Introduction
Chapter 1. Proper name in literary text
Chapter 2. The role of naming characters in the novel by I.A. Goncharov "Oblomov"
2.1 Stolz
Chapter 3. Choosing a hero's name
Conclusion
List of used literature.
Anthroponyms in the novel by I.A. Goncharova
"Oblomov"
The purpose of our work is to study proper names (anthroponyms) in the novel by I.A. Goncharov’s “Oblomov”, analysis and identification of the features and patterns of naming the characters make it possible to more fully reveal the author’s intent and identify the features of the author’s style.
The work explored the meanings of names, the connection between the hero's name and his character functions, and the relationship of the heroes with each other. In the science of language, there is a special section, a direction of linguistic research devoted to names, titles, denominations - onomastics. Onomastics has a number of sections, which are traditionally distinguished in accordance with the categories of proper names. ANTHROPONYMYS studies people's proper names.
The relevance of the study is due not only to the fact that it helps to reveal the meanings of names and surnames in Goncharov’s novel, but also helps to comprehend the plot and the main patterns. Onomastics (from Greek - the art of giving names) is a branch of linguistics that studies proper names, the history of their origin and transformation as a result of prolonged use in the source language or in connection with borrowing from other languages of communication.
One of the objects of study of onomastics are anthroponyms (names of people or their individual components) and poetonyms (proper names of characters in literary works).
They help the writer convey the author’s intention to the reader, and through revealing the symbolism of names, better understand the actions of the characters in the novel.
The object of study of this work is anthroponyms. The subject is the semantics of names and its role in the structure and figurative system novel.
ANTHROPONYMS - proper names of people (individual and group): personal names, patronymics (patronyms), surnames, family names, nicknames, nicknames, pseudonyms, cryptonyms (hidden names).
In fiction, the surnames of the characters are involved in the construction artistic image. The character's first and last name, as a rule, is deeply thought out by the author and is often used by him to characterize the hero.
Character names are divided into three types: meaningful, telling, and semantically neutral. Meaningful Usually names are given that fully characterize the hero. N.V. Gogol, for example, in the comedy “The Inspector General,” gives his heroes significant surnames: this is Lyapkin-Tyapkin, for whom nothing worthwhile ever came of it and everything fell out of hand, and Derzhimorda, the policeman, who was appointed so that he would not allow petitioners to come to Khlestakov.
To the second type of naming - speaking– these are those names and surnames whose meanings are not so transparent, but are quite easily detected in the phonetic appearance of the hero’s name and surname. In the poem " Dead Souls» abound speaking names: Chichikov - the repetition of the syllable “chi” seems to make the reader understand that the naming of the hero resembles either a monkey’s name or the sound of a rattle.
All other names and surnames are semantically neutral. The works of I. A. Goncharov are not historical chronicles and the names of the characters are determined only by the will of the writer.
Chapter 1. Proper name in literary text
In studies devoted to artistic speech, the enormous expressive possibilities and constructive role of proper names in the text are noted. Anthroponyms and place names are involved in creating images of heroes literary work, the development of its main themes and motifs, the formation of artistic time and space, convey not only content-factual, but also subtextual information, contribute to the disclosure of the ideological and aesthetic content of the text, often revealing it hidden meanings.
"Entering literary text semantically insufficient, a proper name emerges from it semantically enriched and acts as a signal that excites a complex of certain associative meanings.” Firstly, a proper name indicates social status character, national identity and has a certain historical and cultural aura; secondly, in the choice of this or that character’s name, in taking into account its etymology, the author’s modality is always manifested (cf., for example, the names of the heroines of I. A. Goncharov’s novel “The Precipice” - Vera and Marfinka); thirdly, the names of the characters can predetermine the forms of their behavior in the text, for example, the name Maslova in the novel by L.N. Tolstoy’s “Resurrection” - Katyusha → Katerina (“eternally pure”) - predicts the revival of the heroine’s soul); fourthly, the nature of the use of the anthroponym in the text reflects a certain point of view (of the narrator or another character) and serves as its signal, and a change in the name of the hero is usually associated with the development of the plot; can finally be updated in the text symbolic meanings anthroponym and individual components of a name or surname (thus, in the context of the whole, the first component of the Karamazov surname turns out to be significant (kara - “black”): in the novel by F.M. Dostoevsky, it associatively points to the dark passions in the souls of the heroes).
Proper names in their interaction form the onomastic space of the text, the analysis of which allows us to identify connections and relationships that exist between different characters works in their dynamics, to reveal the features of his artistic world. Thus, the names of the characters in the drama M.Yu. Lermontov’s “Masquerade” turn out to be anthroponymic masks, which “are characterized by the general features of masks of the romantic grotesque. These are... deceptive masks." In the onomastic (anthroponymic) space of the text, the names of the characters come closer together or, on the contrary, enter into opposition. For example, in the already mentioned drama “Masquerade” the names of Prince Zvezdich and Baroness Strahl reveal a similarity in internal form (star - Strahl- “ray”) and are brought together on the basis of the common semantic component “light”, in addition, they are contrasted with other names as “strangers with from the point of view of language” A proper name in the structure of the text, on the one hand, is stable, on the other hand, repeating itself, semantically transforms, enriching itself throughout the entire space of the text with “incrementations of meaning.” A semantically complicated proper name is involved in creating not only coherence, but also the semantic multidimensionality of a literary text. It serves as one of the most important means of embodying the author's plan and concentrates a significant amount of information. “Each name named in a work is already a designation, playing with all the colors of which only it is capable. The name of the character acts as one of the key units of the literary text, as the most important sign, which, along with the title, is updated as the work is read. This is especially pronounced in those cases when it occupies the position of the title and thereby attracts the reader’s attention to the character he calls, especially highlighting him in art world works (“Eugene Onegin”, “Netochka Nezvanova”, “Anna Karenina”, “Rudin”, “Ivanov”).
Philological analysis A literary text, in which, as a rule, there are no “non-speaking”, “insignificant” names, requires special attention to the anthroponymic space of the text, primarily to the names of the main characters in their correlation or opposition. To understand the text, it is important to take into account the etymology of a proper name, its form, correlation with other names, allusions (remember, for example, the story by I. S. Turgenev “The Steppe King Lear” or the story by I. A. Bunin “Antigone”), the place of the name in the nominative the character’s series as a system of all his nominations, and finally, his connection with the figurative characteristics of the hero, as well as with the end-to-end images of the text as a whole. Consideration of proper names in a text often serves as the key to its interpretation or allows a deeper understanding of the system of its images and compositional features.
Chapter 2. The role of naming characters in the novel by I.A. Goncharov "Oblomov"
"Oblomov" is the second novel of the trilogy, the most famous to a wide circle readers from the creative heritage of I.A. Goncharov, was completed in 1857. According to the testimony of both contemporaries and descendants, the novel was a significant phenomenon in Russian literature and public life, because it touches on almost all aspects of human life, in it you can find answers to many questions to this day, and not least thanks to the image title character Ilya Ilyich Oblomov.
One of the meanings of this name, Hebrew in origin, is ‘My God Yahweh’, ‘ God's help’. The patronymic repeats the name, Goncharov’s hero is not only Ilya, but also Ilya’s son, “Ilya in the square” - a worthy successor of family traditions (this will be discussed in detail in the work). The motif of the past is also reinforced by the fact that the name of Goncharov’s hero involuntarily reminds the reader of the epic hero Ilya Muromets. In addition, at the time of the main events of the novel, Oblomov is 33 years old - the time of the main feat, the main achievement of a man in most of the fundamental legends of world culture, Christian, folklore.
The surname of the main character - Oblomov - evokes associations with the word oblom, which in literary language means the action of the verb to break off:
2. (translated) Simple. To force someone to behave in a certain way, subjugating his will, breaking stubbornness. It is difficult to persuade, convince, force to agree with something.
Stolz
Let's move on to the interpretation of the first and last name of Andrei Ivanovich Stolts. As for the surname, it comes from the German stolz - ‘proud’. The very name of this hero - the antipode of Ilya Ilyich - contrasts with the name Oblomov.
The name Andrey translated from Greek means “courageous, brave.” The meaning of Stolz's name continues and strengthens the contrast between two heroes: meek and soft Ilya - stubborn, unbending Andrei. No wonder the most important order Russian Empire was and remains the Order of St. Andrew the First-Called. Let us remember that it was Andrei, in honor old friend Stolz, calls Oblomov his son.
