/Dmitry Ivanovich Pisarev (1840-1868). Oblomov. Roman I. A. Goncharova /

In every literature that has reached a certain degree of maturity, works appear that reconcile universal human interest with popular and modern interests and elevate to the level of artistic creations types taken from the environment of the society to which the writer belongs. The author of such a work is not interested in contemporary, often petty, issues of life that have nothing to do with art; he does not set himself the task of compiling an instructive book and ridiculing this or that shortcoming of society or extolling this or that virtue that this society needs. No! Creativity with a pre-conceived practical goal is an illegal phenomenon; it must be left to the lot of those writers who are denied a powerful talent, who are given in return a moral sense capable of making them good citizens, but not artists. A true poet stands above everyday issues, but does not shy away from resolving them, encountering them on the path of his creativity. Such a poet looks deeply at life and in every phenomenon he sees a universal human side that will touch every heart and will be understandable to every time.

Should the poet happen to pay attention to some social evil - let's say, bribery - he will not, like representatives of the accusatory movement, go into the subtleties of casuistry and set out various intricate tricks: his goal will not be to ridicule the evil, but to resolve it before the eyes of the reader psychological task; he will pay attention not to what bribery is manifested in, but to where it comes from; in his eyes, a bribe-taker is not an official who unscrupulously fulfills his duty, but a person in a state of complete moral humiliation. To trace the state of his soul, reveal it to the reader, explain the participation of society in the formation of such characters - this is the work of a true poet, whom a work about bribery can arouse not only disgust, but deep sadness for moral failure person. This is how the poet looks at the phenomena of his time, this is how he relates to various aspects of his nationality, he looks at everything from a universal human point of view; without wasting effort on reproducing small external features national character, without dividing his thoughts into the petty phenomena of everyday life, the poet at once comprehends the spirit, the meaning of these phenomena, acquires a complete understanding of the national character and then, having fully disposed of his material, creates, not writing off from the reality around him, but deriving this reality from the depths of his own spirit and putting into the living images he created the thought that animates him.

“Nationality,” says Belinsky, “is not a virtue, but a necessary condition for truly work of art"1. The poet's thought seeks a definite, rounded expression and, according to natural law, results in the form that is most familiar to the poet; every feature universal character Each nationality has its own characteristics; every universal movement of the soul is expressed in accordance with the conditions of time and place. A true artist can embody his idea only in the most definite images, and that is why nationality and historical fidelity constitute a necessary condition for an elegant work.

The words Belinsky said about Gogol’s stories can be applied in full force to the assessment of Mr. Goncharov’s new novel. This novel resolves a vast, universal psychological problem; this task is resolved in purely Russian, national phenomena, possible only with our way of life, with those historical circumstances that shaped folk character, under the conditions under the influence of which our younger generation developed and is still partly developing. This novel also touches on vital, modern issues to the extent that these issues are of universal human interest; it also exposes the shortcomings of society, but they are exposed not with a polemical purpose, but for the sake of fidelity and completeness of the picture, for artistic image life as it is, and a person with his feelings, thoughts and passions.

Complete objectivity, calm, dispassionate creativity, the absence of narrow temporary goals that profane art, the absence of lyrical impulses that violate the clarity and distinctness of the epic narrative - these are the hallmarks of the author’s talent, as far as it was expressed in his last work. The thought of Mr. Goncharov, carried out in his novel, belongs to all centuries and peoples, but is of particular importance in our time, for our Russian society. The author decided to trace the deadening, destructive influence that mental apathy and sleep have on a person, which little by little takes possession of all the forces of the soul, embracing and fettering all the best, human, rational movements and feelings. This apathy is a universal human phenomenon, it is expressed in the most diverse forms and is generated by the most diverse causes; but plays in it everywhere main role terrible question: “Why live? Why work?” - a question to which a person often cannot find a satisfactory answer. This unresolved question, this unsatisfied doubt depletes strength, ruins activity; a person gives up and gives up work, not seeing a goal for it. One will throw away the work with indignation and bile, the other will put it aside quietly and lazily; one will break out of his inaction, be indignant at himself and at people, look for something with which to fill the inner emptiness; his apathy will take on a shade of gloomy despair, it will alternate with feverish impulses to disorderly activity and will still remain apathy, because it will take away his strength to act, feel and live.

For another, indifference to life will be expressed in a softer, colorless form; animal instincts will quietly, without struggle, float to the surface of the soul; the highest aspirations will freeze without pain; a person will sink into a soft chair and fall asleep, enjoying his meaningless peace; Vegetation will begin instead of life, and stagnant water will form in the human soul, which will not be touched by any disturbance of the external world, which will not be disturbed by any internal revolution. In the first case, we see some kind of forced apathy - apathy and at the same time a struggle against it, an excess of strength asking for action and slowly fading away in fruitless attempts; this is Byronism, a disease strong people. In the second case, there is submissive, peaceful, smiling apathy, without the desire to emerge from inaction; This is Oblomovism, as Mr. Goncharov called it, this is a disease, the development of which is promoted by both Slavic nature and the life of our society. Mr. Goncharov traced this development of the disease in his novel.

