Analysis of the fragment "Oblomov's Dream" from the novel by Goncharov. Analysis of the fragment "Oblomov's Dream" from the novel by Goncharov Examples of landscape sketches in Oblomov Goncharov
The first landscape appears before us in Oblomov's Dream. Pictures of nature are presented here in the spirit of a poetic idyll. The main function of these landscapes is psychological, we find out in what conditions the protagonist grew up, how his character was formed, where he spent his childhood. Oblomov's estate is a "blessed corner", a "wonderful land", lost in the outback of Russia. Nature there does not amaze us with luxury and pretentiousness - it is modest and unpretentious. There is no sea, high mountains, rocks and abysses, dense forests. The sky there hugs "closer ... to the ground ... like a parent's reliable roof", "the sun ... shines brightly and hotly for about six months ..." "Crawling over the pebbles." The stars there "friendly" and "friendly" blink from the sky, the rain "will pour briskly, abundantly, jumps merrily, like large and hot tears of a suddenly delighted person", thunderstorms "are not terrible, but only beneficial."
In the scenes of love between Oblomov and Olga Ilyinskaya, pictures of nature acquire a symbolic meaning. So, a lilac branch becomes a symbol of this nascent feeling. Here they meet on the path. Olga picks a branch of lilac and gives it to Ilya. And in response, he notes that he loves lilies of the valley more, since they are closer to nature. In their relationship, trust, understanding appears - Oblomov is happy. And Goncharov compares his condition with the impression of a person from an evening landscape. “Oblomov was in that state when a person had just watched the setting summer sun with his eyes and was enjoying its ruddy traces, without taking his eyes off the dawn, without turning back from where the night came out, thinking only about the return of warmth and light for tomorrow”.
When Oblomov begins to be visited by doubts about the truth of Olga's feelings, this novel seems to him a monstrous mistake. And again the writer compares Ilya's feelings with natural phenomena. “What wind suddenly blew on Oblomov? What kind of clouds did it strike? Autumn pictures of nature intensify the atmosphere of the characters' distance from each other. They can no longer meet so freely in the forest or parks. And here we will note the plot-forming significance of the landscape. Here is one of the autumn landscapes: “The leaves have flown, you can see everything through and through; the crows in the trees scream so unpleasantly ... ”. Oblomov invites Olga not to rush to announce the news of the wedding. When he finally parted with her, then snow falls and a thick layer covers the fence, wattle, ridges in the garden. "Snow fell in flakes and thickly covered the ground." This landscape is also symbolic. The snow here seems to bury the hero's possible happiness.
The landscape is simple and modest, painting a picture of a local cemetery in the novel's finale. Here again the motif of the lilac branch arises, which accompanied the hero at the climax of his life. “What happened to Oblomov? Where is he? Where? - At the nearest cemetery, under a modest urn, his body rests between the bushes, in a calm. Lilac branches, planted by a friendly hand, doze over the grave, and wormwood smells serenely. It seems that the angel of silence himself guards his sleep. " Thus, the pictures of nature in the novel are picturesque and varied. Through them, the author conveys his attitude to life, love, reveals the inner world and the mood of the characters.
Introduction The Nature of Fragment The Four Pores of Love Conclusion
Introduction
Goncharov's work Oblomov is a socio-psychological novel written in the middle of the 19th century. The book tells about the fate of the Russian bourgeoisie Ilya Ilyich Oblomov, a person with a fine mental organization, who was unable to find his own place in the rapidly changing world of contemporary Russia. The author's portrayal of nature plays a special role in revealing the ideological meaning of the novel - in Oblomov, landscapes are a reflection of the inner world
hero, are closely related to his feelings and experiences.
The nature of Oblomovka
The most striking landscape of the novel is the nature of Oblomovka, perceived by the reader through the prism of Ilya Ilyich's dream. The quiet nature of the village, far from the hustle and bustle of cities, attracts with its calmness and serenity. There are no dense frightening forests, no restless sea, no high distant mountains or windy steppes, no fragrant flower beds, only it smells of field grass and wormwood - according to the author, a poet or dreamer would hardly be satisfied with the unpretentious landscape of this area.
The soft, harmonious nature of Oblomovka
did not require peasants to work, which created a special, lazy mood of life in the entire village - the measured flow of time was interrupted only by changes of seasons or weddings, birthdays and funerals, which just quickly receded into the past, being replaced by the tranquility of a pacifying nature.