It is also worth mentioning the patronymic of Stolz. At first glance it looks clean Russian patronymic- Ivanovich. But his father is German, and, therefore, his real name is Johann. As for the name Ivan itself, this name has long been considered a typical, characteristic Russian name, beloved among our people. But it is not originally Russian. Thousands of years ago, the name Yehohanan was common among the Jews of Asia Minor. Gradually the Greeks remade Yehohanan into Ioannes. On german name sounds like Johann. Thus, Stolz in naming is more likely not “half German”, but two-thirds, which is great value: emphasizes the predominance of the “Western”, that is, the active principle in this hero, as opposed to the “Eastern”, that is, the contemplative principle in Oblomov.
2.2 Olga
Let us turn to the female images of the novel. The role of the Beautiful Lady, who inspires Ilya Ilyich Oblomov to perform feats in the name of love, is assigned in the novel to Olga Sergeevna Ilyinskaya. What is this heroine in terms of her naming?
The name Olga - presumably from Scandinavian - means “holy, prophetic, bright, bringing light.” It is no coincidence that the surname of Oblomov’s beloved - Ilyinskaya - in its very form represents a possessive adjective formed from the name Ilya. According to fate, Olga Ilyinskaya was destined for Ilya Oblomov - but the insurmountability of circumstances separated them. It is curious that in the description of this heroine the words proud And pride, reminiscent of another character in the novel, whom she would later marry, turning from Olga Ilyinskaya into Olga Stolz.
Chapter 3. Choosing a hero's name
« I.A. Goncharov belongs to those writers for whom the choice of the hero’s name is fundamentally important, serving as one of the key words of the text and usually expressing symbolic meanings. In Goncharov’s prose, proper names consistently act as an important characterological means, are included in the system of comparisons and contrasts that organize the literary text at its different levels, serve as the key to the subtext of the work, highlight its mythological, folklore and other plans. These features of the writer’s style were clearly manifested in the novel “Oblomov,” which contains a number of riddles associated with the names of the characters” (N.A. Nikolina RYASH 2001: 4)
The text of the novel contrasts two groups of proper names:
1) widespread names and surnames with an erased internal form, which, according to the author’s own definition, are only “dull echoes”, cf.: Many called him Ivan Ivanovich, others - Ivan Vasilyevich, others - Ivan Mikhailovich. His last name was also called differently: some said that he was Ivanov, others called him Vasiliev or Andreev, others thought that he was Alekseev... All this Alekseev, Vasiliev, Andreev is some kind of incomplete, impersonal allusion to the mass of people, a dull echo, its vague reflection
2) “meaningful” names and surnames, the motivation of which is revealed in the text: thus, the surname Makhov correlates with the phraseological unit “to give up on everything” and is close to the verb “to wave”; the surname Zaterty is motivated by the verb “to wipe” in the meaning of “hush up the matter,” and the surname Vytyagushin is motivated by the verb “pull out” in the meaning of “to rob.” The “talking” names of officials thus directly characterize their activities. The same group includes the surname Tarantyev, which is motivated by the dialect verb “tarantit” (“to speak briskly, briskly, quickly, hastily, chatter; cf. Taranta region - “brisk and sharp talker”). This interpretation of the surname “brisk and cunning” According to Goncharov, the hero is supported by the author’s direct description: “His movements were bold and sweeping; he spoke loudly, smartly and always angrily, if you listen at some distance, it was as if three empty carts were driving along a bridge.” Tarantyev’s name - Mikhey - reveals undoubted intertextual connections and refers to the image of Sobakevich, as well as to folklore characters (primarily to the image of a bear). form, which, however, evoke certain stable associations among readers of the novel: the surname Mukhoyarov, for example, is close to the word “mukhryga” (“rogue”, “sleazy deceiver”); like a fly; the second component of the word correlates with the adjective ardent “evil, cruel.”
The surname of the journalist, always striving to “make noise,” Penkin, firstly, is associated with the expression “skimming foam”, and secondly, with the phraseology “foaming at the mouth” and actualizes the image of foam with its inherent signs of superficiality and empty fermentation.
We saw that in the novel “Oblomov” anthroponyms are combined into a fairly coherent system: its periphery is made up of “meaningful” names, which are given, as a rule, minor characters, in the center of it, in the core, are the names of the main characters. These names are characterized by a plurality of meanings; they form a series of intersecting oppositions, their meaning is determined taking into account repetitions and oppositions in the structure of the text. Getting acquainted with the works of literary scholars who studied the work of A.I. Goncharov, we noticed that the name of the main character of the novel, included in the title, has repeatedly attracted the attention of researchers. At the same time, they spoke out different points vision.
1) V. Melnik, for example, connected the hero’s surname with E. Baratynsky’s poem “Prejudice! he is a fragment of an old truth...”, noting the correlation between Oblomov’s words - a fragment.
From the point of view of another researcher P. Tiergen, the parallel “man is a fragment” serves to characterize the hero as an “incomplete”, “under-embodied” person, “signals a lack of integrity.”
2) T.I. Ornatskaya connects the words Oblomov, Oblomovka with the folk poetic metaphor dream-oblomon. This metaphor is twofold: on the one hand, the enchanted world of Russian fairy tales with its inherent poetry is associated with the image of sleep; on the other hand, this is a “bummer dream”, disastrous for the hero, crushing him with a gravestone.
In the novel “Oblomov,” anthroponyms are combined into a system: its periphery consists of “meaningful” names, which are usually worn by minor characters, and in the center are the names of the main characters, which are characterized by a plurality of meanings. These anthroponyms form intersecting series of oppositions. Their meaning is determined taking into account repetitions and oppositions in the structure of the text.
The surname of the main character of the novel, placed in a strong position of the text - the title, has repeatedly attracted the attention of researchers. At the same time, different points of view were expressed. V. Melnik connected the hero’s surname with E. Baratynsky’s poem “Prejudice! he is a fragment of an old truth...”, noting the correlation of Oblomov’s words - a fragment. From the point of view of another researcher, P. Tiergen, the parallel “man is a fragment” serves to characterize the hero as an “incomplete”, “under-embodied” person, “signals about the dominant fragmentation and lack of integrity.” T.I. Ornatskaya connects the words Oblomov, Oblomovka with the folk poetic metaphor “dream-oblomon”. This metaphor is ambivalent in nature: on the one hand, the “enchanted world” of Russian fairy tales with its inherent poetry is associated with the image of a dream, on the other hand, it is a “bummer dream”, disastrous for the hero, crushing him with a gravestone. From our point of view, for interpretation of the Oblomov surname must take into account, firstly, all possible producing words of this proper name, which in a literary text acquires motivation, secondly, the entire system of contexts containing the figurative characteristics of the hero, thirdly, the intertextual (intertextual) connections of the work.
The word Oblomov is characterized by a multiplicity of motivations, taking into account the polysemy of the word in a literary text and revealing the multiplicity of meanings embodied by it. It can be motivated both by the verb break off (both in the literal and figurative meaning - “to force someone to behave in a certain way, subordinating his will”), and by the nouns break off (“everything that is not whole, that is broken off”) and fragment; cf. interpretations given in the dictionary of V.I. Dahl and MAC:
Oblomov - “a thing broken off all around. (Dal, volume: p.); fragment - 1) a broken or broken piece of something; 2) (peren): the remnant of something that previously existed, disappeared (Ushakov’s Explanatory Dictionary).
It is also possible to connect the words Oblom and Oblomov on the basis of the evaluative meaning inherent in the first word as a dialectic - “a clumsy person.”
The noted areas of motivation highlight such semantic components as “static”, “lack of will”, “connection with the past” and emphasize the destruction of integrity. In addition, there is a possible connection between the surname Oblomov and the adjective obly (“round”): the proper name and this word come together on the basis of obvious sound similarity. In this case, the hero’s surname is interpreted as a contaminated, hybrid formation, combining the semantics of the words obly and break: the circle, symbolizing the lack of development, staticity, immutability of order, appears torn, partially “broken.”
In contexts containing figurative characteristics of the hero, images of sleep, stone, “extinction”, stunted growth, decay and at the same time childishness are regularly repeated, cf.: [Oblomov]... was glad that he was lying there, carefree, like a newborn baby; I am a flabby, shabby, worn-out caftan; He felt sad and hurt for his underdevelopment, the stunted growth of his moral forces, for the heaviness that was hindering everything; From the first minute when I became conscious of myself, I felt that I was already going out; He... fell asleep sound like a stone; [He] fell asleep in a leaden, joyless sleep. The text, therefore, regularly emphasizes the early “fading” of fortitude and the lack of integrity in the character of the hero.