The author’s enormous idea, in all the grandeur of its simplicity, fits into the appropriate frame. The entire plan of the novel is built on this idea, constructed so deliberately that there is not a single accident, not a single introductory person, not a single superfluous detail; The main idea runs through all the individual scenes, and yet, in the name of this idea, the author does not make a single deviation from reality, does not sacrifice a single detail in the external decoration of persons, characters and positions. Everything is strictly natural and yet completely meaningful, imbued with an idea. There are almost no events, no action; the content of the novel can be told in two or three lines, just as the life of any person who has not experienced strong shocks can be told in a few words; The interest of such a novel, the interest of such a life, lies not in the intricate concatenation of events, even plausible, even if they actually happened, but in observing the inner world of a person. This world is always interesting, always attracts our attention; but it is especially accessible to study in quiet moments, when the person who is the subject of our observation is left to himself, does not depend on external events, and is not placed in an artificial position resulting from a random combination of circumstances. In such calm moments of life, when a person, not disturbed by external impressions, concentrates, collects his thoughts and looks into his inner world, at such moments, sometimes an invisible, silent internal struggle occurs, at such moments a sincere thought matures and develops, or a turn to the past occurs, a discussion and assessment of one’s own actions, one’s own personality. These mysterious moments are especially dear to the artist and especially interesting to the enlightened observer.

In Mr. Goncharov's novel, inner life characters open before the reader's eyes; there is no confusion of external events, no invented and calculated effects, and therefore the author’s analysis does not lose its clarity and calm insight for a minute. The idea is not fragmented in the interweaving of various incidents: it harmoniously and simply develops from itself, is carried through to the end and supports all the interest to the end, without the help of extraneous, incidental, introductory circumstances. This idea is so broad, it covers so many aspects of our life that, embodying this one idea, without deviating from it even a step, the author could, without the slightest stretch, touch upon almost all the issues currently occupying society. He touched them involuntarily, not wanting to sacrifice the eternal interests of art for temporary purposes; but this word of the artist, involuntarily expressed in a public matter, cannot but have a strong and beneficial influence on the minds: it will act as everything true and beautiful acts.<...>

The author’s main idea, as far as one can judge from the title and the course of action, was to depict the state of calm and submissive apathy, which we have already discussed above; Meanwhile, after reading the novel, the reader may have a question: what did the author want to do? What was the main goal that guided him? Didn't he want to trace the development of the feeling of love, to analyze to the smallest detail the changes that the soul of a woman, excited by a strong and deep feeling, experiences? This question arises not because the main goal has not been achieved, not because the author’s attention has deviated from it: on the contrary! the fact is that both goals, the main and the secondary, which arose during creativity, are achieved to such an extent that the reader does not know which of them to give preference to. In “Oblomov” we see two paintings, equally finished, placed side by side, penetrating and complementing one another. Main idea the author is sustained to the end; but during the process of creativity, a new psychological task presented itself, which, without interfering with the development of the first thought, itself is resolved to such a complete extent as it has never been resolved, perhaps. Rarely has a novel revealed in its author such a power of analysis, such a complete and subtle knowledge of human nature in general and female nature in particular; Rarely has a novel ever combined two such enormous psychological tasks; rarely has it elevated the combination of two such tasks to such a harmonious and apparently uncomplicated whole. We would never finish if we started talking about all the merits of the general plan drawn up by such a brave hand; Let's move on to considering individual characters.

In the novel “Oblomov,” Goncharov first identified such a destructive phenomenon of Russian society of the 19th century as “Oblomovism.” The depiction of this trend as a cause of degradation not only of individuals, but also of an entire social layer, is closely related to the main idea of ​​the novel “Oblomov” by Goncharov.

The work was created in a transitional period for Russian society - an era of rapid change and rapid destruction of the ideals and values ​​of the past for the sake of creating a new one, oriented towards European goals and authorities. And if the progressive part of the nobility, sharing the ideas of rapid development and enlightenment, easily joined the new trend, the provincial philistinism resisted the changes entering their lives to the last, firmly holding on to outdated, archaic ideals of life. This is exactly how the residents of Oblomovka appear, continuing to live according to the same principles by which their grandfathers and great-grandfathers lived, denying the importance of education and work, replacing them with sleepy calm and idleness.

The oppressive, destructive atmosphere of Oblomovka changes the personality of the curious and active little Ilya, instilling in him outdated, outdated values. Having tasted an independent life, finding himself in an active world striving for the future, Oblomov does not find his place in it, replacing real life with illusions and pipe dreams, gradually degrading and dying as a person. Even Olga, compared in the novel to the bright angel, could not cure Oblomov’s all-encompassing indifference to the world. Condemnation of the passivity, escapism and laziness of a person who does not want to fight for his future is one of the aspects of the central idea of ​​the work.

Using the method of antithesis, Goncharov introduces Oblomov’s friend, Stolz, into the narrative - a focused, active, constantly developing personality. However, Andrei Ivanovich is not perfect - just as Ilya Ilyich lacks the will to act, so Stolz lacks the warmth that attracts Oblomov. It is precisely the need for harmonization, acceptance and development of both principles - dreamy, reflective and active, strong-willed - that is the main idea of ​​Oblomov, which the author tried to convey.

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Russian literature second half of the 19th century century

I. A. Goncharov

Question 14. General characteristics one of I. A. Goncharov’s novels: “An Ordinary Story”, “Oblomov”, “Cliff”.

