Literature lesson "One day in the life of Ilya Ilyich Oblomov. "Parade of acquaintances" by Oblomov

The main characters in the first chapter are Oblomov and his servant Zakhar. Oblomov Ilya Ilyich- the main character with whom events occur over some time in the work. He is a nobleman, a landowner of thirty years, a lazy, gentle man who spends all his time in idleness. A character with a subtle poetic soul, prone to constant dreams, which replaces real life. Zakhar Trofimovich- the title character, a faithful servant of Oblomov, who serves him from an early age. Very similar to the owner of his laziness. Applying the method of phased narrowing of images, Goncharov takes us first to one of the main streets of the aristocracy - "Pea Street" in the city of St. Petersburg, moving the essence of the action to a large populated house, where we find ourselves in the dwelling and "bedroom" of the protagonist. The untidy room matches both the appearance and the interior mood of the owner, where we find that "the carpets were stained" and "the cobwebs were scalloped." And the hero himself - Oblomov calls periodically: "Zakhar!". And after the grumbling and knocking of “feet jumping down from somewhere”, the second character of the novel appears before us, the servant, also in a rather unattractive form. The lackey Zakhar for the owner of the Oblomov house is not only a “devoted servant”, he also acts as a keeper of family memories, a friend, a nanny. The author clearly demonstrates this by presenting a string of funny everyday scenes as a result of the communication between a footman and a master. Thanks to Zakhar's rude, frank and undisguised hypocrisy manner of communication, we get acquainted with Oblomov's negative traits - both with hatred of work, and with a thirst for peace and idleness, and with a tendency to exaggerate the burden of one's own worries. There is a clear parallel between the servant and the landowner: just as Ilya Ilyich Oblomov selflessly works on the plan, the footman Zakhar in every possible way demonstrates his intentions to carry out a general cleaning. Goncharov in the work "Oblomov" touched upon many historical, social and philosophical issues, many of which do not lose their relevance to this day. The central problem of the work is the problem of "Oblomovism" as a historical and social phenomenon among Russian philistines who do not want to adopt new social principles and change. Goncharov shows how "Oblomovism" becomes not only a problem for society, but also for the person himself, who is gradually degrading, fencing off his own memories, illusions and dreams from the real world. And also, with the help of a dialogue between Oblomov and Zakhar, one can identify the problems of the hero himself. It is possible to identify one problem that embraces and unites all the others - this is the fear of any change and the need to act. “Now, if you write, by the way, if you please, and check the scores: you have to pay the money.

What accounts? What money? Ilya Ilyich asked with displeasure.

From the butcher, from the greengrocer, from the laundress, from the baker: everyone asks for money.

Only about money and care! grumbled Ilya Ilyich. - A you that little by little don't submit scores, and all of a sudden?

After all, you all drove me away: tomorrow, yes tomorrow ...

Well, now why not until tomorrow?

Not! They are already very annoying: they don’t lend anymore. Today is the first number.

Oh! - Oblomov said with anguish. - New concern! Well, what are you standing? Put it on the table. I'll get up now, wash myself and look, - said Ilya Ilyich. - So, are you ready to wash up?

Ready! Zakhar said.

Well now...

He began, groaning, to push himself up in bed to get up.

I forgot to tell you, - Zakhar began, - just now, while you were still resting, the janitor's manager sent: he says that you must definitely move out ... you need an apartment.

Well, what is it? If you need it, then, of course, we will go. What are you doing to me? This is the third time you've told me about this.

They come to me too.

Say we'll go.

They say: you've been promising for a month, they say, but you still don't move out; We say we'll let the police know." The mini conflict in the episode is the contradictions within Oblomov himself. Inside him, Personality and Oblomov are fighting. He seems to want to do something, but is absolutely lazy.

The first chapter can be divided into several microthemes: the first is Oblomov's characterization, a description of his appearance, the second is the place of residence, the interior where Oblomov himself lives, the third is a dialogue between Oblomov and a servant, which touches on the main problems of Ilya Ilyich. There are many details in Goncharov's novel Oblomov, to interpret which means to understand the novel more deeply, for example, Gorokhovaya Street is one of the main streets of St. Petersburg, representatives of the highest aristocracy lived on it. 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.

