Analysis of the episode in the work of bugs. Speech development lesson with elements of linguistic analysis (on the example of the analysis of the discern from the novel "Oblomov")
An analysis of the episode in the epic work is very difficult for many students and teachers the theme of the essay. What are the difficulties in working on the theme of this kind? First of all, in the need to understand what place in the structure of the work is occupied by an episode, in the ability to independently analyze the text, given both its content and the form, during the analysis to disclose the general characteristics of the creative manner and the author's world and as a whole, may be , less significant, but no less difficult problems (N.I. Pavlova). Let's try to take them into account by analyzing two small interrelated fragments of the epic work.
It is well known that Goncharov attached great importance to the feeling of love. With the mouth of the gallez in the novel "Oblomov" he said that "Love with the force of Archimedean lever moves the world." Under the influence of love, a person can inwardly transform, to gain the goal of life, in love he draws energy. Without love, life loses sense, love fills her poetry (V.A. Nedzvetsky). The significance of the topic of love for the author of the novel, its attractiveness for the young reader has determined the choice of episodes for analysis: the explanation of Oblomov with Olga Ilinskaya in 6 chapter 2 of the part and explanation of Oblomov with Agafey Pshetitsyna in chapter 4 of the part of the broom. It is in these episodes that the characteristics of both the capital hero and his beloved, an understanding of love with a writer are revealed. An analysis of episodes helps to comprehend artistic features, the symbolism of the novel.
So, explanation of Olga and Ilya Ilyich ...
Getting Started with the analysis of this episode, it is important to find out what preceded him in the relationship of the heroes, give compressed their characteristics. And Oblomov, and Olga, undoubtedly, the favorite heroes of Goncharov. Both of them are drawn by the author with great sympathy. But if the brooms are lazy, and it constantly causes the author's smile in relation to him, then Olga is active, active. Stolz, leaving, instructed her Oblomov and asked not to give him all day long. Olga Stolz has promised to fulfill and already anticipating his victory over the laziness of Oblomov. She saw, as next to her, he changed noticeably: apathy, immobility was changed by revival and activity, he was cheerful and full of life. Olga, of course, feels that the main and, perhaps, the only reason for such a change is that the bugs are in love with it.
And indeed it is. Goncharov shows Oblomov capable of the deepest experiences of the poetic moments of being. The soul of the hero since childhood was subject to the influence of poetry: his tales of nanny captured him, he perceived them as a reality. In his youth, "the poets crushed him for the living: he became young men, like everyone else. And for him, he was happy, not changing anyone, all the smiling moment of life, flourishing forces, hopes for being, the desire of good, valor, activities, the era of strong heartbeat, pulse, trembling, enthusiastic speeches and sweet tears. The mind and heart enlightened: he shook down the shower, the soul requested activities. "
And although the time of adolescence is long behind, in the soul of obcomments, the young man, the "poet" calls his gallery. During the singing of Olga, the hero "broke out, hesitated, with difficulty restrained tears, and even harder to choke him joyful, ready to escape from the soul of a cry. For a long time he did not feel such a vigor, such a strength that seemed to be all rose from the bottom of the soul, ready on the feat. " But the author knows that all this is only an instant impulse, and therefore finishes the phrase ironically: "He would even leave for this minute abroad, if he had only to sit down and go."
Olga sings "Casta Diva", and "all enthusiasm, zipper pushing thoughts in the head, thrill like needles running around the body - all this destroyed Oblomov: he is exhausted." Under the influence of music, singing in the heart of Oblomov, the spiritual, deep sense of love awakens. The hero admires Olga, looking for a wonderful soul in it: "He ... I looked at her as if not my eyes, but the thought, with all my will, like a magnetizer, but watched unwittingly, not having the strength not to watch. "My God, what is her pretty! There are those in the world! - He thought, looking at her almost frightened eyes. - This whiteness, these eyes, where, as in the Pochin, dark and glitters something together, the soul must be! ". Olga's response is also spiritually and poetic.
Heroes love reveals true relatives of their souls. Between them, the exchange of mysteries and feelings occurs, only two spiritual communication is established by two peaceful communication, and the work in the work of V.A. Zhukovsky, other Russian romantic poets: "Yes I'm something i mining from it, - he thought, - something goes out of me. The heart is here, it begins to boil and beat ...<…> My God, what happiness to look at her! Even breathe hard. " "Do not look at me as strange," she said, "I am also awkward ... And you, right, want to get something out of my soul ... " (Here and then italics mine. - NOT.). Love Olga and Oblomov - a fire that burns in their souls, brings them closer: "Both of them, outside the fixed, burst into the inner fire, trembled equal trepidation, in the eyes there were tears, caused by the same mood" Active, active Olga and Liegehoglock, obcomments are not inferior to each other in the subtleties of the mental organization.
Suddenly, for the heroine and for himself after singing, Olga, Oblomov admitted in love: "Her gaze met with his gaze, as directed to her: This look was fixed, almost crazy; They looked no bug, but passion.
Olga realized that he had a word that he was not dominated in him and that it was truth. "
Heroes understand love in different ways. Oblomov - the whole feeling. In every step and a act, he is extremely sincere, his "unhappy heart" shines in everything. Olga also proud, there is a mind next to feeling. However, after the inappropriate recognition of Oblomov, both understand the need for an explanation and go towards each other, experiencing severe spiritual excitement. Olga, of course, hopes that the hero will repeat his words about love, but remembers that she herself must be rigorous and observe all the decency. Oblons are afraid of meetings with Olga, realizing that he will need to make a decisive act: either to confirm his recognition, or to take a careless word, - but he is not ready for anyone or another. After going to the park and knowing that he would meet there with Olga, he did not make any decision.
Goncharov - a great master psychologist - the very beginning of the scene of the explanation of the heroes at the end of 6 chapters 2 of the novel builds so as to emphasize the permanent parallel in their mental state and thereby prove to a sensible reader equality of heroes in love, kinship their souls: "Suddenly someone It goes, she hears. "There is someone ..." - thought the bug. And they agreed to face.
Olga Sergeevna! - He said, shaking as an aspen leaf.
Ilya Ilyich! She answered timidly, and both stopped.
Hello, he said.
Hello, she said. "
In the scene of explanations, the author clearly demonstrates that Oblomov lives with a heart, unlike Olga, living mind. And therefore, the speech of the hero is full of enthusiastic or distressed exclamations, the affirmative replicas filled with feeling, thought: "So ... no, tomorrow ... how to feed." "Believe me, it was unwitting ... I could not resist ...". In the replicas and small internal monologues of Oblomov, the dots hovering his feelings that fill his soul, but at the same time indecision, uncertainty, novelty and ambiguity for him of the most experienced sensations. Before Olga, he is not confident in herself, he does not know what to expect from her next minute: a gentle word, from which the heart happily beats, or a knuckle, who brings the exclamation "to herself": "Oh, evil!"
When describing Olga Goncharov uses basically the external characteristic method, a brief remark, which fixes and characterizes its gesture, view, intonation, speech. Olga - all movement and action. Those replicas that she utters "to herself", brief, full of energy, like replicas addressed to the broom. She either asks him about something, or prompts the action: "That he (galley. - NOT.) writes? "; "What are you?"; "When?"; "Smoke how good it smells!"; "Do you like that in the rooms it was clean?". In the speech of the heroine, the swiftness of her nature is manifested, the inner fire spots burning on her cheeks. Olga has to intentionally restrain the movement of the soul.