The plurality of motivations for the surname Oblomov is associated with different meanings realized in the noted contexts: this is, first of all, under-embodiment, manifested in the “bummer” of the possible, but unrealized life path(He did not move one step forward in any field), lack of integrity, and finally, a circle reflecting the features of the hero’s biographical time and the repetition of “the same thing that happened to grandfathers and fathers” (see description of Oblomovka). The “sleepy kingdom” of Oblomovka can be graphically depicted as a vicious circle. “What is Oblomovka, if not forgotten by everyone, miraculously surviving “blessed corner” - a fragment of Eden?” (Loshchits. pp. 172-173)
Oblomov’s connection with cyclical time, the main model of which is a circle, his belonging to the world of “sluggish life and lack of movement,” where “life... stretches in a continuous monotonous fabric,” is emphasized by the repetition that unites the hero’s name and patronymic - Ilya Ilyich Oblomov. The first name and patronymic reflect the image of time that runs through the novel. The “fading” of the hero makes the main rhythm of his existence the periodicity of repetitions, while biographical time turns out to be reversible, and in Pshenitsyna’s house Ilya Ilyich Oblomov again returns to the world of childhood - the world of Oblomovka: the end of life repeats its beginning (as in the symbol of the circle), cf.:
And he sees a large, dark living room in his parents’ house, illuminated by a tallow candle, with his late mother and her guests sitting at a round table... The present and the past merged and mixed up.
He dreams that he has reached that promised land, where rivers of honey and milk flow, where they eat unearned bread, walk in gold and silver... At the end of the novel, the hero’s surname especially stands out, as we see, the meaning of “cool”, in at the same time, the meanings associated with the verb break (break off) also turn out to be significant: in a “forgotten corner”, alien to movement, struggle and life, Oblomov stops time, overcomes it, but the acquired “ideal” of peace “breaks off the wings” of his soul, immerses him into a dream, cf.: You had wings, but you untied them; He [the mind] was buried and crushed with all sorts of rubbish and fell asleep in idleness. The individual existence of the hero, who has “broken off” the flow of linear time and returned to cyclical time, turns out to be the “coffin”, the “grave” of the personality, see the author’s metaphors and comparisons: ... He quietly and gradually fits into the simple and wide coffin ... of his existence, made with his own hands, like desert elders who, turning away from life, dig their own grave.
At the same time, the name of the hero - Ilya - indicates not only “eternal repetition”. It reveals the folklore and mythological plan of the novel. This name, connecting Oblomov with the world of his ancestors, brings his image closer to the image epic hero Ilya Muromets, whose exploits after a miraculous healing replaced the hero’s weakness and his thirty-year “sitting” in a hut, as well as with the image of Ilya the Prophet. The name Oblomov turns out to be ambivalent: it carries an indication of both long-term static (“motionless” peace) and the possibility of overcoming it, finding a saving “fire”. This possibility remains unrealized in the hero’s fate: In my life, no fire, either salutary or destructive, has ever lit up... Elijah did not understand this life, or it is no good, and I didn’t know anything better...
Oblomov's antipode is Andrei Ivanovich Stolts. Their first and last names are also contrasting in the text. This opposition, however, is of a special nature: it is not the proper names themselves that come into opposition, but the meanings they generate, and the meanings directly expressed by the name and surname of Stolz are compared with the meanings only associatively associated with the image of Oblomov. Oblomov’s “childishness”, “under-embodiment”, “roundness” is contrasted with Stolz’s “masculinity” (Andrey - translated from ancient Greek - “courageous, brave” - “husband, man”); The pride (from German stolz- “proud”) of an active person and rationalist is compared with the meekness, gentleness, and “natural gold” of the protagonist’s heart.
Stolz’s pride has different manifestations in the novel: from “self-confidence” and awareness of one’s own willpower to “economy of soul strength” and some “arrogance”. The German surname of the hero, contrasted with the Russian surname Oblomov, introduces into the text of the novel the opposition of two worlds: “our own” (Russian, patriarchal) and “alien”. Simultaneously for artistic space In the novel, the comparison of two toponyms - the names of the villages of Oblomov and Stolz: Oblomovka and Verkhlevo - also turns out to be significant. “A fragment of Eden”, Oblomovka, associated with the image of a circle and, accordingly, the dominance of statics, is opposed in the text by Verkhlevo. This name suggests possible motivating words: top as a sign of verticality and top ("movable", i.e. breaking the immobility, monotony of a closed existence).
Olga Ilyinskaya (after marriage - Stolz) occupies a special place in the system of images of the novel. Her internal connection with Oblomov is emphasized by the repetition of his name in the structure of the heroine’s surname. “In the ideal version, planned by fate, Olga was destined for Ilya Ilyich (“I know, you were sent to me by God”). But the insurmountability of circumstances separated them. The drama of human under-incarnation was revealed in the sad ending by the fate of the blessed meeting.” The change in Olga’s surname (Ilyinskaya → Stolz) reflects both the development of the novel’s plot and the development of the heroine’s character. It is interesting that in the text field of this character words with the seme “pride” are regularly repeated, and it is in this field (compared to the characteristics of other characters) that they dominate, cf.: Olga walked with her head tilted slightly forward, resting so slenderly, nobly on thin, proud neck; She looked at him with calm pride; ... in front of him [Oblomov]... the offended goddess of pride and anger; ...And he [Stolz] for a long time, almost his entire life, had to... considerable concern to maintain at the same height his dignity as a man in the eyes of the proud, proud Olga... The repetition of words with this “pride” brings the characteristics of Olga and Stolz closer together, see ., for example: He... suffered without timid submission, but more with annoyance, with pride; [Stolz] was chastely proud; [He] was internally proud... every time he happened to notice a crookedness in his path. At the same time, Olga’s “pride” is contrasted with Oblomov’s “meekness,” “softness,” his “dove-like tenderness.” It is significant that the word pride appears in Oblomov’s descriptions only once, and in connection with the hero’s awakened love for Olga, and serves as a kind of reflex of her text field: Pride began to play in him, life shone, its magical distance... Thus, Olga both correlates and contrasts different worlds heroes of the novel. Her name itself evokes strong associations among readers of the novel. “Missionary” (according to the subtle remark of I. Annensky) Olga bears the name of the first Russian saint (Olga → German Helge - supposedly “under the protection of a deity”, “prophetic”). As noted by P.A. Florensky, the name Olga... reveals a number of character traits of those who bear it: “Olga... stands firmly on the ground. In her integrity, Olga is unrestrained and straightforward in her own way... Once she has set her will towards a known goal, Olga will completely and without looking back go towards achieving this goal, sparing neither those around her, those around her, nor herself...” to Olga Ilyinskaya in The novel is contrasted with Agafya Matveevna Pshenitsyna. The portraits of the heroines are already contrasting; compare: ...The lips are thin and mostly compressed: a sign of a thought constantly directed at something. The same presence of a speaking thought shone in the vigilant, always cheerful, never-missing gaze of dark, gray-blue eyes. The eyebrows gave special beauty to the eyes... one was a line higher than the other, which is why there was a small fold above the eyebrow, in which something seemed to say, as if a thought rested there (portrait of Ilyinskaya). She had almost no eyebrows at all, but in their place there were two slightly swollen, shiny stripes, with sparse blond hair. The eyes are grayish-simple, like the whole expression of her face... She listened dully and thought dully (Page part three, chapter 2.) (portrait of Pshenitsyna).
Different character There are also intertextual connections that bring heroines closer to literary or mythological characters mentioned in the work: Olga - Cordelia, “Pygmalion”; Agafya Matveevna - Militrisa Kirbitevna. If the words thought and proud (pride) dominate in Olga’s characteristics, then in the descriptions of Agafya Matveevna the words innocence, kindness, shyness, and finally, love are regularly repeated.