The first chapter introduces us to Oblomov, and that is why there are artistic descriptions, that is, a portrait, an interior, which have their own meaning in the work, for example, “He was a man of about thirty-two or three years old, of medium height, of good appearance, with a dark gray eyes, but with the absence of any definite idea, any concentration in the features of the face. The thought walked like a free bird across the face, fluttered in the eyes, settled on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glimmered in the whole face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.

Sometimes his eyes were darkened by an expression as if of weariness or boredom; but neither fatigue nor boredom could for a moment drive away from the face the gentleness that was the dominant and basic expression, not only of the face, but of the whole soul; and the soul shone so openly and clearly in the eyes, in the smile, in every movement of the head and hand. And a superficially observant, cold person, glancing casually at Oblomov, would say: “There must be a kind man, simplicity!” A deeper and more sympathetic person, peering into his face for a long time, would walk away in pleasant thought, with a smile.

Ilya Ilyich's complexion was neither ruddy, nor swarthy, nor positively pale, but indifferent or seemed so, perhaps because Oblomov was somehow flabby beyond his years: from a lack of movement or air, or maybe that and another. In general, his body, judging by the dull, too white light of the neck, small plump hands, soft shoulders, seemed too pampered for a man.

His movements, when he was even alarmed, were also restrained by softness and laziness, not without a kind of grace. If a cloud of care came over the face from the soul, the look became foggy, wrinkles appeared on the forehead, a game of doubt, sadness, fright began; but seldom did this anxiety solidify in the form of a definite idea, still more rarely did it turn into an intention. All anxiety was resolved with a sigh and faded into apathy or drowsiness.

How Oblomov's home suit 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, without a waist, 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.

The dressing gown had in the eyes of Oblomov a 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.

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 would certainly hit them immediately. ”,“ In the room, which was separated only by a small corridor from Ilya Ilyich’s office, at first it was heard like a grunt of a chained dog, then the sound of legs jumping off from somewhere . It was Zakhar who jumped off the couch, on which he usually spent his time, sitting immersed in a slumber.

An elderly man entered the room, in a gray frock coat, with a hole under his arm, from which a piece of shirt stuck out, in a gray waistcoat, with copper buttons, with a skull bare as a knee, and with immensely wide and thick blond with graying whiskers, of which each it would be three beards. Zakhar did not try to change not only the image given to him by God, but also his costume, in which he walked in the village. The dress was sewn for him according to the pattern he had taken out of the village. He also liked the gray frock coat and waistcoat because in this semi-uniform he saw a faint recollection of the livery that he had once worn when seeing the late gentlemen to church or on a visit; and the livery in his memoirs was the only representative of the dignity of the Oblomov family.

”- these are portraits of our heroes that help us understand and imagine Oblomov and Zakhar. After reading this passage, not only the author's, but also the reader's attitude towards the hero is immediately formed.

“Ilya Ilyich’s lying down was neither a necessity, like a sick person or a person who wants to sleep, nor an accident, like someone who is tired, nor a pleasure, like a lazy person: this was his normal state. When he was at home - and he was almost always at home - he was always lying, and everyone was constantly in the same room where we found him, which served him as a bedroom, study and reception room. He had three more rooms, but he rarely looked in there, unless in the morning, and then not every day when a person swept his office, which was not done every day. In those rooms, the furniture was covered with covers, the curtains were lowered.

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 fabric, beautiful screens embroidered with birds and fruits unprecedented in nature. There were silk curtains, carpets, several 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 there, 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 of the sofas fell off, 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 absent-mindedly, 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 down some memoirs on them over the dust. 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, and not for a pipe just smoked leaning against the bed, or not for the owner himself lying on it, then one would think that no one lives here - everything was so dusty, faded and generally devoid of living traces of human presence . True, there were two or three open books on the shelves, a newspaper was lying around, and an inkwell with feathers stood on the bureau; but the pages on which the books were unfolded were covered with dust and turned yellow; it is clear that they were abandoned long ago; the number of the newspaper was last year's, and from the inkwell, if you dip a pen into it, only a frightened fly would have escaped with a buzz. ”- The description of the situation is an important means by which the author creates the general atmosphere of the work; it serves not only as a background, but also helps us understand the essence of the book and the characters' characters. Description of the interior
works where the action takes place in the city is very important and represents
is one of the main means of characterization of heroes. The interior characterizes the inner state of the hero, their feelings and experiences.

