Ivan Alexandrovich Goncharov 1812, Simbirsk, Russian Empire -1891, St. Petersburg, ibid) - Russian writer; Corresponding member of the St. Petersburg Academy of Sciences in the category of Russian language and literature (1860), real state councilor.
History of creation
In 1838 Goncharov wrote a humorous story called "Dashing Pain" which dealt with a strange epidemic that originated in Western Europe and ended up in St. Petersburg: empty dreams, castles in the air, "spleen". This " dashing pain" - a prototype of "Oblomovism".
The novel Oblomov was first published in full in 1859 in the first four issues of the Otechestvennye Zapiski magazine. The beginning of work on the novel belongs to an earlier period. In 1849, one of the central chapters of Oblomov was published - "Oblomov's Dream" which the author himself called "the overture of the whole novel." The author asks: What is "Oblomovism""- "golden age" or death, stagnation? In "Dream ..." motifs of static and immobility, stagnation prevail, but at the same time, the author's sympathy, good-natured humor, and not just satirical denial are felt.
Goncharov admitted that the influence of Belinsky's ideas affected the design of Oblomov. Belinsky's speech on Goncharov's first novel, An Ordinary Story, is considered the most important circumstance that influenced the idea of the work. In his article "A Look at Russian Literature in 1847 Yes," Belinsky analyzed in detail the image of a noble romantic, "an extra person" who claims an honorable place in life, and emphasized the inactivity of such a romantic in all spheres of life, his laziness and apathy. Demanding the merciless exposure of such a hero, Belinsky also pointed to the possibility of a novel ending other than in Ordinary History. When creating the image of Oblomov, Goncharov took advantage of a number of characteristic features outlined by Belinsky in the analysis of "Ordinary History".
There are also autobiographical features in the image of Oblomov.. By his own admission, Goncharov, he himself was a sybarite, he loved serene peace, giving birth to creativity. In the travel diary "Frigate" Pallada "" Goncharov admitted that during the trip he spent most of his time in the cabin, lying on the sofa, not to mention the difficulty with which he decided to circumnavigate the world. In the friendly circle of the Maykovs, who treated the writer with great love, Goncharov was given a meaningful nickname - "Prince de Lane".
The appearance of the novel "Oblomov" coincided with the time of the most acute crisis of serfdom. The image of an apathetic, incapable of activity landowner, who grew up and was brought up in the patriarchal atmosphere of a manor's estate, where the gentlemen lived serenely thanks to the labor of serfs, was very relevant for contemporaries. ON THE. Dobrolyubov in his article “What is Oblomovism?” (1859) praised the novel and this phenomenon. In the person of Ilya Ilyich Oblomov it is shown how the environment and upbringing disfigure the beautiful nature of a person, giving rise to laziness, apathy, lack of will.
Oblomov's path is a typical path of provincial Russian nobles in the 1840s., who came to the capital and found themselves outside the circle of public life .. One of the reasons for the “dashing pain”, according to the author, is the imperfection of society.
images
The first part of the novel "Oblomov", including "Oblomov's Dream", is devoted to describing all the details, "trifles" of the life of the hero of the novel in his St. Petersburg apartment - a miniature St. Petersburg "Oblomovka" - with Zakhar, the famous sofa, dressing gown. Portrait of Oblomov says a lot about his character: “He was a man of about thirty-two or three years of age, of medium height, of pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his features. The thought walked like a free bird across the face, fluttered in the eyes, settled on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glowed all over the face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown. The author further notes: expression of weariness or boredom", unhealthy complexion from lack of air and movement; flabby body. Oblomov’s apathy reached the point that he was indifferent to the cobwebs, saturated with dust, which were molded in the form of scallops around the paintings, carpets covered with stains, dusty mirrors, “which could rather serve as tablets, for writing down on them, according to the dust, some notes for memory."
Zakhar, servant of Ilya Ilyich, to match the master. If Oblomov’s expensive oriental dressing gown is “greasy”, then Zakhar has a permanent tear under his arm, from which an undershirt sticks out. For my negligence and laziness, he always finds an excuse. Is it really his fault that “you clean it up, and tomorrow the dust will pick up again”. Being lazy himself, he thrived on the laziness of his master. Even urgent matters cannot be raised from Oblomov's couch: you need to answer a letter from the headman of Oblomovka, move to a new apartment, pay bills.