Goncharov builds the scene of explanation like a dramatic act, having a concern, culmination, junction. The stronger of it is the words of Oblomov that his recognition in love was unknown, "only from music." Olga, this apology is deeply saddened, she straightens and drops flowers, the eyes are faded, two pink spots disappear on the cheeks, she "strongly rushed by a branch from the tree ... immediately threw ... on the track", "her throat was in her throat "She rapidly headed to the house. Oblomov is trying to keep Olga, he is surprised by what action he had his words. Now it is more important for him as an unknown confession, and forgiveness for having grieved her apologies, especially since it was not true. Holding Olga, he is sincerely and is not ashamed to open his heart: "... For God's sake, do not leave so, otherwise I will have such a stone on my soul ...".
Having felt behind these words of the hero of his loving soul, Olga begins to persistently achieve new recognition from him. She "extracts" him with his relentless issues: "Why?"; "What is in it?"; "Well?"; "Why is it crying?"; "What?". She is impatiently waiting, slowly, "as if with difficulty" expend on the steps of the stairs. And the bugs again tells her about love. At the energetic requirement of Olga, the hero responds indefinitely, slowly: "I do not know ...<...> I have passed the shame now: I am not ashamed of my word ... it seems to me, in it ... "" ... The same ... excitement ... The same ... Sorry ... Sorry, sorry - she I can't sing with him ... ". These words are the culmination of the scene. An omission of it is the call of the heroine: "... only forward ...". In this last phrase, Olga can hear the warning of the hero "Forward" to be more careful in his speeches. And yet, it seems that these words are symbolic, they sound a call for broom, the vital philosophy of the heroine is expressed, her constant rapid movement forward, for which even Stolz will hardly have time. Symbols of words confirm gestures of heroes: she "instantly flashed into the glass door, and he stayed like inserted." The fate of their love depends on whether the brooms can follow Olga call: "Forward!".
In the scene of explanations, as in general, Olga is active in relations, it takes on the role of a man. The love plot in the novel has a mythological subtext: Olga thought about the broom as some Galatee, "with whom she herself had to be Pygmalion." Indeed, for some period she managed to "breathe the soul" in Oblomov: she fascinates him with a loving look, a smile, whisper, "said and sang for him, so that he did not sit on the wrong nose, the eyelids, so that everything spoke and sang incessantly in It is very. " And when he finds itself on the Vyborg side, Olga Taik will meet with him in the summer garden, on the Neva, will come to him on the apartment. Bakes and understood himself that he lives next to Olga. It will not be her, he is "dead man." He warns this heroine even when she does not think about separation. But Olga's feeling is reasonable and proud. Love for broomstimation will gradually turn into burdensome care for him. She will understand that he is descending, and the feeling of self-preservation will tell her the way out: it will discern with the broom. In the scene of their last explanation Olga hero will reproach: "The stone would come to life from what I did ...". Having loved the gallery, she will be ashamed of the hero of her first "novel", will call it the word Tarantyev and Sonechiki - "bag". The role of Pygmalion was not at the power of heroine.
Olga and Oblomov's love relationships are deployed on a natural background, the hearts of the heroes are open to nature. The moment of the highest spiritual takeoff, the heyday of the feelings - the meeting and explanation of the heroes - closed with the most poetic moment in the life of nature - with the spring and early summer, sometimes flowering trees and herbs. Dates occur in a beautiful, fragrant park. In explanation of the heroes, nature is involved, which helps to reveal their souls. Subsequently, the love of Olga and Oblomov from mental communication will turn into passion. The heroine will experience gusts of passion during a thunderstorm, in the midst of summer. But the broom made a proposal, and it is accepted. Now, for the hero, love turns into a grave debt. He compares it with the "OSP", which Galz "instilled" with Olga. In the soul of the heroine, there is also a feeling of dissatisfaction with her relationship with Oblomov: "... She fell into painful thoughtfulness: something cold, as a snake, crawled into the heart, sledged her from a dream, and warm, the fabulous world of love turned into some autumn day When all items seem in gray. " It happens when "summer was fought, left. In the morning and evenings became dark and cheeses. " Oblons and Olga break out, when the Neva will freeze and the land will cover the snow. Returning to the Vyborg side after breaking with Olga, the bugs will see the snow: "Snow, snow, snow!<…> Everything fell asleep! ". In the scenes of love dates Olga and Oblomov are repetitive images: a lilac branch, fire as symbols of life. They will withstand other images: cold, darkness, snow - death symbols.
One of the symbolic images passing through the whole novel is the image of fire. The name Ilya indicates that the hero is relatively fiery element. On the Old Testament Motes, Ilya is associated with heavenly fire (TA Agapkin). In the people's ideas, Ilya Prophet, God-Studzzitz or Gromovik - "Mighty, gray-haired old man," which travels around the fiery chariot "From the end to the end of infinite celestial fields, and the punishing hand of his star with a surge height of fiery stone arrows ..." (S. V. Maksimov). Olga's name means "Holy", "Torch" (Saints Life); "Her element was light," the goncharov writes about her. The surname does not occur on behalf of Ilya, the name of God-throat. The planet, which belongs to Olga, is the moon, the light source, one of the heavenly dedicted Slavs luminous (A.N. Afanasyev). The image of the fire that is present in the scene of the explanation is the fire of love. It burns in the souls of heroes and determines their external and internal transformation. "In the Slavic rites and conspiracies, it was reflected like the Love Fire Love Fire" (A.L. Toporkov). Love Oblomov and Olga is the burning of the hearts: Life "burns", "boiling from the heart." "Both of them, outside fixed, burst into inner fire ...".
Parking rays of the fire of love for Oblomov and the desired, and are destructive. The fire relates with a poetic manner of "heart-dust", you can burn in the "fire of passions" (Biderman). Already at the first meetings with Olga Ilya Ilyich complains: "I have been hurting for me something awkward, burns me." But at the same time asks: "Ah, if I would like me, what burns me now - and tomorrow and always! And then no you - I'm Gasna, Fall! ". Olga for him - the desired source of this fire: "I feel disgusted, everything is boring; I am a car: I go, I do and do not notice what I do. You are fire and the strength of this car ... ". But under the scaffolding rays, the heart burned out the heart of Oblomov: he was tired of the unnatural role for himself and asks Olga Rest: "My whole organism is shocked: he doesn't even require temporary calmness ...". Behind the gap with Olga followed the sickness of the hero, and hot.
The fiery arrows of Ilya, the god-bomber, reached the goal: Olga also loved Ilya Ilyich. In the scene of a love explanation with a broom, when she feels a loved one, two pink spots are burning on her cheeks. When obglomov says that his recognition in love was not true, it is "only from music", "she changed in his face: two pink stains and eyes were missing." The hero repeats his recognition, and on the cheeks of the heroine, two pink spots appear as a mark of the fire-passion, which is burning in her soul. The influence of the sense of love for the broom is fruitful for a heroine. As the rays of the hot sun ripen every fetus, and Olga, by observing the gallery, "ripe", "developed". But Olga, like bugs, experienced the density of fire-passion, he fell and the heroine, as the hero was turned. Stolz barely found out Olga in Paris: "The features of her, but she pale, eyes as if they fell asleep, and there is no children's smile on her lips, no naivety, carelessness."
Goncharov uses heroes explanations in the scene symbolics flowers. Oblomov offers Olga Lily. In the book N.F. Svolotsky "Flowers in the legends and legends" about this flower is stated as a symbol of mental outpoures, love and happiness. Olga "threw the lilac branch and sniffed it, closing her face and nose.
