Ilya Ilyich Oblomov. A name that has become a household name. Each of us has a piece of Oblomov. This is probably why I. A. Goncharov’s novel is so memorable, leaving a deep mark on the reader’s soul. Although the novel's narrative is a little drawn out, it attracts the reader, first of all, bright images, comic and tragic situations, makes you think about the meaning of life. Speaking about the novel, one cannot help but declare and about its artistic features. After all, it is the writer’s skill that makes us take the fate of the main character to heart.
The role of portrait characteristics in a work is great, since it is with its help that we get to know the characters, form an idea about them, about their character traits.
How does the author draw the main character? This is a man of thirty-two to thirty-three years old, of average height, pleasant appearance, with dark gray eyes in which there is no idea. Complexion is pale. Oblomov has plump arms and a pampered body. Already from this characteristic it is possible declare about lifestyle and spiritual qualities of the hero: the features and details of his portrait speak of a lazy, immobile lifestyle, of his habit of “doing nothing.” However, Goncharov emphasizes that Ilya Ilyich is a pleasant person, gentle, kind and sincere. And at the same time, it is the portrait characterization that, as it were, precedes and prepares the reader for the collapse in life that inevitably awaited Oblomov.
The portrait of Oblomov’s antipode, Andrei Stolts, is written in a completely different way. Stolz is the same age as Oblomov, he is already over thirty. He is constantly in motion, all made up of bones and muscles. Getting acquainted with Andrei Ivanovich Stolts, the reader understands that in front of him is a strong, energetic, purposeful personality, which is alien to daydreaming. But Stolz somehow repels us. It resembles a mechanism rather than a living person.
In the portrait characteristics of Olga Ilyinskaya, other features emerge. Olga Ilyinskaya “was not a beauty in the strict sense of the word: she had neither whiteness nor bright color of her cheeks and lips, and her eyes did not glow with rays of inner fire, there were no pearls in her mouth and corals on her lips, there were no miniature hands with fingers shaped like grapes." The somewhat tall stature was strictly consistent with the size of the head and the oval and size of the face, all of this, in turn, was in harmony with the shoulders, and the shoulders with the waist... The nose formed a slightly noticeable graceful line. Lips that are thin and compressed are a sign of a searching thought directed at something. From the portrait we can judge that before us is a proud, intelligent, and a little vain woman. Such a heroine is in no way suitable for the lordly and lazy Oblomov.
In the portrait of Agafya Matveevna Pshenitsyna, gentleness, kindness and lack of will appear. She was about thirty. She had almost no eyebrows, her eyes were “grayish-obedient,” like her entire facial expression. The hands are white, but hard, with knots of blue veins protruding outward. The hero himself gives an assessment of this woman: “How... simple she is.” And in this assessment we see that Oblomov accepts her for who she is. It was this woman who was able to brighten up last years the life of Ilya Ilyich, to give birth to his son, to be with him until the last minute, his last breath.
No less important for characterizing the character is the description of the interior. Here Goncharov uses the traditions of Gogol. This is especially noticeable in the first part of the novel. The richness of everyday details in this part of the novel gives a fairly accurate idea of the characteristics of the hero: “How Oblomov’s home suit suited his late facial features... He was wearing a robe made of Persian fabric, a real oriental robe... His shoes were long , soft and wide, when he, without looking, lowered his legs from the bed to the floor, he certainly fell into them immediately..." It is important to note that, describing in detail the objects surrounding him Everyday life hero, correlating them with Oblomov’s character, the author draws attention to the latter’s indifference to these things. Oblomov, it seems, does not like everyday life, is careless towards it, but throughout the entire novel he still remains its prisoner.
The image of a robe is symbolic, which appears several times in the novel and indicates a certain state of its owner. At first, such a beloved and comfortable robe is then abandoned by its owner at the moment of falling in love and suddenly returns to the owner’s shoulders on the evening when the breakup with Olga occurs. The lilac branch is symbolic, with the help of which the author emphasizes the romance of Oblomov’s feelings. The snow falling in flakes is also symbolic, which means for the hero the end of his love and at the same time the decline of his life.
But probably the most important compositional technique in the novel there is an antithesis. Goncharov contrasts images (Oblomov - Stolz, Olga Ilyinskaya - Agafya Pshenitsyna), and feelings (Olga’s love, selfish, proud, and Agafya Matveevna’s love, selfless, all-forgiving), and lifestyle, and portrait characteristics, and character traits. So, Oblomov is plump, plump; Stolz consists entirely of bones and muscles; Olga is refined, while Agafya Matveevna is simple and narrow-minded.
To show the feelings and way of thinking of the characters, the author resorts to such a technique as an internal monologue. Especially good the same one The technique is revealed in the description of Oblomov’s feelings for Olga Ilyinskaya. The author constantly shows the thoughts, remarks, and internal reasoning of the characters.
Throughout the entire novel, Goncharov subtly jokes and sneers at his characters. This irony is especially noticeable in the dialogues between Oblomov and Zakhar. This is how the scene of placing the robe on the owner’s shoulders is described. “Ilya Ilyich almost did not notice how Zakhar undressed him, pulled off his boots and threw a robe over him.
What is this? - he asked only, looking at the robe.
The hostess brought it in today: they washed and repaired the robe,” said Zakhar.
Oblomov sat down and remained in the chair.”
Speaking about the artistic features of the novel, one cannot ignore landscape sketches: for Olga, walking in the garden, a branch of lilac, flowering fields - all this is associated with love and feelings. Oblomov also realizes that he is connected with nature, although he does not understand why Olga constantly drags him out for walks, enjoying the surrounding nature, spring, and happiness. The landscape creates the psychological background of the entire narrative.
Goncharov's skill as a prose writer was most fully reflected in the novel "Oblomov". Gorky, who called Goncharov “one of the giants of Russian literature,” noted his special, flexible language. He sculpted figures and images of people from words, like from clay.
In the novel “Oblomov” the skill of Goncharov as a prose writer was fully demonstrated. Gorky, who called Goncharov “one of the giants of Russian literature,” noted his special, flexible language. Poetic language Goncharov, his talent for figurative reproduction of life, the art of creating typical characters, compositional completeness and enormous artistic power The picture of Oblomovism presented in the novel and the image of Ilya Ilyich - all this contributed to the fact that the novel “Oblomov” took its rightful place among the masterpieces of the world classics.
The portrait characteristics of the heroes play a huge role in the work, with the help of which the reader gets to know the characters and gets an idea about them and their character traits. Main character novel - Ilya Ilyich Oblomov - a man of thirty-two to thirty-three years old, of average height, pleasant appearance, with dark gray eyes in which there is no idea, with a pale complexion, plump hands and a pampered body. Already from this portrait characteristic we can get an idea of the hero’s lifestyle and spiritual qualities: the details of his portrait speak of a lazy, immobile lifestyle, of his habit of aimlessly spending time. However, Goncharov emphasizes that Ilya Ilyich is a pleasant person, gentle, kind and sincere. Portrait characteristics as if preparing the reader for the collapse of life that inevitably awaited Oblomov.