Oblomov is visited by friends, trying to seduce him for a walk in Peterhof, but he excuses himself by saying that dampness is harmful to him, although it is a sunny day outside. Oblomov sees the vanity and emptiness of secular life, understands how a person who has devoted himself to a career is depersonalized. Especially clever are the words addressed to the writer Penkin about the purpose of literature - to sympathize with people out of love for them. However, behind these words, for all their unconditional correctness, one can discern a desire to justify one's inaction. Oblomov is too lazy to read, and he is afraid of writing: “And write everything, write everything, like a wheel, like a machine, write tomorrow, the day after tomorrow: the holiday will come, summer will come - and he keeps writing? When to stop and rest? Unhappy!" Not only to do some useful thing, but even to change the way of life, he lacks the will. Proud of his independence, the fact that he is a "master". Oblomov, due to his inability to live, becomes a slave to someone else's will, starting with Zakhar's servant and ending with the crooks who almost appropriated his estate. And only sometimes, in a rare moment, does he begin to understand his true position with sadness and pain: Meanwhile, he painfully felt that in him, as in a grave, some good, bright beginning, perhaps already dead, or it lay like gold in the depths of the mountain ... But the treasure was deeply and heavily littered with rubbish. .. Something prevented him from rushing into the field of life and flying along it with all the sails of mind and will ... The mind and will have long been paralyzed, and, it seems, irrevocably ... " The answer to this question is given in the chapter "Oblomov's Dream". It tells about the Oblomov family, about their estate and customs: "... taking care of food was the first and main concern of life in Oblomovka ..." Labor was perceived as a punishment sent for sins. Oblomov did not need to work, since serfs and servants did everything. Years of study also did not bring up the discipline of the mind in Oblomov. And parents in every possible way saved their beloved child from the torment of learning.
In parallel with Oblomov, the fate of his school friend Andrei Stolz is traced son of the manager of the estate. Andrei Stolz's father, with German pedantry and consistency, taught him to work, mentally and physically, to be responsible for a lesson or assignment completed. And
Oblomov, and Stolz graduated from Moscow University, both went to St. Petersburg to serve. But a year later, Ilya Ilyich retired: the service weighed on him, demanded attention, perseverance, diligence. The active Stolz makes the Russian master Oblomov "worry", imposes his ideas on him. Stolz wants to awaken Oblomov from hibernation: “Now or never!” He forces him to be in society, read books, attend theaters. His efforts were in vain.
The last opportunity to recover from "Oblomovism" appeared before the hero in the form of a beautiful Russian girl Olga Ilinskaya. Love for her temporarily resurrected Oblomov. Here, Oblomov’s “heart of gold”, capable of a strong feeling, and his poetry, and sensitivity, and nobility of soul, expressed in a letter to Olga, in which he was “ready to sacrifice his happiness, because he is not worthy of her,” were discovered. But love requires from a person not only impulses, but also constant inner growth, transformation of the soul, development of the mind, feelings. Love does not accept "sleep", stillness . "Oblomovshchina" won this time as well. Olga Ilyinskaya breaks up with Oblomov. A subtle and deep nature, not stopping in its development, she realized that her feeling was doomed, had no prospect: in the musty world of Oblomov, she would suffocate, die as a person. Therefore, she perceives the outcome of the life of Oblomov himself (long before physical death) as a catastrophe.. Olga marries Stolz. The union with Stolz is a loving family: “... they worked together, dined, went to the fields, played music ... But they didn’t have drowsiness, despondency, they spent their days without boredom and apathy.” But despite the ideality of Stolz, who combines the features of a businessman with high moral qualities, Olga feels that something is missing in her life, she is burdened by calmness and serenity, which is akin to "Oblomovism", since she is a type of Russian woman of that period when in Russia, the self-consciousness of women began to awaken when they felt their right to participate in public life. In the finale, we observe the slow death of Oblomov in the house of his wife, the petty bourgeois Agafya Matveevna Pshenitsyna, which created for him "the ideal of the indestructible peace of life." But she herself acquired a new human existence, filled with serious inner work and made sense.
Thus, the novel by I. A. Goncharov “Oblomov” can be considered not only a work that reveals the phenomenon of “Oblomovism” as a national vice, but also a warning against the dominance of pragmatists like Stoltz, figures deprived of flight, who do not have the talent of “soulfulness” .
A little about O. and Sh. - Both male characters are far from the ideal of Goncharov, who wanted to show that remembering one's past and honoring one's roots is just as important as constant personal development, learning something new and continuous movement. Only such a harmonious personality, living in the present tense, combining the poetry and good nature of the Russian mentality with the activity and industriousness of the European one, is worthy, according to the author, to become the basis for a new Russian society. Perhaps Andrei, the son of Oblomov, could become such a person.
Critics about the novel
Calling the novel “Oblomov” “the most important thing, which has not been for a long, long time”, L.H. Tolstoy wrote A.B. Druzhinin: “Tell Goncharov that I am delighted with Oblomov and am re-reading it again. But what will be more pleasant for him is that Oblomov is not an accidental success, not with a bang, but a healthy, capital and timeless success in a real audience. As the fruit of a huge creative generalization of reality, "Oblomov" was also I.S. Turgenev and V.P. Botkin . First of all, the young DI. Pisarev.
The opinion of the author of the article was different “ What is Oblomovism? (“Contemporary”. 1859. No. 5), revolutionary critic N.A. Dobrolyubova. In Goncharov's new work, he believed, "the modern Russian type, minted with merciless rigor and correctness" is displayed, and the novel itself is a "sign" of the current socio-political state of Russia.