Smoke how good it smells! She said and closed her nose and him. " The lilac branch will appear in the novel not once and after this scene. Olga with great love will embroider lilac in memory of the first date. Heroes will break up when the summer will change winter, "lilacs moved away, disappeared." N.F. Zolotsky writes about this flower: "In the east, from where, as we know, lilac happens, it serves the emblem of sad parting, and therefore the in love presents it there commonly with his beloved only when they diverge or part forever." Election of lilac as an emblem, a symbol of love, heroes and are not suspected of it. Oblons, which says: "... Neither the amers, nor roses do not like," and does not assume that he refuses those flowers that are symbols of love and love attraction, and together with Olga prefers to them lilac, which at the very beginning of their relationship Greeting separation (I.V. Gracheva).
Scene explanation Oblomov and Agafa Matveyevna In the novel is prepared by the story about how the relationships of these heroes are developing, what feelings they are experiencing to each other.
What does the love of Oblomov appear to Agafier Matveyevna? The feeling of the hero to the widow of Wheat Goncharov does not want to call love, talks about him with an unchanged humor. The feeling is not like anything like the fact that the hero was experiencing in relation to Olga. Then - a romantic, spiritual feeling, - a consciousness, proud desires and anxiety, desire for feats, painful torments that "the time takes out that his power is dying that he did nothing, nor evil, nor good, that Prasden he And it does not live, but stimples. " But that love was similar to the "OPE", "Corey", "hot," almost a destroyed hero. Oblomov "shuddered when he remembered her." After the hijack experienced "Ilya Ilyich was dying for a long time, for the whole clock, it was defeated in painful thoughtfulness ...<…> Mistress ... He found him in tears. Then, little, the place of living grief stole a silent indifference. " Oblomov gradually acquires immobility, bowels. Even during a love explanation with Agafie Matveyevaya, "his eyes did not shine."
The feeling of the widow of wheat carries the hero of the desired, sweet peace. It proves words transmitting its experiences and actions: "Felicly remained"; "Stopped his eyes"; "Slowly with the foot revealed the door"; "Joked with the hostess"; "All this was done lately"; "Not worried about the alarm"; he "wanted to sit on the sofa and not to lower the eyes from her elbows"; "He's as if an invisible hand planted as a precious plant, in the shadow of the heat, under the root from the rain and cares for him, cherishes." Goncharov characterizes only the external manifestations of feelings: the soul, mind, the heart of Oblomov with a loss of love for Olga fell silent.
Does Agafia Matveyevna Oblomov love? In her life, nothing like that did not happen to meet him. She saw that he was opposite to her late husband - the college secretary of Pshetitsyn; It looks at all "boldly and freely, as if he needs humility"; his face is white and gentle; hands white and small; His manners are deceived and beautiful; The conversation is smart and beautiful; Lingerie He wears a thin, changes it every day; Washed with fragrant soap, nails cleans. In the view of the heroine, "He Barin, he shines, shines! Moreover, he is so kind: how gently he walks, makes movement, touched up to hand - like velvet ...<...> And he looks and speaks as gently, with such kindness ... ".
Goncharov ironically compares the birth of love in the soul of the heroine with the "sediment of the Sea", "with the crepe of mountains", with a cold or incurable fever. The feelings of Agafa Matveyevna, the author passes with a soft humor, as if not believing himself, allows himself only to guess about them. The feeling of his heroine "never asked herself." It does not have a name for her. It seems to "found"; "She has become not his own"; She "switched to this sweet yoke certainly without resistances and hobbies, without trembling, without passion, without vague premonitions, languages, without playing and music nerve." The appearance of Agafa Matveyevna, her behavior will now be dependent on the relationship to her Oblomov. After breaking with Olga, he was sick, gloomy, barely speaks with her, - she is thinner, becomes "precisely stone", flaws are noticeable; Oblomov comes to life, he appears "kind smile", he began to "look at her still affectionately, to look at the door on her and joke - she again fell away, again the farm had taken her vividly, cheerfully, fun ...". At the same time, she "could not only pokoke with a broom, to show him some sign that was happening in her, but she ... never realized and did not understand it ...".
The love of Agafi Matveyevna manifested itself, like the love of the Russian peasant, in devotion to the coffin. She voluntarily put on the "claw" concerns about Ilya Ilich and was lucky this heavy WHO with joy. The meaning of her life, all its farms became His peace and convenience. The love of the heroine is manifested in action: "Make a remark" if it freshers roast or digest the ear; Does not sleep, "turns around with a side on the side, is baptized, sighs", if Ilya Ilyich is not long in the evening; "Jumping out of bed, challenges the former", "will throw the skirt", "runs to the kitchen, swells Zakhar, Anice and sends a collapse of the gate," if he arrives late; "Three jumps are in the kitchen" to trace, whether it was well welded for Ilya Ilyich coffee.
The disinterested dedication of Agafa Matveyevna is expressed in the fact that during the soul of the hero she, forgetting about himself and his children, cared for him, leaving the nights of his bed, and in the morning fled to the church to pray for his health. She "rushed to his knees and lied for a long time, turning his head to the floor ..." Secrely from the whole house Agafya Matveyevna laid down and sold the last thing that had, pearls, fur, clothes, - just to feed Ilya Ilyich, when the brother absorb them both. After the strike, which happened to the broom, the efforts of Agafa Matveyevna, the hero was gone and returned to life.
The scene of the explanation of Oblomov and Agafa Matveyevna at the end of Chapter 4 of the part of the Roman Goncharov opposes the scene of the explanation of Oblomov with Olga. Olga and Oblomov's love confessions happened in spring, in a flowering park. The explanation of Ilya Ilyich and Agafa Matveyevna occurs in the kitchen, the time of year here does not matter here: life on the Vyborg side, as in the crushing, flows equally even in winter, and in the summer - this is life in cyclic time. Calendar time is now replaced by household. In the hands of the heroine is not a branch of lilac, but a mortar with a pestle. Heroes with the same sense talk about cinnamon, bathrobe, love and kiss, about the prospects for the future life.
The first explanation ended with the energetic appeal of Olga, the second - the call of Oblomov: "Good Agafia Matveyevna!<…> You know that: go to the village to live: there is a household! What that is not: mushrooms, berries, jams, bird, barnyard ... ". Oblomov calls the heroine in a crushing, in his ideal world. In response, Agafya Matveyevna says: "They were born here, the century lived here, and it is necessary to die." In these words, her vital philosophy was expressed. She does not know a different life, except in the circle in a circle, in cyclic time, in rotation around his own hearth, because and the call is opposite to Olga's call. And the hero agrees with the heroine: "He just wanted to sit on the sofa and not to lower his eyes from her elbows." Agafia Matveyevna, like bugs, the heroine of Idylliya, in which it is obligatory, organic "attachment, incremental of life and its events to the place." "The unity of the place of life of generations weakens and softens the temporary boundaries between individual lives and between the various phases of the same life," brings closer and merges the cradle and grave, childhood and old age, "(M.V. Roddin).
If in a relationship with Olga "Male" the role of the manager assumed a heroine, then in relations with Agafei Matveyevna as an active, the acting side is obitts. He feels his superiority over the heroine, the behavior of Agafa Matveyevna for him is predictable and understandable. In the scene of explanations, he is confident in himself, his replicas of brief and energetic: "And if I prevent you?"; "And if I kiss you?"; "Well, kiss me!". In the speech of the hero, there are no such frequent dots that the author used the explanation in the scene with Olga, and beyond which was hidden by an unspoken, controversial feeling.
