Oblomov is a novel that established the writer as a classic of Russian literature. Subject: "And

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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 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. 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 can't 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 material, 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 robe 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 subtle 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: firstly, 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, as it were, 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.

Grade 10

Prepared by:

Novikova N.I.

Literature teacher MBOU MSSH

Lesson #1

Topic: "AND. A. Goncharov. Essay on life and creativity. Three novels by Goncharov. "Oblomov" is a novel that established the writer as a classic of Russian literature.

Lesson Objectives :

To explore the prerequisites for the creation of a work: to determine the author's - personal, historical - literary contexts for the emergence of a work.

To form the skills of independent research and search work, the preparation of messages in accordance with a given topic.

Raise interest in the personality of the writer and his work.

Lesson Form– lesson – seminar

Thematic plan for the seminar:

Life essay of I. A. Goncharov: vivid episodes of life.

Rapprochement with the late Romantic Maikov circle at the first stage of creativity: romantic traditions and their rethinking in the prose of I. A. Goncharov.

Unique touches of I. A. Goncharov's creativity: the first stories.

The trilogy of I. A. Goncharov as “Russian history in faces”.

The novel "Oblomov": the history of creation.

Socio-political prerequisites for the emergence of the novel by I. A. Goncharov "Oblomov".

Lesson #2 - 3

Topic: "Oblomov is the protagonist of the novel: his essence, character, fate."

Lesson Objectives:

Determine the character traits of the main character.

To form the skills of working with text with the identification of key details that characterize the main character; group work skills.

Determine the educational value of the character traits of the protagonist in a general philosophical context.

Lesson Form- work in groups.

I have long been ashamed to live in the world.

I know everything, I understand everything, but there is no strength and will .

First part of work

Oblomov's character traits

Philosophy of life

interior

Lifestyle

(chapter 1) (chapter 5)

(chapter 1) (chapter 6)

Exercise:

Carefully work with the text: highlight key words, details that are important for revealing the character of the protagonist, summarize and argue thoughts.

Present the work of your group in the form of a message.

Group functionality:

Team leader

Thinkers

Working with text

Secretary

*Each group makes a report on its own issue. We formulate a general conclusion about the features of the character of the protagonist from all the components indicated by us, we write the conclusion in a notebook.

Second part of work

The basic question: “What could Oblomov change the current way of life for?”

G #1 G #2 G #3 G #4

Savor

"Creation"

"Facelessness"

Volkov Sudbinsky Penkin Alekseev

Questions for group work:

What is the essence of life embodies each of these characters?

Oblomov's attitude to the way of life of each of them: is this the goal, the meaning of life, according to Oblomov?

Do you agree with Oblomov? Argument your opinion.

Conclusion (Chapter 8):

"Outline" of Oblomov's character. Does he realize the real state of his affairs and his nature (correlate with the epigraph of the lesson)? Oblomov's "dream" - what is it for him?

Criteria for evaluating the work of groups:

Inclusion in the work of all members of the group.

The quality of the prepared message: completeness of the disclosure of the question, reasoning, attention to detail (ability to work with text), specificity and accuracy of the answer.

The quality of the speaker's monologue answer: development, coherence, logical sequence, language design.

Homework:

Make a chain of keywords that reveal the features of Oblomov's character.

Lesson #4

Topic : "Oblomov and Stolz: Comparative Characteristics of the Heroes".

Lesson Objectives:

Determine the features of the character and worldview of Stolz, compare with Oblomov.

To form the skills of independent work with the text: analysis of key episodes, comparative characteristics of the characters.

The educational value of Stolz's philosophy of life: the disclosure of the inner potential of a person, the desire for self-improvement, spiritual and physical dynamics.

Lesson Form- Analytical discussion.

? Antithesis of life ideals of heroes:

“... Life is poetry. Freely “Labor is an image, content,

people to distort it ... "element, the purpose of life."

Whose philosophy is positive and constructive?

Work plan:

The image of Stolz in the novel: family, upbringing, education, portrait features, lifestyle, value orientations (part 2, chapters 1 - 4)

Build and write down a chain of keywords that reveal the character of Stolz, Oblomov (checking homework)

Compare the character of Stolz with the character of Oblomov:

Oblomov: Stolz:

Peace (apathy)

"...he is constantly on the move..."

Sleep (inactivity)

"the balance of practical aspects with the subtle needs of the spirit"

"he was afraid of any dream, ... he wanted to see the ideal of being and the aspirations of a person in a strict understanding and administration of life"

Dream - "shell, self-deception"

Fear of circumstances

"Attributed the cause of all suffering yourself"

The aimlessness of existence

“Above all, I put perseverance in achieving goals”

Labor is a punishment

“Labor is an image, element, content, purpose of life”

Make a conclusion about at what levels, in what details

antithesis between Oblomov and Stolz.