Goncharov in the novel "Oblomov" first introduced the concept of "Oblomovism", which remains a household word today to refer to apathetic, stuck in illusions and dreams of the past, lazy people. In the work, the author touches upon a number of social and philosophical issues that are important and relevant in any era, allowing the modern reader to take a fresh look at his own life.
In the novel "Oblomov", Goncharov, considering the historical theme of changing society in the 19th century through the prism of such a social phenomenon as "Oblomovism", reveals its destructive effect not only for the new society, but also for the personality of each individual, tracing the influence of "Oblomovism" on the fate Ilya Ilyich.

Ivan Alexandrovich Goncharov treats his hero quite versatile: not only negatively, seeing him as an “extra” person, but also with regret. Empty life, empty days. He does not need people, people do not need him. Ilya Ilyich Oblomov sees his happiness in passivity, and here a contrast is created between “living” people and the eternally sleepy Oblomov. Goncharov portrayed the tragic story of the extinction of a person for whom the past has become more important than the multifaceted and beautiful present - friendship, love, social well-being. The meaning of the work indicates that it is important not to stop in place, indulging yourself with illusions, but to always strive forward, expanding the boundaries of your own “comfort zone”.

"Goncharov's novel Oblomov" - Features of the composition. The hero died, "as if a clock that had been forgotten to start had stopped." Volkov. Patriarchal. “Stoltz does not inspire any confidence in me. Growing up. Alekseev? Compare Ilyusha at 7 years old and at 14: what changes have occurred in the hero and why? Agafya Matveevna. Criticism about Olga Ilyinskaya.

"Oblomov Goncharov" - Room (interior). From the history of the creation of the river. The frigate "Pallada" (1858) (essays on a round-the-world trip). Precipice (1868). I.A. Goncharov. A. V. Druzhinin, liberal critic. Oblomov in the system of author's reasoning. Episode analysis plan. Ordinary history (1844 - 1846). Ivan Alexandrovich Goncharov (1812 - 1891).

"Roman Oblomov" - Zakhar - A. Popov; Oblomov - O. Tabakov. Trilogy by Ivan Aleksandrovich Goncharov: S.M. Shor. A frame from the film A Few Days in the Life of I.I. Oblomov. Frame from the film. ill. Directed by N.S. Mikhalkov. 1980. Yu.Gershkovich 1982. Roman I.A.Goncharova "Oblomov" Ill. In the living room before dinner.

"Oblomov in Goncharov's novel" - No sleep, no fatigue, no boredom on his face. Stolz. One day in the life of Oblomov. The idea of ​​the novel "Oblomov" arose from I.A. Goncharov in the late 40s of the XIX century. Oblomov. In 1849 the first part of the novel was written. Oblomov on the couch. The biggest changes happen to Olga after meeting with Oblomov.

"Roman Goncharov Oblomov" - Druzhinin A.V. 1859 "Oblomov". Writes literary-critical articles, autobiographical works. Secret Committee for Peasant Affairs. 1859 1868 1869 1869 1872 1878 1879 1889. Studying at the verbal department of Moscow University. Homework. Publication of the novel "Ordinary History" in the journal "Contemporary" (conceived in 1844).

“Oblomov” - A.P. Chekhov: “Stolz does not inspire any confidence in me. I. A. Goncharov "Oblomov". M. Yu. Lermontov. Family happiness Oblomov. Complete the table with quotes from the novel. Read chapter 1 and answer the question: Portrait as a means of creating an image. Materials for lessons. Andrey Stolz (part 2, chapters 1 - 5). Olga Ilinskaya.

In total there are 8 presentations in the topic

The novel by Ivan Goncharov "Oblomov" is very instructive.

Oblomov's lifestyle is a continuous routine, and the main character does not even try to break out of it on his own. With the help of this character, the author will prove that laziness and indifference ruin people's lives.

