Composition "The role of the artistic detail in the novel" Oblomov ". Previous What is a Significant Detail in the Novel of Bummers

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Details of the situation in "Oblomov" by I. A. Goncharov

From the very first pages of I. A. Goncharov's novel "Oblomov" we find ourselves in an atmosphere of laziness, idle pastime and some kind of loneliness. So, Oblomov had "three rooms ... In those rooms, the furniture was covered with covers, the curtains were lowered." In Oblomov's room itself there was a sofa, the back of which sank down and "the glued wood lagged behind in places."

There was a cobweb saturated with dust all around, “mirrors, instead of reflecting objects, could rather serve as tablets, for writing on them, through the dust, some notes for memory,” Goncharov is ironic here. “The carpets were stained. There was a forgotten towel on the sofa; on the table, a rare morning, there was not a plate with a salt shaker and a gnawed bone that had not been removed from yesterday’s dinner, and there were no bread crumbs lying around ... If it were not for this plate, and not for the just-smoked pipe leaning against the bed, or not the owner himself lying on it, then one would think that no one lives here - everything was so dusty, faded and generally devoid of traces of human presence. Further, unfolded dusty books, last year's newspaper and an abandoned inkwell are listed - a very interesting detail.

“A large sofa, a comfortable dressing gown, soft shoes Oblomov would not exchange for anything. Since childhood, I have been sure that life is an eternal holiday. Oblomov has no idea about labor. He literally does not know how to do anything and he himself says about it6 “Who am I? What am I? Go and ask Zakhar, and he will answer you: "master!" Yes, I’m a gentleman and I don’t know how to do anything. ” (Oblomov, Moscow, PROFIZDAT, 1995, introductory article "Oblomov and his time", p. 4, A. V. Zakharkin).

“In Oblomov, Goncharov reached the pinnacle of artistic mastery, creating plastically tangible canvases of life. The artist fills the smallest details and particulars with a certain meaning. Goncharov's writing style is characterized by constant transitions from the particular to the general. And the whole contains a great generalization.” (Ibid., p. 14).

Details of the situation appear more than once on the pages of the novel. The dusty mirror symbolizes the absence of a reflection of Oblomov's activities. So it is: the hero does not see himself from the outside before the arrival of Stolz. All his activities: lying on the couch and yelling at Zakhar.

The details of the furnishings in Oblomov's house on Gorokhovaya Street are similar to those in his parental home. The same desolation, the same clumsiness and lack of visibility of human presence: “a large living room in the parental home, with antique ash armchairs always covered with covers, with a huge, awkward and hard sofa upholstered in a faded blue barrack in spots, and one leather armchair ... In one tallow candle burns dimly in the room, and this was allowed only on winter and autumn evenings.

The lack of thriftiness, the habit of Oblomov’s inconveniences - just not to spend money, explains that the porch is staggering, that the gates are crooked, that “Ilya Ivanych’s leather chair is only called leather, but in fact it is not that bast, not that rope: leather -there was only one piece left on the back, and the rest had already fallen into pieces and peeled off for five years ... "

Goncharov masterfully sneers at the external appearance of his hero, who so suits the situation! “How Oblomov’s home costume went to his dead features and to his pampered body! He was wearing a dressing gown made of Persian fabric, a real oriental dressing gown, without the slightest hint of Europe, without tassels, without velvet, very roomy, so that Oblomov could wrap himself in it twice. The sleeves, in the same Asian fashion, went from fingers to shoulder wider and wider. Although this dressing gown lost its original freshness and in some places replaced its primitive, natural gloss with another, acquired, it still retained the brightness of oriental color and the strength of the fabric ...

Oblomov always went home without a tie and without a vest, because he loved space and freedom. His shoes were long, soft and wide; when, without looking, he lowered his legs from the bed to the floor, he certainly hit them right away.

The situation in Oblomov's house, everything that surrounds him, bears the imprint of Oblomovka. But the hero dreams of elegant furniture, books, music, a piano - alas, he only dreams.

There is not even paper on his dusty desk, and there is no ink in the inkwell either. And they won't show up. Oblomov failed "together with dust and cobwebs from the walls, sweep the cobwebs from his eyes and see clearly." Here it is, the motif of a dusty mirror that does not reflect.

When the hero met Olga, when he fell in love with her, the dust with cobwebs became unbearable to him. “He ordered to take out some lousy paintings that some patron of poor artists imposed on him; he himself straightened the curtain, which had not been raised for a long time, called Anisya and ordered to wipe the windows, brushed away the cobwebs ... "

“Things, everyday details, the author of Oblomov characterizes not only the appearance of the hero, but also the conflicting struggle of passions, the story of growth and fall, his subtlest experiences. Illuminating feelings, thoughts, psychology in their confusion with material things, with the phenomena of the external world, which are, as it were, an image - the equivalent of the hero’s internal state, Goncharov acts as an inimitable, original artist. (N. I. Prutskov, “The Mastery of Goncharov the Novelist”, Publishing House of the Academy of Sciences of the USSR, Moscow, 1962, Leningrad, p. 99).

In the sixth chapter of the second part, details of the natural environment appear: lilies of the valley, fields, groves - “and the lilac grows near the houses, the branches climb into the windows, the smell is cloying. Look, the dew on the lilies of the valley has not yet dried up.

Nature testifies to the short awakening of the hero, which will pass just as the lilac branch withers.

The lilac branch is a detail that characterizes the peak of the hero’s awakening, as is the robe that he threw off for a while, but which he will inevitably put on at the end of the novel, repaired by Pshenitsyna, which will symbolize a return to the former, Oblomov life. This dressing gown is a symbol of Oblomovism, as is the cobweb with dust, like dusty tables and mattresses and dishes piled in disorder.

Interest in details brings Goncharov closer to Gogol. Things in Oblomov's house are described in Gogol's style.

Both Gogol and Goncharov do not have a domestic environment "for the background." All objects in their artistic world are significant and animated.

Oblomov Goncharov, like Gogol's heroes, creates a special microcosm around himself, which betrays him with his head. Suffice it to recall the Chichikov box. Life is filled with the presence of Ilya Ilyich Oblomov, Oblomovism. So the surrounding world in Gogol's "Dead Souls" is animated and active: it cuts the life of the characters in its own way, invades it. One can recall Gogol's "Portrait", in which there are a lot of everyday details, just like Goncharov's, showing the spiritual rise and fall of the artist Chartkov.

The artistic methods of Gogol and Goncharov are based on the collision of the outer and inner worlds, on their mutual influence and interpenetration.

The novel by I. A. Goncharov is read with great interest, thanks not only to the plot, love intrigue, but also due to the truth in the depiction of the details of the situation, their high artistry. The feeling when you read this novel is as if you are looking at a huge, bright, unforgettable canvas painted with oil paints, with the fine taste of a master, written out by the details of everyday life. All the dirt, the awkwardness of Oblomov's life is striking.

This life is almost static. At the moment of the hero's love, he is transformed in order to return to the former at the end of the novel.

“The writer uses two main methods of depicting the image: first, the method of a detailed sketch of the appearance, the environment; secondly, the technique of psychological analysis... Even the first researcher of Goncharov's work, N. Dobrolyubov, saw the artistic originality of this writer in uniform attention "to all the petty details of the types he reproduced and the whole way of life"... Goncharov organically combined plastically tangible paintings, distinguished by amazing external detail, with a subtle analysis of the psychology of the characters. (A.F. Zakharkin, “I.A. Goncharov’s novel “Oblomov”, State Educational and Pedagogical Publishing House, Moscow, 1963, pp. 123 - 124).

The motif of dust reappears on the pages of the novel in chapter seven of part three. This is the dusty page of a book. Olga understands from her that Oblomov did not read. He didn't do anything at all. And again the motif of desolation: “the windows are small, the wallpaper is old ... She looked at the crumpled, sewn pillows, at the mess, at the dusty windows, at the desk, went through several dusty papers, stirred the pen in a dry inkwell ...”

Throughout the novel, the ink never appeared in the inkwell. Oblomov does not write anything, which indicates the degradation of the hero. He doesn't live - he exists. He is indifferent to the inconvenience and lack of life in his house. He seemed to have died and wrapped himself in a shroud himself, when in the fourth part, in the first chapter, after a break with Olga, he watches how the snow falls and causes “large snowdrifts in the yard and on the street, as he covered firewood, chicken coops, a kennel, a garden, garden ridges how pyramids were formed from fence posts, how everything died and was wrapped in a shroud. Spiritually, Oblomov died, which echoes the situation.

On the contrary, the details of the situation in the Stoltsev house prove the vitality of its inhabitants. Everything there breathes life in its various manifestations. “Their house was modest and small. Its internal structure had the same style as the external architecture, as all the decoration bore the stamp of the thoughts and personal taste of the owners.

Here, various little things speak of life: yellowed books, and paintings, and old porcelain, and stones, and coins, and statues “with broken arms and legs,” and an oilcloth cloak, and suede gloves, and stuffed birds, and shells ...

“A lover of comfort, perhaps, would shrug his shoulders, glancing at the whole assortment of furniture, dilapidated paintings, statues with broken arms and legs, sometimes bad, but precious from memory engravings, trifles. Would the eyes of a connoisseur burn more than once with the fire of greed when looking at this or that picture, at some book yellowed by time, at old porcelain or stones and coins.