The heroines are also contrasted through figurative means. The comparisons used to figuratively characterize Agafya Matveevna are of an emphatically everyday (often reduced) nature, cf.: “I don’t know how to thank you,” Oblomov said, looking at her with the same pleasure with which he looked at a hot cheesecake in the morning; “Here, God willing, we’ll live until Easter, so we’ll kiss,” she said, not surprised, not obeying, not timid, but standing straight and motionless, like a horse on which a collar is being put on. (Page 23-33)
The heroine's surname at the first perception - Pshenitsyna - also first of all reveals an everyday, natural, earthly principle; in her name - Agafya - its internal form “good” (from ancient Greek “good”, “kind”) is actualized in the context of the whole. The name Agafya also evokes associations with the ancient Greek word agape, denoting a special kind of active and selfless love. At the same time, this name apparently “reflected a mythological motif (Agathius is a saint who protects people from the eruption of Etna, that is, fire, hell. In the text of the novel, this motif of “protection from flame” is reflected in the author’s extensive comparison: No Agafya Matveevna does not make any demands, and he [Oblomov] does not have any selfish desires, urges, or aspirations for achievements...; it’s as if an invisible hand planted him, like a precious plant, in the shade from the heat, under a shelter from the rain. , and cares for him, cherishes him (4 part 1)
Thus, a number of meanings that are significant for the interpretation of the text are updated in the heroine’s name: she is a kind housewife (this is the word that is regularly repeated in her nomination series), selflessly loving woman, protector from the burning flame of the hero, whose life is “extinguishing.” It is no coincidence that the heroine’s middle name (Matveevna): firstly, it repeats the middle name of I.A.’s mother. Goncharov, secondly, the etymology of the name Matvey (Matthew) - “gift of God” - again highlights the mythological subtext of the novel: Agafya Matveevna was sent to Oblomov, the anti-Faust with his “timid, lazy soul”, as a gift, as the embodiment of his dream of peace , about the continuation of “Oblomov’s existence”, about “serene silence”: Oblomov himself was a complete and natural reflection and expression of that peace, contentment and serene silence. Looking and reflecting on his life and becoming more and more accustomed to it, he finally decided that he had nowhere else to go, nothing to look for, that the ideal of his life had come true. (Page 41) . It is Agafya Matveevna, who becomes Oblomova at the end of the novel, compared in the text either to an active, “well-organized” machine, or to a pendulum, who determines the possibility of an ideally calm side of human existence. In her new name The image of a circle, which runs through the text, is again updated.
At the same time, the characteristics of Agafya Matveevna in the novel are not static. The text emphasizes the connection of its plot situations with the myth of Pygmalion and Galatea. This intertextual connection is manifested in the interpretation and development of three images of the novel. Oblomov is initially compared to Galatea, while Olga is assigned the role of Pygmalion: ...But this is some kind of Galatea, with whom she herself had to be Pygmalion. Wed: He will live, act, bless life and her. To bring a person back to life - how much glory to the doctor when he saves a hopelessly ill person! And to save a morally perishing mind, soul?.. However, in these relations, Oblomov’s lot becomes “extinction”, “extinction”. The role of Pygmalion passes to Stolz, who revives Olga’s pride and dreams of creating “ new woman", dressed in his color and shining with his colors. Ilya Ilyich Oblomov, who awakened the soul in Agafya Matveevna Pshenitsyna, turns out to be not Galatea, but Pygmalion in the novel. At the end of the novel, it is in her descriptions that key lexical units of the text appear, creating images of light and radiance: She realized that she had lost and her life shone, that God put his soul into her and took her out again; that the sun shone in it and darkened forever... Forever, really; but on the other hand, her life also became meaningful forever: now she knew why she lived and that she did not live in vain (Page 43)
At the end of the novel, the previously opposed characteristics of Olga and Agafya Matveevna come closer: in the descriptions of both heroines such a detail as the thought in the face (look) is emphasized. Wed: Here she is [Agafya Matveevna], in a dark dress, in a black woolen scarf around her neck... with a concentrated expression, with hidden inner meaning in her eyes. This thought sat invisibly on her face... (Page 43)
The transformation of Agafya Matveevna actualizes another meaning of her surname, which, like the name Oblomov, is ambivalent in nature. “Wheat” in Christian symbolism is a sign of rebirth. The spirit of Oblomov himself could not be resurrected, but the soul of Agafya Matveevna was reborn, who became the mother of Ilya Ilyich’s son: Agafya... turns out to be directly involved in the continuation of the Oblomov family (the immortality of the hero himself).
Andrei Oblomov, who is brought up in Stolz's house and bears his name, in the finale of the novel is associated with the plan for the future: the unification of the names of two characters opposed to each other serves as a sign of a possible synthesis best beginnings both characters and the “philosophies” they represent. Thus, the proper name also acts as a sign highlighting the plan of prospection in a literary text: Ilya Ilyich Oblomov is replaced by Andrei Ilyich Oblomov.
So, proper names play an important role in the structure of the text and the figurative system of the novel under consideration. They not only determine the essential features of the characters’ characters, but also reflect the main storylines works establish connections between in different ways and situations. Proper names are associated with the spatiotemporal organization of the text. They “reveal” hidden meanings that are important for the interpretation of the text; serve as the key to its subtext, actualize the intertextual connections of the novel and highlight its different plans (mythological, philosophical, everyday, etc.), emphasizing their interaction.
Conclusion
It becomes obvious that thoughtful reading fiction impossible without researching the proper names that appear in a particular work.
The study of proper names in the writer’s novels allowed us to draw the following conclusions:
1. Works by I.A. Goncharov are saturated with “meaningful” and “speaking” proper names, and the most significant in the system of means artistic expression works are the names of the main characters.
2. In the text of works, naming is carried out various functions: serve to deepen the characteristics of the hero (Oblomov, Pyotr Aduev, Agafya Matveevna Pshenitsyna), to reveal him inner world(Oblomov, Stolz), create an emotional and evaluative characterization of the character ( minor characters in “Oblomov”), serve to create contrast (Oblomov - Stolz) or, conversely, to indicate the continuity of the worldview of the heroes (Petr Ivanovich Aduev and Alexander Aduev, Oblomov and Zakhar), etc.
List of used literature.
1) magazine “Literature at school”. – 2004. – No. 3. – P. 20–23.
2) A. F. Rogalev. Name and image. Artistic function proper names
important in literary works and fairy tales. – Gomel: Bark, 2007. – P. 195–204.
3. Uba E.V. Goncharov’s nameology (towards the formulation of the problem) // Questions of Philology. Literary studies. Linguistics. Collection scientific works. - Ulyanovsk: UlSTU, 2002. - P. 14 - 26.
4. Uba E.V. Poetics of the titles of novels by I.A. Goncharova // Russia: history, politics, culture. Collection of scientific works. - Ulyanovsk: Ulyanovsk State Technical University, 2003-S. 85-86.
5. Nikolina N. A. Philological analysis of texts M., 2003.
6. Bondaletov V.D. Russian onomastics. M.: Prosfeshchenie, 1983.
7. Ornatskaya. T.I. Is Ilya Ilyich Oblomov a “bummer”? (On the history of interpretation of the hero’s surname)//Russian literature, - 1991. - No. 4
8. Florensky P.F. Names. - M., 1993
I.A. Goncharov belongs to those writers for whom the choice of the hero’s name is fundamentally important, serving as one of the key words of the text and usually expressing symbolic meanings. In Goncharov’s prose, proper names consistently act as an important characterological means, are included in the system of comparisons and contrasts that organize the literary text at its different levels, serve as the key to the subtext of the work, highlight its mythological, folklore and other plans. These features of the writer’s style were clearly manifested in the novel “Oblomov”.
The text of the novel contrasts two groups of proper names: 1) widespread first and last names with an erased internal form, which, according to the author’s own definition, are only “dull echoes”, cf.: Many called him Ivan Ivanovich, others - Ivan Vasilyevich, others - Ivan Mikhailovich. His last name was also called differently: some said that he was Ivanov, others called him Vasiliev or Andreev, others thought that he was Alekseev... All this Alekseev, Vasiliev, Andreev or whatever you want to say an incomplete, impersonal allusion to the human mass, a dull echo, its unclear reflection, and 2) “meaningful” names and surnames, the motivation of which is revealed in the text: for example, surname Makhov correlates with the phraseological unit “to give up on everything” and is close to the verb “to wave”; surname Worn out is motivated by the verb “overwrite” in the meaning “to hush up the matter”, and the surname Vytyagushin- the verb “to pull out” in the meaning of “to rob.” The “talking” names of officials thus directly characterize their activities. This group includes the surname Tarantiev, which is motivated by the dialect verb “tarantit” (“to speak briskly, briskly, quickly, hastily, chatter”; cf. region. taranta -"glib and sharp talker"). This interpretation of the surname of the “glib and cunning” hero, according to Goncharov, is supported by the author’s direct description: His movements were bold and sweeping; he spoke loudly, smartly and always angrily; if you listen at some distance, it sounds as if three empty carts are driving across a bridge. Tarantyev’s name - Mikhey - reveals undoubted intertextual connections and refers to the image of Sobakevich, as well as to folklore characters (primarily the image of a bear) - it is no coincidence that a “fairy tale” is mentioned in the description of this character.