Antagonism of life views of the characters.

(The dispute between Oblomov and Stolz - part 2 chapter 9).

"Provocative" questions:

Isn't Stoltz too positive in his views?

Or maybe Oblomov is right: people who are looking for meaning in secular life are dead people, such a life is a useless fuss. Why is he lying on the couch worse?!

Is the poetic perception of Oblomov's life the refinement of the hero's soul, "subtle poetic nature" or a way to hide from reality?

The strength and weakness of the characters of Oblomov and Stolz: a hero and circumstances, a false and positive meaning of existence?

Lesson #5 - 6

Topic : "Love in the life of Oblomov: the images of Olga Ilyinskaya and Agafya Matveevna in the novel."

Lesson Objectives:

To trace the dynamics of the development of the relationship between Oblomov and Olga Ilyinskaya, to determine the significance of these relations in the novel. The role of the image of Agafya Matveevna in the novel.

To form the skills of search work with the text, the ability to conduct a dialogue, to argue your point of view.

Determine the educational value of the spiritual and value attitudes of the characters.

Lesson Form– literary workshop (analytical work with text).

Love is a difficult school of life!

Did Oblomov go through this school?

Did she change him?

Work in analytical groups:

Analysis of key episodes and chapters that reveal the development of the relationship between Oblomov and Olga Ilyinskaya:

Oblomov's acquaintance with Olga ("talking" details in the portrait of Olga, find characteristic details reflecting the change in Oblomov).

Part 2 Chapter 8: identify the changes taking place in Olga, how can they be explained? Why does the ardent fire in Oblomov's soul begin to fade? What feeling in Oblomov is stronger than love? Why?

Chapter 9: meeting in the park: what helps Olga to “resurrect” Oblomov? The role of the landscape, "talking" details, symbolizing love?

Chapter 10: Oblomov's letter: the desire to save Olga from a mistake or a way to avoid changes and stay in the same mental static?

3 part 2 chapter: why does Oblomov return to his previous state (describe the lifestyle that Oblomov leads on the Vyborg side)? The appearance of Agafya Matveevna in Oblomov's life is compared with the relationship between Oblomov and Olga.

Chapter 6: why did Oblomov's marriage to Olga never take place? Did he do something real to achieve his goal? What prevented him? Is it possible to justify Oblomov?

Chapter 12: what "talking" details symbolize Oblomov's complete return to his former way of life? The role of the winter landscape intensifying the gloomy picture? What comparative turns does the author use? Why?

*Each group is looking for an answer to the questions posed by analyzing key episodes, identifying "talking" details and determining their meaning.

The general conclusion is drawn up in the form of a reference diagram.

Reference scheme: "The development of relations between Oblomov and Olga Ilyinskaya."

She wanted to make him climb the mountain.

She wanted to follow how love would make a revolution in his lazy soul ...

Outcome:

What do you think the scheme we have built symbolizes? (this is life itself with its ups and downs, the inner dynamics of the hero - searches, doubts).

Did Oblomov go through the "hard school of life"? Why?

Homework:

Write a conclusion - the answer to the questions posed.

Conclusion.

Oblomov refused love, he chose peace: “I like peace, although boring, sleepy, but it is familiar to me, and I can’t handle storms!” The episode of Oblomov's last explanation with Olga reflects Olga's deep disappointment and pain: “I thought. That I will revive you, that you can still live for me, eh you died a long time ago ... "Olga realized with bitterness that" only a deep impression, passionately lazy obedience could be expected from him. Eternal harmony with every beat of her impulse, no movement of will, no activity". After all the doubts and internal struggle, Oblomov again found himself "at the same point of impossibility to move forward." Love is ups and downs, contradictions and doubts, search, this is movement, this is life, rich, vibrant, changing. Ultimately, the development of this feeling requires an initial commitment, a duty that implies the desire to take responsibility. Oblomov was frightened of this - the feeling of fear in Oblomov constantly intensifies and suppresses all other feelings and desires in him. It was necessary to make decisions, to act, to change something. Oblomov was not capable of this. Why?

After searching and tormenting, never finding the strength and will to fight for his love, Oblomov returns to his former state of peace and inertia, spiritual static (returns to his "swamp"). And this state, according to the author, is similar to the “death of the soul”, which emphasizes the winter landscape: snow falling in large flakes, turning everything into a white shroud. Agafya Matveevna again takes out a dressing gown, symbolizing the "shell" of life.

Lesson #7

Topic : “Oblomovism is one word, ... and what a poisonous one!”

Lesson Objectives:

Determine the general philosophical meaning of the concept of "Oblomovism" as the basis of the character of the protagonist of the novel.

To form the skills of a complete textual analysis of the chapter (part 1, chapter 9 - “Oblomov's Dream)

The relevance of the concept of "Oblomovism" in our days.

Lesson Form problematic dialogue.