But amid this centuries-old furniture, paintings, among those that have no meaning for anyone, but marked for both of them by a happy hour, a memorable minute of trifles, in an ocean of books and notes, a warm life wafted, something irritating the mind and aesthetic feeling; everywhere there was either an unsleeping thought or the beauty of human deeds shone, just as the eternal beauty of nature shone all around.

Here I found a place and a high desk, which was the father of Andrey, suede gloves; an oilcloth cloak hung in the corner next to a cabinet with minerals, shells, stuffed birds, with samples of various clays, goods and other things. Among everything, in a place of honor, the wing of Erar shone in gold with inlay.

A net of grapes, ivy and myrtle covered the cottage from top to bottom. From the gallery one could see the sea, on the other hand, the road to the city. (While at Oblomov, snowdrifts and a chicken coop were visible from the window).

Wasn't Oblomov dreaming of such decoration when he spoke to Stolz about elegant furniture, about the piano, notes and books? But the hero did not achieve this, “did not keep up with life” and instead listened to “the crackling of the coffee mill, the galloping on the chain and the barking of the dog, the cleaning of boots by Zakhar and the measured knock of the pendulum.” In Oblomov’s famous dream, “it would seem that Goncharov simply masterfully described a noble estate, one of thousands of such in pre-reform Russia. Detailed essays reproduce the nature of this "corner", the customs and concepts of the inhabitants, the cycle of their ordinary day and all life in general. All and all manifestations of Oblomov’s life (everyday custom, upbringing and education, beliefs and “ideals”) are immediately integrated by the writer into “one image” through the “main motive” penetrating the whole picture. » silence and immobility or sleep, under the "charming power" of which are in Oblomovka and the bar, both serfs, and servants, and finally, the local nature itself. “How quiet everything is ... sleepy in the villages that make up this site,” Goncharov notes at the beginning of the chapter, then repeating: “The same deep silence and peace lie in the fields ...”; "... Silence and imperturbable calm reign in the morals of people in that region." This motif reaches its climax in the after-dinner scene "an all-consuming, invincible sleep, a true semblance of death."

Imbued with one thought, different facets of the depicted "wonderful land" thanks to this are not only united, but also generalized, acquiring the already super-everyday meaning of one of the stable - national and world - types of life. It is the patriarchal-idyllic life, the distinctive properties of which are the focus on physiological needs (food, sleep, procreation) in the absence of spiritual ones, the cyclical nature of the life circle in its main biological moments of “motherlands, weddings, funerals”, attachment of people to one place, fear of moving , isolation and indifference to the rest of the world. At the same time, Goncharov's idyllic Oblomovites are characterized by gentleness and cordiality, and in this sense, humanity. (Articles on Russian literature, Moscow State University, Moscow, 1996, V. A. Nedzvetsky, Article "Oblomov" by I. A. Goncharov, p. 101).

Oblomov's life is marked by regularity and slowness. This is the psychology of Oblomovism.

Oblomov does not have a business that would be a vital necessity for him, he will live anyway. He has Zakhar, has Anisya, has Agafya Matveevna. In his house there is everything that the master needs for his measured life.

There are a lot of dishes in Oblomov's house: round and oval dishes, gravy boats, teapots, cups, plates, pots. “Whole rows of huge, pot-bellied and miniature teapots and several rows of porcelain cups, simple, with paintings, with gilding, with mottos, with flaming hearts, with Chinese. Large glass jars with coffee, cinnamon, vanilla, crystal caddies, bowls of oil, vinegar.

Then whole shelves were cluttered with packs, flasks, boxes with homemade medicines, with herbs, lotions, plasters, spirits, camphor, with powders, with incense; there was soap, drugs for cleaning mugs, removing stains, and so on and so forth - everything that you can find in any house of any province, with any housewife.

More details of Oblomov’s abundance: “hams were hung from the ceiling so that mice, cheeses, sugar heads, loose fish, bags of dried mushrooms, nuts bought from a little girl… On the floor were tubs of butter, large covered pots with sour cream, baskets of eggs - and something was missing! You need another Homer's pen to calculate with fullness and detail everything that was accumulated in the corners, on all the shelves of this small ark of home life "...

But, despite all this abundance, there was no main thing in Oblomov's house - there was no life itself, there was no thought, everything went by itself, without the participation of the owner.

Even with the advent of Pshenitsyna, the dust did not completely disappear from Oblomov's house - it remained in the room of Zakhar, who became a beggar at the end of the novel.

Oblomov's apartment on Gorokhovaya Street and Pshenitsyna's house - everything is drawn juicy, colorful, with rare meticulousness ...

“Goncharov is reputed to be a brilliant writer of everyday life of his era. Numerous everyday paintings are habitually associated with this artist… (E. Krasnoshchekova, Oblomov by I. A. Goncharov, Khudozhestvennaya Literatura publishing house, Moscow, 1970, p. 92)

“In Oblomov, Goncharov’s ability to draw Russian life with almost painterly plasticity and tangibility was clearly manifested. Oblomovka, the Vyborg side, the St. Petersburg day of Ilya Ilyich resemble the canvases of the "small Flemings" or everyday sketches of the Russian artist P. A. Fedotov. Without rejecting the praise of his "painting", Goncharov, at the same time, was deeply upset when readers did not feel that special "music" in his novel, which ultimately penetrated the pictorial facets of the work. (Articles on Russian literature, Moscow State University, Moscow, 1996, V. A. Nedzvetsky, article "Oblomov" by I. A. Goncharov, p. 112)

“In Oblomov, the most important of the “poetic” and poetic beginnings of the work is “graceful love” itself, the “poem” and “drama” of which, in Goncharov’s eyes, coincided with the main moments in people’s lives. And even with the boundaries of nature, the main states of which in Oblomov are parallel to the birth, development, culmination, and finally, the extinction of the feelings of Ilya Ilyich and Olga Ilyinskaya. The love of the hero was born in the atmosphere of spring with a sunny park, lilies of the valley and the famous lilac branch, blossomed on a hot summer afternoon, full of dreams and bliss, then died out with autumn rains, smoking city chimneys, deserted dachas and a park with crows on exposed trees, finally broke off together with the raised bridges over the Neva and everything covered with snow. (Articles on Russian literature, Moscow State University, Moscow, 1996, V. A. Nedzvetsky, Article "Oblomov" by I. A. Goncharov, p. 111).

Describing life, I. A. Goncharov characterizes the inhabitant of the house, Oblomov, - his mental laziness and inaction. The situation characterizes the hero, his experiences.

The details of the situation in I. A. Goncharov's novel "Oblomov" are the main witnesses to the character of the hosts.

List of used literature

I. A. Goncharov, "Oblomov", Moscow, PROFIZDAT, 1995;

A. F. Zakharkin, “I. A. Goncharov’s novel “Oblomov”, State Educational and Pedagogical Publishing House, Moscow, 1963;

E. Krasnoshchekova, "Oblomov" by I. A. Goncharov, publishing house "Fiction", Moscow, 1970;

N. I. Prutskov, “The Mastery of Goncharov the Novelist”, Publishing House of the Academy of Sciences of the USSR, Moscow, 1962, Leningrad;

Articles on Russian Literature, Moscow State University, Moscow, 1996, V. A. Nedzvetsky, article "Oblomov" by I. A. Goncharov.

Roman Goncharov "Oblomov" as a very important social event. The feudal nature of Oblomovka, the spiritual world of the Oblomovites. Inactive lying, apathy and laziness Oblomov on the couch. The drama of the history of Oblomov's relationship with Olga Ilyinskaya.

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 sake of fidelity and completeness of the picture.

Features of the domestic environment as a characteristic of the landowners from the poem by N.V. Gogol "Dead Souls": Manilov, Korobochki, Nozdrev, Sobakevich, Plyushkin. Distinctive features of these estates, specificity depending on the characters of the owners described by Gogol.

An essay on whether Oblomov and Stolz, the main characters of Goncharov's novel Oblomov, should be re-educated. The author comes to the conclusion that the way of life is his purely personal matter, and re-educating Oblomov and Stolz is not only useless, but also inhumane.

Literary heritage of Alexander Vasilyevich Druzhinin. Literary and critical views of Druzhinin. A feature of Druzhinin's literary-critical view of the novel Oblomov. Artistic skill of Druzhinin-critic. Principles of "pure" art.

Interpretation of the concept of "character" in literary criticism. Ways of revealing a literary character in a work of art. The problem of character in Yu.V. Trifonov "House on the embankment". Literary analysis of the specifics of the hero in the story.

The main theme of Griboyedov's comedy "Woe from Wit" is the clash and change of two eras of Russian life. Acquaintance with the dramatic image of Sofia Famusova - at first a romantic and sentimental, and soon an irritated and vengeful Moscow young lady.

Episode analysis is a way of educating a reader capable of co-creation. Definition of the episode, its role in the plot-plot system of the work. General ideas, motives, key words that unite this episode with the next one. The peculiarity of language means.

Theory, architectonics, plot and plot of literature. Composition as an organization of plot development. M.E. Saltykov-Shchedrin is an artist of words in the field of socio-political satire. The problem of the suffering of the "little man" in the stories of M.M. Zoshchenko.