Arising with the advent of "Oblomov" disputes about him do not fade away to this day. Some critics and researchers objectively defend the Dobrolyubov point of view, while others develop Tolstoy's. The former see in the characters and conflicts of "Oblomov" the meaning is predominantly social and temporary, the others - primarily enduring, universal. Who is closer to the truth? To answer this question, it is necessary to take a closer look at the composition of the work, take into account its creative history, and also get acquainted with Goncharov's philosophy of love and its reflection in the novel.
Goncharov. Oblomov. Criticism.
Yu. M. Loshchits.
(From the article “Imperfect Man”). 1996
Oblomov's problem... Oblomov's phenomenon... We now see more and more clearly that these are not empty words, that behind them are certain masses of burning material, that we all have something to “think about”. Let's put it this way: the most complex artistic image exists as a given. But what are his real life backgrounds? .. It would seem that the background is known - modern landlord, feudal Russia with its Oblomovism to the writer ...
In the image of Oblomov, we have an unusually high degree of increment to the personality of the writer who breathed life into this image ... Oblomov is not a self-portrait of the writer, much less a self-cartoon. But in Oblomov, a lot of Goncharov's personality and life fate were creatively refracted - a fact from which we cannot escape ...
The fairy-tale-mythological background of the novel action in Oblomov is so significant, ideologically weighty, that one would like to call Goncharov's realistic method here somehow in a special way: to define it - albeit rough, conditionally, in working order - as a kind of mythological realism ... So , “Oblomov” - “a big fairy tale”. It is not difficult to guess that in this case, “Oblomov's Dream” should rightfully be considered its core. “Dream” is a figurative and semantic key to understanding the entire work, the ideological and artistic center of the novel. The reality depicted by Goncharov extends far beyond Oblomovka, but the true capital of the "sleepy kingdom" is, of course, the family estate of Ilya Ilyich...
The "sleepy kingdom" of Oblomovka can be graphically depicted as a vicious circle. By the way, the circle is directly related to the name of Ilya Ilyich and, consequently, to the name of the village where he spent his childhood. As you know, one of the archaic meanings of the word “oblo” is a circle, a circle (hence “cloud”, “area”) ...
But another meaning emerges even more clearly in the name of Ilya Ilyich, and, in our opinion, this is what the author had in mind in the first place. This is the value of the wreckage. Indeed, what is Oblomov's existence, if not a fragment of a once full and all-encompassing life? And what is Oblomovka, if not forgotten by everyone by a miracle, the surviving “blissful corner” - a piece of Eden? ..
The main folklore prototype of Oblomov in the novel Emelya the Fool is not the epic hero Ilya, but the wise fairy-tale one. In the bright fairy-tale illumination in front of us is not just a lazy person and a fool. This is a wise fool. He is the same lying stone, under which, contrary to the proverbial natural science observation, water eventually still flows ...
The “sleepy kingdom” is collapsing not because Ilya Ilyich is too lazy, but because his friend is amazingly active. By the will of Stolz, the "sleepy kingdom" should turn into ... a railway station, and the Oblomov peasants will go "to work on the embankment."
So, at full acceleration, the unagile Emelin’s stove and the hot steam locomotive, a fairy tale and reality, an ancient myth and a sober reality of the middle of the 19th century, collided at full speed ...
Goncharovsky Stoltz... If we look for a corresponding prototype for him in Goethe, then Mephistopheles will be such a prototype... As you know, Goethe's Mephistopheles did not act at all in an original way, slipping the innocent Gretchen as a lover and mistress to Faust... woman...
Stolz ... after all, too - let's not be ashamed of this harsh word - literally slips Olga Oblomov. And he does this, having previously agreed with her about the condition of the “draw” ... The relationship between Oblomov and Olga develops in two plans: the beautiful poem of nascent and flourishing love turns out to be at the same time a trivial story of “temptation”, the instrument of which is destined to be the beloved of Ilya Ilyich ... Olga’s falling in love is clearly experimental character. This is an ideological, head, given love ... But since the experiment with Oblomov, as we know, failed, Stoltz has to attach Olga somehow differently, select some other pastime for her. It remains for him to fall in love with Olga ...
From the family happiness of Andrei and Olga, which is described at length on the pages of the novel, it breathes with such endless boredom, such cloying and falseness that their pink happiness looks like some kind of fair retribution for both of them for the voluntary or involuntary draw of Oblomov ... If Stoltz is the antipode of Oblomov, then Pshenitsyna is the opposite of Olga to the same extent... Unfortunately, Russian critical thought somehow overlooked Pshenitsyn, and most likely succumbed to the hypnosis of Stolz's opinion, from the point of view of which Pshenitsyna is a monster that killed Oblomov...
Agafya Matveevna's love, almost silent, awkward, unable to express itself in beautiful, tender words and impressive gestures, love, somehow forever sprinkled with rich flour, but when necessary, it is sacrificial, wholly directed at its object, and not at itself, This love imperceptibly transforms a simple, ordinary woman, becomes the content of her whole life...