The intermediate group between “meaningful” and “insignificant” proper names in the text consists of first and last names with an erased internal form, which, however, evoke certain stable associations among readers of the novel: the surname Mukhoyarov, for example, is close to the word “mukhryga” (“rogue”, "blown deceiver"); the surname of the omnivorous journalist, always striving to “make noise”, Penkin, firstly, is associated with the expression “skimming the foam”, and secondly, with the phraseology “foaming at the mouth” and actualizes the image of foam with its inherent signs of superficiality and empty fermentation.
The names of the characters in the novel are combined in the text with the names of literary and mythological heroes: Achilles, Ilya Muromets, Cordelia, Galatea, Caleb, etc. "point quotes" determine the multidimensionality of the novel’s images and situations and reflect the hierarchical nature of its structure, including it in dialogue with other works of world literature.
In the novel "Oblomov" anthroponyms are combined into system: its periphery consists of “meaningful” names, which are usually worn by minor characters; in its center, at the core, are the names of the main characters, which are characterized by a plurality of meanings. These anthroponyms form intersecting series of oppositions. Their meaning is determined taking into account repetitions and oppositions in the structure of the text.
The surname of the main character of the novel, listed in strong position text - title, has repeatedly attracted the attention of researchers. At the same time, different points of view were expressed. V. Melnik, for example, connected the hero’s surname with E. Baratynsky’s poem “Prejudice! He chip ancient truth...", noting the correlation of words Oblomov- chip. From the point of view of another researcher, P. Tiergen, the parallel “man is a fragment” serves to characterize the hero as an “incomplete”, “under-embodied” person, “signals about the dominant fragmentation and lack of integrity.” T.I. Ornatskaya connects words Oblomov, Oblomovka with folk poetic metaphor "dream-oblomon." This metaphor is ambivalent: on the one hand, the “enchanted world” of Russian fairy tales with its inherent poetry is associated with the image of sleep, on the other hand, it "bummer dream" disastrous for the hero, crushing him with a gravestone. From our point of view, to interpret the surname Oblomov it is necessary to take into account, firstly, all possible producing words of this proper name, which in a literary text acquires motivation, secondly, the entire system of contexts containing the figurative characteristics of the hero, thirdly, the intertextual (intertextual) connections of the work.
Word Oblomov characterized by a multiplicity of motivation, taking into account the polysemy of a word in a literary text and revealing the multiplicity of meanings embodied by it. It can be motivated either by a verb break off(both in the literal and figurative meaning - “to force someone to behave in a certain way, subordinating his will”), and nouns bummer("everything that is not whole, that is broken) and chip; Wed interpretations given in the dictionary by V.I. Dalia and MAC:
Chip -“a thing broken off all around” (V.I. Dal); fragment - 1) a broken or broken piece of something; 2) transfer: the remnant of something that previously existed, disappeared (MAC).
It is also possible to connect words bummer And Oblomov based on the evaluative meaning inherent in the first word as dialectism - “a clumsy person.”
The noted areas of motivation highlight such semantic components as “static”, “lack of will”, “connection with the past” and emphasize the destruction of integrity. In addition, it is possible to link the surname Oblomov with adjective bald("round"): the proper name and this word come together on the basis of obvious sound similarity. In this case, the hero’s surname is interpreted as a contaminated, hybrid formation that combines the semantics of words bald And break: the circle, symbolizing the lack of development, staticity, immutability of order, appears torn, partially “broken.”
In contexts containing figurative characteristics of the hero, images of sleep, stone, “extinction”, stunted growth, dilapidation and at the same time childishness are regularly repeated, cf.: [Oblomov]... I was glad that he was lying there, carefree, How newborn baby; I'm flabby, shabby, worn out caftan; He felt sad and hurt for his underdevelopment, stop in the growth of moral forces, for the heaviness that interferes with everything; From the first minute I became aware of myself, I felt that I was already going out; He... fell asleep soundly, like a stone, sleep; [He]fell asleep leaden, joyless sleep. IN The text, therefore, regularly emphasizes the early “extinction” of the strength of spirit and the lack of integrity in the character of the hero.
Plurality of surname motivations Oblomov is connected, as we see, with different meanings realized in the noted contexts: this is, first of all, under-embodiment, manifested in the “bummer” of a possible, but unrealized life path (He hasn’t moved one step forward in any field) lack of integrity, and finally, a circle reflecting the features of the hero’s biographical time and the repetition of “the same thing that happened to grandfathers and fathers” (see description of Oblomovka). The “sleepy kingdom” of Oblomovka can be graphically depicted as a vicious circle. “What is Oblomovka, if not forgotten by everyone, miraculously surviving “blessed corner” - a fragment of Eden?”
Oblomov’s connection with cyclical time, the main model of which is a circle, his belonging to the world of “sluggish life and lack of movement,” where “life ... stretches in a continuous monotonous fabric,” is emphasized by the repetition that combines the hero’s name and patronymic - Ilya Ilyich Oblomov. The first name and patronymic reflect the image of time that runs through the novel. The “fading” of the hero makes the main rhythm of his existence the periodicity of repetitions, while biographical time turns out to be reversible, and in Pshenitsyna’s house Ilya Ilyich Oblomov again returns to the world of childhood - the world of Oblomovka: the end of life repeats its beginning (as in the symbol of the circle), cf.:
And he sees a large, dark living room in his parents’ house, illuminated by a tallow candle, with his late mother and her guests sitting at a round table... The present and the past merged and mixed up.
He dreams that he has reached that promised land, where rivers of honey and milk flow, where they eat unearned bread, walk in gold and silver...
At the end of the novel, as we see, the meaning of “cool” in the hero’s surname especially stands out, at the same time the meanings associated with the verb also turn out to be significant break (break off): in a “forgotten corner”, alien to movement, struggle and life, Oblomov stops time, overcomes it, but the acquired “ideal” of peace “breaks off the wings” of his soul, plunges him into sleep, cf.: You had wings, but you untied them; He is buried, crushed[mind] all sorts of rubbish and fell asleep in idleness. The individual existence of the hero, who “broken off” the flow of linear time and returned to cyclical time, turns out to be the “coffin”, “grave” of the personality, see the author’s metaphors and comparisons: ...He quietly and gradually fits into a simple and wide coffin... of his existence, made with one's own hands, like the desert elders who, turning away from life, dig for themselves grave.
At the same time, the name of the hero - Ilya - indicates not only “eternal repetition”. It reveals the folklore and mythological plan of the novel. This name, connecting Oblomov with the world of his ancestors, brings his image closer to the image of the epic hero Ilya of Muromets, whose exploits after a miraculous healing replaced the hero’s weakness and his thirty-year “sitting” in a hut, as well as to the image of Ilya the Prophet. The name Oblomov turns out to be ambivalent: it carries an indication of both long-term static (“motionless” peace) and the possibility of overcoming it, finding a saving “fire”. This possibility remains unrealized in the hero’s fate: In my life, no fire, either salutary or destructive, had ever lit up... Elijah did not understand this life, or it was no good, and I didn’t know anything better...
Antipode of Oblomov - Andrey Ivanovich Stolts. Their first and last names are also contrasting in the text. This opposition, however, is of a special nature: it is not the proper names themselves that come into opposition, but the meanings they generate, and the meanings directly expressed by the name and surname of Stolz are compared with the meanings only associatively associated with the image of Oblomov. Oblomov’s “childishness”, “under-embodiment”, “roundness” is contrasted with Stolz’s “masculinity” (Andrey - translated from ancient Greek - “courageous, brave” - “husband, man”); Pride (from German. stolz-"proud") an active person and] a rationalist.
Stolz’s pride has different manifestations in the novel: from “self-confidence” and awareness of one’s own willpower to “economy of soul strength” and some “arrogance.” The German surname of the hero, contrasted with the Russian surname Oblomov, introduces into the text of the novel the opposition of two worlds: “our own” (Russian, patriarchal) and “alien”. At the same time, the comparison of two toponyms - the names of the villages of Oblomov and Stolz - turns out to be significant for the artistic space of the novel: Oblomovka And Verkhlevo.“A fragment of Eden”, Oblomovka, associated with the image of a circle and, accordingly, the dominance of statics, is opposed in the text by Verkhlevo. This title suggests possible motivating words: top as a vertical sign and top-headed(“moving”, i.e. breaking the immobility, monotony of a closed existence).