RESPONSE PLAN

1. I. A. Goncharov about his work.

2. The history of the creation of the novel “Oblomov”. The main idea of ​​the novel.

3. Image of I. Oblomov.

4. Image of Stolz.

5. Love in Oblomov’s life.

6. The meaning of the novel.

1. Ivan Aleksandrovich Goncharov is widely known as the creator of three novels - “An Ordinary Story”, “Oblomov”, “Precipice”. At the end of his life, in the article “Better late than never,” the writer spoke about his view of these works: “...I see not three novels, but one. They are all connected by one common thread, one consistent idea - the transition from one era of Russian life, which I experienced, to another - and the reflection of their phenomena in my images, portraits, scenes, small phenomena, etc.” All three novels are connected in meaning: “ an ordinary story“We can name the fate of Oblomov and the heroes of “The Cliff”, due to the typicality of what is depicted.

2. Let’s dwell on the novel “Oblomov”. It was begun in 1847 and fully published in 1859. Its appearance coincided with the time of the most acute crisis of serfdom. The image of an apathetic landowner, incapable of activity, who grew up and was brought up in the patriarchal atmosphere of a manorial estate, where the gentlemen lived serenely thanks to the labor of serfs, was very relevant for contemporaries. N. A. Dobrolyubov in his article “What is Oblomovism?” (1859) praised the novel and this phenomenon. In the person of Ilya Ilyich Oblomov, it is shown how environment and upbringing disfigure a person’s beautiful nature, giving rise to laziness, apathy, and lack of will.

3. The first part of the novel “Oblomov”, including “Oblomov’s Dream”, is devoted to the description of all the details, the “little things” of the life of the hero of the novel in his St. Petersburg apartment - the miniature St. Petersburg “Oblomovka” - with Zakhar, the famous sofa, and a robe. Oblomov’s portrait speaks volumes about his character: “He was a man of thirty-two or three years old, of average height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his facial features. The thought walked like a free bird across the face, fluttered in the eyes, sat on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glowed throughout the face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.” The author further notes “an expression of fatigue or boredom,” an unhealthy complexion from lack of air and movement; flabby body. Oblomov’s apathy reached the point that he was indifferent to the cobwebs, saturated with dust, which were molded in the form of festoons around the paintings, carpets covered with stains, dusty mirrors, “which could serve rather as tablets for writing down some notes on them, in the dust as a keepsake."

Zakhar, Ilya Ilyich’s servant, matches his master. If Oblomov’s expensive oriental robe is “greasy,” Zakhar has a permanent hole under his arm, from which his undershirt sticks out. He always finds an excuse for his negligence and laziness. Is it his fault that “you clean it up, and tomorrow there will be dust again?” Lazy himself, he thrived on his master's laziness. Even urgent matters cannot get Oblomov off his couch: he needs to answer a letter from the headman of Oblomovka, move to a new apartment, pay bills. Oblomov's friends visit him, trying to tempt him to go for a walk in Peterhof, but he makes an excuse by saying that the dampness is harmful to him, although it is a sunny day outside. Oblomov sees vanity and emptiness social life, understands how a person who devotes himself to a career becomes depersonalized. Especially clever are the words addressed to the writer Penkin about the purpose of literature - to have compassion for people out of love for them. However, behind these words, for all their unconditional correctness, one can discern a desire to justify one’s inaction. Oblomov is too lazy to read, and the work of writing frightens him: “And write everything, write everything, like a wheel, like a car, write tomorrow, the day after tomorrow: the holiday will come, summer will come - and he writes everything? When should you stop and rest? Unhappy!" He lacks the will not only to engage in any useful work, but even to change his lifestyle. Not having the habit of acting, he puts his desires in the form of dreams: “That’s why he loves to dream and is terribly afraid of the moment when dreams come into contact with reality. Here he tries to blame the matter on someone else, and if there is no one, then at random...” Proud of his independence, the fact that he is a “master.” Oblomov, due to his inability to adapt to life, becomes a slave to the will of others, starting with the servant Zakhar and ending with the swindlers who almost appropriated his estate. And only sometimes, in a rare moment, he begins with sadness and pain to understand his true position: “Meanwhile, he painfully felt that some good, bright beginning was buried in him, as in a grave, maybe now dead, or it lies like gold in the depths of the mountain... But the treasure is buried deep and heavily with rubbish... Something prevented him from rushing into the field of life and flying along it with all the sails of his mind and will... Mind and will have long been paralyzed, and, it seems, irrevocably...” The answer to this question is given in the chapter “Oblomov’s Dream.” It tells about the Oblomov family, their estate and customs: “... caring for food was the first and main concern of life in Oblomovka...” Labor was perceived as a punishment sent for sins. Oblomov had no need to work, since everything was done by serfs and servants.

Years of study also did not instill mental discipline in Oblomov. And the parents did their best to save their beloved child from the torment of learning.

4. In parallel with Oblomov, the fate of his school friend Andrei Stolts, the son of the estate manager, is traced. Andrei Stolz's father, with German pedantry and consistency, taught him to work, mental and physical, and to be responsible for completing a lesson or assignment. Both Oblomov and Stolz graduated from Moscow University, and both went to St. Petersburg to serve. But a year later, Ilya Ilyich retired: the service weighed heavily on him, requiring attention, perseverance, and hard work. The active Stolz makes the Russian master Oblomov “worry” and imposes his ideas on him. Stolz wants to awaken Oblomov from hibernation: “Now or never!” He forces him to be in society, read books, visit theaters. His efforts were in vain.