This is not a dream - this is some kind of ... Oblomovism!

No, my life began with extinction.

Our name is legion!

Checking homework: conclusion on the topic of the previous lesson.

From all the theses identified by the students in the conclusion, we isolate the key questions that will serve as the basis for the conversation in this lesson.

? What did Olga mean when, in her last conversation with Oblomov

said that he " for a long time died"?

Why Oblomov was not able to fight for his love, in

what are the reasons for his "lying"?

Analysis of "Oblomov's Dream":

Make a general conclusion about how Oblomov's upbringing and the atmosphere in which he grew up influenced his later life, Oblomov's position in life (attention to the second epigraph). Match your thought with Olga's words.

Analysis of the episode: Tarantiev's "deal" and Agafya Matveevna's brother. How and why does Oblomov behave in this situation? What do you think, is it possible to justify Tarantiev's act and agree with his words: “Yes, until the boobies in Russia are gone, that they sign papers without reading, our brother can live.” Is this situation relevant today? Is it possible to look for reasons in the "echoes" of Oblomovism?

Analysis of the final episode: Stolz's meeting with Zakhar. How was the further fate of Zakhar? What do you think caused this fate? How do you understand the words of Stolz: “Gone…what is the reason? Oblomovism?

Outcome:

Formulate your understanding of the concept of "Oblomovism" in the form of theses.

Fear of living, inability to make choices and

(desire to hide from problems) make decisions

Composition - essay.

The tragedy of Oblomov's fate.

Turning away from work

you turn away from yourself as a person.

After reading the work of I. A. Goncharov "Oblomov", many people have conflicting points of view on the question of whether Oblomov is really a tragic hero, then what is the reason for his tragic fate?

On the one hand, the reason for his “laziness” must be sought in Oblomovka: in the atmosphere in which Ilyusha was brought up, in fairy tales and in the lifestyle of the Oblomovites, who “programmed” the child for an aimless existence “in a circle” in the future. On the other hand, Oblomov's whole problem is that he turned into a lazy and apathetic man, spending whole days on the couch, he could not resist the "program". After all, in any case, you should try to do everything in your life on your own, and not wait until some “Zakhar” comes and ties your shoelaces, and some Tarantyev “blunders” you, taking advantage of your simplicity. And all because you are just too lazy to solve your problems on your own.

To be honest, I was terribly annoyed by Oblomov's so-called "volcanic work", which he does while lying on the couch. He equips the house, wants his peasants to live in abundance, but all this is only in dreams, but in reality everything is just the opposite: the farm is abandoned, there is almost no income, the peasants run away from the village from hunger and poverty. What is this job? These are the dreams of an unadapted child, in this “dream” Oblomov tries to hide from reality with all its problems.

Oblomov turned out to be weak and miserable. After all, in my opinion, you need to live in reality, not dreams. Oblomovism, Oblomovism everywhere: in his life, in the life of Zakhar and many other people who are afraid to independently manage their own destiny, but only wait for someone to do it for them. How easy it is to drown your life in a bottle or in a useless "dream" (I will have breakfast, take a walk, have lunch, sleep - and so every day)!

So, summing up, I can say with confidence that the true reason for this fate of Oblomov is inside him. He did not have a personal core: he is weak, spineless and in his dreams is far from reality. Yes, from my point of view, he is miserable and unhappy, although Oblomov himself does not consider himself such, because he is quite satisfied with his miserable physiological existence.

I think that in your life guidelines you need to adhere to the position of Stolz: he achieved everything in his life on his own, practically without anyone's help. He does not hide from life, but strives to find meaning in work, in constant movement. You just need to recognize that work is the main goal of life, and you also need to believe in yourself. And everything will work out!

Malyshev Denis

10a class

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

The lack of thriftiness, the habit of Oblomov’s inconveniences - just not to spend money explains the fact 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 ... "

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.

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

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.

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

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: firstly, 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).

Throughout the novel, the ink never appeared in the inkwell. Oblomov does not write anything, which indicates the degradation of the hero. He does not live - he exists. He is indifferent to the inconvenience and lack of life in his house. He, as it were, 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.

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 blew, 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 similar ones 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 culmination in the after-dinner scene "an all-consuming, invincible sleep, a true semblance of death."

Imbued with one thought, the different facets of the depicted "wonderful land" thanks to this are not only united, but also generalized, acquiring an 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 will find in any house of any province, with any household 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 completeness and detail everything that was accumulated in the corners, on all the shelves of this small ark of domestic 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, publishing house Khudozhestvennaya Literatura, 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 spiritual 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.

FROMlist 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;

5. Articles on Russian literature, Moscow State University, Moscow, 1996, V. A. Nedzvetsky, article “Oblomov” by I. A. Goncharov.