Olga Ilyinskaya (after marriage - Stolz) occupies a special place in the system of images of the novel. Her internal connection with 06-lomov is emphasized by the repetition of his name in the structure of the heroine’s surname. “In the ideal version, planned by fate, Olga was destined for Ilya Ilyich (“I know, you were sent to me by God”). But the insurmountability of circumstances separated them. The drama of human under-incarnation was revealed in the sad ending by the fate of the blessed meeting.” The change in Olga’s surname (Ilyinskaya → Stolz) reflects both the development of the novel’s plot and the development of the heroine’s character. It is interesting that in the text field of this character words with the seme “pride” are regularly repeated, and it is in this field (compared to the characteristics of other characters) that they dominate, cf.: Olga walked with her head tilted slightly forward, resting so slenderly and nobly on her thin, proud neck; She looked at him with calm pride;...in front of him[Oblomov]... offended goddess of pride and anger; ...And him[to Stolz] for a long time, almost all my life, I had to... considerate concern to maintain at the same height my dignity as a man in the eyes of self-loving, proud Olga...
The repetition of words with the seme “pride” brings the characteristics of Olga and Stolz closer together, see, for example: He... suffered without timid submission, but more with annoyance, with pride;[Stolz] he was chastely proud;[He] was inwardly proud... whenever he happened to notice a crookedness in his path. At the same time, Olga’s “pride” is contrasted with Oblomov’s “meekness,” “softness,” and his “dovelike tenderness.” It is significant that the word pride appears in Oblomov’s descriptions only once, and in connection with the hero’s awakened love for Olga, and serves as a kind of reflex of her text field: Pride began to sparkle in him, life began to shine, its magical distance...
Thus, Olga both correlates and contrasts the different worlds of the novel’s heroes. Her name itself evokes strong associations among readers of the novel. “Missionary” (according to the subtle remark of I. Annensky) Olga bears the name of the first Russian saint (Olga → German Helge - supposedly “under the protection of a deity”, “prophetic”). As noted by P.A. Florensky, the name Olga... reveals a number of character traits of those who bear it: “Olga... stands firmly on the ground. In her integrity, Olga is unrestrained and straightforward in her own way... Once having set her will towards a known goal, Olga will completely and without looking back go towards achieving this goal, sparing neither those around her, nor those around her, nor herself...”
In the novel, Olga Ilyinskaya is contrasted with Agafya Matveevna Pshenitsyna. The portraits of the heroines are already contrasting; compare:
The lips are thin and mostly compressed: a sign of thought constantly directed at something. The same presence of a speaking thought shone in the vigilant, always cheerful, never-missing gaze of dark, gray-blue eyes. The eyebrows gave special beauty to the eyes... one was a line higher than the other, because of this there was a small fold above the eyebrow, which seemed to say something, as if a thought rested there (portrait of Ilyinskaya).
She had almost no eyebrows at all, but in their place there were two slightly swollen, shiny stripes, with sparse blond hair. The eyes are grayish-simple, like the whole expression on her face... She listened stupidly and stupid thought about it (portrait of Pshenitsyna).
The intertextual connections that bring the heroines closer to literary or mythological characters mentioned in the work are also of a different nature: Olga - Cordelia, “Pygmalion”; Agafya Matveevna - Militrisa Kirbitevna. If Olga’s characteristics are dominated by words thought And proud (pride), then in Agafya Matveevna’s descriptions the words are regularly repeated simplicity, kindness, shyness, finally, Love.
The heroines are also contrasted through figurative means. The comparisons used to characterize Agafya Matveevna figuratively are of an emphatically everyday (often reduced) nature, cf.: - “I don’t know how to thank you,” Oblomov said, looking at her with the same pleasure with which he had in the morning looked at the hot cheesecake; - Now, God willing, we’ll live until Easter, so we’ll kiss,- she said, not surprised, not obeying, not timid, but standing straight and motionless, like a horse being put on a collar.
The heroine's surname at her first perception is Pshenitsyna - also, first of all, reveals the everyday, natural, earthly principle; in her name - Agafya - its internal form “good” (from ancient Greek “good”, “kind”) is actualized in the context of the whole. Name Agafya also evokes associations with the ancient Greek word agape denoting a special kind of active and selfless love. At the same time, this name apparently “reflected a mythological motif (Agathias is a saint who protects people from the eruption of Etna, that is, fire, hell).” In the text of the novel, this motif of “protection from flame” is reflected in the author’s extensive comparison: Agafya Matveevna makes no urgings, no demands. And he has[Oblomova] no selfish desires, urges, aspirations for achievements are born...; It was as if an invisible hand had planted it, like a precious plant, in the shade from the heat, under shelter from the rain, and was caring for it, nurturing it.
Thus, a number of meanings that are significant for the interpretation of the text are updated in the heroine’s name: she is kind mistress(this is the word that is regularly repeated in her nomination series), a selflessly loving woman, a protector from the scorching flame of a hero whose life is “extinguishing.” It is no coincidence that the heroine’s middle name (Matveevna): firstly, it repeats the middle name of I.A.’s mother. Goncharov, secondly, the etymology of the name Matvey (Matthew) - “gift of God” - again highlights the mythological subtext of the novel: Agafya Matveevna was sent to Oblomov, the anti-Faust with his “timid, lazy soul”, as a gift, as the embodiment of his dream of peace , about the continuation of “Oblomov’s existence”, about “serene silence”: Oblomov himself was a complete and natural reflection and expression of that peace, contentment and serene silence. Looking and reflecting on his life and becoming more and more accustomed to it, he finally decided that he had nowhere else to go, nothing to look for, that the ideal of his life had come true. It is Agafya Matveevna, who becomes Oblomova at the end of the novel, compared in the text either to an active, “well-organized” machine or to a pendulum, who determines the possibility the ideally peaceful side of human existence. In her new surname, the image of a circle, which runs through the text, is again actualized.
At the same time, the characteristics of Agafya Matveevna in the novel are not static. The text emphasizes the connection of its plot situations with the myth of Pygmalion and Galatea. This intertextual connection is manifested in the interpretation and development of three images of the novel. Oblomov is initially compared to Galatea, while Olga is assigned the role of Pygmalion: ...But this is some kind of Galatea, with whom she herself had to be Pygmalion. Wed: He will live, act, bless life and her. To bring a person back to life - how much glory to a doctor when he saves a hopelessly ill person! But to save a morally perishing mind and soul?.. However, in these relations, the lot of 06-lomov becomes “extinction”, “extinction”. The role of Pygmalion passes to Stolz, who revives “pride? Olga and dreaming of creating a “new woman”, dressed in his color and shining with his colors. Ilya Ilyich Oblomov, who awakened the soul in Agafya Matveevna Pshenitsyna, turns out to be not Galatea, but Pygmalion in the novel. At the end of the novel, it is in her descriptions that key lexical units of the text appear, creating images of light and radiance: She realized that she had lost and her life shone, that God put his soul into her and took her out again; that the sun shone in it and darkened forever... Forever, really; but on the other hand, her life also became meaningful forever: now she knew why she lived and that she had not lived in vain. At the end of the novel, the previously opposed characteristics of Olga and Agafya Matveevna come closer: in the descriptions of both heroines such a detail as the thought in the face (look) is emphasized. Wed: Here she is[Agafya Matveevna], in a dark dress, in a black woolen scarf around her neck... with a concentrated expression, with hidden inner meaning in her eyes. This thought sat invisibly on her face...
The transformation of Agafya Matveevna actualizes another meaning of her surname, which, like the name Oblomov, is ambivalent in nature. “Wheat” in Christian symbolism is a sign of rebirth. The spirit of Oblomov himself could not be resurrected, but the soul of Agafya Matveevna, who became the mother of Ilya Ilyich’s son, was reborn: “Agafya... turns out to be directly involved in the continuation of the Oblomov family (the immortality of the hero himself).”
Andrei Oblomov, who is brought up in Stolz's house and bears his name, in the finale of the novel is associated with the plan of the future: the unification of the names of two heroes opposed to each other serves as a sign of a possible synthesis of the best principles of both characters and the “philosophies” they represent. Thus, the proper name also acts as a sign highlighting the plan of prospection in a literary text: Ilya Ilyich Oblomov is replaced by Andrei Ilyich Oblomov.