Unlike Olga, which is the whole - feeling and gust, Agafia Matveyevna answers the hero of the silent acceptance of all his words and actions. She is always smooth and equally calm. The only form of an expression of the feeling of her - smile: Even when his breath burns her cheek, she only smiles. It would seem that the hero never revive the "stone galatia" - Agafy Matveyevna. But it is not. Although she did not see himself in the role of Pygmalion, but the love of him would be the reason for the internal transformation of the heroine. After the death of Ilya Ilyich, "she realized that he lost and brightened her life that God had invested his soul into her life and took out again; that the sun was lit in it and fed forever ... forever, though; But the life of her ... "was forever.
Olga and Oblomov's feelings are chicted, spiritual, Olga for Oblomov is high and inviolable, the image of it is correlated in his dream (see the 4 chapter 2 of the novel) with the image of an ideal woman, wife. Agafia, Matveyevna, too, from the dream of a hero. This is the same "Red Self-serving" "with a tanned neck, with naked elbows, with timidly omitted, but flawless eyes." Oblomov himself comes to the kitchen, climbs a gentle and fun conversation, takes Agafia Matveyevna for his elbows, without giving her a cinnamon, leans and kisses her on the cheek. The heroine only allows her to have these signs of attention, while "a little bit, for sight only, defends himself from the Barskaya caress (" Look, I wake up Cinnamon; you will have nothing to put in the cake, "she noticed"), and herself is happy. .. ". All this scene is a classic picture of the courtship of the Barin, "Basic Love". Therefore, the irony of the author in the address of Heroes: "He moves towards it, like a warm fire, and once moved very close, almost to the fire, at least before the outbreak"; She responds to his flirting, "looking into a mortar as in the abyss and a merciless pestle," and the kiss takes, "not wondering, not embarrassed, not a robe, but standing straight and still, like a horse that is worn by the claw."
In the second scene of explanation, as in the first, present the image of fire: Oblomov "closer to Agafie Matveyevna - as if fused to the fire, from which everything is getting warmer and warmer ...". However, in this case, we are not talking about the fire of passion, fire of love, but on the fire of a homely focus, the focus of the house, family. According to the people's ideas, the god-stume "sent a zipper from the sky, angered on Earth fire and arranged the first hearth." "In the flame of the focus, the heavenly fire of Perun," notes A.N. Afanasyev. In his work, "the religious-pagan meanings of Slavyanin" he writes: "The center of home was the most sacred place, a religious character has moved to all the dwelling." The focus is the beginning that unites people in the family to the community associated with related bonds. A brought up from his native hearth in a crushing, "among the meek and warm morals and the customs of the Motherland, moving over twenty years from the arms in the embrace of relatives, friends and acquaintances," the bugs were deeply "penetrated by the family began" and always wandered on him. In his dreams lives the image of the focus, around which all his life would be built, the life of his friends, relatives. The worship of a homemade fire in the house of rubble goncharov compares with worship of West Fire. Other fire Oblomovtsy did not know and did not want to know.
Oblomov's life on a pea street, no matter how expected the focus. Lunch here did not boil on fire, but was served ready. At the Vyborg side, a dream and life coincided. In the house of Augusta Matveyevna, which is for the hero of the "good" "God's gift" (the lives of the saints), fire fire, fire Vesti, and she itself performs the role of Vestniki, the keeper of the hearth, his mistress. The ministry of fire and the ministry of the broom for it merge into one.
As you know, "Romans honored the inexhaustory fire of the goddess Vesti, protected by Vestnikov's devices." "Vesta depicted or beaming a burning focus, or with a burning lamp in hand" (Afanasyev). In the image of the goddess Vesta, the Romans especially emphasized her luminous purity. It is for tidy who loves and appreciates the bugs of Agafy Matveyevna, calls her: "Headache!" The heroine is even in his own way chastity, although he has children: it does not feel the rusties of passion, like Olga, even when the bugs kisses her.
The similarity of Augusta Matveyevna with the West confirms one more circumstance: in Rome and Tibur (Tivoli), round temples were built in honor of this goddess (S.I. Radzig). In the house of Agafa Matveyevna, life is moving around day in a circle, and the heroine is happy with such life. Heroes living in a sunrich circle themselves to roundness: full and round brookoms, replenished Agafia Matveyevna, even the items in this house round: in the kitchen - Published and miniature teapots, cups, cans, cheeks, in the dining room - Round table, in the pantry - head Sahara, Packs, Korchagi, Baskets ...
As a true wisp, Agafia Matveyevna is true to home, the hearth, to the end, fulfilling his duty on Earth. And after the death of Oblomov, she remains in the house, at the focus. Now as the keeper of the focus, she especially acutely feeling his connection with a dead husband. That is why it is worshiped by his grave. "Removing ancestors is associated with fire," writes Afanasyev. The other actions of the heroine and the images are also directly related to the fire, it is surrounding: it, for example, breeds and sells chickens, and the rooster is a symbol of fire.
God-rod-rivets Ilya Prophet is meaningful to the Slavs and as a deity, creating a crop (A.N. Afanasyev), shake as "the patron saint of crop and fertility, a sower, a reaper and a gift of goods ... From Ilyin of the day they started the harvest or finished cleaning .... "Peter - with a cooler, Ilya - with a cake," says people "(T A. Agapkin). Therefore, important in the context of the work is the fact that the heroine bakes cakes, cheesecakes, bread. She wears the "bread" surname of Pshenitsyn. This author directly indicates the dependence of Agafa Matveyevna from Ilya. The ministry of fire and the ministry of the broom for it merge into one. Ilya Ilyich is her God, this is the sun that lit up in her life. For Agafa, Matveevna Oblomov "shines, shining." She herself "shines" in the rays of the Sun-Oblom, she honors the hero, as the peasants honored God.
In the second scene of the love explanation there is another symbolic image - this the image of a robe. For the hero, the bathrobe becomes fate: the bugs put on his twelve years ago, when he threw the service, closed in his own apartment and lay down on the sofa. He is enthusiastic with its own bathrobe, sees in it "darkness of unpleasant advantages: he is soft, flexible; The body does not feel it; He, as a obedient slave, conquers to the self-playing body movement. " Bunny in a bathrobe, bugs hope to hide from all life problems. The bathrobe disappears from the life of Oblomov, when he falls in love with Olga (Tarantyev took a robe with the rest of the belongings on the Vyborg side). With Olga to the life of Oblomov, light bursts. And the reader appears hope that the bathrobe will no longer need a hero. But as soon as the hero begins to "grow" to the Vyborg side, Agafia Matveyevna will remind him of a coat, she will wash and subtract him. The bathrobe will become a mandatory and unchanged attribute of the family relations of Oblomov and Agafa Matveyevna: "What is it on a bathhouse again?" - she carefully exclaims in the scene of a love explanation. - "Skiphe yes let's give soon, I will bring and stop ...". The heroine may be because he talks about a bathrobe with such love and care that he is a kind of guarantee that Olga belongs to her and only to her: Olga left his claims to him: she didn't need it in a bathrobe.
The image of a robe in the final of the novel acquires an ominous shade. He pits on the shoulders of Oblomov Zakhar at the moment when the hero returns home after breaking with Olga, in the 12 chapter 3 of the novel. In this chapter, the bathrobe turns out to be in a number of images symbolizing death: it's cold, snow. In the last part of the novel, it is associated with Savan. Fuses the labeliness of a robe. He, as it would be suggested by the owner: "Grow into the width, complete, I'll hide, I will take you anyone. In my homeland, in the east, fullness - a sign of wealth, well-being, peace. After all, it is from childhood who are striking. I have never created anything inconvenience. " The width of the robe, the opportunity to wrap it in it twice make it similar to the funeral, mortal shoes, in which the dead man wrapped. The bathrobe is now directly threatened with the hero: "The more you get to build in me, give in to Len and Apathia, the closer you are to death."