Analysis of key episodes and chapters that reveal the development of the relationship between Oblomov and Olga Ilyinskaya:

1. Acquaintance of Oblomov with Olga (“talking” details in the portrait of Olga, find characteristic details that reflect the change in Oblomov).

2. Part 2, chapter 8: identify the changes taking place in Olga, how can they be explained? Why does the ardent fire in Oblomov's soul begin to fade? What feeling in Oblomov is stronger than love? Why?

3. Chapter 9: meeting in the park: what helps Olga to “resurrect” Oblomov? The role of the landscape, "talking" details, symbolizing love?

4.10 chapter: Oblomov's letter: the desire to save Olga from mistakes or a way to avoid changes and stay in the same spiritual static?

5.3 part 2 chapter: why does Oblomov return to his previous state (describe the lifestyle that Oblomov leads on the Vyborg side)? The appearance of Agafya Matveevna in Oblomov's life is compared with the relationship between Oblomov and Olga.

6. Chapter 6: why did Oblomov's marriage to Olga never take place? Did he do something real to achieve his goal? What prevented him? Is it possible to justify Oblomov?

7. Chapter 12: what "talking" details symbolize Oblomov's complete return to his former way of life? The role of the winter landscape intensifying the gloomy picture? What comparative turns does the author use? Why?

Analysis of key episodes and chapters that reveal the development of the relationship between Oblomov and Olga Ilyinskaya:

1. Acquaintance of Oblomov with Olga (“talking” details in the portrait of Olga, find characteristic details that reflect the change in Oblomov).

3. Chapter 9: meeting in the park: what helps Olga to “resurrect” Oblomov? The role of the landscape, "talking" details, symbolizing love?

4.10 chapter: Oblomov's letter: the desire to save Olga from mistakes or a way to avoid changes and stay in the same spiritual static?

6. Chapter 6: why did Oblomov's marriage to Olga never take place? Did he do something real to achieve his goal? What prevented him? Is it possible to justify Oblomov?

Reference scheme: "The development of relations between Oblomov and Olga Ilyinskaya."

She wanted to make him climb the mountain. She wanted to see how love would make a revolution in his lazy soul ...

Oblomov's dressing gown - in the reader's mind has long become a symbol of laziness, apathy, idleness, an aimlessly lived life. Oblomov and his dressing gown are inseparable from each other. Why is it so? After all, Oblomov is not the first and not the last hero in Russian literature and painting, who is dressed in a bathrobe.

The image of a dressing gown in Russian art is unusually ambiguous. Its ambiguity lies in the very meaning of the word. In the dictionary of V.I. Dahl's bathrobe is "room, home, wide clothing of oriental cut." It is in the "home" poetry of G.R. Derzhavin, K.N. Batyushkov and other Russian poets, the hero invariably appears dressed in a dressing gown, even if the author does not directly indicate this. "Swing" way of life and "swing" syllable D.V. Davydov, when the poet exclaims: “Down, down with the hooks from the throat to the navel! ..”, also give rise to associations with a dressing gown. They dedicate their poems to P.A. Vyazemsky "Farewell to the robe" (1817) and N.M. Languages "To the dressing gown" (1823). The motives of these works are related: both poets sing of a dressing gown as “clothes of idleness and laziness”; this is "an idle comrade of bliss, a friend of Leisure, a witness to secret thoughts." The dressing gown in their poems is the clothes of the poet, who abandoned the “living room livery”: “How sorry for me is the hateful lover of the muses, Who never ate a dressing gown!” - exclaims Vyazemsky. Yazykov sings of a dressing gown, opposing it to an officer's uniform as "a symbol of "liberty", particular student life." For Vyazemsky and Yazykov, a dressing gown is a friend of laziness, careless fun, love pleasures, an invariable attribute of home life.

In the works of the Romantics, the dressing gown was associated with a free life in the bosom of nature. For Denis Davydov, a "swing" way of life is possible in the countryside. He talks about this in his poem "Treaties". Same with Yazykov. In a poem of 1827 addressed to brother A.M. Yazykov, he writes:

Captivating days! Free in body and soul,

I will not wear a triangular hat,

Nor the rough yoke of city propriety,

By the grace of the goddesses - my guardians:

Nature and love and golden silence

I will commemorate the doxology of verses.

In Yazykov's poems, a dressing gown and virtue are inseparable. In the poem "To Pyotr Vasilyevich Kireevsky" (1835), he writes:

Two virtues of my simple fate, -

Solitude, downy sloths,

Dressing gown, work table and discharge books.

As you can see, Yazykov has next to him “a dressing gown, a desk, and discharge books.” One does not contradict the other. Such is the tradition of romantic poetry in understanding the image.