So, proper names play an important role in the structure of the text and the figurative system of the novel under consideration. They not only determine the essential features of the characters’ characters, but also reflect the main plot lines of the work and establish connections between different images and situations. Proper names are associated with the spatiotemporal organization of the text. They “reveal” hidden meanings that are important for the interpretation of the text; serve as the key to its subtext, actualize the intertextual connections of the novel and highlight its different plans (mythological, philosophical, everyday, etc.), emphasizing their interaction.
Ilya - ancient Russian name, especially common among common people. Enough to remember epic hero Ilya Muromets, who defended vast expanses together with other heroes native land. The same name, which carried the special, primordial features of the Russian nation, was given to another literary hero, Ilya Ilyich Oblomov. According to the writer Goncharov, Oblomov embodied the national type of character and worldview, those fundamental properties of the Russian soul, for which it is still considered mysterious and strange.
Etymology of the name
However, the name Ilya is not originally Russian. His East Slavic roots grew on Jewish soil. The full, traditional form of the word is Elijah. IN Slavic tradition a short or truncated form was established (Ilya) and patronymics, respectively - Ilyich, Ilyinichna. Diminutive nicknames - Ilyushenka, Ilyushechka, Ilyusha. It sounds beautiful, gentle, and kind, doesn’t it? The meaning of the name Elijah (in Hebrew sounds like “Eliyahu”) translated from Hebrew is “my God”, “true believer”, “the power of the Lord”. That is, it has a pronounced religious character. However, its modern speakers do not think so much about the semantic side, paying more attention to euphony and fashion. But probably few people know that Ilya has another meaning for the name. The same word exists in the Kurdish language. It is translated as “bright”, “glorious”, “great”. And in the Islamic religion there is a saint with this name. In the oriental manner it is pronounced Ali. What an interesting nickname Ilyush has!
Anthroponymy, astrology and psychology
What kind of person could Ilya be? The meaning of a name is a serious thing; it should always be taken into account when choosing a particular nickname for a baby. It was not for nothing that we remembered at the beginning of the article about Ilya Muromets. Favorite character folk epics, he personifies enormous spiritual and physical strength, unshakable courage and bravery, generosity and kindness. It is believed that all these wonderful qualities manifested themselves in the hero largely thanks to such a sonorous, musical name. By the way, of the 3 heroes (there are also Dobrynya and Alyosha), it is Muromets who is the most fair, reasonable, and wise. True, and the oldest. And he holds the palm among the legendary mythological images created by the people's dream and fantasy of an omnipotent protector and patron. So, we have identified some psychological aspects of the name Ilya. The meaning of the name, however, is far from being exhausted by them.
Let us remember another hero of myths, now religious. The legendary Elijah the prophet, saint, the only one, besides Christ, who received the great honor of being ascended to heaven alive. He is widely and deeply revered among the peoples of the entire Christian world, and especially in Orthodoxy. Moreover, this is one of the greatest images of the Old Testament, the embodiment of true Faith, deep and serious, the ability to remain true to one’s convictions in any situation, to prove the truth by one’s own example and to lead entire nations. Therefore, Ilya (the meaning of the name and numerous examples confirm this) is usually endowed with special charisma - very strong, great charm, great will and endurance. This is the very core on which the character of people who are named so and raised accordingly from childhood is based. But the sound shell of the name also indicates other features: softness, even some femininity, affection, delicacy. It is sonorous, musical, pleasant to the ear due to the combination of vowel sounds and a sonorous soft consonant.
It is not for nothing that among those named Ilya there are many people of art: Repin, Glazunov, Averbukh. What else can you add about the owners of the name Ilya? They are sociable and friendly, although they do not really like to let someone into the depths of their own “I”. Their intuition is high; their priorities are devotion to family, care for loved ones, and high ideals. True, they are characterized by short temper and impulsiveness. But on the other hand, Ilyusha is easy-going, forgets insults, and regrets his harshness.
The surname Oblomov is derived from the nickname Oblom. According to one version, it comes from the verb to break off - breaking, separating the ends, extreme parts of something, forcing someone to behave in a certain way, subordinating his will, breaking stubbornness. It is quite possible that the nickname Oblom could have been given to both a clumsy, clumsy, and a powerful person.
The nickname Oblom can also be associated with the word fragment in a figurative sense - the remnant of something that previously existed and disappeared. It should also be noted that in the old days a brownie was often called a bummer. The brownie in East Slavic mythology is a demonological character, the spirit of the house. He presented himself in the form of a man, often with the same face as the owner of the house, or as a small old man with a face overgrown with white hair, and the like. The health of the livestock depended on his attitude, benevolent or hostile.
Sometimes it was believed that a brownie had a family, a wife (domakha, domovikha, big woman) and children. Similar beliefs about the spirits of the house existed among Western Slavs and many other nations. Based on this, it can be assumed that the name Oblom was a worldly name that performed a so-called protective function and was used as a talisman. According to the superstitious custom that existed in Rus', such nicknames were assigned to children in order to ward off evil forces. In order not to tempt fate and ward off evil, children were given nicknames with a meaning directly opposite to what parents expected or desired for their children. In this case, hoping to have a beautiful and healthy boy, the parents named him Bummer. Oblom eventually received the surname Oblomov.
Also read:
Oblomsky
The surname Oblomsky originates from the nickname Oblom. The surname Oblomsky is derived from the nickname Oblom. According to one version, it comes from the verb...
Integrated lesson of Russian language and literature.
Proper names play an important role in the structure of the text and the figurative system of Goncharov’s novel “Oblomov”. They not only determine the essential features of the characters’ characters, but also reflect the main plot lines of the work; their significance is one of the features of the writer’s style
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Expressive capabilities and the role of proper names
in the text work of art(I.A. Goncharov “Oblomov”)
Lesson objectives:
1.show the expressive capabilities of proper names in the text; their role in creating images of the heroes of a literary work, developing its main themes;
2.promote skill development research work with the text of a work of art, an explanatory dictionary;
3. improving spelling and punctuation skills.
Lesson progress:
We begin our lesson work with a syntactic warm-up:
“Many people called him Ivan Ivanovich, others called him Ivan Vasilich, others called him Ivan Mikhailych. His last name was also called differently: some said that he was Ivanov, others called him Vasiliev or Andreev, others thought that he was Alekseev... All this Alekseev, Vasiliev, Andreev, or whatever you want, is some kind of incomplete, faceless hint at the mass of people, a dull echo, its unclear reflection.”
How many simple sentences as part of the 1st sentence? How are the main members of the sentence expressed? What do the structures of parts 2 and 3 have in common?
Create a proposal outline.
How many rows of homogeneous terms are there in the 3rd sentence?
I.A. Goncharov belongs to those writers for whom the choice of the hero’s name is fundamentally important. It is often one of the key words of the text and usually contains symbolic meanings. In Goncharov’s prose, proper names act as an important means of characterizing characters, organize the literary text at its different levels, and serve as the key to the subtext of the work. These features of the writer’s style can be traced through the example of the novel “Oblomov,” which contains a number of mysteries related to the names of the characters.
The novel contrasts two groups of proper names:
1) widespread first and last names with an erased internal form, which, according to the author’s own definition, are only “dull echoes” (refer to text I);
2) “meaningful” names and surnames, the motivation of which is revealed in the text. The most transparent are the “talking” names of officials.
What are they talking about?
Overwritten → verb “overwrite” meaning “to hush up the matter.”
Vytyagushin → verb “to pull out” meaning “to rob.”
Makhov → correlates with the phraseological unit “give up on everything.”
Thus, these names of officials directly characterize their activities.
The surname Tarantiev also belongs to this group.
Find in " Explanatory dictionary» Dal's words have the same root.
(Tarant - speak briskly, sharply, quickly, hastily, jabber).
Taranta (region) - a lively and sharp talker.
“His movements were bold and sweeping; he spoke loudly, smartly and always angrily; if you listen at some distance, it’s as if three empty carts are driving across a bridge.”
Tarantyev’s name – Mikhey – reveals literary connections and refers to one of the heroes “ Dead souls» Gogol.
To whom exactly, who bears the same name?(To Sobakevich)
There is also a connection with a folklore character, whom the same Sobakevich very much resembled.(Bear).
In the novel “Oblomov,” proper names are combined into a fairly coherent system: the periphery is made up of “speaking” names, which are given, as a rule, to minor characters, while in the center are the names of the main characters. These names are characterized by multiple meanings.
The surname of the main character of the novel, included in the title, has repeatedly attracted the attention of researchers.
Let’s try to conduct a little research into what words the surname Oblomov is associated with and how its meaning is revealed.
(Students independently name some words: fragment, bummer, break off; the list of words is supplemented with the help of V. Dahl’s dictionary).