By concluding, I would like to say that the analysis of episodes in the novel "Oblomov" allows students to attach students to the world of the work, to understand the ideas about love experiences and the character of heroes, about the author's understanding of love. Analyzing a small fragment of the text, the teacher will be able to visually show the skill of the writer-psychologist, the features of his poetic thinking, the depth of the novel.
Literature
1. Afanasyev A.N. Poetic views of Slavs in nature. M., 1994. T.2.
2. Afanasyev A.N. Religious and pagan meanings of Slavyanin's horseship // People - Artist: Myth. Folklore. Literature. M., 1986.
3. Biderman G. Encyclopedia characters. M., 1996.
4. Gracheva I.V. "Each color is already hint" // Literature at school. 1997. №3.
5. The lives of the saints. M., 1999.
6. Zolottsiy N.F. Flowers in legends and legends. Kiev, 1994.
7. named secretive power. M., 1998.
8. Maksimov S.V. Literary travel. M., 1986.
9. Nedzvetsky V.A. I.A. Goncharov - novelist and artist. M., 1992.
10. Nedzvetsky V.A. I.A. Goncharov and Russian Love Philosophy // Russian Literature. 1993. No. 1.
11. Reldin M. "Sleep Oblomov as an artistic whole. Some preliminary comments // Russian literature. 1992. No. 1.
12. Pavlova N.I. Analysis of the episode // Literature at school. 2003. No. 7.
13. Radzig S.I. Introduction to classic philology. Ed. Moscow State University, 1965.
14. Superanskaya A.V. Dictionary of Russian personal names. M., 2003.
In Roman I.A. Balov, we are also dealing with the design principle of duality, but duality is not satirical. The aesthetic object of the artistic perception in this case does not double on a high definition and low dance in the field of a single value position - in it mutually exclusive value intentions are combined.
For this reason, an endless dispatch about the "bad" or "good" Hero of the novel - this Sleepy Lenser with a pigeon soul, in whatever categories, and with any positions, it is not allowed, in principle, for the entire Roman world, like His hero does not coincide with himself, appears in a double view of the vision. Such is the aesthetic "optics" of this artistic whole.
The fact is that the last phrase of the text (and he told him that it was written here) contains some fundamentally important revelation. It turns out that we got acquainted not with life, the character and personality of Oblomov in their author's creation and therefore indisputability for us, readers (as it goes with Tolstoy cables, for example), but only with one of the possible intracean versions of this life - with the gallery version. However, the attentive reader will notice the fact that not everything, now known to him, could be known to the gallery. From the same landcock it came to the text? It must be assumed, this information was brought by the writer, who recorded the story of the gallery.
It was unexpected about this in the final chapter of the character, we know extremely few. At our disposal there is only his portrait: Full, with an apathetic face, thoughtful, as if sleepy eyes, wondered by human destinies, but he says, is lazily yawning. Why is it a portrait of the Obloma himself or, at least, a man of a broomstick type opposite to the gallery. So, Roman Goncharova is a version of the life of the chief character belonging to an active man who is not an adequate "Oblomeness", but in contemplative and supplemented by another person - contemplative.
This interconnecting of two versions is created "optical effect" of a kind of aesthetic "myopia", forcing interpreters again and again look at the vague appearance.
In the first chapter of the novel about the duality of the point of view, organizing the process of his reading, the reader is still nothing known. However, the initial page of the text already contain a number of deep oppositions, at the intersection of which obcomments are observed, and appear a kind of overture to a complex and organically contradictory artistic whole. From the very beginning of the opposition, the ambiguous, an ambivalent system of values \u200b\u200boccupying the romance world is constructed.
First of all, we note a two-way chronotope at home. From the very first phrase of the text, we learn that Ilya Ilyich lives in one of the large houses, whose population will be for a whole county city. However, in this someone else's house of nonpatar skip, he only an apartment, and the apartment removed by them is devoid of living traces of human presence. In the replica Volkova from the second chapter there are such new-fashioned funny houses, where half the city is (already metropolitan), which is unpleasantly affected by Oblomov.
The theme of its own (patriarchal, family) at home 06hlov also occurs in the first chapter. This is an object of historical legends about this an old house, the only chronicle, led by old servants, nannies, mothers and transmitted from the kind to the genus<...> Ealgent, like shrine. But Ilya Ilyich no longer lives in his house, leaving the alternateness of the susceptible magnitude forever.
According to him inherent in the lifestyle of bugs - a very homely man. Homemade man without a home is that the initial paradoxicity of a two-way image of the chief hero.
A peculiar opposition of the initial chapter, as well as the subsequent text, is the incomprehension of the ideas and thoughts that suddenly occupy the ochaasonal antonyms. The face of Ilya Ilyich is characterized by the lack of any definite idea. But the thought was walked by a free bird on this face. However, the idea as a plan of different changes and improvements in the order of managing its estate is a significant motive of the first chapter. Subsequently, the hero himself will become the object of such an idea: after all, the main effect of the novel comes down to the unsuccessful implementation of the gallez plan and Olga - the alteration plan of Oblomov.
At the intersection of the inner struggle between the alarm, which occasionally frozen in the form of a certain idea, and a free thought - while the mind was not yet helped - the soul of the hero is found, which is openly and clearly shone in the eyes, in a smile, in every movement of the head, hands. This is perhaps the only thing that does not bone, which is the basis of the identity of Oblomov. At the end of the novel, the characters associate one common sympathy, one memory of clean, like a crystal, soul of the dead man.
The most obvious from the first pages of the work appears the opposition of peace and everyday bustle.
Peace is initially revealed to us by lying a hero, which was not necessity<...> neither randomness<...> Neither enjoyment<...> It was its normal state. Behind this lying, the image of a wide and deceased life in the wilderness of the village. The bustle originally appears the fadom of the huge freight in the house (cleaning), the thought of which led the Barin to horror. With the subsequent tide of everyday worries, the image of a fuss grows into the way of life itself: Oh, my God! Life touches, takes everywhere.
Already in the next chapter, the original for Ilya Ilyich and the key for the novel as a whole disposition of fuss and peace is set: ten places in one day - unhappy! - Thought Oblomov. - And this is life!<...> Where is the person here? What is it split and scattered?<...> unhappy! "He concluded, turning over his back and rejoicing that he had no such empty desires and thoughts that he was not going, but lies here, while maintaining his human dignity and her peace.
In the context of this reasoning, where the concept of human life begins bother, peace is alternative to life, and not evading it. Back in the first chapter, Zakhar claimed: I try not to regret my life! (i.e. does not regret his own peace).
The entire subsequent action of the novel is that the hero of this principal for him is losing peace, and then acquires it again.
However, throughout the novel, the vital value of peace will also double: it is positive in confrontation of the bustle, but as the opposite of the case, it turns out to be the value of the non-enforced and in this sense negative. Against the background of the business activity of the gallez (ah, if you live two hundred and three hundred years! No matter how much it was possible to remake!) Oblomovsky Pochka acts synonymous with death: He touches life, there is no peace! Last fell asleep ... forever ... one of the most The essential oppositions of the romance department, "valuely compacted" (Bakhtin) around the hero, should, of course, recognize the opposition of the East and Europe.