In the portrait of Oblomov's antipode, Andrei Stolts, the author used different colors. Stolz is the same age as Oblomov, he is already over thirty. He is in motion, all made up of bones and muscles. Getting acquainted with the portrait characteristics of this hero, we understand that Stolz is a strong, energetic, purposeful person who is alien to daydreaming. But this almost ideal personality resembles a mechanism, not a living person, and this repels the reader.
In the portrait of Olga Ilyinskaya, other features predominate. She “was not a beauty in the strict sense of the word: she had neither whiteness nor bright color of her cheeks and lips, and her eyes did not burn with rays of inner fire, there were no pearls in her mouth and corals on her lips, there were no miniature hands with fingers in the form of grapes." The somewhat tall stature was strictly consistent with the size of the head and the oval and size of the face; all this, in turn, was in harmony with the shoulders, the shoulders with the figure... The nose formed a slightly noticeable graceful line. Lips that are thin and compressed are a sign of a searching thought directed at something. This portrait indicates that before us is a proud, intelligent, slightly vain woman.
In the portrait of Agafya Matveevna Pshenitsyna, such traits as gentleness, kindness and lack of will appear. She is about thirty years old. She had almost no eyebrows, her eyes were “grayish-obedient,” like her entire facial expression. The hands are white, but hard, with knots of blue veins protruding outward. Oblomov accepts her for who she is and gives her an apt assessment: “How... simple she is.” It was this woman who was next to Ilya Ilyich until his last minute, his last breath, and gave birth to his son.
The description of the interior is equally important for characterizing the character. In this, Goncharov is a talented continuer of Gogol’s traditions. Thanks to the abundance of everyday details in the first part of the novel, the reader can get an idea of the hero’s characteristics: “How Oblomov’s home suit suited his deceased facial features... He was wearing a robe made of Persian fabric, a real oriental robe... He had shoes on long, soft and wide, when, without looking, he lowered his legs from the bed to the floor, he certainly fell into them right away...” Describing in detail the objects surrounding Oblomov in everyday life, Goncharov draws attention to the hero’s indifference to these things. But Oblomov, indifferent to everyday life, remains his captive throughout the novel.
The image of a robe is deeply symbolic, repeatedly appearing in the novel and indicating a certain state of Oblomov. At the beginning of the story, a comfortable robe is an integral part of the hero's personality. During the period of Ilya Ilyich’s love, he disappears and returns to the owner’s shoulders on the evening when the hero’s breakup with Olga occurred.
The lilac branch picked by Olga during her walk with Oblomov is also symbolic. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end. Another important detail is the raising of bridges on the Neva. The bridges were built at a time when in the soul of Oblomov, who lived on Vyborg side, there was a turning point in the direction of the widow Pshenitsyna, when he fully realized the consequences of life with Olga, became afraid of this life and again began to plunge into apathy. The thread connecting Olga and Oblomov broke, and it cannot be forced to grow together, therefore, when the bridges were built, the connection between Olga and Oblomov was not restored. The snow falling in flakes is also symbolic, which marks the end of the hero’s love and at the same time the decline of his life.
It is no coincidence that the author describes in such detail the house in Crimea in which Olga and Stolz settled. The decoration of the house “bears the stamp of thought and personal taste of the owners,” there were many engravings, statues, and books, which speaks of the education and high culture of Olga and Andrey.
An integral part of those created by Goncharov artistic images And ideological content the works as a whole are the proper names of the characters. The surnames of the characters in the novel “Oblomov” carry a great meaning. The main character of the novel, according to the primordial Russian tradition, received his surname from the Oblomovka family estate, the name of which goes back to the word “fragment”: a fragment of the old way of life, patriarchal Rus'. Reflecting on Russian life and its typical representatives of his time, Goncharov was one of the first to notice a failure of internal national traits, fraught with a cliff, or a bummer. Ivan Aleksandrovich foresaw the terrible state into which people began to fall in the 19th century. Russian society and which by the 20th century had become a mass phenomenon. Laziness, lack of a specific goal in life, passion and desire to work has become a distinctive feature national trait. There is another explanation for the origin of the main character’s surname: in folk tales The concept of “sleep-oblomon” is often encountered, which enchants a person, as if crushing him with a gravestone, dooming him to slow, gradual extinction.
Analyzing his contemporary life, Goncharov looked for the antipode of Oblomov among the Alekseevs, Petrovs, Mikhailovs and other people. As a result of these searches, a hero emerged with German surname Stolz(translated from German - “proud, full of self-esteem, aware of his superiority”).
Throughout his adult life, Ilya Ilyich strove for an existence “that would be both full of content and flow quietly, day after day, drop by drop, in silent contemplation of nature and the quiet, barely creeping phenomena of a peaceful, busy family life.” He found such an existence in Pshenitsyna’s house. “She was very white and full in the face, so that the color did not seem to be able to break through her cheeks (like a “wheat bun”). The name of this heroine is Agafya- translated from Greek language means “kind, good.” Agafya Matveevna is a type of modest and meek housewife, an example of female kindness and tenderness, whose life interests were limited only to family concerns. Oblomov's maid Anisya(translated from Greek - “fulfillment, benefit, completion”) is close in spirit to Agafya Matveevna, and that is why they quickly became friends and became inseparable.
But if Agafya Matveevna loved Oblomov thoughtlessly and selflessly, then Olga Ilyinskaya literally “fought” for him. For the sake of his awakening, she was ready to sacrifice her life. Olga loved Ilya for his own sake (hence the surname Ilyinskaya).
Last name of “friend” Oblomov, Tarantieva, carries a hint of the word ram. In Mikhei Andreevich’s relationships with people, such qualities as rudeness, arrogance, persistence and unprincipledness are revealed. Isai Fomich Worn out, to whom Oblomov gave power of attorney to manage the estate, turned out to be a fraudster, grated roll. In collusion with Tarantyev and brother Pshenitsyna, he skillfully robbed Oblomov and erased your tracks.
Speaking about the artistic features of the novel, one cannot ignore the landscape sketches: for Olga, walking in the garden, a lilac branch, flowering fields - all this is associated with love and feelings. Oblomov also realizes that he is connected with nature, although he does not understand why Olga constantly drags him out for walks, enjoying the surrounding nature, spring, and happiness. The landscape creates the psychological background of the entire narrative.