The appearance of negative and positive reviews about "Woe from Wit" by V. Belinsky. The first printed statement by N. Polevoy in the review of the almanac "Russian Taliya". Goncharov's statement is the most important stage in the development of Griboyedov's legacy by Russian criticism.

The study of Gogol's method of characterization of heroes and social structure through portrait and everyday details. The artistic world of the poem "Dead Souls". Principles of disclosing the characters of landlords. Hidden character traits of the hero. The basis of the plot of the poem.

Analysis of motifs and images of flowers in Russian literature and painting of the 19th-20th centuries. The role of flowers in ancient cults and religious rites. Folklore and biblical traditions as a source of motifs and images of flowers in literature. Flowers in the fate and creativity of the people of Russia.

Goncharov is one of the creators of the classic Russian novel with its epic breadth and drama of human destinies. The idealization of the old truth and its opposition to the lies of the Famusovs and Volokhovs in the trilogy "Ordinary History", "Oblomov" and "Cliff".

Meeting with A.P. Kern: "I remember a wonderful moment." Poems dedicated to E.K. Vorontsova ("Talisman", "Keep me, my talisman", "Burned letter", "Night"). The beginning of work on "Eugene Onegin": the image of a Russian woman. Poems dedicated to the Hound...

The ideal and practical world of the Russian estate in the works of A.N. Tolstoy "Childhood of Nikita" and "Anna Karenina". Description of the Russian estate in the "Ordinary History" by I.A. Goncharova. "The Cherry Orchard" and "A House with a Mezzanine" by A.P. Chekhov: the decline of the Russian estate.

Display of Russian reality in the works of I.A. Goncharova. Way of life in pre-reform Russia. Noble estate as a symbol of patriarchal Russia. Post-reform Russia in the novel by I.A. Goncharov "The Break".

Creative history of Gogol's poem "Dead Souls". Traveling with Chichikov around Russia is a great way to get to know the life of Nikolaev Russia: a road trip, city sights, living room interiors, business partners of a clever acquirer.

Comparison of the concept of "Oblomovism" in the criticism of Russian literature of the last century and in the modern world. Features of "Oblomovism" as a social phenomenon, its causes and consequences. Analysis of modern linguistic phenomena generated by this concept.

Biography of the writer. The novel "Ordinary History" brought the writer real recognition. The multidimensionality of the author's position and the sophistication of psychological analysis. Oblomov and Oblomovism. The tense conflict background of the novel "The Precipice".

The historical path of development of Russian literature in the context of the socio-political life of the country in the 40-80s. Reflection of the contradiction between the spiritual strength of the people and its slavish position in the works of Turgenev. Feature of the narrative manner of Goncharov.

The country is also known for its scientific developments. Russian literature is known all over the world. One of the brightest representatives of Russian literature is Ivan Goncharov.

The novel by I. A. Goncharov "Oblomov" was studied in various aspects, from different points of view by many literary critics. Indeed, this novel is multifaceted, as it raises many problems, not only from Russian life in the 50s of the XIX century, but also the problem of "extra people", questions of true love and true friendship - all this and much more is reflected in the novel. In this work, we will consider the novel
I. A. Goncharova "Oblomov" from the point of view of the objective world depicted in it. And this is not accidental - after all, Goncharov is a recognized master of detail - so, any, at first glance, insignificant everyday detail, not only in the novel "Oblomov", but also in his other works, acquires its own special meaning. Usually everyday details are depicted to create the "color of the era", and this point of view prevails in many works devoted to the study of literary works.
Even before Goncharov, writers turned to showing the everyday life of the landowners. S. T. Aksakov in his autobiographical trilogy “Family Chronicle”, “Childhood of Bagrov the Grandson” describes in detail the world of the landlords. However, the lordly life as a whole is revealed by the writer through a poetic prism, in a clearly poetic tone.
In many works of writers of the second half of the 50s of the XIX century ("Mumu" by Turgenev, etc.), the essence of serfdom, the cruelty and selfishness of the landlords were revealed. But only A. I. Goncharov in the novel "Oblomov" with such breadth reveals the theme of the impoverishment and degradation of the nobility, so relevant for his time. This process, first described in the 1940s by N.V. Gogol, Goncharov shows in a deeply social plane. No one before Goncharov showed so widely and deeply what a detrimental effect an inactive life has on the spiritual world.

The objective world in the novel by I. A. Goncharov "Oblomov"

In the novel Oblomov, the reader traces how the living conditions in which Oblomov grew up, his upbringing give rise to lack of will, apathy, and indifference in him. “I tried to show in Oblomov,” Goncharov wrote to S. A. Nikitenko on February 25, 1873, “how and why our people turn ahead of time into ... jelly - climate, environment, stretch - backwoods, drowsy life - and everything is private, individual every circumstance." And it’s not a secret, we add on our own behalf, that not only upbringing, the social environment influence the formation of a person’s personality - the way of life, the environment surrounding a person throughout his life, equally, if not to a greater extent, influence the character and worldview of a person; and this influence is especially strongly felt in childhood. It is no coincidence, therefore, that Oblomov's life is traced by the writer from the age of seven to his death, covering a 37-year period. In "Oblomov's dream", the writer created an amazing picture of landowner life in terms of brightness and depth. Patriarchal morals, the subsistence economy of the landowner, the absence of any spiritual interests, peace and inactivity - this is what surrounded Ilya Ilyich from childhood, this is what determined the phenomenon called by the writer "Oblomovism". But it's no secret that it is in childhood that the main traits of a person's character are laid. Social, as well as everyday environment, have a huge impact on the character and worldview of a person.
Introducing the reader to his hero lying in a house on Gorokhovaya Street, the writer also notes the attractive features of his character: softness, simplicity, generosity and kindness. At the same time, from the first pages of the novel, Goncharov also shows the weaknesses of Oblomov's personality - apathy, laziness, "the absence of any specific goal, any concentration ...". The author surrounds his hero with objects (shoes, dressing gown, sofa) that accompany him throughout his life and symbolize Oblomov's immobility and inaction. If we set out to create a museum of a literary hero, then such an environment should be created in it:
The room where Ilya Ilyich lay seemed at first glance to be beautifully decorated. There was a bureau of mahogany, two sofas upholstered in silk, beautiful screens embroidered with birds and fruits unknown in nature. There were silk curtains, carpets, a few paintings, bronzes, porcelain, and many beautiful little things.
But the experienced eye of a man of pure taste, with one glance
to everything that was here, I would have read only a desire to somehow maintain the decorum of inevitable propriety, if only to get rid of them. Oblomov, of course, only bothered about this when he cleaned his office. Refined taste would not be satisfied with these heavy, ungraceful mahogany chairs, wobbly bookcases. The back of one sofa sank down, the pasted wood lagged behind in places.
Exactly the same character was worn by paintings, and vases, and trifles.
The owner himself, however, looked at the decoration of his office so coldly and absently, as if asking with his eyes: “Who dragged and instructed all this here?” From such a cold view of Oblomov on his property, and perhaps even from a colder view of the same object of his servant, Zakhar, the appearance of the office, if you look there more and more closely, struck by the neglect and negligence that prevailed in it.

On the walls, near the paintings, cobwebs saturated with dust were molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets for writing on them, through the dust, some notes for memory. Carpets were stained. There was a forgotten towel on the sofa; on the table, a rare morning, there was not a plate with a salt shaker and a gnawed bone that had not been removed from yesterday's dinner, and there were no bread crumbs lying around.
As you can see, Oblomov's apartment was more of a warehouse of unnecessary things than a living space. With this picture, or subject environment, Goncharov emphasizes that Oblomov, perhaps even himself feels like an “extra person”, taken out of the context of rapid progress. It is no coincidence that Dobrolyubov called Oblomov "an extra person, reduced from a beautiful pedestal to a soft sofa."
Oblomov is almost always inactive. The environment, life are designed to emphasize the inactivity and apathy of the hero. “The appearance of the office,” writes Goncharov, “struck with the neglect and negligence that prevailed in it.” Heavy, gaudy chairs, wobbly bookcases, the back of a sofa sagging down with peeling wood, cobwebs hanging near the paintings in the form of festoons, a mirror covered with a layer of dust, stained carpets, plates with gnawed bones standing from yesterday's dinner, two or three books covered with dust , an inkwell in which flies live - all this expressively characterizes Oblomov, his attitude to life.

Oblomov would not exchange a large sofa, a comfortable dressing gown, soft shoes for anything - after all, these items are an integral part of his lifestyle, a kind of symbol of this Oblomov lifestyle, parting with which, he will cease to be himself. All the events of the novel, in one way or another affecting the course of the hero's life, are given in comparison with his objective environment. Here is how Goncharov describes the role these objects play in Oblomov's life:
“On the sofa, he experienced a feeling of peaceful joy that he could stay on his sofa from nine to three, from eight to nine, and was proud that he did not have to go with a report, write papers, that there was scope for his feelings and imagination.”