The famous Body of Ilya Ilyich is a real oriental bathrobe, without the slightest hint of Europe, stitched by the unchanged Asian fashion, preserving the brightness of the eastern paint and the strength of the fabric, conquering its owner as a obedient slave. At the same time, the Oblomov Room seemed perfectly cleaned in the European taste, issuing a desire to comply with the Decorum of inevitable decency. And when in the next chapter of the wolves, it proposes to bring a couple of new gloves to the trial (this is just from Paris), the bugs do not hesitate to agree.
However, the hero is internally so removed from the "decorum" complied with the "decorum", which as if he asked his eyes: "Who poured here and put it all?" Subsequently, he will think about the people of other than he himself, warehouse: they do not go to their cap, scoring their head to active Europe.
The confrontation of Europe and Asia, aspiiled from the very beginning, tells us that the fate and the deep characteristics of the main character seem to have the most direct attitude towards the Eurasian phenomenon of Russia itself.
If the Oblomov Figure can really be interpreted as a certain personification of the Russian mentality, then in the system of characters, actualizing various sides of this figure, the opposition of "RUSSIAN" (Easternity) Zahar and Wentytsy (is characteristic of her praise: so sew ... that no Frenchwoman Do not do), on the one hand, and "German" (Western) gallery and Olga - on the other.
In the first chapter, the Stolz has not yet appeared, but his melody in an overture already sounds - in the words of the accurators of the German scarce of Zakhar: And where will the Germans take the suto?<...> They don't have it, like us, so that in the cabinets lay down a bunch of old worn dresses or typed the whole angle of bread crusts for the winter.
The rusticity of Zakhar himself will double, deprived of eastern or western certainty. In his semi-love clothing, it is not an eastern obedient slave (ran out, demonstrates Barina his non-aggregate), but endowed with the voice of a chain dog and is the enemy of European improvements: the boots themselves are filled with themselves: some typewriter invented!<...> Stamp, shame, Barly disappears! In contrast to the Russian man, Zakhar boils the beard, but the bucknbards of him are such that one would like three beards.
The servant undoubtedly embodies one of the sides of a double Barin's image, which is revealed in their silent exchange of alleged remarks. However, he carries not only laziness and oriental fatalism (about the back of the sofa: it's not a century for her to be: it is necessary to break down someday), but also unshakable religiosity: ritual cleaning to holy week and before Merry Christmas the unwillingness to change the image of the image given to him. The latter clearly opposes the plan of different changes and improvements to Ilya Ilyich. But Oblomov, any reform, in contrast to the galler, is completely alien.
Tyu V.I. - Analysis of art text - M., 2009
Roman Goncharova "Oblomov" was written in 1858, and in 1859 printed in "domestic notes". However, the first part of the work - "Sleep Oblomov" saw the light in 1849 by the "literary collection", becoming a sign element of the story and ideological construction of the novel. "Oblomov" is one of the works of the romance trilogy of Goncharov, which also included "Ordinary History" and "Open". In the book, the author affects both many witness for his era - the formation of a new Russian society and confrontation between the original Russian mentality of the European Benefits and the "eternal" problems of the meaning of life, love and human happiness. A detailed analysis of "Oblomov" Goncharova will make it possible to reveal the author's idea more likely and it is better to understand the brilliant work of Russian literature of the 19th century.
Genre and literary direction
The Roman "Oblomov" was written in the tradition of the literary direction Realism, as evidenced by the following signs: the central conflict of works, developing between the main character and society, which does not share his lifestyle; Realistic image of reality, reflecting many household historical facts; The presence of typical characters for the era - officials, entrepreneurs, burghers, servants, etc., which interact with each other, and in the course of the narration, the development (or degradation) of the personality of the main characters is clearly traced.
The genre specificity of the work allows you to interpret it, first of all, as a social and household novel, revealing the problem of "Oblomovshchy" in the modern author of the era, its disastrous effect on the burgher. In addition, the work should be considered as a philosophical affecting many important "eternal questions", and the psychological romance - Goncharov finely reveals the inner world and the character of each hero, analyzing the reasons for their actions and further fate.
Composition
Analysis of the novel "Oblomov" would not be complete without consideration of composite features of the work. The book consists of four parts. The first part and 1-4 chapter of the second are a description of one day of the life of Oblomov, including events in the hero's apartment, his characteristic by the author, as well as important for the entire plot chapter - Sleep Oblomov. This part of the work is the exposition of the book.
5-11 chapters and the third part are the main effect of the novel, describing the relationship of Oblomov and Olga. The climax of the work becomes parting of beloved, leading to the fact that Ilya Ilyich again flows into the old state of "Oblomovshchina".
The fourth part is the epilogue of the novel, telling about the continued life of the heroes. The abyption of the book becomes the death of Oblomov in a certain similarity of "crushing" created by him and wheat.
The novel is divided into three conventional parts - 1) the hero is committed to the illusory ideal, a distant "crushing"; 2) gallery and Olga remove Oblomov from the state of laziness and apathy, forcing living and act; 3) Ilya Ilyich again returns to the former state of degradation, finding "crushing" in wheat. Despite the fact that the basic story of Olga and Oblomov became the main plot node, from a psychological point of view, the Roman's leitmotif is the image of the identity degradation of Ilya Ilyich, its gradual decay until the actual death.
Character system
The central core of the characters is represented by two opposable male and female images - broom and gallery, as well as Ilinskaya and wheat. Apathetic, calm, more interested in the life, homemade warm and rich table of brookoms and Pshenitsyn acts by carriers of obsolete, the archaic ideas of the Russian mesh. For them both "Oblomovka" as a state of calm, abundance from peace and spiritual inactivity is the primary purpose. This is opposed to activity, activities, practicality of the gallery and Olga - they are carriers of new, European ideas and norms, updated Russian-European mentality.
Male characters
Analysis of Oblomov and Stolz as mirror characters involves consideration of them as heroes of various temporary projections. So, Ilya Ilyich is a representative of the past, for him there is no present, and the ephemeral "breaking of the future" for him also does not exist. Oblomov lives only last time, for him all the best was already a long time in childhood, that is, he sought back, without appreciation the experience and knowledge received over the years. That is why the return to the "Oblomeness" in the apartment of Pshetitsyna was accompanied by the full degradation of the person's personality - he was as if he returned to a deep intimid childhood, which was dreaming for many years.
For the gallery there is no past and present, it is directed only for the future. Unlike Oblomov, who is aware of the goal and the result of his life is the achievement of the distant "paradise" crushing, Andrei Ivanovich sees the goal, for him it becomes a means of achieving goals - permanent labor. Many researchers compare the gallets with an automated, masterfully tuned mechanism devoid of inner spirituality, which he finds when communicating with a broom. Andrei Ivanovich acts in the novel by a character-practitioner who has no time to think until you need to create and build a new one, including yourself. However, if the obgal was looked at the past and was afraid to look into the future, then the gallets did not have time to stop, look back and understand, from where and what he goes. Perhaps, precisely because of the lack of accurate landmarks at the end of the novel, Stolz himself enters the "crushing tray" finding calm in its own estate.
Both male characters are far from the ideal of Goncharova, who wanted to show that it is also important to remember his past and honor the roots, like a constant personal development, learning something new and continuous movement. Only such a harmonious personality, living in the present time, which combined the poetry and good nature of the Russian mentality with the activity and hardworking of the European, is worthy of the author, to become the basis for a new Russian society. Perhaps such a person could be Andrei, Son Oblomov.