This tradition is also supported in Russian painting. Let's look at the portraits of great artists, writers and see that A.S. Pushkin in the famous portrait of V.A. Tropinina is drawn in a dressing gown, N.V. Gogol is depicted in A.I. Ivanov, A.N. Ostrovsky - V.G. Perov, N.M. Yazykov - A.D. Khripkov, F.M. Mussorgsky - I.E. Repin, K.P. Bryullov - P.V. Vasin. What's this? Accident? Of course not. The robe has long been associated with the image of a creative person. Recall that Rembrandt van Rijn in the drawing of 1655 depicted himself in a dressing gown. An attribute of many masters is, if not a dressing gown, then an unchanging blouse. This can be seen in their self-portraits by J. van Dyck and O.A. Kiprensky to S.T. Konenkov.

What is common between the image of a dressing gown in the works of Vyazemsky, Yazykov, Pushkin, Gogol and Oblomov's dressing gown? Soviet literary critics, who basically followed the revolutionary democrats in covering this image, spoke of his dressing gown as a kind of evidence of noble idleness, a symbol of the past, the doom of the hero. In recent decades, scientists have been talking more and more about Oblomov, given his characterization by Stolz as a philosopher and poet. The poetic dreams of the hero, his philosophy of life, researchers (M.V. Otradin, E.A. Krasnoshchekova and others) are increasingly linking with the philosophy of Epicureanism, with the poetic world of the works of Goncharov's distant and near predecessors.

M.V. Otradin believes that “as the closest context to the novel Oblomov, it seems undoubtedly fruitful to consider” K.N. Batyushkov, in which there are motifs of solitude, manor life in the bosom of nature, laziness, peace shared by the hero with like-minded people. A dream in Batyushkov's poem is understood as “a poetic state ... close to creative inspiration. Sleep is salvation from human passions and deceit. Laziness - "this is also a property of the poet." Associations with Oblomov in the characterization of Batyushkov’s character are also caused by “an indifferent attitude to news from the “outside” world, a predisposition to “boredom”, “Tatar or Chinese” dressing gown. A dressing gown, a dressing gown is the same dressing gown, “sleeping clothes,” Dahl writes.

The dressing gown and the “dressing gown” (in the words of Gogol) Oblomov’s way of life is a peculiar form of his opposition to the immorality, vanity, duplicity of modern society. V.A. Kotelnikov, in his biographical book about Goncharov, connects Oblomov's robe with Vyazemsky's poem "To the robe", pointing to a whole range of image meanings that are relevant to varying degrees for both works. In a dressing gown, the traditional attire of an Epicurean poet, at ease both in body and soul. A dressing gown is a sign of inner freedom, a refuge from secular arrogance, it is in a dressing gown that a return to the origins of spiritual life, to childhood, is possible. And here one more episode of Russian history comes to mind: N.A. Polevoy bequeathed to bury himself in an old, worn out dressing gown, meaning, most likely, not just his own poverty, but also belonging to a community of creative personalities.

Yazykov surprised his contemporaries with his laziness. Vyazemsky writes about this in the article "Yazikov - Gogol". That is why A.P. Rassadin in the article “From the Oblomov family (N.M. Yazykov and I.A. Goncharov)” indicates that it was Yazykov, in his character and way of life, that could be one of Oblomov’s prototypes. If we take into account the attachment of both - a real person and a literary hero - to a dressing gown, then a whole number of arguments can be cited in favor of this version. Ilya Ilyich, like Yazykov, poeticizes his dressing gown, loves it, he is an artist in it, his laziness as an outwardly immobile way of life is justified by internal, spiritual, creative activity.

Etymological dictionaries also note another meaning of the word robe, which was originally characteristic of it: “honorable clothes”. Goncharov was personally convinced that this was the case when he found himself in the east, in Japan, whose inhabitants he saw dressed in a bathrobe: “they were wearing a blue top jacket with wide sleeves and a bathrobe tightly fitted around the waist and legs. The robe was held on by a wide belt. Yu.M. Loshchits, for example, pointed out the significance of the epithets given to the robe - “oriental”, “from Persian matter”. He saw in Oblomov's philosophy of rest a reflection of the teachings of ancient philosophers, as well as Eastern contemplation.

Perhaps that is why Oblomov's dressing gown is so dear and beloved, he wears it with unfailing pride, "lovingly wrapping himself in the wide skirts of the dressing gown." “Things impose a manner of behavior on us, since they create a certain cultural context around them,” says Yu.M. Lotman. Indeed, the hero of Goncharov behaves like a person to whom his dressing gown dictates a certain way of existence. Oblomov zealously defends his right to a “lying down” lifestyle: when Volkov tries to shame the hero for his old-fashioned dressing gown, Oblomov defends not just his dressing gown, but the very principle of a peaceful and sedentary existence necessary for a whole person, opposing it to the hustle and bustle and “fragmentation” of life wolf.