Already the writer's contemporaries drew attention to the fact that in the text of Oblomov there is a deep echo of the images and problems of Don Quixote. In this creation of Cervantes, as is known, one of the root contradictions of human consciousness is extremely exposed - the contradiction between the ideal and the real, the imaginary and the real. The fanatical faith of Don Quixote in the immutable reality of his dreams is catastrophically opposed to the practicality of his human environment...
For all that, Oblomov’s “quixoticism”, of course, is of a purely Russian nature, there is no militant frenzy in him ... If the analogies with the heroes and problems of the works of Goethe and Cervantes are mostly latent in Oblomov, then the opposition of Ilya Ilyich with Hamlet is given, so to speak , plain text. In the fifth chapter of the second part of the novel we read: “What should he do now? Go ahead or stay? This Oblomov's question was deeper for him than Hamlet's. And a little lower - more: "To be or not to be?"...
Hamlet passed away without resolving his doubts. Not so with Oblomov ... Ilya Ilyich finally decides the issue in one of two possible directions. Albeit timidly, with fear, with caution, but he still gathers courage to say to himself, Olga, Stolz, the whole world: I don’t want to do ... Oblomov’s philosophy can be quite called utopian, it is not the consideration of being that is available that prevails, but - through repulsion from reality - a dream of a different being ...
Oblomov's everyday non-resistance will be bizarrely, but quite recognizable, reflected in Russian reality in the second half of the last century - we mean, first of all, Tolstoy's theory and practice of non-resistance to evil by violence ...
Oblomov is dying, but the “Oblomov problem” is surprisingly tenacious. Oblomov's dream of a "complete", "whole" person hurts, disturbs, demands an answer... "Oblomov's problem" is acutely modern. The incompleteness and imperfection of man in this problem is discouragingly evident...
Roman I.A. Goncharov "Oblomov" was written in 1859. Almost immediately, it caused a heated discussion and controversy both in literary circles and among the general public. The most famous critics of that time turned to the analysis of this work. But even centuries later, it is of great interest.
The famous article by N. A. Dobrolyubov “What is Oblomovism?” (1859) appeared immediately after the novel and, in the minds of many readers, seemed to grow together with him. Ilya Ilyich, Dobrolyubov argued, was a victim of that general inability for noble intellectuals to be active, the unity of word and deed, which were generated by their "external position" of landowners who live off forced labor. “It is clear,” the critic wrote, “that Oblomov is not a dull, apathetic nature, without aspirations and feelings, but a person looking for something, thinking about something. But the vile habit of getting the satisfaction of his desires not from his own efforts, but from others, developed in him an apathetic immobility and plunged him into a miserable state of moral slavery.
The main reason for the defeat of the hero of Oblomov, according to Dobrolyubov, was not in himself and not in the tragic laws of love, but in Oblomovism as a moral and psychological consequence of serfdom, dooming the noble hero to flabbiness and apostasy when trying to embody his ideals in life. Together with N. G. Chernyshevsky’s article “A Russian Man on Rendez-Vous” (1858), published a year earlier, Dobrolyubov’s speech was intended to reveal the inconsistency of noble liberalism in the face of the task of a decisive, revolutionary transformation of Russian society. “No, Oblomovka is our direct homeland, its owners are our educators, its three hundred Zakharovs are always ready for our services,” concludes Dobrolyubov. “A significant part of Oblomov sits in each of us, and it’s too early to write a funeral word for us ... a landowner who talks about the rights of mankind and the need for the development of the individual - I already know from his first words that this is Oblomov. If I meet an official complaining about the intricacies and burdensomeness of office work, he is Oblomov ... If I hear complaints from an officer about the tiring parades and bold arguments about the uselessness of a quiet step, etc., I have no doubt that he is Oblomov ... When I read in magazines liberal antics against abuses and the joy that finally what we have long hoped and desired has been done - I think that they all write from Oblomovka ... When I am in a circle of educated people who ardently sympathize with the needs of mankind and for many years with with unrelenting ardor telling all the same (and sometimes new) jokes about bribe-takers, about harassment, about lawlessness of all kinds - I involuntarily feel that I have been transferred to the old Oblomovka, ”dobrolyubov writes.
A.V. Druzhinin also believes that the character of Ilya Ilyich reflects the essential aspects of Russian life, that "Oblomov" was studied and recognized by a whole people, mostly rich in Oblomovism. But, according to Druzhinin, “in vain, many people with overly practical aspirations intensify to despise Oblomov and even call him a snail: all this strict trial of the hero shows one superficial and fleeting pickiness. Oblomov is kind to all of us and worth boundless love.
In addition, Druzhinin remarked: "... it is not good for the land where there are no good and incapable of evil eccentrics in the Oblomov family." What does Druzhinin see as the advantages of Oblomov and Oblomovism? “Oblomovism is disgusting if it comes from rottenness, hopelessness, corruption and evil stubbornness, but if its root lies simply in the immaturity of society and the skeptical hesitation of pure-hearted people before practical disorder, which happens in all young countries, then being angry at it means the same what to be angry at a child whose eyes are stuck together in the middle of the evening noisy conversation of adults ... ".