5. The last opportunity to recover from “Oblomovism” appeared before the hero in the form of the beautiful Russian girl Olga Ilyinskaya. Love for her temporarily revived Oblomov. Here Oblomov’s “golden heart” was discovered, capable of strong feeling, and his poetry, and sensitivity, and nobility of soul, expressed in a letter to Olga, in which he is “ready to sacrifice his happiness, since he is not worthy of her.” But love requires from a person not only impulses, but also constant internal growth, transformation of the soul, development of the mind and feelings. Love does not accept “sleep”, immobility. “Oblomovshchina” won this time too. Olga Ilyinskaya breaks up with Oblomov. A subtle and deep nature, not stopping in its development, she realized that her feeling was doomed, had no prospects: in Oblomov’s musty little world she would suffocate, die as a person. Therefore, she perceives the outcome of Oblomov’s own life (long before his physical death) as a disaster. Olga marries Stolz. The union with Stolz is a loving family: “...they worked together, had lunch, went to the fields, played music... But there was no drowsiness or despondency in them, they spent their days without boredom and apathy.” But despite the ideality of Stolz, who combines the traits of a businessman with high moral qualities, Olga feels that she is missing something in life, she is burdened by calmness and serenity, which is akin to “Oblomovism,” since she is a type of Russian woman of that period, when women’s self-awareness began to awaken in Russia, when they felt their right to participate in public life. In the finale, we observe the slow dying of Oblomov in the house of his wife, bourgeois Agafya Matveevna Pshenitsyna, who created for him “the ideal of indestructible peace of life.” But she herself acquired a new human existence, filled with serious inner work and gaining meaning.

6. Thus, I. A. Goncharov’s novel “Oblomov” can be considered not only a work that reveals the phenomenon of “Oblomovism” as a national vice, but also a warning against the dominance of pragmatists like Stolz, figures who lack flight and lack talent “ soulfulness."

Question 15. The device of antithesis in I. A. Goncharov’s novel “Oblomov”.

^ ANSWER PLAN

1. Antithesis - basic artistic technique in the novel.

2. Antithesis in the images of Oblomov and Stolz:

Origin;

Life of parents;

Upbringing;

Education;

Details of clothing, perception of the world, characters, ideals;

Spirituality and rationalism;

Attitude towards service.

3. Olga Ilyinskaya and Agafya Matveevna Pshenitsyna.

4. The importance of antithesis in resolving the main problems of the novel.

1. In I. A. Goncharov’s novel “Oblomov,” the technique of antithesis is expressively used, which is indispensable in cases where the author seeks to reflect all the inconsistency and complexity of the phenomenon being described. With the help of this technique, I. A. Goncharov reveals all aspects of the human personality of his heroes: Oblomov and Stolz, Olga and Agafya Matveevna.

2. In Oblomov and Stolz, almost everything contrasts, right down to the smallest details, from origin to clothing style. But their main difference, without a doubt, remains the absolute dissimilarity of their characters and ideals. Everything else is a cause or consequence of it. It is enough to remember Oblomov’s dream to understand that he owes much of his laziness and apathy to his lordly origin and upbringing. His idea of ​​life was formed from observations of the life of his parents, who taught their son to idleness and peace, considering them a sign of happiness and the highest breed. He wants to do something himself, but the household members did not even allow him to pour water from a decanter, bring something, or pick up a dropped item, believing that work in general carries the stigma of slavery. “Zakhar, like a nanny used to be, pulls on his stockings, puts on his shoes, and Ilyusha, already a fourteen-year-old boy, only knows that he is lying down, first one leg, then the other; and as soon as anything seems wrong to him, he’ll kick Zakharka in the nose... Then Zakharka scratches his head, pulls on his jacket, carefully threading Ilya Ilyich’s hands into the sleeves so as not to bother him too much...”

Stolz's father, on the contrary, tried to instill in his son respect for knowledge, the habit of thinking and studying. He instilled in his son economic tenacity and the need for constant activity. The energy and enterprise of Andrei Stolts is a consequence of the need to make his own way in life, without relying on anyone. And if Stolz is a dry rationalist, then Oblomov is the embodiment of gentleness and meekness. And this rationalism of Stolz emphasizes such negative traits Oblomov’s character is characterized by laziness, inertia, and indifference to life. This opposition is strengthened by the fact that they life paths constantly intersect. Moreover, Stolz is trying to snatch his friend Ilya Ilyich from the clutches of “Oblomovism”, to awaken in him all the best feelings: kindness, honesty, sincerity, nobility, hoping that these feelings, having developed, will make his life whole and harmonious.

But the invisible struggle occurs not only between the characters of Stolz and Oblomov. Using the technique of antithesis, Goncharov almost completely reveals to the reader the inner world of Ilya Ilyich. The author contrasts Oblomov’s dreams with reality: “...it would be nice if this happened.” “That’s why he loves to dream and is terribly afraid of the moment when his dreams come into contact with reality. Here he tries to blame the matter on someone else, and if there is no one, then at random...” His dreams, sometimes childish and naive, differ sharply from reality, which became Oblomov’s greatest tragedy in life. His laziness and apathy prevent him from realizing even a small fraction of his grandiose dreams.