The image of a dressing gown will acquire new meanings in the realistic work of Pushkin. In "Eugene Onegin" a dressing gown is a symbol of a philistine, soulless existence: "And he ate and drank in a dressing gown; His life rolled calmly, ”says Pushkin about Dmitry Larin. His wife, accustomed to village life, “finally renewed her dressing gown and cap on cotton wool.”

Already Pushkin will connect the dressing gown with the fate of man. A bathrobe for Tatyana's parents becomes a kind of "fate". One of the possible options for the fate of Lensky is life in a dressing gown:

I would part with the muses, get married,

In the village, happy and horned,

I would wear a quilted robe ....

This meaning of the image, apparently, is not fully Pushkin's discovery. Rather, the poet only updated those meanings that already existed in the popular mind. In the dictionary entry about the dressing gown, Dal indicates the word “robe”, meaning the one who walks in a dressing gown.

Gogol follows Pushkin. In Dead Souls, Nozdryov appears before the reader in a dressing gown. It would seem that his clothes in the context of the fourth chapter of the poem fully correspond to the life situation. However, this hero of Gogol is invariably associated with the heroes of P.A. Fedotov in his paintings "The Fresh Cavalier" and "A Guest at the wrong time". Here the dressing gown acts as a means of social characterization of the hero, his impoverishment, idleness, but also significant social claims. However, the first and main characteristic of both Gogol's Nozdrev and Fedotov's heroes is their moral licentiousness, the absence of a moral deterrent.

In Dead Souls, Gogol introduces an expression in which the word robe acquires a symbolic meaning. Kifa Mokievich spent his life in a "careless manner", that is, in solitude, in his own estate, in idleness, empty dreams and abstract, "philosophical" reasoning. Here the author is clearly laughing at the poetization of the dressing gown, which was characteristic of the works of the Romantics. But apart from the reference to the village as a constant sign of an idyllic existence, there are no other attributes of an idyll. The hero's dreams and activities become empty and meaningless, his philosophizing about why the beast is born naked and does not hatch from an egg is worthy only of the author's irony. Here Gogol focuses on the novel "Eugene Onegin" by Pushkin with his images of "village old-timers".

According to Gogol, a dressing gown is a sign of a slut. Apparently, that is why he reacted so negatively to his own portrait in Ivanov's bathrobe. In a letter to S.P. Gogol wrote to Shevyrev on December 14, 1844, regarding the possible lithography of this portrait: “Judge for yourself, is it useful to expose me as a sloven, in a dressing gown, with long tousled hair and mustache? Don't you know how important all this is?" Indeed, for many of Gogol's contemporaries, the man in the dressing gown is the slovenly fabulist I.A. Krylov. Apparently, the author of "Dead Souls" would not like to become like him.

In the second volume of the poem, the dressing gown is an image that accompanies Tentetnikov's life. Gogol's "non-smoker", "dumbhead", "couch potato", "bobak" is shown "in a dressing gown, without a tie". He lives in his own estate, in the bosom of idyllic nature. However, Tentetnikov is not the hero of an idyll. Before "climbing" into a dressing gown, he experienced a lot and felt it. It was with Tentetnikov that researchers compared Oblomov more than once. The fates of the heroes coincide: teaching, an attempt to do business, disappointment in the service and people, refusal to do anything, solitude: “The owner climbed into a dressing gown hopelessly, betraying his body to inactivity, and his thought to thinking about a large essay about Russia,” ironically Gogol notes. At the time of Ulenka's infatuation, Tentetnikov's dressing gown was "left". But “love ended at the very beginning. The light went out, for a moment it had flashed before him, and the twilight that followed it became even more gloomy. Baibak climbed into his dressing gown again. It is quite obvious that the hero's dressing gown in this case is inseparable from his fate. But the fate of Tentetnikov is not the fate of Pushkin's "village old-timer", who "quarreled with the housekeeper for forty years, looked out the window and crushed flies." Tentetnikov cannot be called a hero, spiritually dead: one of the possible options for his future fate is to marry Ulenka. And in this sense, Goncharov's Oblomov is closer to him than the heroes of Pushkin.

For Oblomov, the dressing gown also becomes fate: the hero put it on twelve years ago, when he left the service, closed himself in his own apartment and lay down on the sofa. He admires his own dressing gown, sees in it “the darkness of invaluable virtues: it is soft, flexible, the body does not feel it on itself; he, like an obedient slave, submits to the slightest movement of the body. Wrapped up in a dressing gown, Oblomov hopes to hide from all life's problems. But this does not happen, and he is bitterly forced to admit: "Life touches, it gets everywhere." Like Tentetnikov, he is considering a "big essay" about how his Oblomovka will be rebuilt. In his dreams, the hero sees himself in a dressing gown: “Well, I would get up in the morning.<…>The weather is beautiful, the sky is bluer, bluer, not a single cloud<…>While waiting for my wife to wake up, I would put on a dressing gown and walk around the garden to breathe in the morning fumes ... ". In these episodes, the dressing gown is poeticized by Oblomov himself, it is still the clothes of a lazy poet who has chosen the village as an idyll, opposed to the vanity and immorality of the world. Next to the dressing gown, “a spacious frock coat, jacket”, “a blouse and a wife’s cap” are all attributes of a poetic, idyllic existence. Another motive is also important, one way or another present in these episodes. In his dreams, Oblomov transfers the idyll to his homeland. We have already met something similar in Yazykov's poems. We also note that the image of the motherland in his poems is very much like Oblomovka. Here are the same “laughing valleys”, “bright hills and plains”, which are contrasted with rocks, mountain gorges, the sea that are not dear to the poet’s heart ...