Life authenticity is achieved by the fact that the character of Oblomov is given in development. In this regard, the ninth chapter is very important - "Oblomov's Dream", where the picture of the hero's childhood is recreated, the life of Oblomovka is shown - the conditions that formed the worldview and character of the hero. Goncharov describes one day in Oblomovka as follows: “Everything in the village is quiet and sleepy: the silent huts are wide open; not a soul is visible; only flies fly in clouds and buzz in stuffiness. Against this background, Oblomovites are depicted - indifferent people who do not know that somewhere there are cities, a different life, etc. The owner of the village, the old man Oblomov, leads the same sluggish, meaningless life. Goncharov describes Oblomov's life with irony: Oblomov himself, the old man, is also not without work. He sits at the window all morning and strictly observes everything that is happening in the yard. - Hey, Ignashka? What are you talking about, you fool? - he will ask a man walking through the yard.
- I'm bringing knives to sharpen in the human, - he answers, without looking at the master.
- Well, bring it, bring it, but it’s good, look, sharpen it!
Then he stops the woman:
- Hey, grandma! Woman! Where did you go?
- To the cellar, father, - she said, stopping, and, covering her eyes with her hand, looked at the window, - to get milk to the table.
- Well go, go! - answered the barin. - Look, don't spill the milk. - And you, Zakharka, shooter, where are you running again? - shouted then. - I'll let you run! I see that you are running for the third time. Went back to the hallway!
And Zakharka went back to doze in the hallway.
If the cows come from the field, the old man will be the first to see that they are watered; If he sees from the window that the cur is chasing a chicken, he will immediately take strict measures against disorder.
Lazy crawling from day to day, inactivity, lack of life goals - this is what characterizes the life of Oblomovka. By creating a collective image of Oblomovka, Goncharov, as already noted, depicts an environment that leaves an indelible imprint on everyone it touches. The dilapidated gallery is still not being repaired, the bridge over the ditch has rotted. And Ilya Ivanovich talks only about repairing the bridge and the wattle fence. However, he sometimes acts: “Ilya Ivanovich extended his caring even to the point that one day, walking in the garden, he personally lifted, groaning and groaning, the wattle fence and ordered the gardener to put two poles as soon as possible: thanks to this Oblomov’s diligence, the wattle fence stood like that all summer, and only in winter it was covered with snow again.
Finally, it even got to the point that three new boards were laid on the bridge, immediately, as soon as Antip fell off it, with a horse and a barrel, into a ditch. He had not yet had time to recover from a bruise, and the bridge was finished almost anew.
In Oblomovka, literally everything is in desolation. Laziness and greed are the distinguishing features of its inhabitants: “Not everyone will light two candles: a candle was bought in the city with money and was protected, like all purchased things, under the key of the hostess herself. Cinders were carefully counted and hidden.
In general, they did not like to spend money there, and, no matter how necessary a thing was, the money for it was always issued with great condolence, and even if the cost was insignificant. A significant waste was accompanied by groans, cries and abuse.
The Oblomovites agreed to endure any kind of inconvenience better, they even got used to not considering them as inconveniences, than to spend money.
From this, the sofa in the living room has long been all stained, from this the leather armchair of Ilya Ivanych is only called leather, but in fact it is not that bast, not that rope: there is only one scrap of leather left on the back, and the rest has already fallen to pieces for five years and peeled off; That's why, perhaps, the gates are all crooked, and the porch is tottering. But to pay for something, even the most necessary, suddenly two hundred, three hundred, five hundred rubles seemed to them almost suicide.
In Oblomovka - subsistence farming - every penny counts. The Oblomovites knew the only way to save capital - to keep them in a chest.
Goncharov shows the life of the Oblomovites as flowing "like a dead river." External pictures of the manifestation of their lives are presented idyllically. Description of Oblomovka. Goncharov, like Turgenev, said the "sepulchral word" to the noble nests. Both estates are dominated by patriarchal orders that leave an indelible imprint on their inhabitants. The Lavretsky estate differs significantly from Oblomovka - everything is poetic there, it testifies to a high culture. There is none of this in Oblomovka.
Oblomov turns out to be incapable of the simplest thing, he does not know how to improve his estate, he is not fit for any service, any rogue can deceive him. He is afraid of any change in life. “Go ahead or stay? This Oblomov's question was deeper than Hamlet's for him. To go forward means suddenly to throw off a wide robe not only from the shoulders, but also from the soul, from the mind; together with dust and cobwebs from the walls, sweep the cobwebs from your eyes and see clearly! As you can see, here the subject details are important for Oblomov - both the dressing gown and the cobwebs on the walls - all this personifies Oblomov's lifestyle, his worldview, and to part with these attributes of his life means for Oblomov to lose himself.

Then a natural question arises: if Oblomov did not have the ability to work, maybe his personal life flowed like a stormy river? Nothing happened. Only in the first years of his life in St. Petersburg, “his dead features revived more often, his eyes shone with the fire of life for a long time, rays of light, hope, strength poured from them. In those distant times, Oblomov noticed passionate glances and promising smiles of beauties on himself. But he did not get close to women, cherishing peace, and limited himself to worship from a distance at a respectful distance.
The desire for peace determined Oblomov's life views - any activity means boredom for him. With his inability to work, Oblomov is close to the type of "extra person" - Onegin, Pechorin, Rudin, Beltov.
At the end of the first part, Goncharov raises the question of what will win in Oblomov: vital, active principles or sleepy “Oblomovism”? In the second part of the novel, Oblomov was shaken up by life. He perked up. However, even at this time, an internal struggle takes place in him. Oblomov is afraid of the bustle of the city, looking for peace and quiet. And the personification of peace and silence again becomes: a cozy apartment and a comfortable sofa: Ilya Ilyich admits to Stolz that only Ivan Gerasimovich, his former colleague, he feels calm
- He has, you know, somehow freely, comfortably in the house. The rooms are small, the sofas are so deep: you will leave with your head and not see a person. The windows are completely covered with ivy and cacti, more than a dozen canaries, three dogs, so kind! The snack does not leave the table. The engravings all depict family scenes. You come and you don't want to leave. You sit without worrying, without thinking about anything, you know that there is a person near you ... of course, unwise, there is nothing to think about exchanging ideas with him, but simple, kind, hospitable, without pretensions and will not stab you behind the eyes! - What are you doing? - What? Here I come, sit opposite each other on sofas, with legs; he smokes...

This is Oblomov's life program: the enjoyment of peace, silence. And the objects surrounding Oblomov are all designed exclusively for this purpose: the sofa, the dressing gown, and the apartment; and, characteristically, objects intended for activity, for example, an inkwell, are inactive and completely unnecessary to Oblomov.

Olga's love temporarily transformed Oblomov. He parted with the usual way of life, became active. Feeling for Olga fills his entire being, and he cannot return to his habits. And again, Goncharov shows this change in his hero through his objective environment, and, in particular, in Oblomov's attitude to his dressing gown:
From that moment on, Olga's persistent gaze did not leave Oblomov's head. In vain did he lie down on his back to his full height, in vain did he take the most lazy and calm poses - he could not sleep, and that was all. And the dressing gown seemed disgusting to him, and Zakhar was stupid and unbearable, and the dust with cobwebs was unbearable.
He ordered some wretched pictures to be taken out, which some patron of poor artists had imposed on him; he straightened the curtain himself, which had not been raised for a long time, called Anisya and ordered to wipe the windows, brushed off the cobwebs, and then lay down on his side and thought about Olga for an hour.

Compare also the episode when Oblomov declares his love:
- I love! Oblomov said. - But you can love your mother, father, nanny, even a dog: all this is covered by the general, collective concept of “I love”, like the old one ...
- Robe? she said, laughing. - A propos, where is your robe?
- What robe? I didn't have any.
She looked at him with a reproachful smile.
- Here you are about the old dressing gown! - he said. - I'm waiting, my soul froze with impatience to hear how a feeling breaks from your heart, what name will you call these impulses, and you ... God be with you, Olga! Yes, I am in love with you and I say that without this there is no direct love: one does not fall in love with a father, mother, or nurse, but love them ...
In my opinion, in this episode it is especially clearly seen how Oblomov decides to abandon his former habits and rejects such an important attribute of his former life as an old dressing gown.

But even in this aspect, "Oblomovism" won. Everything happened exactly as Olga asked about it:
“And if,” she began with a burning question, “you get tired of this love, just as you are tired of books, of service, of the world; if over time, without a rival, without another love, you suddenly fall asleep next to me, as on your sofa, and my voice does not wake you; if the tumor near the heart goes away, even if not another woman, but your dressing gown will be more dear to you? ..
- Olga, it's impossible! he interrupted with displeasure, moving away from her.
And, as the further development of events in the novel shows, not even another woman (Pshenitsyna), but the former cozy, calm way of life becomes dearer to Oblomov than love.

The irresistible laziness and apathy inherent in Oblomov found fertile ground in Pshenitsyna's house. Here "there are no urges, no demands."
Goncharov conveys the turning points in the life of the hero with the subject detail. So, in the XII chapter of the third part, the writer forces Zakhar to dress him in a dressing gown, washed and mended by the hostess. The robe here symbolizes a return to the old Oblomov life.
“I also got your dressing gown out of the closet,” she continued, “it can be mended and washed: the matter is so nice!” He will last a long time.
- In vain! I don't wear it anymore, I'm behind, I don't need it.
- Well, anyway, let them wash it: maybe you will put it on someday ... for the wedding! she said, smiling and slamming the door.

