Volkov is a secular dandy, one of the guests in Oblomov's house. This is a young man of about twenty-five, full of health with laughing eyes and lips. His life consists of endless visits to St. Petersburg houses, as well as all kinds of entertainment. Oblomov himself considers such a pastime empty and worthless. Spending his days at home, he prefers not to "crumble" in vain for the sake of high life. In addition to Volkov, the main character's house is visited by Sudbinsky, Penkin, Alekseev, Tarantiev. All these people, one way or another, bring at least some kind of variety to Oblomovka.

If the first chapter of the novel is mainly devoted to the main character lying on the couch all day and night, then the second and third chapters are devoted to the visits of Petersburg friends. Volkov's conversations include stories about his constant visits to various houses, his love, bragging about new acquisitions, for example, a tailcoat or gloves. According to Oblomov, Volkov is an unhappy person who is trying to get into ten houses in one day, as if “crushing” his soul into pieces. Listening to his guest, he is once again convinced that he has chosen the right way of life.

In the novel "Oblomov", the mastery of Goncharov as a prose writer manifested itself in full force. Gorky, who called Goncharov "one of the giants of Russian literature," noted his special, plastic language. Goncharov's poetic language, his talent for figurative reproduction of life, the art of creating typical characters, compositional completeness and the enormous artistic power of the Oblomov painting and the image of Ilya Ilyich presented in the novel - all this contributed to the fact that Oblomov took its rightful place among the masterpieces of world classics.

Of great importance in the work is the portrait characterization of the heroes, with the help of which the reader gets to know the characters and makes an idea about them and the traits of their characters. The protagonist of the novel, Ilya Ilyich Oblomov, is a man of thirty two to thirty three years old, of average height, pleasant appearance, with dark gray eyes in which there is no idea, with a pale complexion, puffy hands and a pampered body. Already from this portrait characteristic, we can get an idea of ​​the hero's lifestyle and spiritual qualities: the details of his portrait speak of a lazy, immobile lifestyle, of his habit of aimless pastime. However, Goncharov emphasizes that Ilya Ilyich is a pleasant person, gentle, kind and sincere. The portrait characterization, as it were, prepares the reader for the collapse of life that Oblomov inevitably awaited.

In the portrait of Oblomov's antipode, Andrei Stolz, the author used different colors. Stolz is the same age as Oblomov, he is already over thirty. He is in motion, all made up of bones and muscles. Getting acquainted with the portrait characteristics of this hero, we understand that Stolz is a strong, energetic, purposeful person who is alien to dreaminess. But this almost ideal personality resembles a mechanism, not a living person, and this repels the reader.

Other features prevail in the portrait of Olga Ilyinskaya. She “was not a beauty in the strict sense of the word: there was neither whiteness in her, nor the bright color of her cheeks and lips, and her eyes did not burn with rays of inner fire, there were no pearls in her mouth and corals on her lips, there were no miniature hands with fingers in the form of grapes ". The size of the head and the oval and the size of the face strictly corresponded to a somewhat high growth, all this, in turn, was in harmony with the shoulders, the shoulders - with the camp ... The nose formed a slightly noticeable graceful line. Lips thin and compressed - a sign of a seeker, focused on something thought. This portrait testifies to the fact that before us is a proud, intelligent, a little conceited woman.

In the portrait of Agafya Matveevna Pshenitsyna, such features as gentleness, kindness and lack of will emerge. She is about thirty years old. She had almost no eyebrows, her eyes were "grayish obedient," like the rest of her expression. Hands are white, but stiff, with protruding knots of blue veins. Oblomov accepts her for who she is and gives her an apt assessment: "What she is ... simple." It was this woman who was next to Ilya Ilyich until his last minute, his last breath, gave birth to his son.

Equally important for characterizing the character is the description of the interior. In this, Goncharov is a talented continuer of Gogol's traditions. Thanks to the abundance of everyday details in the first part of the novel, the reader can get an idea of ​​the character's peculiarities: “How Oblomov's home suit went to his deceased features ... long, soft and wide, when, without looking, he lowered his legs from the bed to the floor, he certainly fell into them immediately ... "Describing in detail the objects surrounding Oblomov in everyday life, Goncharov draws attention to the hero's indifference to these things. But oblomov, indifferent to everyday life, remains his captive throughout the novel.

Deeply symbolic is the image of the robe, which appears repeatedly in the novel and indicates a certain state of Oblomov. At the beginning of the story, a comfortable robe is an integral part of the hero's personality. During the period of Ilya Ilyich's love, he disappears, and returns to the shoulders of the owner on the evening when the hero broke up with Olga.

