; edited by M.: Education, 2011.-383 pp.; article by N.A. Dobrolyubov “What is Oblomovism?” /N.A.Dobrolyubov. Favorites. Saransk, Mordovian book publishing house, 1974.
I. Lesson progress
Write on the board:
1. Who is Oblomov? Why is he the way we see him in part 1?
2. Are the words of I.A. Goncharov fair: “I tried to show in “Oblomov” how and why our people turn ahead of time into ... jelly - the climate, the backwater environment, the drowsy life and also private, individual circumstances for each”?
II. Poll using presentation:
1. What is the purpose of writing a novel?
3. What concepts that have become common nouns does I.A. Goncharov use in the novel? Give an explanation.
4. What is the composition of the novel and how is it used by the author to realize the artistic concept?
III. Conversation.
Roman Goncharova I.A. "Oblomov" became an event in literary world. “It’s a rare novel,” wrote D.I. Pisarev, “that has ever combined enormous psychological tasks to such an extent; it’s a rare one that has elevated the combination of two such tasks to such a harmonious and, apparently, uncomplicated whole.”
N.A. Dobrolyubov in his article “What is Oblomovism?” writes that Oblomovism is “a long-standing vice of the nobility associated with the serfdom, evidence of the historical doom of this class.” I.A. Goncharov, through the fate of Oblomov, showed a social phenomenon - Oblomovism, which is why it is so important to explore the reasons for Oblomov’s apathy, to identify what influenced the formation of the protagonist’s personality.
Goncharov told us “the story of how the good-natured sloth Oblomov lies and sleeps and how neither friendship nor love can awaken and raise him...”
IV. Analysis of chapters 1-8 of part 1.
1. What do we know about Oblomov? (Portrait, habits, house)
2. Who makes up Oblomov’s entourage? What groups can all your friends be divided into?
3. How does Oblomov feel about the lifestyle of his visitors?
4. Who does he consider a true friend and why?
5. Attitude towards Zakhar. What feature of Oblomov does the author emphasize through his attitude towards the servant?
6. How does Oblomov imagine himself, what does he think about happiness and life?(“Am I rushing about, am I working? Do I eat little, or what? Am I thin or pitiful in appearance? Am I lacking anything? It seems like someone has someone to do it for me! I’ve never pulled a stocking on my feet as I’ve been living, thank God Will I worry? Why should I? And to whom am I telling this? Haven’t you been following me since childhood? You saw that I was brought up tenderly, that I never endured cold or hunger? I knew, I didn’t earn my own bread and didn’t do dirty work at all.”
“The ideal of happiness that he drew for Stolz consisted of nothing more than a satisfying life - with greenhouses, greenhouses, trips with a samovar to the grove, etc. - in a dressing gown, in a sound sleep, and for intermediate rest - in idyllic walks with a meek but plump wife and in contemplation of how the peasants work.” “But here’s the main problem: he didn’t know how to comprehend life for himself in general.”)
V. Working with Chapter 9. "Oblomov's Dream"
Students are invited to recreate the appearance of Oblomovka.
1 student. (Several landscapes. Photographs). He chooses the landscape for Oblomovka so that there is no sea, mountains, or dense forests. (Tells how the author describes the landscape of Oblomovka)
2 student. Selects seasonal weather changes (Paintings by artists). No halftones. Winter is bright, fresh, frosty, snowy. Summer is warm, sunny, the landscape is replete with colorful flowers. In autumn, snow and frost begin at the same time. Spring is friendly, there is no place for sudden blizzards and prolonged bad weather. (A note about seasonality in Oblomovka)
3 student. People inhabiting Oblomovka. (Portraits. Beautiful, healthy peasants and peasant women. Calm, contented, dignified owners of Oblomovka). (A story about the relationship of the Oblomovites, about the nature of their lives).
VI. Characteristics of Oblomovites. The essence of Oblomovism.
1. What is the meaning of life for Oblomovites?
2. What ideas about the world do the residents of Oblomovka have?
3. What three acts of life of the Oblomovites does the author mention? How does this characterize the heroes?
(“In Oblomovka, no one asked themselves the question: why is life, what is it, what is its meaning and purpose? Oblomov’s people understood it very simply, “as an ideal of peace and inaction, violated from time to time by various unpleasant accidents, such as illnesses, losses , quarrels and, among other things, labor. They endured labor as a punishment imposed on our forefathers, but they could not love, and where there was a chance, they always got rid of it, finding it possible and necessary”).
VII. Lesson summary.
What are the main features of Oblomov’s character?“In complete inertia, stemming from his apathy towards everything that is happening in the world. The reason for his apathy lies partly in his external situation, and partly in the manner of his mental and moral development. In terms of his external position, he is a gentleman; “He has Zakhar and three hundred more Zakharovs,” as the author puts it.”
“The entire history of Oblomov’s upbringing serves as confirmation of his words. From an early age he gets used to being a bobak thanks to the fact that he has someone to give and do; here, even against his will, he often sits idle and sybarizes... He might even begin to work if he found something to do for himself; but for this, of course, it had to develop under somewhat different conditions than under which it developed. In his present situation, he could not find anything he liked anywhere, because he did not understand the meaning of life at all and could not reach a reasonable view of his relationships with others.” (A.N. Dobrolyubov “What is Oblomovism?”)
Do you agree that I.A. Goncharov was able to show in the image of the main character what reasons contributed to the fact that he became the way we see him in part 1?
Why does the author end Oblomov’s Dream with a question he asks himself? main character: “Why am I like this?”(I.A. Goncharov shows that disturbing thoughts are still “wandering” in the main character, not allowing him to calm down completely. Perhaps hidden in them is hope for a change in Oblomov’s fate?)
Homework.
Assignment for 3 groups of students. 1. Characterize the relationship between Oblomov and Stolz. 2. Characterize the relationship between Oblomov and O. Ilyinskaya. 3. Relations between Oblomov and A.M. Pshenitsyna.
- Updated: February 9, 2018
- By: Mironova Marina Viktorovna