Oblomov seems to live a double life: the first is everyday reality, and the second is his dreams and daydreams, in which he imagines himself as an active person, a person who is capable of creating and acting, regardless of any life problems and internal contradictions. But this is a dream, not reality. Ilya Ilyich sleeps because in his dreams he sees himself as who he wants to be. His life is a dream. Only love for Olga Ilyinskaya was able to resurrect Oblomov to life for some time. He felt that real happiness lies not in fruitless thoughts and dreams, but in the richness of feelings. The feeling that flared up between Oblomov and Olga is so romantic and strong that it pushes the problem of “Oblomovism” into the background. It seems to Olga that she can cope with his laziness very easily. Olga's persistence and perseverance temporarily overcome Oblomov's laziness: she makes him read books and newspapers, takes walks with him around the outskirts of St. Petersburg, and he visits museums at her request. Olga seeks physical movement and mental work from Oblomov.

However, love could not capture Ilya Ilyich - he does not sacrifice his peace of mind for her. Olga's dream of re-education is shattered by Oblomov's laziness. Love seemed to him “a very difficult school of life.” A break with Olga became inevitable. But it is worth noting that ideals energetic person Oblomov and Stolz differ sharply from each other during this period. In his dreams, Oblomov sets high and noble goals, in contrast to Stolz’s mercantile interests.

3. Women's images Olga Ilyinskaya and Agafya Matveevna Pshenitssha are also contrasted in the novel. Already in their appearance there is a lot that is different: Olga is slender, Pshenitsyna is fat, although both are attractive in their own way in Oblomov’s eyes: one with her grace, the other with her stateliness. These two heroines are also contrasted in their social origins:

Olga - noblewoman, received good education and education. Agafya Matveevna is from the people and is not distinguished by education. These two women love in different ways: Olga’s love is spiritualized, but somewhat selfish (she loves herself in Oblomov, her efforts of will and spirit), and Pshenitshaya’s love is selfless, it rests on spiritual affection and is expressed in constant concern for Oblomov.

4. Using the technique of antithesis in the work, the author, contrasting the characters, forces readers to take the position of one of the opposing sides, however, this technique is often aimed at helping us consider each phenomenon objectively. So, speaking about Oblomov, we can condemn his laziness and apathy, but at the same time we recognize the childlike purity of his soul and genuine kindness. One can admire Stolz's entrepreneurial spirit, but one must not forget about cunning and resourcefulness, qualities necessary for success. Skillfully using the technique of antithesis, Goncharov left for future generations a magnificent novel about the secrets and subtleties of the human soul - the most complex and mysterious phenomenon of the past, present and future.

I. S. Turgenev

Question 16. The image of Bazarov in I. S. Turgenev’s novel “Fathers and Sons”, the author’s attitude towards him.

^ ANSWER PLAN

1. The socio-political situation of the creation of the novel “Fathers and Sons”.

2. I. S. Turgenev about his hero.

3. Bazarov - “ new person": democracy; harsh life school; “I want to work”: passion natural sciences; the hero's humanism; self-esteem.

4. Bazarov’s nihilism.

6. Love in Bazarov’s life and its influence on the hero’s views.

7. Death and worldview of Bazarov - main meaning finals.

1. The novel “Fathers and Sons” was written by I. S. Turgenev during the period of the revolutionary situation in Russia (1859-1862) and the abolition of serfdom. The writer revealed in the novel the turning point in the social consciousness of Russia, when noble liberalism was supplanted by revolutionary democratic thought. This division of society is reflected in the novel in the person of Bazarov, a commoner democrat (“children”) and the Kirsanov brothers, the best of the liberal nobles (“fathers”).

2. Turgenev himself was ambivalent about the image he created. He wrote to A. A. Fet: “Did I want to scold Bazarov or extol him? I don’t know this myself, because I don’t know whether I love him or hate him!” And in a note about “Fathers and Sons” Turgenev writes: “Bazarov is my favorite brainchild... This is the prettiest of all my figures.”

3. The personality of Bazarov, the exponent of the ideas of revolutionary democracy, interests Turgenev, because he is a hero of the time who has absorbed the distinctive features of the era of social change. Turgenev highlights democracy in Bazarov, manifested in the noble habit of work, which is developed from childhood. On the one hand, the example of parents, on the other - a harsh school of life, studying at the university for pennies. This feature distinguishes him favorably from the Kirsanovs and for Bazarov is the main criterion for assessing a person. The Kirsanovs are the best of the nobles, but they do nothing, they don’t know how to get down to business. Nikolai Petrovich plays the cello and reads Pushkin. Pavel Petrovich carefully monitors his appearance, changing clothes for breakfast, lunch, and dinner. Arriving to his father, Bazarov says: “I want to work.” And Turgenev constantly. emphasizes that “work fever” is characteristic of the active nature of the hero. A feature of the generation of Democrats of the 60s was a passion for natural sciences. After graduating from the Faculty of Medicine, Bazarov, instead of resting, “cuts frogs”, preparing himself for scientific activity. Bazarov does not confine himself only to those sciences that are directly related to medicine, but reveals extensive knowledge in botany, agricultural technology, and geology. Understanding the limitations of his capabilities due to the deplorable state of medicine in Russia, Bazarov still never refuses to help those in need, regardless of his busy schedule: he treats Fenichka’s son and the peasants of the surrounding villages, and helps his father. And even his death occurred due to infection during the autopsy. Bazarov's humanism is manifested in his desire to benefit the people, Russia.