To reveal the feelings and thoughts of the characters, the author uses a technique such as an internal monologue. This technique is most clearly revealed in the description of Oblomov’s feelings for Olga Ilyinskaya. The author constantly shows the thoughts, remarks, and internal reasoning of the characters.
Throughout the entire novel, Goncharov subtly jokes and sneers at his characters. This irony is especially noticeable in the dialogues between Oblomov and Zakhar. This is how the scene of placing the robe on the owner’s shoulders is described. “Ilya Ilyich almost did not notice how Zakhar undressed him, pulled off his boots and threw a robe over him.
What is this? - he asked only, looking at the robe.
The hostess brought it in today: they washed and repaired the robe,” said Zakhar.
Oblomov sat down and remained in the chair.”
The main compositional device of the novel is antithesis. The author contrasts images (Oblomov - Stolz, Olga Ilyinskaya - Agafya Pshenitsyna), feelings (Olga’s love, selfish, proud, and Agafya Matveevna’s love, selfless, forgiving), lifestyle, portrait characteristics, character traits, events and concepts, details (branch lilac, symbolizing hope for a bright future, and a robe as a quagmire of laziness and apathy). Antithesis makes it possible to more clearly identify the individual character traits of the heroes, to see and understand two incomparable poles (for example, Oblomov’s two colliding states - stormy temporary activity and laziness, apathy), and also helps to penetrate into the hero’s inner world, to show the contrast that is present not only in the external , but also in the spiritual world.
The beginning of the work is built on the collision of the bustling world of St. Petersburg and the isolated inner world Oblomov. All visitors (Volkov, Sudbinsky, Alekseev, Penkin, Tarantiev) who visit Oblomov are prominent representatives of a society living according to the laws of falsehood. The main character seeks to isolate himself from them, from the dirt that his friends bring in the form of invitations and news: “Don’t come, don’t come! You're coming out of the cold!
The whole system of images in the novel is built on the device of antithesis: Oblomov - Stolz, Olga - Agafya Matveevna. The portrait characteristics of the heroes are also given in contrast. So, Oblomov is plump, plump, “with the absence of any definite idea, any concentration in his facial features”; Stolz consists entirely of bones and muscles, “he is constantly in motion.” Two completely different types character, and it’s hard to believe that there could be anything in common between them. And yet it is so. Andrey, despite his categorical rejection of Ilya’s lifestyle, was able to discern in him traits that are difficult to maintain in the turbulent flow of life: naivety, gullibility and openness. Olga Ilyinskaya fell in love with him for kind heart, “dovelike tenderness and inner purity.” Oblomov is not only inactive, lazy and apathetic, he is open to the world, but some invisible film prevents him from merging with it, from walking the same path with Stolz, from living an active, full life.
Two key female images of the novel - Olga Ilyinskaya and Agafya Matveevna Pshenitsyna - are also given in contrast. These two women symbolize two life path, which are given to Oblomov as a choice. Olga is a strong, proud and purposeful person, while Agafya Matveevna is kind, simple and thrifty. Ilya would only have to take one step towards Olga, and he would be able to immerse himself in the dream that was depicted in “The Dream...”. But communication with Ilyinskaya became the last test for Oblomov’s personality. His nature is incapable of merging with the cruel outside world. He abandons the eternal search for happiness and chooses the second path - he plunges into apathy and finds peace in the cozy house of Agafya Matveevna.
In the novel “Oblomov” the skill of Goncharov as a prose writer was fully demonstrated. Gorky, who called Goncharov “one of the giants of Russian literature,” noted his special, flexible language. Goncharov’s poetic language, his talent for figuratively reproducing life, the art of creating typical characters, compositional completeness and the enormous artistic power of the picture of Oblomovism and the image of Ilya Ilyich presented in the novel - all this contributed to the fact that the novel “Oblomov” took its rightful place among the masterpieces of the world classics.
The portrait characteristics of the characters play a huge role in the work, with the help of which the reader gets to know the characters and gets an idea about them and their character traits. The main character of the novel, Ilya Ilyich Oblomov, is a man of thirty-two to thirty-three years old, of average height, pleasant appearance, with dark gray eyes in which there is no idea, with a pale complexion, plump hands and a pampered body. Already from this portrait characteristic we can get an idea of the hero’s lifestyle and spiritual qualities: the details of his portrait speak of a lazy, immobile lifestyle, of his habit of aimlessly spending time. However, Goncharov emphasizes that Ilya Ilyich is a pleasant person, gentle, kind and sincere. The portrait description, as it were, prepares the reader for the collapse in life that inevitably awaited Oblomov.
In the portrait of Oblomov's antipode, Andrei Stolts, the author used different colors. Stolz is the same age as Oblomov, he is already over thirty. He is in motion, all made up of bones and muscles. Getting acquainted with the portrait characteristics of this hero, we understand that Stolz is a strong, energetic, purposeful person who is alien to daydreaming. But this almost ideal personality resembles a mechanism, not a living person, and this repels the reader.
In the portrait of Olga Ilyinskaya, other features predominate. She “was not a beauty in the strict sense of the word: she had neither whiteness nor bright color of her cheeks and lips, and her eyes did not burn with rays of inner fire, there were no pearls in her mouth and corals on her lips, there were no miniature hands with fingers in the form of grapes." The somewhat tall stature was strictly consistent with the size of the head and the oval and size of the face, all of this, in turn, was in harmony with the shoulders, the shoulders with the waist... The nose formed a slightly noticeable graceful line. Lips that are thin and compressed are a sign of a searching thought directed at something. This portrait indicates that before us is a proud, intelligent, slightly vain woman.
In the portrait of Agafya Matveevna Pshenitsyna, such traits as gentleness, kindness and lack of will appear. She is about thirty years old. She had almost no eyebrows, her eyes were “grayish-obedient,” like her entire facial expression. The hands are white, but hard, with knots of blue veins protruding outward. Oblomov accepts her for who she is and gives her an apt assessment: “How... simple she is.” It was this woman who was next to Ilya Ilyich until his last minute, his last breath, and gave birth to his son.
The description of the interior is equally important for characterizing the character. In this, Goncharov is a talented continuer of Gogol’s traditions. Thanks to the abundance of everyday details in the first part of the novel, the reader can get an idea of the hero’s characteristics: “How Oblomov’s home suit suited his late facial features... He was wearing a robe made of Persian fabric, a real oriental robe... His shoes were long, soft and wide, when, without looking, he lowered his legs from the bed to the floor, he certainly fell into them right away...” Describing in detail the objects surrounding Oblomov in everyday life, Goncharov draws attention to the hero’s indifference to these things. But Oblomov, indifferent to everyday life, remains his captive throughout the novel.