First meeting

Ivan Goncharov introduces the reader to Ilya Ilyich Oblomov from the very first pages of the novel. A man lies in his own bed with a distant look. He tries to force himself to get up, but the attempts end in vain. Promises to get up an hour later lead to the fact that the day smoothly passes into the evening, and leaving the bed is no longer necessary.

Life in a horizontal position

Ilya thinks about the misfortunes that have befallen him. So the man calls the chores associated with the affairs of the estate, inherited from his parents, and the search for a new apartment.

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He gives orders to the old footman Zakhar in bed. Guests who often visited him, the master receives lying down, in an old darned dressing gown.

Oblomov's former colleagues also come. And he does not at all strive to appear from the best side, meeting them cheerful and in excellent health. He always complains about his health to young, handsome men.

Mess in the apartment and in the shower

Rarely leaves the house. He rejects invitations from acquaintances to attend social events. He justifies the refusal by feeling unwell, barley, drafts and dampness, which is contraindicated for him.

“When I was at home, I almost always lay down, and everything was in the same room.”

His best friend Andrei Ivanovich Stolz compares Oblomov to an animal that constantly resides in a dark lair.

“Have you really prepared yourself for such a life in order to sleep like a mole in a hole?”

Zakhar reports to Andrei that he has long polished the owner's shoes, and the boots are intact.

He wakes up late. Eating and drinking tea in bed. The footman helps him put on his socks. Home shoes are placed near the bed, so that when lowering your legs it is easy to get into them. Oblomov is very lazy. Never pick up after himself. In his room there are mountains of dirty dishes, which are difficult for a man to carry to the kitchen. From childhood in his family it was customary to sleep during the day. Ilya still adheres to a similar routine.

“After dinner, nothing could disturb Oblomov’s sleep. He usually lay on the sofa on his back.

positive change

After meeting Olga Ilinskaya, Oblomov changes for the better. He is inspired by new feelings. Love gives him strength, inspires.

“He read several books, wrote letters to the village, changed the headman in his own estate. He didn't have supper, and for two weeks now he doesn't know what it means to lie down during the day. Gets up at seven o'clock. On the face of no sleep, no fatigue, no boredom. He is cheerful, sings.

This state of affairs did not last long. Ilya again begins to captivate the past life. He understands that he will not be able to give Olga the confidence and strength that the girl expects from him.

Life with the widow Pshenitsyna

Soon he marries the widow Agafya Matveevna Pshenitsyna, from whom he rents a room in a house on Vyborgskaya Street. A similar type of woman suits him much more than Ilyinskaya. Agafya is ready to fulfill all his whims, demanding nothing in return.

“Oblomov, noticing the participation of the hostess in his affairs, suggested, in the form of a joke, to take care of his food and save him from the hassle.”

Ilya Ilyich dies at the age of forty. He often compared himself to an old caftan, no longer fit to serve for good. His sedentary lifestyle led to the fact that his health deteriorated so early. A man was given a chance to change his own destiny, but laziness turned out to be stronger.

Why, when analyzing the novel by Ivan Aleksandrovich Goncharov, is it usually singled out the theme "One day in the life of Oblomov"? As you know, a person is shaped by the circumstances that develop around him. In addition, external details can tell a lot about a person's character. Indirectly, the situation of the dwelling also informs about it. The first chapter of the classic works tells us about all this.

Home interior

Oblomov wakes up, most likely after 9 o'clock in the morning. In the book, however, he tore his head off the pillow at 8 o’clock, but the writer indicated that the hero woke up “earlier than usual.” What will one day in the life of Oblomov show us? The fact that he opened his eyes still does not mean anything: Ilya Ilyich does not think of tearing himself away from the sofa. After all, this piece of furniture replaces his office, and the kitchen, and the bedroom, and the hallway. To match him - and the landowner's favorite clothes - a worn oriental dressing gown, soft, spacious, capable of covering a full body twice. Oblomov on the sofa is busy not only thinking - he lives here: here the servant Zakhar brings food, while being here, the owner receives guests. The servant, by the way, is a little less lazy than the master, most of the time he dozes on the couch.