Bazarov is a man with a great sense of self-esteem; in this respect he is in no way inferior to aristocrats, and in some ways even surpasses them. In the story of the duel, Bazarov showed not only common sense and intelligence, but nobility and fearlessness, even the ability to be ironic at himself in a moment of mortal danger. Even Pavel Petrovich appreciated his nobility: “You acted nobly...” But there are things that Turgenev denies in his hero - this is Bazarov’s nihilism in relation to nature, music, literature, painting, love - everything that makes up the poetry of life , which elevates a person. Bazarov denies everything that is devoid of a materialistic explanation.

He considers the entire political system of Russia to be rotten, so he denies “everything”: autocracy, serfdom, religion - and what is generated by the “ugly state of society”: popular poverty, lawlessness, darkness, ignorance, patriarchal antiquity, family. However, Bazarov does not put forward a positive program. When P.P. Kirsanov tells him: “...You are destroying everything... But you also need to build,” Bazarov replies: “This is no longer our business... First we need to clear the place.”

4. When Bazarov branded inflated, abstract “principles” with ridicule, he wins. And the author shares his position. But when Bazarov enters the sphere of refined experiences that he has never accepted, not a trace of his confidence remains. The more difficult it is for Bazarov, the more palpable the author’s empathy for him.

5. His love for Odintsova expressed Bazarov’s ability for strong feelings and respect for a woman, her mind and character - after all, he shared his most cherished thoughts with Odintsova, filling his feeling with reasonable content.

Turgenev reflects the deep psychological experiences of the hero, their passionate intensity, integrity and strength. IN love conflict Bazarov looks like a big personality. Rejected, he wins a moral victory over a selfish woman, but his feelings for her and the breakup are tragic for Bazarov. Love for Odintsova helped Bazarov reconsider his views and rethink his beliefs. He develops a new psychological attitude: isolation, self-absorption, attraction to problems previously alien to him. Bazarov speaks with pain about the brevity of human existence: “The narrow place that I occupy is so tiny in comparison with the main space... and the part of the time that I manage to live is so insignificant before eternity...” A complex revaluation of values ​​ensues. For the first time, Bazarov loses faith in his future, but does not give up his aspirations and opposes complacency. Boundless Rus' with its dark, dirty villages becomes the subject of his close attention. But he never acquires the ability to “talk about the affairs and needs” of the peasants and only helps the village population in his father’s medicinal practice. V Turgenev showed the greatness of Bazarov during his illness, in the face of death. In the speech of the dying man there is pain from the consciousness of the imminent inevitable end. Each remark addressed to Odintsova is a clot of spiritual suffering: “Look at what an ugly sight: a half-crushed worm” and still bristling. And I also thought: I’ll screw up a lot, grandfather, I won’t die, no matter what! There is a task, because I am a giant!.. Russia needs me... No, apparently, I am not needed. And who is needed? Knowing that he will die, he consoles his parents, shows sensitivity to his mother, hiding from her the danger that threatens him, and makes a dying request to Odintsova to take care of the old people: “After all, people like them cannot be found in your big world during the day. ..” The courage and steadfastness of his materialistic and atheistic views were manifested in his refusal to confess when, yielding to the pleas of his parents, he agreed to take communion, but only in an unconscious state, when a person is not responsible for his actions. Pisarev noted that in the face of death, “Bazarov becomes better, more humane, which is proof of the integrity, completeness and natural richness of nature.” Not having time to realize himself in life, Bazarov only in the face of death gets rid of his intolerance and for the first time truly feels that real life much wider and more diverse than his ideas about her. This is the main meaning of the ending. Turgenev himself wrote about this:

“I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - yet doomed to death - because it still stands on the threshold of the future.”

/Dmitry Ivanovich Pisarev (1840-1868). Oblomov. Roman I. A. Goncharova /

In every literature that has reached a certain degree of maturity, works appear that reconcile universal human interest with popular and modern interests and elevate to the level of artistic creations types taken from the environment of the society to which the writer belongs. The author of such a work is not interested in contemporary, often petty, issues of life that have nothing to do with art; he does not set himself the task of compiling an instructive book and ridiculing this or that shortcoming of society or extolling this or that virtue that this society needs. No! Creativity with a pre-conceived practical goal is an illegal phenomenon; it must be left to the lot of those writers who are denied a powerful talent, who are given in return a moral sense capable of making them good citizens, but not artists. A true poet stands above everyday issues, but does not shy away from resolving them, encountering them on the path of his creativity. Such a poet looks deeply at life and in every phenomenon he sees a universal human side that will touch every heart and will be understandable to every time.