The image of a robe is deeply symbolic, repeatedly appearing in the novel and indicating a certain state of Oblomov. At the beginning of the story, a comfortable robe is an integral part of the hero's personality. During the period of Ilya Ilyich’s love, he disappears and returns to the owner’s shoulders on the evening when the hero’s breakup with Olga occurred.
The lilac branch picked by Olga during her walk with Oblomov is also symbolic. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end. Another important detail is the raising of bridges on the Neva. The bridges were opened at a time when in the soul of Oblomov, who lived on the Vyborg side, there was a turning point towards the widow Pshenitsyna, when he fully realized the consequences of life with Olga, was afraid of this life and again began to plunge into apathy. The thread connecting Olga and Oblomov broke, and it cannot be forced to grow together, therefore, when the bridges were built, the connection between Olga and Oblomov was not restored. The snow falling in flakes is also symbolic, which marks the end of the hero’s love and at the same time the decline of his life.
It is no coincidence that the author describes in such detail the house in Crimea in which Olga and Stolz settled. The decoration of the house “bears the stamp of thought and personal taste of the owners,” there were many engravings, statues, and books, which speaks of the education and high culture of Olga and Andrey.
An integral part of the artistic images created by Goncharov and the ideological content of the work as a whole are the proper names of the characters. The surnames of the characters in the novel “Oblomov” carry a great meaning. The main character of the novel, according to the primordial Russian tradition, received his surname from the Oblomovka family estate, the name of which goes back to the word “fragment”: a fragment of the old way of life, patriarchal Rus'. Reflecting on Russian life and its typical representatives of his time, Goncharov was one of the first to notice a failure of internal national traits, fraught with a cliff, or a bummer. Ivan Aleksandrovich foresaw the terrible state into which Russian society began to fall in the 19th century and which by the 20th century had become a mass phenomenon. Laziness, the lack of a specific goal in life, passion and desire to work has become a distinctive national feature. There is another explanation for the origin of the main character’s surname: in folk tales the concept of “dream-oblomon” is often found, which enchants a person, as if crushing him with a gravestone, dooming him to slow, gradual extinction.
Analyzing his contemporary life, Goncharov looked for the antipode of Oblomov among the Alekseevs, Petrovs, Mikhailovs and other people. As a result of these searches, a hero with a German surname emerged Stolz(translated from German - “proud, full of self-esteem, aware of his superiority”).
Throughout his adult life, Ilya Ilyich strove for an existence “that would be both full of content and flow quietly, day after day, drop by drop, in silent contemplation of nature and the quiet, barely creeping phenomena of a peaceful, busy family life.” He found such an existence in Pshenitsyna’s house. “She was very white and full in the face, so that the color did not seem to be able to break through her cheeks (like a “wheat bun”). The name of this heroine is Agafya– translated from Greek means “kind, good.” Agafya Matveevna is a type of modest and meek housewife, an example of female kindness and tenderness, whose life interests were limited only to family concerns. Oblomov's maid Anisya(translated from Greek - “fulfillment, benefit, completion”) is close in spirit to Agafya Matveevna, and that is why they quickly became friends and became inseparable.
But if Agafya Matveevna loved Oblomov thoughtlessly and selflessly, then Olga Ilyinskaya literally “fought” for him. For the sake of his awakening, she was ready to sacrifice her life. Olga loved Ilya for his own sake (hence the surname Ilyinskaya).
Last name of “friend” Oblomov, Tarantieva, carries a hint of the word ram. In Mikhei Andreevich’s relationships with people, such qualities as rudeness, arrogance, persistence and unprincipledness are revealed. Isai Fomich Worn out, to whom Oblomov gave power of attorney to manage the estate, turned out to be a fraudster, grated roll. In collusion with Tarantyev and brother Pshenitsyna, he skillfully robbed Oblomov and erased your tracks.
Speaking about the artistic features of the novel, one cannot ignore the landscape sketches: for Olga, walking in the garden, a lilac branch, flowering fields - all this is associated with love and feelings. Oblomov also realizes that he is connected with nature, although he does not understand why Olga constantly drags him out for walks, enjoying the surrounding nature, spring, and happiness. The landscape creates the psychological background of the entire narrative.
To reveal the feelings and thoughts of the characters, the author uses a technique such as an internal monologue. This technique is most clearly revealed in the description of Oblomov’s feelings for Olga Ilyinskaya. The author constantly shows the thoughts, remarks, and internal reasoning of the characters.
Throughout the entire novel, Goncharov subtly jokes and sneers at his characters. This irony is especially noticeable in the dialogues between Oblomov and Zakhar. This is how the scene of placing the robe on the owner’s shoulders is described. “Ilya Ilyich almost did not notice how Zakhar undressed him, pulled off his boots and threw a robe over him.
- What is this? – he asked only, looking at the robe.
“The hostess brought it in today: they washed and repaired the robe,” said Zakhar.
Oblomov sat down and remained in the chair.”
The main compositional device of the novel is antithesis. The author contrasts images (Oblomov - Stolz, Olga Ilyinskaya - Agafya Pshenitsyna), feelings (Olga's love, selfish, proud, and Agafya Matveevna's love, selfless, forgiving), lifestyle, portrait characteristics, character traits, events and concepts, details (branch lilac, symbolizing hope for a bright future, and a robe as a quagmire of laziness and apathy). Antithesis makes it possible to more clearly identify the individual character traits of the heroes, to see and understand two incomparable poles (for example, Oblomov’s two colliding states - stormy temporary activity and laziness, apathy), and also helps to penetrate into the hero’s inner world, to show the contrast that is present not only in the external , but also in the spiritual world.
The beginning of the work is built on the collision of the bustling world of St. Petersburg and the isolated inner world of Oblomov. All visitors (Volkov, Sudbinsky, Alekseev, Penkin, Tarantiev) who visit Oblomov are prominent representatives of a society living according to the laws of falsehood. The main character seeks to isolate himself from them, from the dirt that his friends bring in the form of invitations and news: “Don’t come, don’t come! You're coming out of the cold!
The whole system of images in the novel is built on the device of antithesis: Oblomov - Stolz, Olga - Agafya Matveevna. The portrait characteristics of the heroes are also given in contrast. So, Oblomov is plump, plump, “with the absence of any definite idea, any concentration in his facial features”; Stolz consists entirely of bones and muscles, “he is constantly in motion.” Two completely different types of character, and it’s hard to believe that there could be anything in common between them. And yet it is so. Andrey, despite his categorical rejection of Ilya’s lifestyle, was able to discern in him traits that are difficult to maintain in the turbulent flow of life: naivety, gullibility and openness. Olga Ilyinskaya fell in love with him for his kind heart, “dovelike tenderness and inner purity.” Oblomov is not only inactive, lazy and apathetic, he is open to the world, but some invisible film prevents him from merging with it, from walking the same path with Stolz, from living an active, full life.