Druzhinin's approach to understanding Oblomov and Oblomovism did not become popular in the 19th century. The Dobrolyubov interpretation of the novel was enthusiastically accepted by the majority. However, as the perception of "Oblomov" deepened, revealing to the reader more and more new facets of its content, the druzhina's article began to attract attention. Already in Soviet times, M. M. Prishvin wrote in his diary: "Oblomov." In this novel, Russian laziness is internally glorified and outwardly it is condemned by the depiction of deadly active people (Olga and Stolz). No “positive” activity in Russia can withstand Oblomov’s criticism: his peace is fraught with a demand for the highest value, for such activity, because of which it would be worth losing peace. This is a kind of Tolstoy's "non-doing". It cannot be otherwise in a country where any activity aimed at improving one's existence is accompanied by a feeling of being wrong, and only activity in which the personal completely merges with the business for others can be opposed to Oblomov's peace.
Reading "Oblomov" from the standpoint of revolutionary democracy, however, brought only partial success. The deep originality of Goncharov's worldview, its difference from Dobrolyubov's, was not taken into account. Much of the novel became incomprehensible with this approach. Why does the inactive Ilya Ilyich arouse more sympathy than Sudbinsky, Volkov, and Penkin, busy from morning till night? How could Oblomov deserve the heartfelt affection of Pshenitsyna, the deep feeling of Olga Ilyinskaya? What caused Stolz's warm words at the end of the work about Oblomov's "honest, faithful heart", which he "carried unharmed ... through life", about his "crystal, transparent soul", which makes him a "pearl in the crowd"? How to explain the noticeable participation of the author in the fate of the hero?
Criticism of the 60s reacted negatively to the "Stoltsevshchina" as a whole. The revolutionary Dobrolyubov found that "Stoltz had not yet grown up to the ideal of a Russian public figure", in the speeches of "aesthetic criticism" they spoke about the rationality, dryness and selfishness of the hero.
A stormy controversy was caused by the love theme in the novel. In particular, the writer, with his work, argued with the position of Chernyshevsky and Saltykov-Shchedrin. In his dissertation "The Aesthetic Relations of Art to Reality", Chernyshevsky spoke out against the habit of many authors "to put love in the foreground when it comes ... not at all about it, but about other aspects of life." “To tell the truth,” replied the author of Oblomov, “I do not understand this tendency of the “new people” to deprive the novel and, in general, any work of art of the feeling of love and replace it with other feelings and passions, when this feeling occupies so much space in life itself, what serves now as a motive, now as content, sometimes as the goal of almost every striving, every activity...”
The form of Goncharov's novel is also determined by a love conflict. It plays the role of a structural center in it, uniting and illuminating all other components.
In the "trilogy" Goncharov declared himself to be the most gifted and inspiring researcher and singer of love. His skill in this area is not inferior to Turgenev's and was already recognized by his contemporaries. At the same time, the thoroughness and scrupulousness of Goncharov's love stories and scenes, rare even for the prose of the 50s, were emphasized. “She,” critic N. D. Akhsharumov said about Olga Ilyinskaya, “goes through a whole school of love with him, according to all the rules and laws, with all the smallest phases of this feeling: anxieties, misunderstandings, confessions, doubts, explanations, letters, quarrels, reconciliation, kisses, etc. For a long time no one has written about this subject so clearly with us and has not introduced into such microscopic observations over the heart of a woman, with which this part of Oblomov is full ... "
Thus, the novel by I.A. Goncharov "Oblomov" is an interesting work for both literary critics and public figures. This suggests that this work touched on many socially significant problems, and also made a significant contribution to the development of "eternal" problems: the problem of love, happiness, the meaning of life, the Russian soul. Oblomov by Goncharov is interesting and relevant even now.
Goncharov's novel "Oblomov" is the second part of the trilogy, which includes his works "Ordinary History" and "Cliff". This is a novel about a man, an idealist and a dreamer who denies active life. We offer to study the analysis of the work according to the plan, this material can be used to work in the literature lesson in grade 10 and to prepare for the exam.
Year of writing- 1847 - 1859
History of creation- The writer himself believed that Belinsky's ideas had a great influence on the idea of the novel.
Topic– The work is dedicated to the theme of love, friendship, and the search for the meaning of life.
Composition- The novel is divided into three parts, symbolizing the four seasons, these are the four stages of Oblomov's life. The plot - the hero meets Ilyinskaya. Climax. The lazy and calm hero is ready to commit a serious act, but laziness overcomes his noble impulses, and he remains in his place. The denouement of the work: Oblomov marries Pshenitsyna, and soon dies.
Genre- Novel.
Direction- Realism.
The writer conceived the novel in 1847 and worked on it for 12 years.
The events of that time took place against the backdrop of repression against the press, and the theme of "Oblomov" was a reflection of that era. Belinsky's criticism of "Ordinary History" prompted the writer to create "Oblomov", he also helped the author to describe the nature and essence of the main character.