Even more characteristic in this sense is the scene when Ilya Ilyich returns home and is sincerely surprised at the reception given to him by Zakhar:

Ilya Ilyich almost did not notice how Zakhar undressed him, pulled off his boots and threw on him - a dressing gown!
- What is it? - he asked only, looking at the dressing gown.
- The hostess brought it today: they washed and repaired the dressing gown, - said Zakhar.
Oblomov both sat down and remained in the chair.

This seemingly quite ordinary object detail becomes an impetus for the hero's emotional experiences, becomes a symbol of a return to the former life, the former order. Then in his heart “life stopped for a while”, perhaps from the realization of his worthlessness and uselessness ...

Everything fell into sleep and darkness around him. He sat leaning on his arm, did not notice the gloom, did not hear the chime of the clock. His mind was drowned in a chaos of ugly, obscure thoughts; they rushed like clouds in the sky, without purpose and without communication - he did not catch a single one. The heart was killed: there for a while life calmed down. The return to life, to order, to the correct flow of the accumulated pressure of vital forces was carried out slowly.

As for Oblomov's "business qualities", they are also revealed through the objective world. So, in the aspect of reorganizing the estate, as well as in his personal life, “Oblomovism” won - Ilya Ilyich was afraid of Stolz’s proposal to lead a highway to Oblomovka, build a pier, and open a fair in the city. Here is how the author draws the objective world of this rearrangement:
- Oh my god! Oblomov said. - This is still missing! Oblomovka was in such a lull, on the sidelines, and now the fair, the big road! The peasants will get used to the city, merchants will be dragged to us - everything is gone! Trouble! …
- How is it not a problem? Oblomov continued. - The peasants were so-so, nothing is heard, neither good nor bad, they do their job, they don’t reach for anything; and now they are corrupted! There will be teas, coffees, velvet pants, harmonicas, oiled boots... it won't do any good!
- - Yes, if this is so, of course, it is of little use, - Stolz remarked ... - And you start a school in the village ...
- Is not it too early? Oblomov said. - Literacy is harmful to a peasant: teach him, so he, perhaps, will not plow ...

What a striking contrast with the world surrounding Oblomov: silence, a comfortable sofa, a cozy bathrobe, and suddenly - oily boots, pants, harmonicas, noise, din ...

The happy days of friendship with Olga are irretrievably gone, consigned to oblivion. And Goncharov conveys this with a landscape, a subject detail that has grown to a symbol:

Snow, snow, snow! - he repeated senselessly, looking at the snow, which covered the fence, wattle fence and ridges in the garden with a thick layer. - I fell asleep! - then he whispered desperately, went to bed and fell into a leaden, bleak sleep.

Wrapped in a snowy shroud and his dreams of a different life perished.

Goncharov skillfully uses another recurring subject detail - a lilac branch. The lilac branch embodies the beauty that blossomed in the souls of Olga and Oblomov.
So, the scene of the meeting after the first declaration of love begins with the fact that after the words of greeting "she silently picked a lilac branch and sniffed it, covering her face and nose."
- Smell how good it smells! - she said and closed her nose to him too.
- And here are the lilies of the valley! Wait a minute, I'll cut it, - he said, bending down to the grass, - they smell better: fields, groves; more nature. And the lilac is growing all around the house, the branches are climbing into the windows, the smell is cloying. Look, the dew on the lilies of the valley hasn't dried yet.
He brought her some lilies of the valley.
- Do you like mignonette? she asked.
- No: it smells very strongly; I don't like mignonette or roses. Yes, I don't like flowers at all.
Thinking that Olga is angry with his confession, Oblomov says to Olga, who lowered her head and sniffed flowers:
She walked with her head bowed and smelling the flowers.
"Forget it," he continued, "forget it, especially since it's not true...
- Not true? she suddenly repeated, straightening up and dropping the flowers.
Her eyes suddenly opened wide and flashed with amazement.
- How not true? she repeated again.
- Yes, for God's sake, don't get angry and forget...

And Ilya Ilyich understood this movement of the girl's heart. He came the next day with a branch of lilac:
- What do you have? she asked.
- Branch.
- What branch?
- You see: lilac.
- Where did you get it? There is no lilac where you went.
- You ripped it off and threw it away just now.
- Why did you pick it up?
- So, I like that you ... abandoned her with annoyance.

The lilac branch revealed a lot to Olga. Goncharov illustrates this with the following episode: a week later, Ilya Ilyich met Olga in the park at the place where a lilac branch had been plucked and thrown. Now Olga was sitting peacefully and embroidering ... a lilac branch.
In episodes with a lilac branch, Goncharov perfectly conveys the confusion of Oblomov's soul. In his dreams, the hero pictured to himself stormy love, Olga's passionate impulses. But then he corrected himself: “... passion must be limited, strangled and drowned in marriage! ..”
Ilya Ilyich wants to love without losing peace. Olga wants something else from love. Taking a lilac branch from Olga's hands, Oblomov says, looking at the branch:

He suddenly resurrected. And she, in turn, did not recognize Oblomov: the foggy, sleepy face instantly changed, her eyes opened; the colors played on the cheeks; thoughts moved; his eyes sparkled with desire and will. She, too, clearly read in this mute play of faces that Oblomov instantly had the goal of life.
“Life, life opens up to me again,” he said as if in a delirium, “here it is, in your eyes, in a smile, in this branch, in “Casta diva” ... everything is here ...
She shook her head.
- No, not all ... half.
- The best.
“Perhaps,” she said.
- Where is the other one? What else after that?
- Search.
- Why?
- So as not to lose the first, - she finished, gave him her hand, and they went home.
He then with delight, furtively cast a glance at her head, at the camp, at the curls, then he squeezed a branch.
In this episode, Olga hints to Oblomov that you need to look for the purpose of life, you need to be active. And, it would seem, an insignificant branch of lilac in the artistic fabric of the novel has become symbolic. How much she tells the reader!
The writer refers to the symbolic branch of lilac more than once. For example, in the scene of Oblomov's explanation with Olga in the same garden, after several days of separation, after the hero's letter about the need to "break off relations." Seeing Olga crying, Oblomov is ready to do everything to make amends for the mistake, the guilt:

Well, if you don't want to say, give me a sign... a lilac branch...
- Lilacs ... moved away, disappeared! she answered. - There, see what remained: faded!
- Move away, faded! he repeated, looking at the lilacs. And the letter has gone! he suddenly said.
She shook her head negatively. He followed her and talked to himself about the letter, about yesterday's happiness, about the faded lilac.

But it is characteristic that, having made sure of Olga's love and calmed down, Oblomov "yawned at the top of his lungs." A vivid illustration of the feelings experienced by the hero can be such a picture described by Goncharov, in which, in my opinion, Oblomov's attitude to love, and indeed to life in general, was reflected:

“Indeed, the lilacs wither! he thought. - Why this letter? Why didn't I sleep all night, wrote in the morning? Now, how it has become calm again in my soul ... (he yawned) ... I feel terribly sleepy. And if there had been no letter, and none of this would have happened: she would not have cried, everything would have been the same as yesterday; we would sit quietly right there in the alley, look at each other, talk about happiness. And today it would be the same, and tomorrow...” He yawned at the top of his lungs.

The fourth part of the novel is devoted to the description of the "Vyborg Oblomovism". Oblomov, having married Pshenitsyna, descends, more and more plunges into hibernation. Dead peace reigned in the house: "Peace and silence - writes Goncharov - rest on the Vyborg side." And here the house is a full bowl. And not only Stolz, but also Oblomov, everything here reminds Oblomovka. The writer more than once draws a parallel between life on Vyborgskaya and Oblomov's way of life. Ilya Ilyich “more than once dozed off under the hiss of a thread being threaded and the crackling of a bitten off thread, as happened in Oblomovka.”
“I also got your dressing gown out of the closet,” she continued, “it can be mended and washed: the matter is so nice!” He will serve for a long time - says Agafya Matveevna.
Oblomov refuses him. But then, after parting with Olga, he again puts on a dressing gown, washed and ironed by Pshenitsyna.
The Stoltsy try to save Oblomov, but they are convinced that this is impossible. And two years later, Oblomov dies from a stroke. As he lived imperceptibly, so he died:
eternal silence and lazy crawling from day to day quietly stopped the machine of life. Ilya Ilyich died, apparently, without pain, without torment, as if a clock that had been forgotten to start had stopped.

The objective world in the novel "Oblomov"

In the novel "Oblomov" we trace how the conditions of life in which Oblomov grew up, his upbringing give rise to lack of will, apathy, and indifference in him. “I tried to show in Oblomov,” Goncharov wrote to S. A. Nikitenko on February 25, 1873, “how and why our people turn prematurely into ... jelly - climate, environment, stretch - backwoods, drowsy life - and everything is private, individual every circumstance." (10) And it’s not a secret, we add on our own behalf, that not only upbringing, the social environment influence the formation of a person’s personality - the way of life, the environment surrounding a person throughout his life, equally, if not to a greater extent, influence the character and worldview of a person; and this influence is especially strongly felt in childhood. In "Oblomov's dream", the writer created an amazing picture of landlord life in terms of brightness and depth. Patriarchal morals, subsistence economy of the landowner, the absence of any spiritual interests, peace and inactivity - eternal peace - that's what surrounded Ilya Ilyich from childhood, that's what Oblomovism is. But it's no secret that it is in childhood that the main traits of a person's character are laid. Social, as well as everyday environment, have a huge impact on the character and worldview of a person.