Female characters
If the image of male characters for the author, an important understanding of their direction and meaning of life was important, then female images are associated primarily with questions of love and family happiness. Agafia and Olga not only have a different origin, upbringing and education, but also have a different character. The meek, haired, quiet and economic wheat perceives the husband as a person more important and significant, her love borders with adoration and the confusion of her husband, which is normal within the framework of old, archaic traditions of Domostroja. For Olga Beloved is, first of all, a person is equal to her, friend and teacher. Ilyinskaya sees all the shortcomings of Oblomov and until the very end is trying to change the lover - despite the fact that Olga is depicted by the emotional, creative, girl to any question is suitable practical and logically. Roman Olga and Oblomov from the very beginning was doomed - to complement each other, someone would have to change, but none of them wanted to abandon the usual views and heroes continued to unconsciously confront each other.
Symbols of Oblomovka
The crushing appears in front of the reader a certain fabulous, unattainable place, where not only bugs seek, but also Stolz, who constantly stands up there, and trying to pick up the work in the end of the work, which remained from the old broom - Zakhar. However, if for Andrei Ivanovich the village is deprived of his mythical qualities and attracts rather on an intuitive, unclear for the hero level connecting the gallery with the traditions of the ancestors, then for Ilya Ilyich, it becomes the center of his entire illusory universe, in which a man exists. The crushing is a symbol of all the old, dilapidative, leaving, for which the brooms are trying to grasp that he leads to the degradation of the hero - he himself shakes and dies.
In the dream of Ilya Ilyich, the crushing is closely connected with rites, fairy tales, legends, which makes it part of the ancient myth about the village-paradise. Oblomov, associating himself with the heroes of told nanny fairy tales, as if it falls into this ancient, existing in parallel world. However, the hero is not aware of where dreams end and illusion begin, replacing the meaning of life. False, unattainable, the chip does not get closer to the hero - he only seems to have found her in Wheat, whereas he slowly turned into a "plant" ceasing to think and live a full life, completely plunging into the world of his own dreams.
Problems
Goncharov in the work of "Oblomov" touched upon many historical, public and philosophical issues, many of whom do not lose their relevance and from our days. The central problem of the work is the problem of "Oblomeness" as a historical and social phenomenon among Russian burghers who do not want to adopt new social foundations and change. Goncharov shows how the "Oblomovshchina" becomes not only a problem for society, but also for the person himself, who gradually degrades, cooling off with its own memories, illusions and dreams from the real world.
The image in the novel of the Russian national mentality is of particular importance for understanding the Russian national mentality - as an example of the main characters (landlord, entrepreneur, a young girl-bride, wife) and secondary (servants, rudders, officials, writers, etc.), and Also, the disclosure of a Russian national nature in contrasting with the European mentality on the example of the interaction of Oblomov and Stolz.
An important place in the novel occupy issues of the meaning of the hero's life, his personal happiness, places in society and the world at all. Oblomov is a typical "external person", for which the world striving to the future was unavailable and far away, while the ephemeral, existing essentially in dreams, the perfect crushing was something close and more real than even the feelings of Olga. Goncharov did not depict the all-encompassing, true love between heroes - in each of the cases it was based on other prevailing feelings - on dreams and illusions between Olga and Oblombov; On friendship between Olga and Stolts; In respect by Oblomov and Adorations from Agafia.
Topic and idea
In the novel of "Oblomov" Goncharov, considering the historical topic of the change of society in the 19th century through the prism of such a social phenomenon as "Oblomovshchina", reveals its destructive action not only for a new society, but also for the personality of each individual, tracing the influence of "Oblomovshchina" on fate Ilya Ilyich. At the end of the work, the author does not lead the reader to a single thought, who was more rights - gallery or brooms, but the analysis of the works of "Oblomov" Goncharov shows that a harmonious personality, as well as a decent society, is possible only with full acceptance of their past, evidence from there The foundations, with a constant desire for ahead and continuous operation on oneself.
Conclusion
Goncharov in the novel of "Oblomov" first introduced the concept of "Oblomovshchina", which remains a numerous word and now for the designation of apathetic, stuck in the illusions and dreams of the past, lazy people. In the work, the author affects a number of important and relevant in any era of social and philosophical issues allowing the modern reader in a new way to take a look at their own life.
Test on the work
An important place in the lessons of literature at school is occupied by the critical analysis of "Oblomov". Goncharov is the biggest prose of the middle of the XIX century. His novels had a significant impact on the development of the domestic literature of the specified century. The writer's books are distinguished by deep psychologism, drama, as well as the formulation of the current problems of the modern time, which, however, is significant today.
The first part of the book
The study of the composition of the novel primarily implies the analysis of "Oblomov". At the beginning of their work, Goncharov describes in detail the way of life who led his hero. From the beginning of the work, readers get acquainted with this character through the eyes of his visitors. But the author also transmits the inner state of Ilya Ilyich, who, after the departure of each of the guests, is launched into long reasoning, revealing it as an uncommon person. Conducting the whole day at home, without working and touched from life, the bugs are nevertheless asked by complex philosophical questions about the meaning of the existence, goals and prospects of a public career.
He is trying to understand the cause of his own inactivity, inactivity and full indifference to everything that is happening. The emphasis on the mental state of the character must include the analysis of "Oblomov". Goncharov is a master of creating psychological portraits of his heroes. He shows that Ilya Ilyich is a man configured by philosophically, which prevents him from conducting a lifestyle, which is trying to instill his best friend of childhood gallery.
Description of the village
Grecharov gave great importance to the description of the formation of his hero. "Oblomov" (Sleep Oblomov, the analysis of which is traditionally the main part of the school lesson, explains the character of Ilya Ilyich) is a key product in the writer's work, since he revealed the most important problems of the Russian reality of his time. This dream shows the village in which the hero was born and grew up. In this place, the inhabitants were distinguished by the unusual softness of character, clarity, friendliness.
They did not care about anything, did not think about career or education. All these people lived today, their main value was homely comfort, warmth, care for each other. Therefore, the little brooms were completely under the guardianship of a loving mother, relatives, her nannies, the borders. This explains his inaction in adulthood.
Vazka
Stolest in the end, some things can take his buddy with some things. He takes it out of the house, introduces new persons. Meeting with a young, beautiful, smart girl Olga Ilinskaya radically changing the life of Oblomov. He falls in love with her, and this love is painting it. The hero begins to lead an active lifestyle: learns, reads a lot, performs frequent and long walks. Ilyinskaya, following the instructions of the gallery, in every way prompted its new acquaintance for various activities.
The characteristic of their relationship includes an integral part in the analysis of "Oblomov". Goncharov describes how their mutual attraction to each other subsequently turned into a strong and deep feeling. After a while they explained and decided to get married.
Culmination
It was an important event in the life of the character. However, he was afraid of how far their relationship went. He liked communication with Olga, however, being by nature quiet, shy and indecisive, he felt that he was not able to take on the marriage bonds. Described in detail the psychological evolution of his character I.A. Goncharov. "Oblomov" (analysis of the novel involves a detailed analysis of the reasons for the rupture of Olga and the main character) - this is a novel who is devoted primarily to the subtle observations of the author for the mental state of the characters.