Two key female characters of the novel - Olga Ilyinskaya and Agafya Matveevna Pshenitsyna - are also presented in opposition. These two women symbolize two life paths that are given to Oblomov as a choice. Olga is a strong, proud and purposeful person, while Agafya Matveevna is kind, simple and economical. Ilya would only have to take one step towards Olga, and he would be able to immerse himself in the dream that was depicted in “The Dream...”. But communication with Ilyinskaya became the last test for Oblomov’s personality. His nature is not able to merge with the cruel outside world. He abandons the eternal search for happiness and chooses the second path - he plunges into apathy and finds peace in the cozy house of Agafya Matveevna.
Oblomov's perception of the world collides with Stolz's perception of the world. Throughout the novel, Andrei does not lose hope of resurrecting Oblomov, and cannot understand the situation in which his friend found himself: “He died... he died forever!” Later, he disappointedly tells Olga that “Oblomovism” reigns in the house where Ilya lives. Oblomov's whole life, which consisted of moral ups and downs, eventually turns into nothing. The tragic ending of the novel is contrasted with Stolz's optimistic mood. His motto: “Now or never!” opens up new horizons, while Oblomov’s position: “Life is nothing, zero” - destroys all plans and dreams and leads the hero to death. This final contrast encourages readers to think about the fact that the quagmire of apathy disfigured the hero’s personality, absorbed everything living and pure in him, and gave birth to such a wild phenomenon as “Oblomovism.”
- In I. A. Goncharov’s novel “Oblomov” one of the main techniques for revealing images is the technique of antithesis. Using contrast, the image of the Russian gentleman Ilya Ilyich Oblomov and the image of the practical German Andrei Stolz are compared. Thus, Goncharov shows the similarities and differences between these characters in the novel. Ilya Ilyich Oblomov is a typical representative of the Russian nobility of the 19th century. His social position can be briefly described as follows: “Oblomov, a nobleman by birth, a collegiate secretary by rank, […]
- There is a type of book where the reader is captivated by the story not from the first pages, but gradually. I think that “Oblomov” is just such a book. Reading the first part of the novel, I was inexpressibly bored and did not even imagine that this laziness of Oblomov would lead him to some kind of sublime feeling. Gradually, the boredom began to go away, and the novel captured me, I was already reading with interest. I have always liked books about love, but Goncharov gave it an interpretation unknown to me. It seemed to me that boredom, monotony, laziness, [...]
- The second wonderful Russian prose writer half of the 19th century century Ivan Aleksandrovich Goncharov in the novel “Oblomov” reflected difficult time transition from one era of Russian life to another. Feudal relations, the estate type of economy was replaced by a bourgeois way of life. People's long-established views on life were crumbling. The fate of Ilya Ilyich Oblomov can be called an “ordinary story,” typical of landowners who lived serenely off the labor of serfs. Their environment and upbringing made them weak-willed, apathetic people, not […]
- Despite the significant volume of the work, there are relatively few characters in the novel. This allows Goncharov to give detailed characteristics of each of them, to compose detailed psychological portraits. The female characters in the novel were no exception. In addition to psychologism, the author widely uses the technique of oppositions and the system of antipodes. Such couples can be called “Oblomov and Stolz” and “Olga Ilyinskaya and Agafya Matveevna Pshenitsyna.” The last two images are complete opposites of each other, their […]
- Andrei Stolts is Oblomov’s closest friend; they grew up together and carried their friendship through life. It remains a mystery how such dissimilar people, with such different views on life, could maintain deep affection. Initially, the image of Stolz was conceived as a complete antipode to Oblomov. The author wanted to combine German prudence and the breadth of the Russian soul, but this plan was not destined to come true. As the novel developed, Goncharov realized more and more clearly that in these conditions it was simply [...]
- Introduction. Some people find Goncharov's novel “Oblomov” boring. Yes, indeed, throughout the first part Oblomov lies on the sofa, receiving guests, but here we get to know the hero. In general, the novel contains few intriguing actions and events that are so interesting to the reader. But Oblomov is “our people's type,” and it is he who is the bright representative of the Russian people. That's why the novel interested me. In the main character, I saw a piece of myself. You should not think that Oblomov is a representative only of Goncharov’s time. And now they live [...]
- Olga Sergeevna Ilyinskaya Agafya Matveevna Pshenitsyna Character qualities Captivating, delightful, promising, good-natured, warm-hearted and unfeigned, special, innocent, proud. Good-natured, open, trusting, sweet and reserved, caring, thrifty, neat, independent, constant, stands her ground. Appearance Tall, fair face, delicate thin neck, gray-blue eyes, fluffy eyebrows, long braid, small compressed lips. Grey-eyed; nice face; well-fed; […]
- The image of Oblomov in Russian literature closes the series of “superfluous” people. An inactive contemplator, incapable of active action, at first glance really seems incapable of a great and bright feeling, but is this really so? In the life of Ilya Ilyich Oblomov there is no place for global and dramatic changes. Olga Ilyinskaya, extraordinary and beautiful woman, a strong and strong-willed nature undoubtedly attracts the attention of men. For Ilya Ilyich, an indecisive and timid person, Olga becomes an object [...]
- Oblomov's personality is far from ordinary, although other characters treat him with slight disrespect. For some reason, they read him as almost inferior in comparison to them. This was precisely the task of Olga Ilyinskaya - to wake up Oblomov, to force him to show himself as an active person. The girl believed that love would push him to great achievements. But she was deeply mistaken. It is impossible to awaken in a person what he does not have. Because of this misunderstanding, people’s hearts were broken, heroes suffered and […]
- Oblomov Stolz comes from a wealthy background noble family with patriarchal traditions. his parents, like his grandfathers, did nothing: serfs from a poor family worked for them: his father (a Russified German) was the manager of a rich estate, his mother was an impoverished Russian noblewoman. pour water for yourself) labor in the oblomovka was a punishment; it was believed that it bore the mark of slavery. there was a cult of food in the family, and [...]