Work on the work was interrupted for the period of time when the author made a tour around the world, after which it was continued, redone and completed. The years of writing this novel are 1847-1859.
Topic"Oblomov" covers different spheres of society, relating to every citizen of that era. Main issues novel is that the whole society was in a state of hibernation. Under the prohibitive influence of the politics of that time, which blocked any aspirations for something new, for the desire to move, society was brought to a state of rest, where everyone found himself in his own little world, which he cherishes and cherishes without going beyond it.
In "Oblomov", the analysis of the work shows the whole essence of "Oblomovism", when interest in life is lost, and a person turns into a "living dead", when there is a degradation of the personality, all his feelings and desires.
The problem of love that touched the main character is a strong and life-giving feeling, and it could not awaken Oblomov, destroy the shell that he created around himself. In the conflict of these relations between a man and a woman, the insignificance of such an existence is shown, when the hero, fearing to lose his usual way of life, is able to abandon his beloved woman.
Oblomov's friendship with Stolz also did not receive its further development, all feelings atrophied. Lazy and thoughtless lying on the couch became the only joy and happiness for the hero. He does not even concern his economic affairs, relying on servants. The meaning of life for the hero began to be reduced only to dreams and reflections.
In the exposition of the novel, taking into account the chapter "Oblomov's Dream", the writer presented to the reader's attention all the reasons from which this personality of this infantile hero was formed.
composition features, four parts and four stages of Oblomov's life, show the cycle, where the dream is replaced by reality, and again turns into a dream. Among the change of these states, a romance begins, where Oblomov meets Olga Ilinskaya.
The next part is the climax of the action. The hero suddenly wakes up so much that he proposes to Ilinskaya. But this state does not last long, Oblomov again chooses a peaceful, sleepy state, and breaks up with Olga.
In the final part of the novel, the hero marries Agafya Pshenitsyna. Ilya Ilyich is flattered by her adoration, unobtrusive care. Agafya does not interfere with the master's enjoyment of the life to which he is accustomed, and he marries her.
Agafya, imperceptibly for herself, was able to fall in love with the master with pure and true love. She surrounded him with care and affection, and Oblomov, getting used to her adoration, which did not prevent him from leading the same sleepy lifestyle, married her. Agafya gave birth to a son, who was named Andrei in honor of his friend Stolz, but their happiness was short-lived, Oblomov died.
According to its form and content, "Oblomov" can be attributed to the genre socio-psychological novel, direction - realism. In the novel there is conflict between man and society, men and women. The social division of classes, a description of many small everyday details, and the characteristics of the characters are also depicted in relief.
"Oblomovism", which is main idea novel, turned into a household name, fully reflecting the life and life of Russia at that time.
Moral licentiousness, moral decay, degradation of the personality - all these are signs of infantilism, "death of souls", leading to a meaningless existence, in essence, to one's own insignificance.
The autobiographical novel was created in reproach to one's vices and habits, in the desire to overcome these shortcomings, and to help the reader look at himself from the outside in order to find a way for such a struggle. But, describing Ilya Ilyich as a person with a "crystal soul", Oblomov's conclusion, according to the author, is to find that fine line that separates the "crystal world" from the real world. The main thing that the novel teaches is to live in perpetual motion, to develop, to strive to escape from the “Oblomovism”.
This state has become characteristic of many people who are subject to degradation, weak in soul and body. Only in opposing oneself to a society that has found itself in hibernation can one remain a living person. The expression of one's own individuality leads to the progress of all mankind, to new achievements and discoveries.
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Topic. I. A. Goncharov. The novel "Oblomov" in Russian criticism. “What is Oblomovism? »
Target: to teach students to analyze the inconsistency of the assessments of literary critics of the novel "Oblomov",
compare critics' assessments with their perception of the novel, build an answer to the question about a work of art based on theoretical and literary knowledge; improve the ability to draw conclusions and generalizations based on working with one or more sources of information;
aesthetically and morally educate, form an active life position of students.
Equipment: handouts, texts of critical articles, illustrative material.
Lesson type: the assimilation of new knowledge and the formation of skills and abilities.
Predicted results: students analyze the conflicting assessments of literary critics of the novel "Oblomov"; compare critics' assessments with their perception of the novel; build an answer to the question about a work of art based on theoretical and literary knowledge; draw conclusions and generalizations based on work with one or more sources of information; take part in the conversation.
DURING THE CLASSES
1. Organizational stage
2.Updating basic knowledge
Listening to multiple creative works
(homework from previous lesson)
3. Motivation of educational activity. Message about the topic and purpose of the lesson
Teacher's word: The novel "Oblomov", which the author has been writing for more than ten years, deeply
and fully illuminates the social and moral problems of that time. Both the theme and the idea, and the main conflict of this work are connected with the image of the protagonist, whose surname gave the name to the novel. In Russian magazine criticism, the novel by I. A. Goncharov "Oblomov" was interpreted in different ways. First of all, this assessment concerned the image of the main character. In May 1859, following I. A. Goncharov’s novel “Oblomov,” an article by N. A. Dobrolyubov “What is Oblomovism?” appeared in Sovremennik, and in December, an article by A. V. Druzhinin “Oblomov” was published. . A novel by I. A. Goncharov. The titles of the articles are characteristic. The title of Druzhina's article simply repeats the title of the book. This is generally characteristic of Druzhinin the critic. He never and nowhere gives his articles their titles, all of them only emphatically objectively follow the name of the subject of analysis: “Letters on Spain” by V.P. Botkin, “Works” by V.G. Belinsky, etc. Dobrolyubov already in the titles of his articles, he reveals their main content, gives an ideological impetus, directs the reader's thought: “The Dark Kingdom”, “What is Oblomovism?”.