The dressing gown disappears from Oblomov's life when he falls in love with Olga (Tarantyev took the dressing gown with the rest of his things to the Vyborg side). And the reader has a hope that the hero will no longer need the dressing gown, he will part with him, as Alexander Aduev parted with the dressing gown. This hero of Goncharov, returning to the village, "replaced a narrow, dandy tailcoat ... with a wide homemade dressing gown." His new arrival in St. Petersburg means a return to active work and the rejection of a dressing gown. However, Oblomov's story is another story.

As soon as the hero begins to “grow” to the Vyborg side, Agafya Matveevna reminds him of the dressing gown: “I also got your dressing gown from the closet (...) it can be repaired and washed: the matter is so glorious! It will last a long time." And although Oblomov resists, claims that he no longer needs a dressing gown, the hostess remarks, not without causticity: “Maybe you will put it on someday ... for the wedding!” And so it will happen. The bathrobe will become an obligatory and invariable attribute of family relations, but not only Oblomov and Olga, but Oblomov and Agafya Matveevna. It is she who will zealously take care of the dressing gown, remove stains from it, quilt it along with blankets so that it covers and warms Ilya Ilyich, beloved by her. However, her kindness, selfless care and love will always be associated with the reader with something unkind. She will do the hero the same disservice as his dressing gown.

The robe even appears in the scene of the characters' love explanation at the end of chapter 1 of the 4th part of the novel, taking the place of the lilac and lily of the valley branches that were present during the explanation of Oblomov and Olga. Agafya Matveevna is accustomed to seeing Oblomov in such clothes; for her, a dressing gown is evidence of Oblomov's class affiliation, his undoubted superiority over her. He even in a dressing gown for her "shines, shines." In a dressing gown, the hero is unthinkable outside the house, outside the world that she creates for him, he is completely in her power. In addition, in these scenes, the dressing gown conceals a hint of a certain intimacy in the relationship of the characters, which subsequently resulted in a marriage union.

Similar meanings of the image of a dressing gown are present in the key scenes of the novels by F.M. Dostoevsky "The Brothers Karamazov" and L.N. Tolstoy "War and Peace". Old Fyodor Pavlovich Karamazov prepared for the meeting with young Grushenka, "dressing up" in a "striped silk dressing gown" "girded with a silk lace with tassels." “From under the collar of the dressing gown peeped clean smart linen, a thin Dutch shirt with gold cufflinks.” Old Prince Bolkonsky will appear before Natasha, who is declared the bride of her own son, in a dressing gown. This clothing, bearing a hint of intimacy and family relationships, at the same time allows him to demonstrate his princely arrogance, superiority in nobility and wealth over the half-ruined count family of the Rostovs. The prince does not believe in the sincerity of Natasha's feelings, considers the choice of his son a mistake and turns the scene of meeting his future daughter-in-law into a farce that is offensive to her. The robe becomes in this case the clothes of the comedian.

In chapter 12, part 3 of the novel "Oblomov", the image of the dressing gown acquires an ominous connotation: Zakhar throws it over Oblomov's shoulders at the moment when the hero returns home after breaking up with Olga. In this chapter, the robe is included in a series of images symbolizing death: it is cold, snow. In the last part of the novel, there will also be associations with the shroud. The spaciousness of the bathrobe is already intimidating. He seems to offer the owner: “Grow in width, fuller, I will cover, I will accept any of you. In my homeland, in the east, fullness is a sign of prosperity, well-being, peace. After all, this is what you have been striving for since childhood. I will never inconvenience you in any way." The width of the robe, the ability to wrap yourself in it twice make it look like funeral, mortal shrouds, in which the deceased was wrapped. The robe now directly threatens the hero: "The more you get used to me, succumb to laziness and apathy, the closer you are to death." A similar ominous shade will have the image of a dressing gown in the novel by M.E. Saltykov-Shchedrin "Lord Golovlevs": Styopka the boobie Arina Petrovna will place in a special room of the wing, called by the author "crypt", and there they will bring him "papa's old dressing gown". In it, the hero will live the rest of his stupid life.