The branch of lilacs plucked by Olga during her walk with Oblomov is also symbolic. For Olga and Oblomov, this thread was a symbol of the beginning of their relationship and at the same time heralded the end. Another important detail is the opening of bridges on the Neva. The bridges were opened at a time when Oblomov, who lived on the Vyborg side, had a turning point in the direction of the widow Pshenitsyna, when he fully realized the consequences of life with Olga, got scared of this life and again began to plunge into apathy. The thread connecting Olga and Oblomov broke, and it cannot be forced to grow together, therefore, when the bridges were built, the connection between Olga and Oblomov was not restored. The snow falling in flakes is also symbolic, which marks the end of the hero's love and, at the same time, the sunset of his life.

It is no coincidence that the author describes in such detail the house in the Crimea, in which Olga and Stolz settled. The decoration of the house "bore the stamp of the thought and personal taste of the owners", it contained a lot of engravings, statues, books, which speaks of the education, high culture of Olga and Andrey.

An integral part of the artistic images created by Goncharov and the ideological content of the work as a whole are the names of the heroes. The names of the heroes in the novel "Oblomov" carry a great semantic load. The protagonist of the novel, according to the primordial Russian tradition, received his surname from the family estate Oblomovka, the name of which goes back to the word "fragment": a fragment of the old way of life, patriarchal Russia. Reflecting on Russian life and its typical representatives of his time, Goncharov was one of the first to notice the failure of internal national features, fraught with a precipice, or a breakdown. Ivan Alexandrovich foresaw the terrible state into which Russian society began to fall in the 19th century and which by the 20th century had become a mass phenomenon. Laziness, lack of a definite goal in life, burning and desire to work has become a distinctive national feature. There is another explanation for the origin of the name of the protagonist: in folk tales, the concept of "sleep-oblomon" is often found, which enchants a person, as it were, presses him down with a gravestone, dooming him to a slow, gradual extinction.

Analyzing contemporary life, Goncharov looked for the antipode of Oblomov among the Alekseevs, Petrovs, Mikhailovs and other persons. As a result of these searches, a hero with a German surname arose Stolz(translated from German - "proud, full of self-esteem, aware of his superiority").

Ilya Ilyich all his conscious life strove for an existence "which would be full of content, and would flow quietly, day after day, drop by drop, in silent contemplation of nature and quiet, barely creeping phenomena of family, peacefully busy life." He found such an existence in Pshenitsyna's house. “She was very white and full in her face, so the blush couldn't seem to break through her cheeks (like a wheat bun). The name of this heroine - Agafia- translated from Greek means "kind, good". Agafya Matveevna is a type of modest and meek woman-mistress, an example of female kindness and tenderness, whose vital interests were limited only to family concerns. Oblomov's maid Anisya(translated from Greek - "fulfillment, benefit, completion") is close in spirit to Agafya Matveyevna, and therefore they so quickly became friends and became inseparable.

But if Agafya Matveyevna loved Oblomov thoughtlessly and selflessly, Olga Ilyinskaya literally “fought” for him. For the sake of his awakening, she was ready to sacrifice her life. Olga loved Ilya for his own sake (hence the surname Ilyinskaya).

The surname of Oblomov's "friend" Tarantieva, carries a hint of the word ram... In the relationship of Mikhei Andreevich with people, such qualities as rudeness, arrogance, persistence and unprincipledness are revealed. Isai Fomich Overwritten, to whom Oblomov gave the power of attorney to manage the estate, turned out to be a fraud, grated roll... In conspiracy with Tarantiev and brother Pshenitsyna, he skillfully robbed Oblomov and well wiped out their footprints.

Speaking about the artistic features of the novel, one cannot ignore the landscape sketches: for Olga, walks in the garden, a lilac branch, flowering fields - all this is associated with love, feelings. Oblomov also realizes that he is connected with nature, although he does not understand why Olga constantly pulls him for a walk, enjoys the surrounding nature, spring, happiness. The landscape creates a psychological background for the entire story.

To reveal the feelings and thoughts of the heroes, the author uses such a technique as an internal monologue. This technique is most clearly revealed in the description of Oblomov's feelings for Olga Ilyinskaya. The author constantly shows thoughts, remarks, internal reasoning of the heroes.

Throughout the entire novel, Goncharov subtly jokes, sneers at his heroes. This irony is especially noticeable in the dialogues between Oblomov and Zakhar. This is how the scene of putting the robe on the shoulders of the owner is described. “Ilya Ilyich hardly noticed how Zakhar undressed him, pulled off his boots and threw a robe over him.

What's this? he only asked, glancing at the robe.

The hostess brought today: washed and repaired the dressing gown, - said Zakhar.