Introducing us to his hero, who lies in a house on Gorokhovaya Street, the writer also notes the attractive features of his character: gentleness, simplicity, generosity and kindness. At the same time, from the first pages of the novel, Goncharov also shows the weaknesses of Oblomov's personality - apathy, laziness, "the absence of any specific goal, any concentration ...". (10) The author surrounds his hero with objects (shoes, dressing gown, sofa) that accompany him throughout his life and symbolize Oblomov's immobility and inaction. If we set out to create a museum of a literary hero, then such an environment should be created in it:

“The room where Ilya Ilyich lay, at first glance seemed beautifully decorated. There was a bureau of mahogany, two sofas upholstered in silk, beautiful screens embroidered with birds and fruits unknown in nature. There were silk curtains, carpets, a few paintings, bronzes, porcelain, and many beautiful little things.

But the experienced eye of a man of pure taste, with one cursory glance at everything that was here, would read only a desire to somehow maintain the decorum of inevitable decorum, if only to get rid of them. Oblomov, of course, only bothered about this when he cleaned his office. Refined taste would not be satisfied with these heavy, ungraceful mahogany chairs, wobbly bookcases. The back of one sofa sank down, the pasted wood lagged behind in places.

Exactly the same character was worn by paintings, and vases, and trifles.

The owner himself, however, looked at the decoration of his office so coldly and absently, as if asking with his eyes: “Who dragged and instructed all this here?” From such a cold view of Oblomov on his property, and perhaps even from a colder view of the same object of his servant, Zakhar, the appearance of the office, if you look there more and more closely, struck by the neglect and negligence that prevailed in it. (ten)

As you can see, Oblomov's apartment was, rather, a warehouse of unnecessary things, where a person's foot had not set foot for a long time, rather than a living space. With this picture, or subject environment, Goncharov emphasizes that Oblomov, perhaps even himself feels like an “extra person”, taken out of the context of rapid progress. It is no coincidence that Dobrolyubov called Oblomov "an extra person, reduced from a beautiful pedestal to a soft sofa." (17)

The dressing gown, perhaps, is one of the main characteristics of "Oblomovism" in general and Oblomov in particular. This is a cross-cutting image-symbol of the novel, this is not a private detail of descriptions and characteristics, but an artistic detail that becomes the center of the composition of the image. Like the “Oblomovism” mentioned above, the Oblomov dressing gown has become a household term used to refer to the personal concept of “Oblomovism”, genetically associated with it. However, unlike the "Oblomovism", which was a special creative find of Goncharov, the image of the dressing gown, which became a symbol of Oblomov's character, has its own source. If the functional role of the image of Oblomov's robe (typifying, characterological, etc.) has been considered many times in criticism and in scientific literature (recall A.V. Druzhinin's article about Oblomov, in which he admired the truly Flemish extravagance of details in this work), so far no one has paid attention to his literary source. Oblomov's robe is a symbol equivalent to the hero's spiritual state. This is the "infinite sign" that is created by the relationship of text and context and can have an infinite number of meanings. A symbol is an object and a means of depiction at the same time, it is the unity of meaning and image. Oblomov's dressing gown is a component of Oblomov's image-symbol, his genetic "code". In this sense, the image-symbol of the robe is "finite and infinite" at the same time.

Oblomov is almost always inactive. The environment, everyday life are designed to emphasize the inactivity and apathy of the hero, to symbolically reflect everything that happened in reality. “The appearance of the office,” writes Goncharov, “struck with the neglect and carelessness that prevailed in it.” (10) Heavy, gaudy chairs, wobbly bookcases, sagging back of a sofa with peeling wood, scalloped cobwebs hanging near paintings, a dusty mirror, stained carpets, plates with gnawed bones left from yesterday's dinner, two or three books covered with dust, an inkwell in which flies live - all this expressively characterizes Oblomov, his attitude to life. (ten)

“On the sofa, he experienced a feeling of peaceful joy that he could stay on his sofa from nine to three, from eight to nine, and was proud that he did not have to go with a report, write papers, that there was scope for his feelings and imagination.” (ten)

“Oblomov himself, the old man, is also not without work. He sits at the window all morning and strictly observes everything that is happening in the yard.

Hey Ignashka? What are you talking about, you fool? - he will ask a man walking through the yard.

I'm bringing knives to sharpen in the human room, - he answers, without looking at the master.

Well, bring it, bring it, yes, well, look, sharpen it!

Then he stops the woman:

Hey grandma! Woman! Where did you go?

To the cellar, father, - she said, stopping, and, covering her eyes with her hand, looked at the window, - to get milk to the table.

Well go, go! - answered the barin. - Look, don't spill the milk. - And you, Zakharka, shooter, where are you running again? - shouted then. - I'll let you run! I see that you are running for the third time. Went back to the hallway!

And Zakharka went back to doze in the hallway.

If the cows come from the field, the old man will be the first to see that they are watered; If he sees from the window that the cur is chasing a chicken, he will immediately take strict measures against disorder. (ten)

Lazy crawling from day to day, inactivity, lack of life goals - this is what characterizes the life of Oblomovka. By creating a collective image of Oblomovka, Goncharov, as already noted, depicts an environment that leaves an indelible imprint on everyone it touches. The dilapidated gallery is still not being repaired, the bridge over the ditch has rotted. And Ilya Ivanovich talks only about repairing the bridge and the wattle fence. However, it sometimes works:

“Ilya Ivanovich extended his caring even to the point that one day, walking in the garden, he personally lifted, groaning and groaning, the wattle fence and ordered the gardener to put two poles as soon as possible: thanks to this Oblomov’s diligence, the wattle fence stood like that all summer, and only in winter it fell with snow again .

Finally, it even got to the point that three new boards were laid on the bridge, immediately, as soon as Antip fell off it, with a horse and a barrel, into a ditch. He had not yet had time to recover from a bruise, and the bridge was finished almost anew. (ten)

In Oblomovka, literally everything is in disrepair. Laziness and greed are the hallmarks of its inhabitants:

“Not everyone will light even two candles: a candle was bought in the city with money and was guarded, like all purchased things, under the key of the hostess herself. Cinders were carefully counted and hidden.

In general, they did not like to spend money there, and, no matter how necessary a thing was, the money for it was always issued with great condolence, and even if the cost was insignificant. A significant waste was accompanied by groans, cries and abuse.

The Oblomovites agreed to endure any kind of inconvenience better, they even got used to not considering them as inconveniences, than to spend money.

From this, the sofa in the living room has long been all stained, from this the leather armchair of Ilya Ivanych is only called leather, but in fact it is not that bast, not that rope: there is only one scrap of leather left on the back, and the rest has already fallen to pieces for five years and peeled off; That's why, perhaps, the gates are all crooked, and the porch is tottering. But to pay for something, even the most necessary, suddenly two hundred, three hundred, five hundred rubles seemed to them almost suicide. (ten)

In Oblomovka - subsistence farming and therefore every penny counts. The Oblomovites knew the only way to save capital - to keep them in a chest. (one)

Goncharov shows the life of the Oblomovites as flowing "like a dead river." External pictures of the manifestation of their lives are presented idyllically. Description of Oblomovka. Goncharov, like Turgenev, said the "sepulchral word" to the noble nests. Both estates are dominated by patriarchal orders that leave an indelible imprint on their inhabitants. The Lavretsky estate differs significantly from Oblomovka - everything is poetic there, it testifies to a high culture. There is none of this in Oblomovka.

Oblomov turns out to be incapable of the simplest thing, he does not know how to improve his estate, he is not fit for any service, any rogue can deceive him. He is afraid of any change in life. "Go ahead or stay?" - this Oblomov's question was deeper for him than Hamlet's "to be or not to be?" and Chernyshevsky "what to do?". To go forward means suddenly to throw off a wide robe not only from the shoulders, but also from the soul, from the mind; together with dust and cobwebs from the walls, sweep the cobwebs from your eyes and see clearly!

Entirely and completely the image of a birch grove in the novel "Oblomov" is linked with the image of its main character. Being engaged in "development of the plan of the estate", Ilya Ilyich imagines "how he sits on a summer evening on the terrace, at the tea table ...". In the distance, "the fields turn yellow, the sun sets behind the familiar birch forest and blushes the pond, smooth as a mirror...". Drawing the ideal of his life in the village in front of Stolz, our dreamer says: “Then, when the heat subsides, they would send a cart with a samovar, with dessert, to a birch grove ...”. Or here is an episode from life on the Vyborg side: “Then they began to plant vegetables in the garden; various holidays came, trinity, semik, the first of May; all this was marked by birch trees, wreaths: they drank tea in the grove. Nothing special seems to be said about the birch. But the very word "birch" is placed in a syntactically verified context, smelling of herbs, breathing comfort, family principles, immersed in the sweetness of Russian speech, and therefore it exudes imagery. Well, how well it is said: "how the heat will bring down." Andrei Stolz appreciates in Oblomov "a pure, bright and good beginning", his "eternally trusting heart". He is often drawn to escape "from the bright crowd" and calm his "alarmed or tired soul" by talking with Oblomov on his "wide sofa." And at the same time, to experience the feeling as if he, Stolz, returned "from the beauties of southern nature to the birch grove, where he walked as a child." But why is everything that is best in Oblomov compared precisely with a birch grove, why does the writer decorate Ilya Ilyich’s dreams with it? After all, Goncharov could not stand prettiness, and even more so hackneyed comparisons and clichés?