However, if Druzhinin, as it were, follows Goncharov’s novel already in the title, then Dobrolyubov, in fact, does the same, reveals something inherent in the novel itself, and not imposed on it from the outside: as you know, the word “Oblomovism” creates Goncharov and uses its sixteen times! Moreover, Goncharov himself hesitated in choosing a name: Oblomov or Oblomovshchina. Druzhinin, in essence, writes the article “What is Oblomov?”, Dobrolyubov - “What is Oblomovism?”. And both of them are based on the novel.
4. Work on the topic of the lesson
1.1 Teacher's explanation
It is interesting that both critics at first undertake to define the artistic style of the writer, and both see it in an extremely objective image, in fact, repeating Belinsky, who, more than twenty years earlier, saw in artistry as such a distinctive feature of Goncharov the writer.
“The author of Oblomov,” Druzhinin wrote, “is a pure and independent artist, an artist by vocation and by the integrity of what he has done.” Similarly, Dobrolyubov saw the secret of the novel's success "directly in the strength of the author's artistic talent", which does not and, apparently, does not want to give any conclusions. “The life he depicts serves for him not as a means to an abstract philosophy, but as a direct goal in itself.” “Goncharov is before us, first of all, an artist ... his objective work is not embarrassed by any prejudices and predetermined ideas, does not lend itself to any exceptional sympathy. It is calm, sober, impassive,” writes Dobrolyubov.
Both critics, showing great artistic flair, accurately identified the artistic essence and talents of Goncharov in general, and his novel in particular. But, starting with the same, it seems, assessment, both diverged in many ways. And here the public position of the critics came into play, which forced them write not so much in different ways, but about different things.
Dobrolyubov considered the social roots of Oblomovism, that is, first of all, serfdom, and pointed to the type of Oblomov and Oblomovism as a new word in social development, "a sign of the times." Naturally, the master Oblomov himself received a rather harsh assessment from him. Although one should not think that the meaning of the Dobrolyubov article is reduced to an explanation of Oblomov's nobility. No wonder he writes: "This is our indigenous, folk type." And in another place: "Oblomov is not stupid, an apathetic nature, without aspirations and feelings."
Druzhinin, on the other hand, considered Oblomovism as a phenomenon, "the roots of which the novelist firmly entwined with the soil of folk life and poetry." “Oblomov and Oblomovism: it was not for nothing that these words spread all over Russia and became words forever rooted in our speech. They explained to us a whole range of phenomena; modern society, they put before us a whole world of ideas, images and details, until recently we were not fully conscious, appearing to us as if in a fog, ”writes Druzhinin. The critic writes about the great skill of Goncharov, who so fully and so deeply examined the "Oblomovism" not only in its negative features, but also sad, funny and sweet. “Now you can laugh at Oblomovism, but this laughter is full of pure love and honest tears; one can regret her victims, but such regret will be poetic and bright, not humiliating for anyone, but for many a lofty and wise regret.
Comparative analysis of critical evaluations of the novel "Oblomov"
I. A. Goncharova "Critics about the novel" Oblomov "and the work of I. A. Goncharov"
(work in pairs with handouts)
Exercise
How do literary critics define the specifics of the novel's problems?
How is the image of Oblomov interpreted in the articles?
What is the essence of the disagreement between N. A. Dobrolyubov, D. I. Pisarev and A. V. Druzhinin in assessing the novel Oblomov?
Do you agree with Dobrolyubov in assessing the novel?
Card number 1
Ilya Ilyich Oblomov, the hero of the novel, personifies that mental apathy to which Mr. Goncharov gave the name Oblomovism. The word Oblomovism will not die in our literature: it is composed so successfully, it so palpably characterizes one of the essential vices of our Russian life, that, in all probability, from literature it will penetrate into the language and enter into general use. Let's see what this Oblomovism consists of.
Ilya Ilyich stands at the turn of two mutually opposite directions:
he was brought up under the influence of the conditions of old Russian life, accustomed to the nobility, to inactivity and to the complete satisfaction of his physical needs and even whims; he spent his childhood under the loving, but incomprehensible supervision of completely undeveloped parents, who enjoyed complete mental slumber for several decades ... He is pampered and spoiled, weakened physically and morally ... (B.I. Pisarev “Ilya Ilyich Oblomov. Oblomovshchina")
The sleepy, routine atmosphere of a rural, provincial life supplemented what the labors of parents and nannies did not have time to do ...