Where does one day in the life of Oblomov unfold? In a luxurious four-room, well-furnished apartment on Gorokhovaya Street on the Vyborg side of Northern Palmyra. Here are just three rooms - non-residential (to them - too far from the sofa). The furniture is covered with covers. Oblomov does not bother to go there, chained by laziness, as if by chains, to his rookery. Yes, and in the room where Ilya Ilyich is, good mahogany furniture - a bureau, two sofas, expensive screens, carpets, silk curtains, expensive trinkets - everything is covered with dust, untidy, stained. The mirrors on the walls are so dirty that you can write on them with your finger. There are mice in the apartment. There are also bedbugs. And Zakhar does not even “strain” to bring out fleas who liked his hair with sideburns. The author of the novel was right: in the first part there was no need to show the reader a few days from Oblomov's life, just one was enough.

Daily communication with Zakhar

The young gentleman, waking up and thinking for an hour and a half, without getting up from the sofa, calls Zakhar. As every day, he habitually begins to reproach him for the untidy dust and dirt in the room. Zakhar answers his master in the same standard way that "he does not have a soul in the service." At the same time, everything remains in its place, including dust. Zakhar philosophizes that the German order is useless for Russians, he is very resourceful in finding excuses.

Ilya Ilyich remembered something painfully for a long time, and then asked his servant to bring a note from the clerk of his village estate. It took a long time to find him. After all, in the room things are not laid out in their places, you have to look through a lot of other envelopes, rearranging such items as dirty plates and glasses.

However, the letter never began to be written; instead, Oblomov turned the conversation to the bills for payment that the servant brought him. However, this question did not find its logical conclusion, it hung in the air. Three hours had already passed after waking up, after which the landowner asked if the water and washing accessories were ready. But Ilya Ilyich did not even get to the point of washing. He was again distracted by a philosophical conversation with Zakhar about "donkeys" who get married.

Reception

Then Oblomov received several guests. The social dandy Volkov arrived. Their whole conversation was reduced to the guest's monologue about falling in love, about appointments with the Savinovs, the Maklashins, the Tyumenevs, the Mussinskys, the Vyaznikovs. In the end, Volkov invited Ilya Ilyich "for oysters", but not with his own money, but "free", because "Misha treats." Our protagonist, after the departure of a secular character, gives him an assessment - “there is no person”, he “crumbles” into ten places daily.

To our hero enters a man in a uniform green tailcoat with coat of arms buttons - the head of the department, Sudbinsky. His thoughts are about service, about a wedding that is beneficial for a future career. "... up to his ears bogged down!" - Oblomov thinks about him.

Then at the door - the writer Penkin. Superficial, narrow-minded "scribbler" of paper. He, a narrow-minded person, does not even try to see in his images a "God's spark", a living person, depicting events in black and white. Behind him is Alekseev, an inexpressive, "gray" man, not self-confident, devoid of his own thoughts.

After the guests have left, Oblomov finally finds the elder's letter. It, as it turned out, "hid" in the folds of the blanket. And this is a message from last year. It contains a message about a sharp decrease in income from the estate - by two thousand. This news causes only sluggish Oblomov reasoning. Therefore, the headman does not particularly bother himself with the master: all the same, there will be no impact from the owner.

Whose visit ends one day in Oblomov's life? At the end of the guest stream, Mikhei Andreevich Tarantiev comes to Ilya Ilyich. This person is as impractical as Oblomov. But, unlike the first, he perfectly mastered the art of verbal fraud. He knows how to captivate with an idea, to emphasize the simplicity and temptation of its implementation, to bring the "victim" to its implementation. But then - Mikhei Andreevich retires. Only they saw him. He is interested in the village estate of the protagonist, he is trying to lure Oblomov into his plans so that he "falls into his network." Tarantiev convinces him to come to the village, change the headman, he promises him a warm welcome at his godfather - Agafya Pshenitsyna (whose brother - Ivan Matveevich Mukhoyarov, a burnt swindler - is assigned the role of the real destroyer Oblomov).