Ilyinskaya felt the indecision and hesitation of her groom. She had no doubted of his love, but her active kipping natura demanded active and full-fledged life. The most intense moment in the work is the moment of explanation of the heroes among themselves when it turns out how far they are far from each other, despite love. Analysis of the novel of Goncharov "Oblomov" explains the difference in their characters. Olga was very demanding towards himself and others. And Ilya Ilyich turned out to be incomplete to the full transformation of his personality and the usual lifestyle. He has changed a lot under the influence of love, but in the depths of the soul remained the same. It was in this last conversation with his beloved hero calls his vice "grunceman" - the concept that went into everyday speech.
Junction
One of the best prosaikov mid-nineteenth century is considered to be I.A. Goncharov. "Oblomov" (analysis of the work should include and describe the last period of the hero's life) is a novel that shows the development of the main acting person from a psychological point of view. After a break with Olga Ilya Ilyich marries her apartment hostess Anice. This woman fully corresponded to his ideas about the household and wife. In her house, Ilya Ilyich again fell into the former, even the worst inaction, than very upset his friend Stolz and Olga. However, the author reveals the internal causes of such a character transformation.
He explains this disappointment from the loss of his beloved girl. This state passed at the hero in full apathy and indifference to the whole surrounding, which actually led him later to death. The writer fully shows the reader that the physical end of the hero was the consequence of his spiritual empty, which could not fill out the concerns and sincere and simple love of Anice.
Heroes
Oblomov is opposed to gallez and Olga Ilinskaya. The first was Russified German. He worked a lot, cared for his career, but at the same time he did not lose peace and kindness, for which Ilya Ilyaich loved him. Stolz sincerely cared about his best friend, tried to take him and captivate some business. At the end of the work, he married Olga, with which was similar to the characters. The latter, perhaps, is an ideal for the writer. It is active, purposeful, but at the same time smart and restrained.
Studying the first scene
To secure the material traveled, schoolchildren can offer to make an analysis of the episode of Roman Goncharov "Oblomov". As an example, the scenes of guest visits to the hero at the very beginning of the book are chosen, since their dialogues give the first idea of \u200b\u200bthe main acting face of the novel. Readers see that Ilya Ilyich refuses to participate in various cases of his comrades.
All of them are busy and trying to pass it in every way, but to no avail. After their departure, Ilya Ilyich argues about the uselessness of their bustle, classes, work. He is asked the main issue of all the work: and where in this whole thing is a man? The author's sympathy in this case is clearly on the side of Ilya Ilyich, although he does not approve of his lifestyle.
"Oblomov" is a novel, who in its phased disclosure displays the end of the era of the cancellation of serfdom and the impossibility of normal development and the growth of personality in the conditions of a prosperous then serfdom. The resulting analysis of the novel "Bakes" is visual confirmation. The main character is represented by the author as a collective image of a person who cannot after the service to join some business and find an answer to the question: how to live on? Roman "Oblomov" is a mixture of romanticism with a weakened will of a person, sincere tenderness.
"Oblomov": analysis of chapter 1
By applying the method of phased (stepwise) narrowing of images, Goncharov transfers us first to one of the main streets of the aristocracy in the city of Petersburg, moving the essence of the actions in a large multi-depleted house, where we fall into the dwelling and "swept" of the main character.
The untidy room corresponds to both appearance and the inner mood of the owner, where we discover that "carpets were in spots" and "washed in the form of Poutine's Festoon." And the hero itself - the obfomov clies periodically: "Zakhar!". And after the grumble and knocking "Jumping from somewhere", the second character of the novel arises before us, the servant, also in a rather unsightly form. Lackey Zakhar for the owner of the house Oblomov is not only a "loyal servant," he also acts as the Guardian of Generic Memories, Friend, Nanniki. This author clearly demonstrates, representing the rimperation of funny household scenes as a result of the communion of Lacey with Barin.
Thanks to the coarse, frank and unbridled hypocrisy, the manner of Sakara's communication, we get acquainted with the negative features of Oblomov - and with hatred of work, and with the thirst for peace and idleness, and with a tendency to exaggerate their own concerns.
Between the servant and landlord, the parallel is clearly traced: just like Ilya Ilyich Oblomov speaks selflessly over the plan, Lackey Zahar demonstrates the intentions to carry out general cleaning. Just do not think it should not be that Zakhar is a double landlord or a simple lazy. Do not judge him so superficially.
The life of Ilya Ilyich, as it were, in his special Mirka, who also tolerate the invasion of strangers: Many people have a matter to him. The landlord was knocked on the door and the secular sall of wolves, Penkin - a fashionable writer, a diligent official of the Savybinsky and the Dead Tarantyev, even some kind of "man of indefinite years, with an indefinite physiognomy." Petersburgers attract the warmness of the soul in the apartment of Oblomov and the softness of her owner. Even such a scoundrel, as Tarantyev, understands that in this house he will find "warm, calm shelter."
Essentially, an explanation is scheduled for the explanation of why bugs as an official did not achieve success.
We see that the "Wednesday did not" learn ", the reversal environment" People, similar to the chief hero, who, in fact, is in spiritual terms much higher than any of its guests.
Oblomov by the end of the first part of the novel is ready to change its former life. The hero is under pressure from external circumstances in the form of the need to move due to reducing the yield of estate. Only here internal motives are more important. And before we have to see the result of the efforts of the landlord of Ilya Ilyich, climb from the sofa, the author leads a special novel about the children's years of the character - "Sleep Oblomov".
Sleep Oblomov: Analysis of the Episode
In this passage, we find the answer to the question of how a vigorous and frisky boy Ilya Oblomov turned into a man who does not want anyone and know anything, the fool of his own office and serving him the lacquer.
Oblomovsky Sleep is the connection of the past and present, the predetermination of the fate of the hero. Sleep shows how such a person appeared as Ilya Oblomov, whose personality combines good and pleasant features, as well as complete indifference to the events taking place, the desire of complete alienation.
In a broader sense, sleep is the general state of the hero's soul. The presented crushing exists only in order to awaken in the morning, and in the evening to fall asleep. So the bugs run into their office on Vyborg from the bustle and non-free life, seeking to find peace and dimension. The hero is confident that only in a dream he has complete freedom and can command the time, as desired to see the long-stop mother and move to the "golly corner".
Analysis of the 9th Oblomov chapter shows that the hero seeks to sleep, replacing them the feeling of freedom. Being a metaphor of the Hero's life, "Sleep Oblomov" passes through the entire space of the novel, determining that it was the dreams of the "person to create the other, uncomfortable" person among the natural world, and in it to look for reason and fun in the idle imagination or rays of ordinary clutches of the circumstances and the reasons for the phenomena. "
Analysis of the 3 chapters "Oblomov"
In this chapter, the novel we see how Oblomov visits Andrei Stolz - a friend of childhood.
Already on the threshold of Ilya Ilyich, the gallets falls asleep complaints about his own health: heartburn to torment and barmeted overcame. The doctor advises him to travel, but unless common man goes "... in America and Egypt! ... Did the desperate someone who has a life nipple". All Fear and the arguments of Oblomov are incomprehensible and funny.
Stolz, having familiarized himself with the letter, offers a friend to act and sets out his vision of solving this problem.
But no, such is not for Ilya Ilyich. Changes for him are wary in the world. Bakes do not believe that changes will give a result, as well as a plan for converting a crushing, which he writes for a single year. Ilya Ilyich is not able to make changes in his own life, they cost him the cost of too many efforts.
Thus, the foregoing about the Goncharov novel "Oblomov", the analysis of which you just read, reveals the weakness of the spirit of the human and the crisis of the uncertainty of being, awareness of the Nishchensky spiritual existence of the personality and humility with it. Summing up, it should be said that in our days you can meet the "Oblomeness", so the problem described by the author is relevant today.