The vile habit of obtaining satisfaction of his desires not from his own habits, but from others - developed in him an apathetic immobility and plunged him into a miserable state of moral slavery. This slavery is so intertwined with the nobility of Oblomov, so they mutually penetrate each other and are conditioned by one another, that it seems there is not the slightest possibility of drawing any kind of boundary between them.(N. A. Dobrolyubov “What is Oblomovism?»).
Card number 2
Oblomov is the only person in the novel, the only one whose existence is not limited to the role he has assumed. In the upcoming wedding, he is most afraid of the fact that he, Oblomov, will turn into a "groom", acquire a specific, definite status ... Smooth, "marble" Oblomov has nothing to cling to others. He is not able to split his personality into the role of husband, landowner, official. He is just a man(P. Weil, A. Genis "Oblomov and" Others "").
Card 3
The gentle, loving nature of Oblomov is all illuminated through love - and I can
could it be otherwise, with a pure, childishly affectionate Russian soul, from which even her laziness drove away corruption with tempting thoughts. Ilya Ilyich spoke completely through his love, and Olga, a sharp-sighted girl, did not remain blind to the treasures that were opened before her ...(BUT. V. Druzhinin "Oblomov". A novel by I. A. Goncharov»)
“Oblomov” is the most important thing, which has not been for a long, long time ... But what
it’s more pleasant ... it’s that Oblomov’s success is not accidental, not with a bang, but healthy, capital and timeless in a real audience(L. N. Tolstoy. From a letter to A. V. Druzhinin on April 16, 1859).
Card 4
In this novel, an extensive universal psychological problem is resolved; this task is resolved in purely Russian, national phenomena, possible only under our way of life, under those historical circumstances that shaped the national character, under those conditions under the influence of which our younger generation has developed and is still partially developing. This novel also touches on vital, contemporary issues to the extent that these issues are of universal interest; it also exposes the shortcomings of society, but they are not exhibited for a polemical purpose, but for the fidelity and completeness of the picture, for the artistic depiction of life as it is, and a person with his feelings, thoughts and passions
(D.I. Pisarev. “The novel by I.A. Goncharov “Oblomov””).
Collective work on compiling a summary table
"Oblomovism as the leading theme of the novel" (writing on the board and in notebooks)
Oblomovism as the leading theme of the novel
What is oblomovism? |
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The origins of Oblomovism |
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Oblomovism as a way of typing |
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Oblomovism as a sign of the times, its main features | "Oblomovism" is not a problem of one person, but a sign apathy and laziness; cowardice and selfishness, as a result of exaggerated closeness from real life; desire to protect, protect from possible problems |
Conclusion . The fault of Ilya Ilyich is that he extinguished God's spark, bestowed upon him from above. Ilya Ilyich could not realize that good, bright beginning, lying "like gold" in the depths of his sensitive and kind soul. Oblomov did not understand himself, did not give an outlet to the light, which, as he believed, was locked in him. The hero of Goncharov remained a fragment of that imperfect world that tried to subjugate him. But is it the fault of one Oblomov? “Our name is legion,” the hero will say to Stolz, and he will be right. How many people could not throw off the robe of Oblomovism, drowned out their will, fortitude for the sake of calmness, their own well-being?
"Clever and clever": staging and decision
"literary puzzles"
a) D. I. Pisarev said that the content and plot of the novel "Oblomov" can be told in two or three lines. Give the plot of the novel in a few sentences.
b) Some critics believe that there are two plots in the novel: Oblomov - Olga, Stolz - Olga. Others spoke of a single plot - the transformation of Oblomov into a "living corpse." What is your point of view?
c) What does Oblomov have in common with “superfluous people” (Onegin, Pechorin)?
d) M.E. Saltykov-Shchedrin wrote: “I read Oblomov and, to tell the truth, I broke off all my mental abilities about him. How many poppies did he put in there! It’s even scary to remember that this is only one day and that in this way you can sleep for 365 days ... ”
What are your impressions of reading the first day of Oblomov's life.
How can one explain such an extended narrative about the first day of the hero?
Reflection. Summing up the lesson
1. Summarizing conversation
Final word of the teacher
So, the novel "Oblomov" was the pinnacle of creativity I. A. Goncharov!
With great artistic power, the writer branded serfdom, which, in his opinion, was heading towards its collapse. He denounced the inertia and conservatism of the local nobility and showed "Oblomovism" as an evil and a scourge of Russian life!
The material for the novel was Russian life, which the writer observed from childhood.
Homework
Write an essay-reasoning (miniature) on one of the topics: “Dreaming and activity in the understanding of I. A. Goncharov (based on the novel Oblomov)”;
"Oblomov and Stolz: comparison or opposition?";
“What is the tragedy of the life of Ilya Oblomov? ".
Leading creative task (2-3 students)
Prepare "Literary business cards": "The life and work of A. N. Ostrovsky", "It's interesting!" (about the theater of A. N. Ostrovsky).