Should the poet happen to pay attention to some social evil - let's say, bribery - he will not, like representatives of the accusatory movement, go into the subtleties of casuistry and set out various intricate tricks: his goal will not be to ridicule the evil, but to resolve it before the eyes of the reader psychological task; he will pay attention not to what bribery is manifested in, but to where it comes from; in his eyes, a bribe-taker is not an official who unscrupulously fulfills his duty, but a person in a state of complete moral humiliation. To trace the state of his soul, reveal it to the reader, explain the participation of society in the formation of such characters - this is the job of a true poet, whom a work about bribery can arouse not only disgust, but deep sadness for the moral fall of a person. This is how the poet looks at the phenomena of his time, this is how he relates to various aspects of his nationality, he looks at everything from a universal human point of view; without wasting effort on reproducing the small external features of the people's character, without splitting his thoughts into the petty phenomena of everyday life, the poet immediately comprehends the spirit, the meaning of these phenomena, acquires a complete understanding of the people's character and then, having fully disposed of his material, creates without copying from the environment his reality, but by bringing this reality out of the depths of his own spirit and putting into the living images created by him the thought that animates him.

“Nationality,” says Belinsky, “is not a virtue, but a necessary condition for a truly artistic work” 1 . The poet’s thought seeks a definite, rounded expression and, according to natural law, results in the form that is most familiar to the poet; Every feature of a universal human character has its own characteristics in a certain nationality; every universal movement of the soul is expressed in accordance with the conditions of time and place. A true artist can embody his idea only in the most definite images, and that is why nationality and historical fidelity constitute a necessary condition for an elegant work.

The words Belinsky said about Gogol’s stories can be applied in full force to the assessment of Mr. Goncharov’s new novel. This novel resolves a vast, universal psychological problem; this task is resolved in purely Russian, national phenomena, possible only under our way of life, under those historical circumstances that shaped the national character, under the conditions under the influence of which our younger generation developed and is partly still developing. This novel also touches on vital, modern issues to the extent that these issues are of universal human interest; it also exposes the shortcomings of society, but they are exposed not for a polemical purpose, but for the fidelity and completeness of the picture, for the artistic depiction of life as it is, and of man with his feelings, thoughts and passions.

Complete objectivity, calm, dispassionate creativity, the absence of narrow temporary goals that profane art, the absence of lyrical impulses that violate the clarity and distinctness of the epic narrative - these are the hallmarks of the author’s talent, as far as it was expressed in his last work. The thought of Mr. Goncharov, carried out in his novel, belongs to all centuries and peoples, but is of particular importance in our time, for our Russian society. The author decided to trace the deadening, destructive influence that mental apathy and sleep have on a person, which little by little takes possession of all the forces of the soul, embracing and fettering all the best, human, rational movements and feelings. This apathy is a universal human phenomenon, it is expressed in the most diverse forms and is generated by the most diverse causes; but everywhere in it the main role is played by the terrible question: “Why live? Why work?” - a question to which a person often cannot find a satisfactory answer. This unresolved question, this unsatisfied doubt depletes strength, ruins activity; a person gives up and gives up work, not seeing a goal for it. One will throw away the work with indignation and bile, the other will put it aside quietly and lazily; one will break out of his inaction, be indignant at himself and at people, look for something with which to fill the inner emptiness; his apathy will take on a shade of gloomy despair, it will alternate with feverish impulses to disorderly activity and will still remain apathy, because it will take away his strength to act, feel and live.

For another, indifference to life will be expressed in a softer, colorless form; animal instincts will quietly, without struggle, float to the surface of the soul; the highest aspirations will freeze without pain; a person will sink into a soft chair and fall asleep, enjoying his meaningless peace; Vegetation will begin instead of life, and stagnant water will form in the human soul, which will not be touched by any disturbance of the external world, which will not be disturbed by any internal revolution. In the first case, we see some kind of forced apathy - apathy and at the same time a struggle against it, an excess of strength asking for action and slowly fading away in fruitless attempts; This is Byronism, a disease of strong people. In the second case, there is submissive, peaceful, smiling apathy, without the desire to emerge from inaction; This is Oblomovism, as Mr. Goncharov called it, this is a disease, the development of which is promoted by both Slavic nature and the life of our society. Mr. Goncharov traced this development of the disease in his novel.

The author’s enormous idea, in all the grandeur of its simplicity, fits into the appropriate frame. The entire plan of the novel is built on this idea, constructed so deliberately that there is not a single accident, not a single introductory person, not a single superfluous detail; The main idea runs through all the individual scenes, and yet, in the name of this idea, the author does not make a single deviation from reality, does not sacrifice a single detail in the external decoration of persons, characters and positions. Everything is strictly natural and yet completely meaningful, imbued with an idea. There are almost no events, no action; the content of the novel can be told in two or three lines, just as the life of any person who has not experienced strong shocks can be told in a few words; The interest of such a novel, the interest of such a life, lies not in the intricate concatenation of events, even plausible, even if they actually happened, but in observing the inner world of a person. This world is always interesting, always attracts our attention; but it is especially accessible to study in quiet moments, when the person who is the subject of our observation is left to himself, does not depend on external events, and is not placed in an artificial position resulting from a random combination of circumstances. In such calm moments of life, when a person, not disturbed by external impressions, concentrates, collects his thoughts and looks into his inner world, at such moments an invisible, silent internal struggle sometimes occurs, at such moments a sincere thought matures and develops or a turn occurs on the past, discussing and evaluating one’s own actions, one’s own personality. These mysterious moments are especially dear to the artist and especially interesting to the enlightened observer.