Oblomov sat down and remained in his chair. "

The main compositional device of the novel is the antithesis. The author contrasts images (Oblomov - Stolz, Olga Ilyinskaya - Agafya Pshenitsyna), feelings (Olga's love, selfish, selfish, and Agafya Matveyevna's love, selfless, forgiving), lifestyle, portrait characteristics, character traits, events and concepts, details (branch lilac, symbolizing hope for a brighter future, and a robe like a quagmire of laziness and apathy). Antithesis makes it possible to more clearly identify the individual traits of the characters of the heroes, see and understand two incomparable poles (for example, two colliding states of Oblomov - violent temporary activity and laziness, apathy), and also helps to penetrate the inner world of the hero, show the contrast that is present not only in the external but also in the spirit world.

The beginning of the work is built on the collision of the vain world of St. Petersburg and the isolated inner world of Oblomov. All visitors (Volkov, Sudbinsky, Alekseev, Penkin, Tarantyev) who visit Oblomov are prominent representatives of a society living by the laws of falsehood. The main character seeks to isolate himself from them, from the dirt that his acquaintances bring in the form of invitations and news: “Don't come, don't come! You're out of the cold! "

At the reception of the antithesis, the entire system of images in the novel is built: Oblomov - Stolz, Olga - Agafya Matveevna. The portrait characterization of the heroes is also given in opposition. So, Oblomov is plump, full, "with the absence of any definite idea, any concentration in the facial features"; Stolz, on the other hand, consists entirely of bones and muscles, "he is incessantly in motion." Two completely different types of character, and it's hard to believe that there can be anything in common between them. And yet it is so. Andrei, despite his categorical rejection of Ilya's lifestyle, was able to discern in him features that are difficult to maintain in the stormy stream of life: naivety, gullibility and openness. Olga Ilyinskaya fell in love with him for his kind heart, "pigeon tenderness and inner purity." Oblomov is not only inactive, lazy and apathetic, he is open to the world, but some kind of invisible film prevents him from merging with him, walking the same path with Stolz, living an active full-fledged life.

Two key female characters of the novel - Olga Ilyinskaya and Agafya Matveevna Pshenitsyna - are also given in opposition. These two women symbolize two life paths, which are provided to Oblomov as a choice. Olga is a strong, proud and purposeful nature, while Agafya Matveyevna is kind, simple and economical. It would be worth Ilya to take one step towards Olga, and he was able to plunge into the dream that was depicted in "Dream ...". But communication with Ilyinskaya was the last test for Oblomov's personality. His nature is incapable of merging with the cruel outside world. He refuses the eternal search for happiness and chooses the second path - he plunges into apathy and finds peace in the cozy house of Agafya Matveyevna.

The role of secondary characters in the novel by I. I. Goncharov "Oblomov"

With his novel Oblomov, I. A. Goncharov showed how the conditions of a landowner's life give rise in the main hero to lack of will, apathy, and inaction. The author himself defined the ideological orientation of his work as follows: “I tried to show in Oblomov how and why our people turn before their time into ... jelly - climate, backwater environment, drowsy life and more private, individual for each situation. "

In the first part of the work, there is practically no plot movement: the reader sees the main character lying on the couch throughout the day. Ilya Ilyich's guests, who replace each other in a strict order, bring some variety to the sleepy atmosphere of Oblomov's apartment. It was not by chance that the author introduced such characters as Volkov, Sudbinsky and Penkin into the romance. Their activities are familiar to Oblomov, and his reasoning about the fate of each of them characterizes the protagonist even more fully. We know that Ilya Ilyich began to serve as a collegiate secretary, went out into the world, was fond of poetry, but his state activity ended in resignation, "even colder said goodbye to the crowd of friends," reading books also gradually got tired. As a result, "he lazily waved his hand at all the youthful hopes that had been deceived or deceived by him ..." and plunged into the mental drawing up of a plan for arranging the estate, which he had not been able to finish for several years. The appearance of the guests expands the space-time framework of the novel and allows the author to present various spheres of St. Petersburg.

Secular Petersburg is represented by Volkov. This is “a young man of about twenty-five, shining with health, with laughing cheeks, lips and eyes ... He was combed and dressed impeccably, dazzled with the freshness of his face, linen, gloves and tailcoat. On the waistcoat lay an elegant chain, with many tiny key rings. " He is in demand in a secular society, enjoys success with women - and in this he finds the joy of life. Oblomov, on the other hand, does not see anything attractive to himself in this way of life. "" To ten places in one day - an unhappy one! .. And this is life! .. Where is the man here? What does he break up and crumble into? Of course, it’s not bad to look into the theater and fall in love with some Lydia ... she's cute! In the village to pick flowers with her, to ride is good; but in ten places in one day - unhappy! " - he concluded, turning over on his back and rejoicing that he does not have such empty desires and thoughts that he does not stick around, but lies here, preserving his human dignity and his peace. "