Then followed a plentiful dinner, and - rest, after the day's labors. Several generations of his ancestors had endured such a "heavy daily routine" for several generations.

conclusions

An analogy with the famous American film "Groundhog Day" is appropriate here. Unlike Goncharov's novel, this film creation is of a fantastic nature. The main character Phill is "stuck" in the same day. It seemed the day was over. Night, sleep. Then morning - and yesterday begins again, repeating in great detail. And only thanks to self-discipline and "accumulation" of a positive balance of good deeds does the hero of the film manage to break out of this vicious circle. If you try to answer the question: “What is the tragedy of Oblomov’s life?”, Then the answer can obviously be built based on the analogy with the above-mentioned film. Figuratively speaking, Goncharov's character - not the old (32 - 33 years old) landowner Ilyich - not only "tightly stuck" for twelve years in the monotony of days filled with passive reflection and contemplation, but also does not try to develop, show a masculine character, start constructive activity. As a result, a deadly disease develops on the basis of hypodynamia.

Sections: General pedagogical technologies

Lesson goals.

Educational:

1. To get acquainted with 1-7 chapters of the first part of the novel by I.A. Goncharov "Oblomov".
2. Continue to master the culture of working with the text of a work of art (understand and interpret the text, highlight the main thoughts of what is read).
3. Expand the possibilities of relying on personal experience (correlate personal meaning with your feelings, experience, values).
4. Develop writing skills and knowledge.
5. To form the skills and abilities of dialogue and monologue.

Developing:

1. Develop critical thinking.
2. Be able to draw conclusions and conclusions.
3. Develop communication skills.
4. Develop monologue speech.
5. Develop word skills.

Educational:

1. Cultivate love for Russian classical literature.
2. Learn to listen and understand what you read.
3. Look for a problem and find a solution to overcome it.
4. Cultivate respect for the opinions of others.

During the classes

The lesson is accompanied by a computer presentation (Appendix 1).

Organization of the beginning of the lesson

In 1879, the Russian classic, author of three famous novels "An Ordinary Story", "Oblomov", "Cliff" Ivan Alexandrovich Goncharov wrote an article "Better late than never", in which he sums up his creative activity, subjecting to a critical, rather detailed analysis of everything three of his novels. Why do you think the author decided to take such a step?

Draw the children's attention to the blackboard.

UNDERSTANDING:

The purpose of the lesson

The goal is formulated by the students:

To learn to understand the thoughts and judgments of the writer and to learn to express their own thoughts and judgments in such a way as to be understood by other people.

The teacher, summarizing the statements of the students, calls the purpose of the lesson:

To learn to understand the thoughts and judgments of Goncharov, i.e. discover the secrets of the writer's artistic manner.

Knowledge update

You have read part 1 of I.A. Goncharov's novel "Oblomov". Have you met such a hero before in literature? What unites him with other literary heroes and how does he differ from them?

The teacher invites students to compare the heroes of literary works, underline the words that characterize these heroes and compare them. Working with handouts.

We conclude that there are common features in the characters of the characters, but there are also differences. What is it connected with?

As Goncharov said in the article “Better late than never”: “The point is not in the invention of new types - yes, there are few indigenous universal types - but in how they expressed themselves, how they connected with the life around them and how the last one on reflected them."

Clarification and assimilation of new material

"Step by step" analysis of the text.

Let's see how I.A. managed to "express" his hero. Goncharov. We work in pairs. Working time 3 minutes. Students work with reference table number 2.

But it is precisely this perception that Goncharov seeks. Look again at the epigraph of our lesson (I always have one image ...). In the article “Better late than never,” he writes: “For example, the lazy image of Oblomov caught my eye first of all ...” (quote removed).

Before working with the text further, pay attention to the reference sheet No. 3. Three descriptions of the dwellings of the heroes of literary works are given. What do you think, which of the heroes that we remembered today at the beginning of the lesson, they refer to. How are these descriptions different? What brings them closer? Justify your answer.

1 description:“The peace was of a certain kind, for the hotel was also of a certain kind, that is, exactly the same as there are hotels in provincial cities, where for two rubles a day, travelers get a quiet room with cockroaches peeking out like prunes from all corners ... belongings: first of all, a suitcase made of white leather, somewhat shabby, showing that it was not the first time on the road. Following the suitcase was brought in a small mahogany chest with piecework made of Karelian birch, shoe lasts and a fried chicken wrapped in blue paper.