Oblomov's dream is a reflection of his childhood impressions and memories. The dreamy Ilya, from an early age, perceived the world through the beauty of Oblomovka's sleepy landscapes, wanted to explore and get to know the world around him, but the excessive care of his parents led to the fading of the active principle in the hero and contributed to the gradual absorption of that “Oblomov” measured rhythm of life, which for him, already an adult , became the only correct and enjoyable.
Four pores of love
Nature in the novel "Oblomov" carries out a special semantic and plot load. First of all, it reflects the state of the hero. A fragile branch of lilac, which the girl gives to Ilya Ilyich, becomes a symbol of tender feelings between Olga and Oblomov, to which he replies that he loves lilies of the valley more, and Olga, upset, drops the branch. But on the next date, as if accepting the girl's feelings, Oblomov comes with the same twig. Even at the moment when Ilya Ilyich tells the girl that “the flower of life has fallen out,” Olga again picks off a lilac branch for him as a symbol of spring and the continuation of life. During the heyday of their relationship, the quiet summer nature seems to favor their happiness, her secrets, special meanings are revealed to the lover. Describing Oblomov's state, the author compares his happiness with the beauty of a delightful summer sunset.
Nature appears completely different at the moments when Oblomov begins to doubt the bright future of their love, comparing them with rainy weather, a gray sky covered with sad clouds, dampness and cold.
At the same time, Olga notices that the lilac has already departed - as if their love has departed. The distance of the heroes is emphasized by the image of the autumn landscape, flying leaves and unpleasantly screaming ravens, when the heroes can no longer hide behind the fresh green foliage, comprehending the secrets of living nature and their own soul. The parting of the beloved is accompanied by a snowfall, under which Oblomov falls - spring love, the symbol of which was a tender branch of lilac, finally dies under a snow blanket of cold.
The love of Oblomov and Olga seems to be a part of that distant “Oblomov” life, familiar to Ilya Ilyich. Starting in spring and ending in late autumn, their feelings become part of the natural course of time of living nature, the change of seasons from inception and flowering to extinction and death, followed by a new birth - Oblomov's love for Agafya and Olga for Stolz.
In the finale of the novel, the author describes the landscape of a modest cemetery where Oblomov is buried. As a reminder of the hero's wonderful feeling, a lilac planted by friends grows at the grave, and it smells of wormwood, as if the hero returned to his native Oblomovka again.
Conclusion
The landscape in the novel "Oblomov" performs the leading semantic and plot-forming functions. A subtle sense of nature, the flow of its natural time and inspiration by each of its manifestations in the work is available only to the reflective, dreamy Oblomov and Olga in love. After marriage, when depicting the life of a girl with Stolz in the Crimea, Olga unconsciously for herself loses the ability to feel every manifestation of nature that she had during her relationship with Oblomov. The author seems to be trying to show the reader that, despite the speed of the urbanized world, a person is not subject to the natural change of the cycles of nature - fluid and changing throughout human life.
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The purpose of the landscape (like many other artistic techniques in this work) is subordinated to the main goal - to show the history of the emergence of such a human character as Oblomov, the history of the formation of his personality and the peculiarities of his lifestyle.
In the eighth chapter of the novel, the author mentions Ilya Ilyich's favorite dream - to live in the countryside. And the pictures of this life are always associated not only with “sweet food and sweet laziness”, but also with wonderful rural nature. He would like to sit over a cup of tea “under the canopy of trees, impenetrable to the sun, ... enjoying ... the coolness, the silence; and in the distance fields turn yellow, the sun sinks behind the familiar birch forest and blushes a pond as smooth as a mirror ... ”. Oblomov is sure to see "eternal summer, eternal fun" and a lot of food for guests with an "unfading appetite."
Why is that? Why is he like that and “not different”? This question arises both for the readers and for the hero himself. Sometimes Oblomov becomes "sad and painful for his underdevelopment, a stop in the growth of moral strength ...". It became especially scary when “the idea of human destiny and purpose ...” suddenly arose in his soul, and he “painfully felt that some good, bright beginning was buried in him, as in a grave ...”, but “deeply and heavily filled up treasure of rubbish ". Oblomov understood that it would be necessary to throw off all this superficial, all this rubbish that interferes with living full-bloodedly, and ... the thought obediently returned him to a world where everything is fine, where wonderful pictures of nature made it possible to forget about worries, to get away from the reality that worried the soul. A peculiar, "Oblomov" love for nature, combined with daydreaming, brought comfort and even a feeling of happiness to the hero's life.