Looking through the anthologies of poetry of the late 18th - early 19th centuries, we noticed one curious feature: the poets did not seem to notice the birch. Oaks, oak forests, oak trees, olives, laurels reign in their poems; lindens rustle, willows bend, pines turn green; palm trees, cypresses, myrtle trees - everything is there, except for birch. In any case, she is a rarity. The birch is remembered in the “Russian Song” by N. Ibragimov:

Goncharov saw birch as an integral tree of Russian life, peasant life, ritual rituals, labor and relaxation. The word itself was still primordially glowing and had some now forgotten, lost meaning, connecting it with native penates. It seems that one can feel this when reading the poem "Birch" by P. Vyazemsky. It was written in 1855.

As you can see, here, too, the subject details are important for Oblomov - both the dressing gown and the cobwebs on the walls - all this personifies Oblomov's lifestyle, his worldview, and to part with these attributes of his life means for Oblomov to lose himself.

The desire for peace determined Oblomov's life views - any activity means boredom for him. With his inability to work, Oblomov is close to the type of "extra person" - Onegin, Pechorin, Rudin, Beltov.

At the end of the first part, Goncharov raises the question of what will win in Oblomov: vital, active principles or sleepy “Oblomovism”? In the second part of the novel, Oblomov was shaken up by life. He perked up. However, even at this time, an internal struggle takes place in him. Oblomov is afraid of the bustle of the city, looking for peace and quiet. And the personification of peace and silence again becomes: a cozy apartment and a comfortable sofa: Ilya Ilyich admits to Stolz that only Ivan Gerasimovich, his former colleague, he feels calm:

“He has, you know, somehow freely, comfortably in the house. The rooms are small, the sofas are so deep: you will leave with your head and not see a person. The windows are completely covered with ivy and cacti, more than a dozen canaries, three dogs, so kind! The snack does not leave the table. The engravings all depict family scenes. You come and you don't want to leave. You sit without worrying, without thinking about anything, you know that there is a person near you ... of course, unwise, there is nothing to think about exchanging ideas with him, but simple, kind, hospitable, without pretensions and will not stab you behind the eyes! - What are you doing? - What? Here I come, sit opposite each other on sofas, with legs; he smokes..." (10)

As for Oblomov's "business qualities", they are also revealed through the objective world. So, in the aspect of reorganizing the estate, as well as in his personal life, Oblomovism won - Ilya Ilyich was afraid of Stolz's proposal to lead a highway to Oblomovka, build a pier, and open a fair in the city. Here is how the author draws the objective world of this rearrangement:

"- Oh my god! Oblomov said. - This is still missing! Oblomovka was in such a lull, on the sidelines, and now the fair, the big road! The peasants will get used to the city, merchants will be dragged to us - everything is gone! Trouble! …

How is it not a problem? Oblomov continued. - The peasants were so-so, nothing is heard, neither good nor bad, they do their job, they don’t reach for anything; and now they are corrupted! There will be teas, coffees, velvet pants, harmonicas, oiled boots... it won't do any good!

Yes, if this is so, of course, it is of little use, - Stolz remarked ... - And you start a school in the village ...

Is not it too early? Oblomov said. - Literacy is harmful to a peasant: teach him, so he, perhaps, will not plow ... "(10)

What a striking contrast with the world surrounding Oblomov: silence, a comfortable sofa, a cozy bathrobe, and suddenly - oily boots, pants, harmonicas, noise, din.

The novel by I. A. Goncharov “Oblomov” is a novel about movement and rest. The author, revealing the essence of movement and rest, used many different artistic techniques, about which a lot has been and will be said. But often, speaking about the techniques used by Goncharov in his work, they forget about the importance of details. Nevertheless, there are many seemingly insignificant elements in the novel, and they play an important role.
Opening the first pages of the novel, the reader learns that Ilya Ilyich Oblomov lives in a large house on Gorokhovaya Street.
Gorokhovaya Street - one of the main streets of St. Petersburg, it was inhabited by representatives of the highest aristocracy. Having learned later what kind of environment Oblomov lives in, the reader may think that the author wanted to mislead him by emphasizing the name of the street where Oblomov lived. But it's not. The author did not want to confuse the reader, but, on the contrary, to show that Oblomov could still be something different than he is on the first pages of the novel; that he has the makings of a man who could make his way into life. Therefore, he does not live anywhere, but on Gorokhovaya Street.
Another detail rarely mentioned is the flowers and plants in the novel. Each flower has its own meaning, its own symbolism, and therefore the mention of them is not accidental. So, for example, Volkov, who offered Oblomov to go to Kateringof, was going to buy a bouquet of camellias, and her aunt advised Olga to buy ribbons the color of pansies. During a walk with Oblomov, Olga plucked a lilac branch. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end.
But while they did not think about the end, they were full of hope. Olga sang Sasla ygua, which, probably, finally conquered Oblomov. He saw in her the same immaculate goddess. Indeed, these words - “immaculate goddess” - to some extent characterize Olga in the eyes of Oblomov and Stolz. To both of them, she truly was a virgin goddess. In the opera, these words are addressed to Artemis, who is called the goddess of the moon. But the influence of the moon, moonbeams has a negative effect on lovers. Therefore, Olga and Oblomov parted. What about Stoltz? Is he not under the influence of the moon? But here we see the union weakening.
Olga will outgrow Stolz in her spiritual development. And if for women love is worship, then it is clear that here the moon will have its detrimental effect. Olga will not be able to stay with a person whom she does not worship, whom she does not exalt.
Another very significant detail is the drawing of bridges on the Neva. Just when in the soul of Oblomov, who lived with Pshenitsyna, a turning point began in the direction of Agafya Matveevna, her care, her paradise; when he clearly understood what his life with Olga would be like; when he was frightened of this life and began to sink into "sleep", just then the bridges were opened. Communication between Oblomov and Olga was interrupted, the thread that connected them broke, and, as you know, the thread can be tied “by force”, but it cannot be forced to grow together, therefore, when the bridges were built, the connection between Olga and Oblomov was not restored. Olga married Stolz, they settled in the Crimea, in a modest house. But this house, its decoration “beared the imprint of the thoughts and personal taste of the owners”, which is already important. The furniture in their house was not comfortable, but there were a lot of engravings, statues, books that turned yellow from time to time, which indicates the education, high culture of the owners, for whom old books, coins, engravings are valuable, which constantly find something new in them. for myself.
Thus, in Goncharov's novel "Oblomov" there are many details, the interpretation of which means to understand the novel more deeply.

Details of the situation in "Oblomov" by I. A. Goncharov

From the very first pages of the novel by I. A. Goncharov Oblomov, we find ourselves in an atmosphere of lazy and idle pastime, a kind of loneliness. So, Oblomov had "three more rooms ... In those rooms, the furniture was covered with covers, the curtains were lowered." In Oblomov's room itself there was a sofa, the back of which sank down and "the glued wood lagged behind in places." There was a cobweb saturated with dust all around, “mirrors, instead of reflecting objects, could rather serve as tablets, for writing on them, through the dust, some notes for memory,” Goncharov is ironic here. “The carpets were stained. There was a forgotten towel on the sofa; on the table, a rare morning, there was not a plate with a salt shaker and a gnawed bone that had not been removed from yesterday's dinner, and there were no bread crumbs lying around ... If it were not for this plate, but not for the just-smoked pipe leaning against the bed, or not the owner himself lying on it, then one would think that no one lives here - everything was so dusty, faded and generally devoid of traces of human presence. Next are unfolded dusty books, last year's newspaper and an abandoned inkwell with quills.
All these details appear more than once on the pages of the novel. The dusty mirror symbolizes the absence of a reflection of Oblomov's activities. So it is: the hero does not see himself from the outside before the arrival of Stolz. All his activities: lying on the couch and yelling at Zakhar.
The details of the furnishings in Oblomov's house on Gorokhovaya Street are similar to those in his parental home. The same neglect, the same clumsiness and the absence of the appearance of human presence: “a large living room in the parental home, with antique ash armchairs always covered with covers, with a huge, awkward and hard sofa upholstered in a faded blue barrack in spots, and one large leather armchair ... One tallow candle burns dimly in the room, and this was allowed only on winter and autumn evenings.
The lack of thriftiness, the habit of the inconvenience of the Oblomovites - just not to spend money explains the fact that the porch is staggering, that the gate is crooked, that "Ilya Ivanovich's leather chair is only called leather, and in
2