- The novel by I.A. Goncharov is permeated with various opposites. The device of antithesis, on which the novel is built, helps to better understand the character of the characters and the author's intention. Oblomov and Stolz are two completely different personalities, but, as they say, opposites converge. They are connected by childhood and school, which you can learn about in the chapter “Oblomov’s Dream.” From it it becomes clear that everyone loved little Ilya, caressed him, and did not let him do anything on his own, although at first he was eager to do everything himself, but then they […]
- TO mid-19th century V. under the influence of the realistic school of Pushkin and Gogol, a new remarkable generation of Russian writers grew up and was formed. The brilliant critic Belinsky already in the 40s noted the emergence of a whole group of talented young authors: Turgenev, Ostrovsky, Nekrasov, Herzen, Dostoevsky, Grigorovich, Ogarev, etc. Among these promising writers was Goncharov, future author"Oblomov", whose first novel " An ordinary story"Aroused high praise from Belinsky. LIFE AND CREATIVITY I. […]
- “I love this novel more than all my works,” wrote M. Bulgakov about the novel “ White Guard" True, the pinnacle novel “The Master and Margarita” had not yet been written. But, of course, the White Guard occupies a very important place in literary heritage M. Bulgakov. This is a historical novel, a strict and sad story about the great turning point of the revolution and the tragedy of the civil war, about the fate of people in these difficult times. As if from the heights of time, the writer is looking at this tragedy, although Civil War just ended. “Great […]
- Nikolai Vasilyevich Gogol noted that the main theme “ Dead souls"became contemporary Russia. The author believed that “there is no other way to direct society or even an entire generation towards the beautiful until you show the full depth of its real abomination.” That is why the poem presents a satire on landed nobility, bureaucracy and others social groups. The composition of the work is subordinated to this task of the author. The image of Chichikov traveling around the country in search of the necessary connections and wealth allows N.V. Gogol […]
- Having gone through many works by A.S. Pushkin, I accidentally came across the poem “God forbid I go crazy...”, and I was immediately attracted by the bright and emotional beginning, which attracted the reader’s attention. In this poem, which seems simple and clear and understandable, like many other creations of the great classic, one can easily see the experiences of the creator, the true, free minded the poet's experiences and dreams of freedom. And at the time this poem was written, freedom of thought and speech was severely punished […]
- Among the best students, I had the opportunity to go to Moscow. The next day after our arrival, we were taken on an excursion to the State Tretyakov Gallery. I entered a huge hall. I was surrounded by a “society” of paintings. I walked slowly through the hall, carefully looking at each work of the greats, famous artists, and suddenly stopped for some reason near the most, in my opinion, ordinary picture. It depicted a landscape of a Russian village. Looking at it carefully, I finally found the creator of this […]
- Plyushkin is the image of a moldy cracker left over from Easter cake. Only he has a life story; Gogol portrays all other landowners statically. These heroes seem to have no past that would be in any way different from their present and explain something about it. Plyushkin's character is much more complex than the characters of other landowners presented in Dead Souls. Traits of manic stinginess are combined in Plyushkin with morbid suspicion and distrust of people. Preserving an old sole, a clay shard, [...]
- “...the whole horror is that he no longer has a dog’s heart, but a human heart. And the lousiest of all that exist in nature.” M. Bulgakov When the story “Fatal Eggs” was published in 1925, one of the critics said: “Bulgakov wants to become a satirist of our era.” Now, on the threshold of the new millennium, we can say that he has become one, although he did not intend to. After all, by the nature of his talent he is a lyricist. And the era made him a satirist. M. Bulgakov was disgusted by bureaucratic forms of government […]
- Whole, honest, sincere, she is incapable of lies and falsehood, which is why in a cruel world where wild and wild boars reign, her life turns out so tragically. Katerina’s protest against Kabanikha’s despotism is a struggle of the bright, pure, human against the darkness, lies and cruelty of the “dark kingdom”. No wonder Ostrovsky, who is very great attention paid attention to the selection of names and surnames characters, gave this name to the heroine of “Thunderstorms”: translated from Greek “Ekaterina” means “eternally pure”. Katerina is a poetic person. IN […]
- In general, the history of the creation and concept of the play “The Thunderstorm” is very interesting. For some time there was an assumption that this work was based on real events that occurred in the Russian city of Kostroma in 1859. “In the early morning of November 10, 1859, Kostroma bourgeois Alexandra Pavlovna Klykova disappeared from her home and either rushed into the Volga herself, or was strangled and thrown there. The investigation revealed the silent drama that played out in an unsociable family living narrowly with commercial interests: […]
Artistic features of I. A. Goncharov’s novel “Oblomov”
I. A. Goncharov’s novel “Oblomov” was published in 1859. In it, the writer truthfully depicted the contemporary life of Russian society. It is hardly possible to find another work that so clearly showed the reader the process of degeneration of the nobility. In the novel, the author asks questions about the meaning of life, the purpose of existence, and considers the problem positive hero, the problem of love and friendship. Goncharov was the first to reveal the problem of the nobility in such detail (“The great chain broke, broke, broke with one end for the master, the other for the peasant,” wrote N. A. Nekrasov). After its publication, many did not like the novel, since the first part was too long, there was no action, and there was no intrigue. Perhaps this was a deliberate author's device to show the reader to what extent the life of even a good person, kind in all respects, can be monotonous and aimless. I think the novel “Oblomov” would not have been remembered and, perhaps, would have been forgotten, if not for its artistic originality and artistic skill.
Having started reading the novel, we immediately pay attention to the detailed portrait description and description of the interior. Here the author uses the technique of complementarity: the interior complements the portrait of the hero. From the very first sentences you can form your opinion about the hero and give him an assessment. Let us remember the portrait of Oblomov: “A man of thirty-two or three years old, of average height... The body is matte, too white, small plump arms, soft shoulders...” Before us is a pampered man, not accustomed to WORK. Stolz is the exact opposite of Oblomov, “all composed of bones, muscles and nerves.” Stolz is thin, he has almost no cheeks at all, “that is, bone and muscle, but not a sign of fatty roundness.” Of course, it is difficult to imagine such a person lying on the sofa in a soft Persian robe.
Let us pay attention to the description of Ilya Ilyich’s room. It complements the previously drawn portrait of Oblomov. “At first glance, the room seemed beautifully decorated: a mahogany bureau, two sofas, beautiful screens upholstered in silk, silk curtains, several paintings, many beautiful little things.” But an experienced person with pure taste, with one quick glance at everything that was there, would only read a desire to somehow observe the decorum of inevitable decency, “just to get rid of them.” From this description it also becomes clear to us who Oblomov represents. Once upon a time there was a man who lived normal life who took care of himself and the environment; now we have a sloth in front of us, unable to even force the servant to clean the room.
I. A. Goncharov uses detailed descriptions, detailing everything, this makes the novel more colorful. But this is not the only goal the author pursues. So, the first part in reality lasts only one day, however, this day in Goncharov’s description seems like an eternity. And this day of Oblomov really is eternity, is his life. How will the next day change for Oblomov? No way. It will be just as boring, just as endless and joyless as the previous one. The technique of delaying the action in the first part of the novel helps to understand the essence of Ilya Ilyich’s life. Oblomov's life is a series of monotonous actions and events, one dimmer than the other.