In the ninth chapter, Goncharov draws a world where the hero of the novel could live happily if he never left his native Oblomovka. It is here that we find answers to many questions and understand why Ilya Ilyich strove with his soul to this “blessed corner”.
Goncharov does not immediately begin the chapter with a description of the "wonderful land." At first, he gives landscape sketches in the form of beautiful pictures successively replacing each other, very contrasting in relation to the nature of Oblomovka, which also makes it possible to understand why this region and this nature contributed to the emergence of Oblomov's character. Here "there is no sea, no high mountains, rocks and abysses, no dense forests - there is nothing grandiose, wild and gloomy." And the author explains the negative view of the inhabitants on exotic landscapes: the images of the raging sea, the power of the elements or the sight of inaccessible rocks, formidable mountains and abysses induce melancholy, fear, anxiety in the soul, tormenting it, and "the heart is embarrassed by timidity ...". This nature does not contribute to the "amusement" of the mood of life, does not calm down, does not "lull", but helps the formation of an active and energetic character, which is able to overcome obstacles, to deal with difficulties.
Ilya Ilyich Oblomov is one of the most controversial literary heroes. Goncharov's contemporaries immediately after the release of the novel branded the protagonist as an inveterate sloth and a purely negative character. However, over time, the look at him has changed, although a complete rethinking of the image of Oblomov is still ahead.
In all the everyday vicissitudes that meet on his way, Oblomov takes the passive side. He leaves, turns away from reality. From all everyday joys and fears, deeds and news, he prefers to plunge into dreams, fantasies and ... sleep. Oblomov's dream is the best, ideal (for Oblomov) world into which he seeks to get.
Descriptively, Oblomov's dream represents his past, childhood. Through a dream, we are shown the house - Oblomovka, the young years of the hero, his family and entourage. Father - Ilya Ivanovich, a landowner, a kind person, even good-natured. Mother is a loving and affectionate, caring hostess. Numerous aunts and uncles, guests and distant relatives who fill the house.
All, without exception, people in Oblomovka are simple and kind, do not suffer from diseases of the soul, do not worry about the meaning of life. Everyone living in this "blessed land" is interested only in themselves and their interests. "Happy people lived thinking that it should not be otherwise, confident that all others live exactly the same way and that it is a sin to live differently."
Nature is especially delightful in that land. It fully corresponds to the lifestyle of Oblomovka's people. Summer is hot and stuffy, filled with the scent of wormwood, winter is harsh and frosty, but predictable and constant. Spring comes in due time, there are generous warm rains, thunderstorms at the same time ... Everything in Oblomovka is clear, simple and somehow sincere. Even "the sky is closer to the earth to embrace it more tightly, with love." What kind of character can be nurtured in such a paradise?
(Little Ilyusha with a nanny in vivid dreams of an adult Oblomov)
To understand a person, find out what he dreams about and what he dreams about. In this sense, Oblomov's dream vividly and exhaustively gives us the opportunity to get to know the hero. One can argue for a long time whether Oblomov's life was good or right, but one thing remains unchanged. His soul. “Soul as pure as crystal” - this is how everyone who had the opportunity to look into Oblomov's heart and soul recalls him. Stolz, Olga, Agafya Matveevna, Zakhar - until the end of their lives they keep the bright memory of their friend. So can a purely negative character evoke such feelings in different, dissimilar people?
Is the life shown to us in Oblomov's dream bad? To some it will seem primitive and boring, someone will consider it the ideal of peaceful existence and being. Most people will probably lean towards the first category. Even the author, it seems, favors another, "active and fulfilling life", to the one presented to us by Stolz.
"The time will come, and brisk steps will be heard ... - this is thousands of Stolts will appear under Russian names, the old Oblomovka will leave." But then Goncharov's prediction came true, and the time came when everyone became entrepreneurs and businessmen. But people are still looking for the meaning of life, they are also unhappy with what fate gives them. Only now, not Oblomovs are waiting for the stolts, but the stolts are looking for kind, sincere Oblomovs. When will they finally meet? When will they be able to combine their strengths and abilities to create not a dream, but a real, real, wholesome life?