In fact, it is not that bast, not that rope: there was only one piece of leather left on the back, and the rest had already fallen into pieces and peeled off for five years ... "
The situation in Oblomov's house, everything that surrounds him, bears the imprint of Oblomovka. But the hero dreams of elegant furniture, books, music, a piano - alas, he only dreams. There is not even paper on his dusty table, there is no ink in the inkwell. And he failed "together with dust and cobwebs from the walls to sweep the cobwebs from his eyes and see clearly." Here it is, the motif of a dusty mirror that does not reflect.
When the hero met Olga, when he fell in love with her, the dust with cobwebs became unbearable to him. “He ordered to take out some lousy paintings that some patron of poor artists imposed on him; he himself straightened the curtain, which had not been raised for a long time, called Anisya and ordered to wipe the windows, brushed away the cobwebs ... "
“Things, everyday details, the author of Oblomov characterizes not only the appearance of the hero, but also the conflicting struggle of passions, the story of growth and fall, his subtlest experiences. Illuminating feelings, thoughts, psychology in their confusion with material things, with the phenomena of the external world, which are, as it were, an image - the equivalent of the hero’s internal state, Goncharov acts as an inimitable, original artist. (N. I. Prutskov, “The Mastery of Goncharov the Novelist”, Publishing House of the Academy of Sciences of the USSR, Moscow, 1962, Leningrad, p. 99).
In the sixth chapter of the second part, details of the natural environment appear: lilies of the valley, fields, groves - “and the lilac grows near the houses, the branches climb into the windows, the smell is cloying. Look, the dew on the lilies of the valley has not yet dried up. Nature testifies to the short awakening of the hero, which will pass just as the lilac branch withers. The lilac branch is a detail that characterizes the peak of the hero’s awakening, as well as the robe that he threw off for a while, but which he will inevitably put on at the end of the novel, repaired by Pshenitsyna, which symbolizes a return to the former Oblomov life. This dressing gown is a symbol of Oblomovism, as well as cobwebs with dust, dusty tables, mattresses and dishes piled in disorder.
3

Interest in details brings Goncharov closer to Gogol. Things in Oblomov's house are described in Gogol's style. Both Gogol and Goncharov do not have a domestic environment "for the background." All objects in their artistic world are significant and animated. Oblomov Goncharov, like Gogol's heroes, creates a special microcosm around himself, which betrays him with his head. Life is filled with his presence, Oblomovism. So the surrounding world in Gogol's "Dead Souls" is animated and active: he cuts the life of the characters in his own way, invades it. The artistic methods of Gogol and Goncharov are based on the collision of the outer and inner worlds, on their mutual influence and interpenetration.
The novel by I. A. Goncharov "Oblomov" is read with great interest due to the truth in the depiction of the situation.
“The writer uses two main methods of depicting the image: first, the method of a detailed sketch of the appearance, the environment; secondly, the technique of psychological analysis... Even the first researcher of Goncharov's work, N. Dobrolyubov, saw the artistic originality of this writer in uniform attention "to all the petty details of the types he reproduced and the whole way of life"... Goncharov organically combined plastically tangible paintings, distinguished by amazing external detail, with a subtle analysis of the psychology of the characters. (A. F. Zakharkin, “I. A. Goncharov’s novel “Oblomov”, State Educational and Pedagogical Publishing House, Moscow, 1963, pp. 123 - 124).
The motif of dust reappears on the pages of the novel in chapter seven of part three. This is the dusty page of a book. Olga understands from her that Oblomov did not read. He didn't do anything at all. And again the motif of desolation: “the windows are small, the wallpaper is old ... She looked at the crumpled, sewn pillows, at the mess, at the dusty windows, at the desk, went through several dusty papers, stirred the pen in a dry inkwell ...”

Throughout the novel, the ink never appeared in the inkwell. Oblomov does not write anything, which indicates the degradation of the hero. He doesn't live, he exists. He is indifferent to the inconvenience and lack of life in his house. He seemed to have died and wrapped himself in a shroud himself, when in the fourth part, in the first chapter, after a break with Olga, he watches how the snow falls and causes “large snowdrifts in the yard and on the street, as he covered firewood, chicken coops, a kennel, a garden, garden ridges, how pyramids were formed from fence posts, how everything died and was wrapped in a shroud. Spiritually, Oblomov died, which echoes the situation.
On the contrary, the details of the situation in the Stoltsev house prove the vitality of its inhabitants. Everything there breathes life in its various manifestations. “Their house was modest and small. Its internal structure had the same style as the external architecture, as all the decoration bore the stamp of the thoughts and personal taste of the owners. Here, various little things speak of life: yellowed books, and paintings, and old porcelain, and stones, and coins, and statues “with broken arms and legs,” and an oilcloth cloak, and suede gloves, and stuffed birds, and shells ... " But amid this centuries-old furniture, paintings, among those that have no meaning for anyone, but marked for both of them by a happy hour, a memorable minute of trifles, in an ocean of books and notes, a warm life wafted, something irritating the mind and aesthetic feeling; everywhere there was either an unsleeping thought or the beauty of human deeds shone, the eternal beauty of nature shone all around.
Wasn't Oblomov dreaming of such decoration when he spoke to Stolz about elegant furniture, a piano, notes and books? But the hero did not achieve this, "did not keep up with life" and instead listened to "the crackling of the coffee mill, the galloping on the chains and the barking of the dog, the cleaning of boots by Zakhar and the measured knock of the pendulum." Oblomov's life is marked by regularity and slowness. This is the psychology of Oblomovism. He does not have a business that would be a vital necessity for him, he will live anyway. He has Zakhar, has Anisya, has Agafya Matveevna. In his house there is everything that is necessary for his measured life. A lot of dishes: round and oval dishes, gravy boats, teapots, cups, plates, pots. “Whole rows of huge, pot-bellied and miniature teapots and several rows of porcelain cups, simple, with
5

Painting, with gilding, with slogans, with flaming hearts, with the Chinese. Large glass jars with coffee, cinnamon, vanilla, crystal caddies, bowls of oil, vinegar.
Then whole shelves were cluttered with packs, flasks, boxes with homemade medicines, with herbs, lotions, plasters, spirits, camphor, with powders, with incense; there was soap, drugs for cleaning lace, removing stains, and so on - everything that you will find in any house of any province, with any housewife.
More details of Oblomov’s abundance: “hams were hung from the ceiling so that mice, cheeses, sugar heads, hanging fish, bags of dried mushrooms, nuts bought from a little girl… On the floor were tubs of butter, large covered troughs with sour cream, baskets of eggs - and something was missing! You need another Homer's pen to calculate with completeness and detail everything that was accumulated in all corners, on all shelves of this small ark of home life "...
But despite all this abundance, there was no main thing in Oblomov's house - there was no life itself, there was no thought, everything went by itself, without the participation of the owner. Even with the advent of Pshenitsyna, the dust did not completely disappear from Oblomov's life - she remained in the room of Zakhar, who became a beggar at the end of the novel.
Oblomov's apartment on Gorokhovaya Street, Pshenitsyna's house - everything is drawn juicy, colorful, with rare meticulousness ... “Goncharov is reputed to be a brilliant everyday writer of his era. Numerous everyday paintings are habitually associated with this artist "... (E. Krasnoshchekova," Oblomov "by I. A. Goncharov", publishing house "Fiction", Moscow, 1970, p. 92)
Describing life, Goncharov characterizes the inhabitant of the house, Oblomov, his inaction and mental laziness. The details of the situation in the novel are the main witnesses to the character of the owner.

List of used literature:
1) I. A. Goncharov, Oblomov, Moscow, PROFIZDAT, 1995;
2) A. F. Zakharkin, “I. A. Goncharov’s novel “Oblomov”, State Educational and Pedagogical Publishing House, Moscow, 1963;
3) E. Krasnoshchekova, "Oblomov" by I. A. Goncharov, publishing house "Fiction", Moscow, 1970;
4) N. I. Prutskov, “The Mastery of Goncharov the Novelist”, Publishing House of the Academy of Sciences of the USSR, Moscow, 1962, Leningrad.

Reviews

Well, I read this and many others, I am writing.
You have an interesting look - you noticed the situation. If you do not specifically set such a task, then you will not pay attention at all. Here, even as it is competently painted it all. For some reason, it seemed to me that the novel "Oblomov" was a comedy when I started reading it, but there I met such places after reading where Oblomov parted with his bride, he was left alone, that this was not a comedy at all. However, you have a more professional look. The article is well written - intelligibly. But this is literary criticism, i.e. look as if in hindsight, reflection; when you write it all yourself - and the atmosphere and clothes and way of life somehow come out spontaneously, intuitively, even you yourself are surprised later. I think you are familiar with it. If you write according to a certain scheme, - so, here I will have a situation, in this chapter life, this and that, then bullshit comes out - you immediately feel it and will become noticeable even to the reader.
I liked the memoirs about Pusya. Well written and most importantly easy to read. But I think there is some delay with moving in 2 parts and with the prices too much, what, yes, how much does it cost.
The rest of the memoirs are also interesting, and after reading your phrase "Inexplicable longing gnaws at the heart ..." I immediately understood where you got sympathy for L. Andreev. Take care of yourself - I think you are a good and bright person Marina!
The last miniature you posted, or chapter of the novel, is very sincere. I would not dare to write this, I don’t know, it must have been somehow uncomfortable. However, this is a male look, here a certain weakness, nakedness is subconsciously visible. And this is alien to male prose. Our brother will flaunt dirt and debauchery much faster than show the so-called. "snot" - weakness, melancholy and other experiences, and even in public. But after reading, something pinched my heart so much, I don’t even know how I got excited. You have a huge advantage over other writing women - you are frank, honest. You can count on my help, if one of the "brilliant" women here rock the boat - I'll go to **** holes!
I liked the verses. In general, for me, when poetry is in rhyme, as if like a song, I really like it.
Here's what I could have written, you won't remember right away.
Good luck to you Marina, success!
I'm going to sleep.
Sincerely,

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