(An approximate answer: firstly, there is an indication of the provincial city, a “somewhat worn” suitcase, a characteristic detail that defines Chichikov - a small chest. Gogol’s manner - a leisurely, detailed description of the hotel is given; seriously, without a shadow of a smile, the following details are reported: “the deceased room with cockroaches". Comparisons are vitally simple, and therefore especially comical: "cockroaches peeking out" like prunes "from all corners." You read and immediately remember Pushkin's words about how sad Russia is. The description is carried out by the author.)

2 description:“I entered the hut: two benches and a table, and a huge chest near the stove made up all of its furniture. Not a single image on the wall - a bad sign! The sea wind blew through the broken glass. I pulled a wax stub out of my suitcase and, lighting it, began to unpack things, put a saber and a gun in a corner, put pistols on the table, spread out a cloak on a bench, my Cossack on another ... ".

(The narration is conducted on behalf of the hero. Before us is a “vater”, in which there is “unclean” - there is not a single image, the sea wind and the details that characterize a military man: a saber, a gun, pistols, a cloak, a Cossack accompanying the main character.)

3 description:“The room ... at first glance seemed beautifully decorated. There was a bureau of mahogany, two sofas upholstered in silk, beautiful screens embroidered with birds and fruits unprecedented in nature. There were silk curtains, carpets, several paintings, porcelain and many beautiful little things... But... the back of the sofa sank down, the glued wood lagged behind in places. Exactly the same character was worn by paintings, and vases, and trifles.

(Description of Oblomov's apartment: firstly, this is a house where a person lives for quite a long time. He feels comfortable here. The details confirm the image of Oblomov: apathetic, pampered, lazy.)

Pay attention to how Goncharov "leads" us to his image, how he "forces" us to accept his hero as he originally conceived him. Starting with the main thing - with the characteristics of his hero, he then clearly outlines the spatial boundaries around him. Having answered the question "Who?", he then answers the question "Where?". Try to understand the logic of the writer's thought. What question do you think we will find the answer to next? - "When?".

Pay attention to additional sheet number 4. On the one hand, you are offered the daily routine of an ordinary person, and on the other, the unfilled daily routine of Oblomov. Fill it out.

Think about why the writer introduces temporary images into his narrative? What is added with their appearance to our ideas about the hero? Is our opinion changing? (No, it doesn’t change, we only learn more about the image that stood alone before the author’s eyes.)

Today we are talking about the secrets of Goncharov's artistic skill and learning from the writer a clear and precise presentation of his own thoughts and judgments.

Development of skills and abilities

Analysis of the episode "Oblomov's Visitors".

In the article “Better late than never,” Goncharov writes: “When work is going on in my head, faces haunt, pester, pose in scenes, I hear excerpts of their conversations - and it often seemed to me, God forgive me, that I was not making it up, but that all this is hovering in the air around me and I only need to look and think about it. Let us, too, "look and think."

I propose to look at the faces of the visitors using the RAFT technique (students were asked to prepare one of the episodes. Annex 2).

What is the purpose of Goncharov introducing the episode "Oblomov's Visitors", what information does this episode carry about Oblomov?

(The hero narrows the spatial boundaries to the limit, reducing them to one - a sofa, he does not even let visitors come to him, refusing to shake hands - the episode is repeated from one visitor to another, time is deliberately "stretched" due to the fact that different episodes are written according to one narrative scheme: description of the visitor, definition of his life in Oblomov's life, dialogue with Oblomov, Oblomov's reflection on the subject of conversation.)

Consolidation of learned

So, what is the secret of Goncharov's artistic skill, what will we pay attention to when reading the novel further in order to better understand the writer's thoughts?

After the students' statements, the teacher summarizes, writes down the features of the writer's artistic manner:

1. Subsequence.
2. Key points in the story.
3. Leading the hero through similar situations.
4. Strict adherence of the artist to his manner in depicting the hero, time and space.

It is no coincidence that in the article "Better late than never" Goncharov writes: "I always have one image ... it is he who leads me forward." We will follow the author.

Bibliography

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