The next hero, Sudbinsky, is Ilya Ilyich's former live exile. It symbolizes the bureaucratic Petersburg - clerical and departmental. "It was a gentleman in a dark green dress coat with heraldic buttons, clean-shaven, with dark sideburns that evenly framed his face, with a troubled but calmly conscious expression in his eyes, with a heavily worn face, with a pensive smile." Sudbinsky has already achieved the post of head of the department, he is going to marry profitably. And all this against the background of Oblomov, who faint-heartedly fled for fear that the boss would announce him a remark for incorrectly sent documents. Oblomov even sent a medical certificate, which stated that “collegiate secretary Ilya Oblomov is obsessed with a thickening of the heart with enlargement of the left ventricle thereof, ... as well as chronic pain in the liver ... , presumably, from the daily walk to office ... ”Regarding Sudbinsky, Oblomov also has his own opinion. “Stuck, dear friend, stuck up to his ears ... And blind, and deaf, and mute for everything else in the world. And he will come out in the people, will eventually turn about affairs and grabs ranks ... We call it a career! And how little a person is needed here: his mind, will, feelings - why is this? Luxury! And he will live his life, and much, much will not move in it ... And meanwhile he works from twelve to five in the office, from eight to twelve at home - he is unhappy! " nine to three, from eight to nine he can stay on his couch, and he was proud that he did not have to go with a report, write papers, that there was room for his feelings and imagination. ”

Literary Petersburg is represented by the image of Penkin. This is "a very thin, dark little gentleman, overgrown all with sideburns, mustaches and hispaniola", writing "about trade, about the emancipation of women, about the beautiful April days ... about the newly invented composition against fires", during his visit, he managed to touch some strings in Oblomov's soul. Ilya Ilyich is so inflamed in a dispute with the state about the subject of depiction in literature that he even gets up from the sofa. And the reader sees that the soul is still alive in him. “Imagine a thief, a fallen woman, an inflated fool, and forget the man right away. Where is humanity then? You want to write with one head! .. Do you think that a heart is not needed for thought? No, it is fertilized by love. Stretch out your hand to the fallen man to lift him, or weep bitterly over him if he dies, and do not mock. Love him, remember yourself in him and treat him as with yourself - then I will read you and bow my head before you ... They portray a thief, a fallen woman, ... but they forget a man or not know how to portray. What kind of art is there, what poetic colors have you found? Expose debauchery, filth, but, please, without pretense of poetry ... Give me a man! .. love him ... "But this impulse quickly passes, Oblomov" suddenly fell silent, stood for a minute, yawned and slowly lay down on sofa". Ilya Ilyich sincerely sympathizes with the writer. "At night to write," thought Oblomov, "when to sleep? Come on, he earns five thousand a year! This is bread! Yes, write everything, waste your thought, your soul on trifles, change your beliefs, trade your mind and imagination, rape your nature, worry, sing-sing, burn, do not know peace and all move somewhere ... And that's all. to write, to write everything, like a wheel, like a machine: write tomorrow, the day after tomorrow, the holiday will come, the summer will come - and he will write everything? When to stop and breathe? Unhappy!"

Of course, one can agree with Oblomov that work at night, the daily hustle and bustle of the career ladder are exhausting activities. But still, each of the heroes: Sudbinsky, Volkov, and Penkin - found a job to their liking, have a purpose in life. Let these goals are sometimes purely personal and the heroes do not seek to “suffer” for the good of the Fatherland, but they act, are upset, rejoice - in a word, they live. And Oblomov, “as soon as he gets out of bed in the morning, after tea he will lie down immediately on the sofa, rest his head with his hand and wash it off, not sparing his strength, until, finally, his head gets tired of hard work and when his conscience says: enough is done today for the common good. " And the worst thing is that Oblomov considers such a life to be normal and unhappy those who cannot allow themselves to live like him. But sometimes, nevertheless, "clear conscious moments" come when he becomes "sad and painful ... for his underdevelopment, for stopping the growth of moral forces, for the heaviness that interferes with everything." He became scared when a "vivid and clear idea of ​​human destiny and purpose arose in his soul, ... when in his head ... various life questions spilled over into his head." But despite the sometimes tormenting questions, Oblomov cannot and does not want to change anything.

It is difficult to overestimate the role of minor characters in the novel, because they are one of the means of characterizing the protagonist. Volkov, Sudbinsky, Penkin are kind of "doubles" of Oblomov: each of them represents one or another version of the possible fate of Ilya Ilyich.

At the end of the first part of the novel, the author asks the question: what will win in the main character - life principles or sleepy "Oblomovism"? After reading the novel, we see that Oblomovism wins in the end and Oblomov dies quietly on the couch, without having accomplished anything useful and necessary.