In the post-Pushkin era, the understanding of the dressing gown as the fate of the hero will by no means be relevant for all writers. The heroes of Ostrovsky are dressed in a dressing gown in various life situations. Due to his own carelessness and a sense of permissiveness, the mayor Gradoboev in the play "Hot Heart" administers judgment on the townsfolk in a dressing gown and in a uniform cap with a crutch. The impoverished Kiselnikov, the hero of the play "Abysses", is wearing a bathrobe, the memory of his poor youth for the hero of the play "Poor Bride" Benevolensky is also associated with a bathrobe. Telyatev from the play "Mad Money" is going to appear before his creditors in a dressing gown. He expects to present these clothes to them as evidence that there is nothing to take from him, and therefore he hopes for the forgiveness of debts. The reader will also see a worn and faded robe, darned in different places, at Oblomov at the time when Tarantiev and Mukhoyarov rob it to the skin.

The semantics of the dressing gown in Dahl's works is interesting. Depending on his own mood and intentions, one of his heroes, Ivan Yakovlevich Sheloumov, changes clothes in the story “Bacchus Sidorov Chaikin”: “When he appeared in his dressing gown, it meant that he intended to be the owner, homebody, father of the family; if he went out in the morning right in a frock coat, flannelette or camlot, then this meant that he would be an extremely businesslike and busy person; if in a short jacket, then it was one of the worst signs. And again Lotman's words are recalled: "...Things imperiously dictate gestures, style of behavior and, ultimately, the psychological attitude of their owners."

The hero of the story of the same name by Dahl, Pavel Alekseevich Playful, is a villager in a "very shabby dressing gown." The result of the life of the Playful could not but lead contemporaries to the idea of \u200b\u200bthe "ordinary story" experienced by the hero. But his “ordinary history” differs from the history of Alexander Aduev or from the “ordinary destiny” possible for Lensky. Playful becomes a “village old-timer” only due to the circumstances of life: “he became a little wild and coarsened.” However, while living in the village, he did not die spiritually: he is still a loving and thinking person, performing his feat of selflessness, consisting in serving the children of a long-dead woman he loved.

Dahl's hero is an integral nature. Both in youth and in old age, he is a romantic. In this way, he resembles Goncharov's Oblomov, who also did not waste his "golden heart" on his life path. Oblomov also slowly does good deeds: he blesses Olga “for joy and happiness”, takes part in the upbringing and provides for two children of Agafya Matveevna, he managed to breathe into her, stone Galatea, the soul ... In relation to these heroes of Goncharov and Dahl, it’s quite fair folk wisdom: the appearance of a person is often deceptive.

The dressing gown in Goncharov's novel also acquires another meaning, relevant not only for this work, but also for Vyazemsky's later work. One day, Oblomov confesses to Stolz: "... I am a flabby, dilapidated, worn caftan ...". In fact, this expression means "I am a worn robe", because the robe, according to Dahl, is "a peasant caftan without interception, zipun, armyak." The hero calls himself that, meaning his worthlessness, inability to live, lack of real interest in it, inability to do business, unwillingness to live, premature old age of his own soul.

The well-known poem by Vyazemsky "Our life in old age is a worn robe ..." (1877), written by the poet shortly before his death, includes motifs similar to these:

Our life in old age is a worn robe:

And ashamed to wear it, and sorry to leave;

We got along with him a long time ago, a long time ago, like brother and brother;

You can't fix us and fix us again.

However, Vyazemsky speaks of real, not premature old age. For him, the best memories of his life, full of creativity and work, are associated with a dressing gown:

As we grew old, so did he;

Our life is in rags, and he is in rags too,

It is all painted with ink, sprinkled,

But these spots are dearer to us than all the patterns.

In the life of the poet, there were “fresh mornings, and half a day shine and heat”, about them “at daytime sunset” a dressing gown reminds of them, which he compares with a soldier’s cloak shot in battle. That is why he grooms his bathrobe "with love and honor." In his later poems, the poet calls himself "a fragment of the former life." And in this he is also close to Oblomov, in whose surname some researchers heard the word "fragment".

Concluding, we note that in the minds of a modern person, it is not by chance that a dressing gown is associated with the image of Oblomov. In the works of writers of the 19th century, it is difficult to find such meanings for the image of a dressing gown that would not resonate in the image of a dressing gown from Goncharov's novel. That is why it can be assumed that a kind of archetype of a dressing gown is formed in it.

Literature

1. Kotelnikov V.A. Ivan Alexandrovich Goncharov. M., 1993.

2. Krasnoshchekova E.A. Ivan Alexandrovich Goncharov: The world of creativity. SPb., 1997.

3. Lotman Yu.M. Conversations about Russian culture: Life and traditions of the Russian nobility (XVIII - early XIX century). SPb. 1994.

4. Loshchits Yu. Goncharov. M., 1986.

5. Otradin M.V. Prose I.A. Goncharov in a literary context. SPb., 1994.

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