Oblomov | Chip | a fragment of a man, an incomplete, half-embodied man Teacher's Note: There is another interpretation of the Oblomov-fragment connection. V. Melnik connects the hero’s surname with E. Baratynsky’s poem “Prejudice! He is a fragment of an old truth...” |
bummer | everything that is not whole, that is broken |
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break off | force someone to behave in a certain way by bending their will |
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Bare and breaking | oblong-round; combining the meanings of these words, we get: the circle, symbolizing isolation, lack of development, staticity, turns out to be torn (broken). |
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Sleep-Oblomon | Folk poetic metaphor: on the one hand, the world of Russian fairy tales with its inherent poetry is associated with the image of sleep; on the other hand, this is a “Breaking Dream”, disastrous for the hero. |
If students no longer offer other options, then the work continues with the help of the teacher. The students’ task is to clarify the meaning of words and expressions.
Will Goncharov confirm our observations?
Let's turn to the text of the novel.
“...(he) was glad that he was lying there, carefree, like a newborn baby...;
...I am a flabby, shabby, worn-out caftan...;
He felt sad and hurt for his underdevelopment, the stunted growth of his moral forces, for the heaviness that was hindering everything;
From the first minute, when I became aware of myself, I felt that I was already going out... He... fell asleep sound like a stone.”
Find words and expressions in sentences that correspond to our observations.
Thus, the text regularly emphasizes the early “extinction” of the strength of spirit and the lack of integrity in the character of the hero.
The plurality of motivations for the surname Oblomov is associated, as we see, with different meanings: this is, first of all, under-embodiment, manifested in the “bummer” of a possible but unrealized life path (“He has not advanced a single step in any field”), lack of integrity, circle , reflecting the characteristics of the hero’s biographical time and the repetition of “the same thing that happened to grandfathers and fathers.” The “sleepy kingdom” of Oblomovka can be graphically depicted in the form of a circle. “What is Oblomovka, if not forgotten by everyone, miraculously surviving “blessed corner” - a fragment of Eden?” - writes Y. Lomits in the book “Goncharov”.
The hero's name and patronymic, united by repetition - Ilya Ilyich - are associated with the image of time that is pervasive for the novel. The passage of time in Pshenitsyna’s house, as in Oblomovka, is compared with the slow gradualness with which the geological changes of our planet occur: there the mountain is slowly crumbling, here for centuries the sea deposits silt or retreats from the shore and forms an increase in soil. This expanded image extends to Oblomov’s life in the last part of the novel:
“But the mountain crumbled little by little, the sea was receding from the shore or rising to him, and Oblomov little by little entered intoprevious normal your life."
Biographical time turns out to be reversible, and in Pshenitsyna’s house, Ilya Ilyich again returns to the world of childhood - the world of Oblomovka: the end of life repeats its beginning, the circle is closed:
“The present and the past merged and mixed up...”
What meaning of the hero's surname especially stands out at the end of the novel?
Circle. But at the same time, the meanings associated with the verb break (break off) also turn out to be significant. In a “forgotten corner, alien to movement, struggle and life,” Oblomov stops time, overcomes it, but the newfound ideal of peace, in turn, breaks off the wings of his soul and plunges him into sleep.
Compare : “You had wings, but you untied them;
... he has no less intelligence than others, only he is buried, crushed by all sorts of rubbish and fell asleep in idleness.”
The name of the hero, Ilya, indicates not only “eternal repetition” (Ilya Ilyich), but also has folklore and mythological roots.
What associations arise in this regard?(Ilya Muromets, Ilya the Prophet).
The name connects Oblomov with the world of his ancestors, brings his image closer to the image of the epic hero and prophet. The name Oblomov, it turns out, connects, it carries an indication of both long-term static (“motionless” peace) and the possibility of overcoming it, finding a saving fire, but this possibility remains unrealized in the fate of the hero. Confirm with the text of the novel:
“... in my life (never) ever (nor) any, (nor) saving, (nor) destructive fire was lit... Either I (didn’t) understand this life, or it (never) went anywhere
(not) suitable, but I (didn’t) know anything better, (didn’t) see, (no) anyone (didn’t) show it to me.”
- Open the brackets, insert the missing letters, add punctuation marks.
Oblomov’s antipode is Andrei Ivanovich Stolts.
Both their names and their surnames turn out to be contrasting. This contrast is of a special nature: it is not the proper names themselves that are opposite, but the meanings they generate.
Oblomov’s “childishness”, “under-embodiment”, “roundness” is contrasted with the “masculinity” of Stolz (Andrey from ancient Greek “courageous, brave”), and the meekness, gentleness, “natural gold” of Ilya Ilyich’s heart is contrasted with the pride (StOIZ - “proud”) of the active man and rationalist. Stolz's pride has different manifestations in the novel: from self-confidence and awareness of one's own willpower to saving the strength of the soul. The German surname of the hero, contrasted with the Russian surname Oblomov, introduces into the text of the novel the opposition of two worlds: “our own” (Russian, patriarchal) and “alien”.
Olga Ilyinskaya (after marriage - Stolz) occupies a special place in the system of images of the novel.
How does her name emphasize the internal connection with Oblomov?
Ilyinskaya is a repetition of Oblomov’s name in the structure of the heroine’s surname. According to E. Krasnoshchekova, “in the ideal version planned by fate, Olga was destined for Ilya Ilyich. But the insurmountability of circumstances separated them. The drama of human under-incarnation was revealed in the sad ending by the fate of the blessed meeting.”
What is the reason and what does the change in Olga Ilyinskaya’s surname → Stolz indicate?
This change reflects both the development of the novel's plot and the development of the heroine's character.
Her name itself evokes strong associations among readers. “Missionary” (according to the subtle remark of I. Annensky) Olga bears the name of the first Russian saint (Olga → German Helge - “under the protection of a deity”; “sacred”, “prophetic”). As noted by P.A. Florensky, the name Olga reveals a number of character traits of those who bear it: “Olga... stands firmly on the ground. In her integrity, Olga is non-stop and straightforward in her own way... Once she has set her will towards a known goal, Olga will completely and without looking back go towards achieving this goal, sparing neither those around her nor herself.”
At the end of the novel, Oblomov's son Andrei Ilyich appears, brought up in Stolz's house and bearing his name. This is where the future lies.
Comment on this combination of names of heroes opposed to each other.
The combination of names serves as a signifier of the characters and the philosophies they represent.
Lesson summary . So, we are convinced that proper names play an important role in the structure of the text and the figurative system of the novel. They not only determine the essential features of the characters’ characters, but also reflect the main plot lines of the work; their significance is one of the features of the writer’s style.
Homework:
In the novel, Olga Ilyinskaya is contrasted with Agafya Matveevna Pshenitsyna.
1. What can the heroine’s name tell about?
2. Find in the text of the novel there are portraits of Olga and Agafya Matveevna. Check contrasting details.
3. Wheat in Christian symbolism is a sign of rebirth. When and why does Agafya Matveevna’s transformation, the rebirth of her soul take place?
4. She realized that she had lost and her life shone, that God put a soul into her life and took it out again, that the sun shone in her and darkened forever... Forever, really; but on the other hand, her life was forever comprehended: now she knew why she lived and that she did not live in vain.”
Place punctuation marks and explain their placement.
Find in text keywords, creating images of light and radiance.
Materials for the lesson.
I. “Many people called him Ivan Ivanovich, others Ivan Vasilyevich, others Ivan Mikhailych. His last name was also called differently, some said that he was Ivanov, others called him Vasiliev or Andreev, others thought that he was Alekseev... All this Alekseev Vasilyev Andreev, or whatever you want, is some kind of incomplete, faceless hint at the mass of people, a dull echo, an unclear reflection of it.”
II. “(he) was glad that he was lying there, carefree like a newborn baby...;
...I am a flabby, shabby, worn-out caftan; He felt sad and hurt for his underdevelopment, the stunted growth of his moral forces, for the heaviness that was hindering everything;
And envy gnawed at him that others lived so fully and widely, while for him it was as if a heavy stone had been thrown on the narrow and miserable path of his existence;
From the first minute when I became aware of myself, I felt that I was already going out”;
He... fell asleep soundly like a stone.
III. “in my life, after all (n-) when (n-) some kind of (n-) saving (n-) destructive fire caught fire... Either I (n-) understood this life or it (n-) where (n -) it’s good, but it’s better I (n-) what (n-) knew (n-) saw (n-) who (n-) showed it to me.”