Oblomov's dream is not an ideal, not the perfection of life, not a goal of being to strive for. However, it is not necessary to deny it, to throw it away as unnecessary.
Introduction
Goncharov's work Oblomov is a socio-psychological novel written in the middle of the 19th century. The book tells about the fate of the Russian bourgeoisie Ilya Ilyich Oblomov, a person with a fine mental organization, who was unable to find his own place in the rapidly changing world of contemporary Russia. A special role in revealing the ideological meaning of the novel is played by the author's portrayal of nature - in Oblomov, landscapes are a reflection of the hero's inner world, are closely related to his feelings and experiences.
The nature of Oblomovka
The most striking landscape of the novel is the nature of Oblomovka, perceived by the reader through the prism of Ilya Ilyich's dream. The quiet nature of the village, far from the hustle and bustle of cities, attracts with its calmness and serenity. There are no dense frightening forests, no restless sea, no high distant mountains or windy steppes, no fragrant flower beds, only it smells of field grass and wormwood - according to the author, a poet or dreamer would hardly be satisfied with the unpretentious landscape of this area.
The soft, harmonious nature of Oblomovka did not require peasants to work, which created a special, lazy mood of life in the entire village - the measured course of time was interrupted only by changes of seasons or by weddings, birthdays and funerals, which just quickly receded into the past, being replaced by the tranquility of a pacifying nature ...
Oblomov's dream is a reflection of his childhood impressions and memories. The dreamy Ilya, from an early age, perceived the world through the beauty of Oblomovka's sleepy landscapes, wanted to explore and learn the world around him, but the excessive care of his parents led to the fading of the active principle in the hero and contributed to the gradual absorption of that “Oblomov” measured rhythm of life, which for him, already an adult , became the only correct and enjoyable.
Four pores of love
Nature in the novel "Oblomov" has a special semantic and plot load. First of all, it reflects the state of the hero. A fragile branch of lilac, which the girl gives to Ilya Ilyich, becomes a symbol of tender feelings between Olga and Oblomov, to which he replies that he loves lilies of the valley more, and Olga, upset, drops the branch. But on the next date, as if accepting the girl's feelings, Oblomov comes with the same twig. Even at the moment when Ilya Ilyich tells the girl that “the flower of life has fallen out,” Olga again picks off a lilac branch for him as a symbol of spring and the continuation of life. During the heyday of their relationship, the quiet summer nature seems to favor their happiness, her secrets, special meanings are revealed to the lover. Describing Oblomov's state, the author compares his happiness with the beauty of a delightful summer sunset.
Nature appears completely different at the moments when Oblomov begins to doubt the bright future of their love, comparing them with rainy weather, a gray sky covered with sad clouds, dampness and cold. At the same time, Olga notices that the lilac has already departed - as if their love has departed. The distance of the heroes is emphasized by the image of the autumn landscape, flying leaves and unpleasantly screaming ravens, when the heroes can no longer hide behind the fresh green foliage, comprehending the secrets of living nature and their own soul. The parting of the lovers is accompanied by a snowfall, under which Oblomov falls - spring love, the symbol of which was a gentle branch of lilac, finally dies under a snow cover of cold.
The love of Oblomov and Olga seems to be a part of that distant “Oblomov” life, familiar to Ilya Ilyich. Starting in spring and ending in late autumn, their feelings become part of the natural course of time of living nature, the change of seasons from inception and flowering to extinction and death, followed by a new birth - Oblomov's love for Agafya and Olga for Stolz.
In the end of the novel, the author describes the landscape of a modest cemetery where Oblomov is buried. As a reminder of the hero's wonderful feeling, a lilac planted by friends grows at the grave, and it smells of wormwood, as if the hero has returned to his native Oblomovka.
Conclusion
The landscape in the novel "Oblomov" performs the leading semantic and plot-forming functions. A subtle sense of nature, the flow of its natural time and inspiration by each of its manifestations in the work is available only to the reflective, dreamy Oblomov and Olga in love. After marriage, when depicting the life of a girl with Stolz in the Crimea, Olga unconsciously for herself loses the ability to feel every manifestation of nature that she had during her relationship with Oblomov. The author seems to be trying to show the reader that, despite the speed of the urbanized world, a person is not subject to the natural change in the cycles of nature - fluid and changing throughout human life.
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