In the novel, the author uses the technique of antithesis. The most significant contrast is, of course, the contrast between Stolz and Oblomov. By and large, the entire novel is built on this opposition; it is the compositional core of the novel. These heroes are opposed to each other in everything: in origin (Stolz is half-German, the son of a manager, Oblomov is a descendant of a noble family), in upbringing (Stolz’s father raised him in a Spartan way, taught him to work, instilled in him a sense of purpose - Oblomov grew up in ease and bliss, was accustomed to an idle life, to a life without work and hassle), in his lifestyle (Stolz is always busy with some useful activity, however, Goncharov does not write about it in detail, Oblomov is sybaritic, lies on the sofa, dreams, builds unrealizable “projects” "). The only thing in which these heroes are close is age, but this is also a necessary part of the contrast.
The novel also contrasts female characters: Olga Ilyinskaya and Agafya Matveevna Pshenitsyna. Let's compare them. Agafya Pshenitsyna is the widow of a minor official, “a woman with a bare neck and elbows, plump, barefoot, without a cap.” “She had almost no eyebrows at all, but in their place there were two slightly swollen, shiny stripes with sparse hair.” Such a portrait involuntarily repels and does not evoke sympathy. Olga Ilyinskaya is a noblewoman living with her aunt and servants. She is not a beauty: “There was no whiteness in her, her eyes did not glow with rays of inner fire, there were no pearls in her mouth and corals on her lips, there were no miniature hands with grape-shaped fingers. The somewhat tall height was matched by the size of the head and the oval of the face, all of which was in harmony with the shoulders. She could be called the goddess of grace.” Agafya Matveevna is a typical housewife, busy in the kitchen, raising children. Olga is an elevated, educated girl. She goes to theaters, knows a lot and reads. Naturally, Agafya Matveevna is much closer to Oblomov’s idea of family happiness.
Musicality plays a special role in the novel. Oblomov falls in love with Olga, listening to her singing, unusually inspired and beautiful. The love of music is the common principle that caused the feeling to arise and brought these completely different people closer together for a short time.
Goncharov is a master of landscape sketches. Images of patriarchal Oblomovka, a shady alley in the park, and a blooming garden are impressive. The beauty of the spring landscape is in harmony with the growing feeling in the hero’s soul. And Oblomov’s soul falls asleep in the same way after breaking up with Olga, just as the streets and houses are covered in snow falling in flakes.
To reveal in more detail the psychology of his characters, Goncharov uses internal monologues and remarks. This is how the writer shows us the character’s attitude to certain events, actions, actions.
In the ability to embrace full image, an object, minting it, sculpting it is the strongest side of Goncharov’s talent. And such a phenomenon among the nobility as “Oblomovism,” which the author comprehensively covers in the novel, serves as the key to unraveling many phenomena of Russian life.
In the novel “Oblomov” the skill of Goncharov as a prose writer was fully demonstrated. Gorky, who called Goncharov “one of the giants of Russian literature,” noted his special, flexible language. Goncharov’s poetic language, his talent for figuratively reproducing life, the art of creating typical characters, compositional completeness and the enormous artistic power of the picture of Oblomovism and the image of Ilya Ilyich presented in the novel - all this contributed to the fact that the novel “Oblomov” took its rightful place among the masterpieces of the world classics.
The portrait characteristics of the characters play a huge role in the work, with the help of which the reader gets to know the characters and gets an idea about them and their character traits. The main character of the novel, Ilya Ilyich Oblomov, is a man of thirty-two to thirty-three years old, of average height, pleasant appearance, with dark gray eyes in which there is no idea, with a pale complexion, plump hands and a pampered body. Already from this portrait characteristic we can get an idea of the hero’s lifestyle and spiritual qualities: the details of his portrait speak of a lazy, immobile lifestyle, of his habit of aimlessly spending time. However, Goncharov emphasizes that Ilya Ilyich is a pleasant person, gentle, kind and sincere. The portrait description, as it were, prepares the reader for the collapse in life that inevitably awaited Oblomov.
In the portrait of Oblomov's antipode, Andrei Stolts, the author used different colors. Stolz is the same age as Oblomov, he is already over thirty. He is in motion, all made up of bones and muscles. Getting acquainted with the portrait characteristics of this hero, we understand that Stolz is a strong, energetic, purposeful person who is alien to daydreaming. But this almost ideal personality resembles a mechanism, not a living person, and this repels the reader.
In the portrait of Olga Ilyinskaya, other features predominate. She “was not a beauty in the strict sense of the word: she had neither whiteness nor bright color of her cheeks and lips, and her eyes did not burn with rays of inner fire, there were no pearls in her mouth and corals on her lips, there were no miniature hands with fingers in the form of grapes." The somewhat tall stature was strictly consistent with the size of the head and the oval and size of the face; all this, in turn, was in harmony with the shoulders, the shoulders with the figure... The nose formed a slightly noticeable graceful line. Lips that are thin and compressed are a sign of a searching thought directed at something. This portrait indicates that before us is a proud, intelligent, slightly vain woman.
In the portrait of Agafya Matveevna Pshenitsyna, such traits as gentleness, kindness and lack of will appear. She is about thirty years old. She had almost no eyebrows, her eyes were “grayish-obedient,” like her entire facial expression. The hands are white, but hard, with knots of blue veins protruding outward. Oblomov accepts her for who she is and gives her an apt assessment: “How... simple she is.” It was this woman who was next to Ilya Ilyich until his last minute, his last breath, and gave birth to his son.
The description of the interior is equally important for characterizing the character. In this, Goncharov is a talented continuer of Gogol’s traditions. Thanks to the abundance of everyday details in the first part of the novel, the reader can get an idea of the hero’s characteristics: “How Oblomov’s home suit suited his deceased facial features... He was wearing a robe made of Persian fabric, a real oriental robe... He had shoes on long, soft and wide, when, without looking, he lowered his legs from the bed to the floor, he certainly fell into them right away...” Describing in detail the objects surrounding Oblomov in everyday life, Goncharov draws attention to the hero’s indifference to these things. But Oblomov, indifferent to everyday life, remains his captive throughout the novel.
The image of a robe is deeply symbolic, repeatedly appearing in the novel and indicating a certain state of Oblomov. At the beginning of the story, a comfortable robe is an integral part of the hero's personality. During the period of Ilya Ilyich’s love, he disappears and returns to the owner’s shoulders on the evening when the hero’s breakup with Olga occurred.
The lilac branch picked by Olga during her walk with Oblomov is also symbolic. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end. Another important detail is the raising of bridges on the Neva. The bridges were opened at a time when in the soul of Oblomov, who lived on the Vyborg side, there was a turning point towards the widow Pshenitsyna, when he fully realized the consequences of life with Olga, was afraid of this life and again began to plunge into apathy. The thread connecting Olga and Oblomov broke, and it cannot be forced to grow together, therefore, when the bridges were built, the connection between Olga and Oblomov was not restored. The snow falling in flakes is also symbolic, which marks the end of the hero’s love and at the same time the decline of his life.
It is no coincidence that the author describes in such detail the house in Crimea in which Olga and Stolz settled. The decoration of the house “bears the stamp of thought and personal taste of the owners,” there were many engravings, statues, and books, which speaks of the education and high culture of Olga and Andrey.
An integral part of the artistic images created by Goncharov and the ideological content of the work as a whole are the proper names of the characters. The surnames of the characters in the novel “Oblomov” carry a great meaning. The main character of the novel, according to the primordial Russian tradition, received his surname from the Oblomovka family estate, the name of which goes back to the word “fragment”: a fragment of the old way of life, patriarchal Rus'. Reflecting on Russian life and its typical representatives of his time, Goncharov was one of the first to notice a failure of internal national traits, fraught with a cliff, or a bummer. Ivan Aleksandrovich foresaw the terrible state into which Russian society began to fall in the 19th century and which by the 20th century had become a mass phenomenon. Laziness, the lack of a specific goal in life, passion and desire to work has become a distinctive national feature. There is another explanation for the origin of the main character’s surname: in folk tales the concept of “dream-oblomon” is often found, which enchants a person, as if crushing him with a gravestone, dooming him to slow, gradual extinction.
Analyzing his contemporary life, Goncharov looked for the antipode of Oblomov among the Alekseevs, Petrovs, Mikhailovs and other people. As a result of these searches, a hero with a German surname emerged Stolz(translated from German - “proud, full of self-esteem, aware of his superiority”).
Throughout his adult life, Ilya Ilyich strove for an existence “that would be both full of content and flow quietly, day after day, drop by drop, in silent contemplation of nature and the quiet, barely creeping phenomena of a peaceful, busy family life.” He found such an existence in Pshenitsyna’s house. “She was very white and full in the face, so that the color did not seem to be able to break through her cheeks (like a “wheat bun”). The name of this heroine is Agafya- translated from Greek means “kind, good.” Agafya Matveevna is a type of modest and meek housewife, an example of female kindness and tenderness, whose life interests were limited only to family concerns. Oblomov's maid Anisya(translated from Greek - “fulfillment, benefit, completion”) is close in spirit to Agafya Matveevna, and that is why they quickly became friends and became inseparable.
But if Agafya Matveevna loved Oblomov thoughtlessly and selflessly, then Olga Ilyinskaya literally “fought” for him. For the sake of his awakening, she was ready to sacrifice her life. Olga loved Ilya for his own sake (hence the surname Ilyinskaya).
Last name of “friend” Oblomov, Tarantieva, carries a hint of the word ram. In Mikhei Andreevich’s relationships with people, such qualities as rudeness, arrogance, persistence and unprincipledness are revealed. Isai Fomich Worn out, to whom Oblomov gave power of attorney to manage the estate, turned out to be a fraudster, grated roll. In collusion with Tarantyev and brother Pshenitsyna, he skillfully robbed Oblomov and erased your tracks.
Speaking about the artistic features of the novel, one cannot ignore the landscape sketches: for Olga, walking in the garden, a lilac branch, flowering fields - all this is associated with love and feelings. Oblomov also realizes that he is connected with nature, although he does not understand why Olga constantly drags him out for walks, enjoying the surrounding nature, spring, and happiness. The landscape creates the psychological background of the entire narrative.
To reveal the feelings and thoughts of the characters, the author uses a technique such as an internal monologue. This technique is most clearly revealed in the description of Oblomov’s feelings for Olga Ilyinskaya. The author constantly shows the thoughts, remarks, and internal reasoning of the characters.
Throughout the entire novel, Goncharov subtly jokes and sneers at his characters. This irony is especially noticeable in the dialogues between Oblomov and Zakhar. This is how the scene of placing the robe on the owner’s shoulders is described. “Ilya Ilyich almost did not notice how Zakhar undressed him, pulled off his boots and threw a robe over him.
What is this? - he asked only, looking at the robe.
The hostess brought it in today: they washed and repaired the robe,” said Zakhar.
Oblomov sat down and remained in the chair.”
The main compositional device of the novel is antithesis. The author contrasts images (Oblomov - Stolz, Olga Ilyinskaya - Agafya Pshenitsyna), feelings (Olga’s love, selfish, proud, and Agafya Matveevna’s love, selfless, forgiving), lifestyle, portrait characteristics, character traits, events and concepts, details (branch lilac, symbolizing hope for a bright future, and a robe as a quagmire of laziness and apathy). Antithesis makes it possible to more clearly identify the individual character traits of the heroes, to see and understand two incomparable poles (for example, Oblomov’s two colliding states - stormy temporary activity and laziness, apathy), and also helps to penetrate into the hero’s inner world, to show the contrast that is present not only in the external , but also in the spiritual world.
The beginning of the work is built on the collision of the bustling world of St. Petersburg and the isolated inner world of Oblomov. All visitors (Volkov, Sudbinsky, Alekseev, Penkin, Tarantiev) who visit Oblomov are prominent representatives of a society living according to the laws of falsehood. The main character seeks to isolate himself from them, from the dirt that his friends bring in the form of invitations and news: “Don’t come, don’t come! You're coming out of the cold!
The whole system of images in the novel is built on the device of antithesis: Oblomov - Stolz, Olga - Agafya Matveevna. The portrait characteristics of the heroes are also given in contrast. So, Oblomov is plump, plump, “with the absence of any definite idea, any concentration in his facial features”; Stolz consists entirely of bones and muscles, “he is constantly in motion.” Two completely different types of character, and it’s hard to believe that there could be anything in common between them. And yet it is so. Andrey, despite his categorical rejection of Ilya’s lifestyle, was able to discern in him traits that are difficult to maintain in the turbulent flow of life: naivety, gullibility and openness. Olga Ilyinskaya fell in love with him for his kind heart, “dovelike tenderness and inner purity.” Oblomov is not only inactive, lazy and apathetic, he is open to the world, but some invisible film prevents him from merging with it, from walking the same path with Stolz, from living an active, full life.
Two key female characters of the novel - Olga Ilyinskaya and Agafya Matveevna Pshenitsyna - are also presented in opposition. These two women symbolize two life paths that are given to Oblomov as a choice. Olga is a strong, proud and purposeful person, while Agafya Matveevna is kind, simple and thrifty. Ilya would only have to take one step towards Olga, and he would be able to immerse himself in the dream that was depicted in “The Dream...”. But communication with Ilyinskaya became the last test for Oblomov’s personality. His nature is not able to merge with the cruel outside world. He abandons the eternal search for happiness and chooses the second path - he plunges into apathy and finds peace in the cozy house of Agafya Matveevna.