In Mr. Goncharov's novel, the inner life of the characters is open before the reader's eyes; there is no confusion of external events, no invented and calculated effects, and therefore the author’s analysis does not lose its clarity and calm insight for a minute. The idea is not fragmented in the interweaving of various incidents: it harmoniously and simply develops from itself, is carried through to the end and supports all the interest to the end, without the help of extraneous, incidental, introductory circumstances. This idea is so broad, it covers so many aspects of our life that, embodying this one idea, without deviating from it even a step, the author could, without the slightest stretch, touch upon almost all the issues currently occupying society. He touched them involuntarily, not wanting to sacrifice the eternal interests of art for temporary purposes; but this word of the artist, involuntarily expressed in a public matter, cannot but have a strong and beneficial influence on minds: it will act in the same way as everything true and beautiful acts.<...>

The author’s main idea, as far as one can judge from the title and the course of action, was to depict the state of calm and submissive apathy, which we have already discussed above; Meanwhile, after reading the novel, the reader may have a question: what did the author want to do? What was the main goal that guided him? Didn't he want to trace the development of the feeling of love, to analyze to the smallest detail the changes that the soul of a woman, excited by a strong and deep feeling, experiences? This question arises not because the main goal has not been achieved, not because the author’s attention has deviated from it: on the contrary! the fact is that both goals, the main and the secondary, which arose during creativity, are achieved to such an extent that the reader does not know which of them to give preference to. In “Oblomov” we see two paintings, equally finished, placed side by side, penetrating and complementing one another. The author's main idea is maintained to the end; but during the process of creativity, a new psychological task presented itself, which, without interfering with the development of the first thought, itself is resolved to such a complete extent as it has never been resolved, perhaps. Rarely has a novel revealed in its author such a power of analysis, such a complete and subtle knowledge of human nature in general and female nature in particular; Rarely has a novel ever combined two such enormous psychological tasks; rarely has it elevated the combination of two such tasks to such a harmonious and apparently uncomplicated whole. We would never finish if we started talking about all the merits of the general plan drawn up by such a brave hand; Let's move on to considering individual characters.

The history of the creation of the novel "Oblomov". Theme, idea, problematic, composition.

“The story of how the sloth Oblomov lies and sleeps

and even though neither friendship nor love can awaken and raise him,

God knows what a story..."

1. The concept of the novel “Oblomov.

The concept of the novel "Oblomov" arose in 1847, but the work was created slowly. In 1849 one was published in the Sovremennik magazine chapter from the novel "Oblomov's Dream", in which he gave an amazingly bright and deep picture of patriarchal landowner life. But the main part of the novel was written almost 10 years later, V 1857, in Marienbad (Germany), where Goncharov was treated for mineral waters. During this decade, the author not only carefully thought through the entire plan of the work, but also all the plot moves and details. Subsequently, the writer noted that he “wrote almost all 3 latest volumes"Oblomov." Goncharov did a colossal job. He wrote until he was exhausted. “I worked so hard, did so much in these two months that no one else wrote so much in his two lives.”

IN 1858"Oblomov" wasfinished, and was fully published only in 1859.

2. Theme, idea of ​​the novel.

The theme is the fate of a generation searching for its place in society, but unable to find the right path.

Idea - show the conditions that give rise to laziness and apathy, trace how a person gradually fades away, turning into a dead soul. " I tried to show in “Oblomov” how and why our people turn prematurely into... jelly - the climate, the outback environment, the drowsy life and also private, individual circumstances for each».

3. Issues

1) In his novel the writer showed what serfdom has a detrimental effect on life, culture, and science . The consequence of these orders is stagnation and immobility in all areas of life .

2) Conditions landowner life And noble upbringing give birth to a hero apathy, lack of will, indifference .

3) Personality degradation and personality disintegration.

4) Goncharov puts in the novel questions about genuine friendship, love, O humanism.

Time, depicted in the novel "Oblomov", about 40 years old.

4. Artistic merits of the novel “Oblomov” :

1) A broad picture of life in Russia is presented.

2) Particular attention is paid to description internal state characters: internal monologue of characters and transmission of experiences through gesture, voice, movements.

3) The full disclosure of the characters' character is achieved through repeating details (for Oblomov - a robe and slippers).

5. Structure of the novel:

Part 1 - Oblomov lies on the sofa.

Part 2 - Oblomov goes to the Ilyinskys and falls in love with Olga, and she with him.

Part 3 - Olga sees that she was mistaken about Oblomov, and they part ways.

Part 4 - Olga marries Stolz, and Oblomov marries the owner of the house where he rents an apartment - Agafya Matveevna Pshenitsy noah. Lives on the Vyborg side, peace that turns into “eternal peace.”

« That's it. No external events, no obstacles...interfere with the romance. Oblomov's laziness and apathy are the only spring of action in his entire story. ()

6. Composition

All actions unfold around the main character - Ilya Ilyich Oblomov. He unites all the characters around him. There is little action in the novel. Location in the novel - Petersburg.

1. Exposition - the first part and 1.2 chapters of part 2 are drawn out, the conditions for the formation of Oblomov’s character are shown in great detail.

2. Tie 3 and 5 ch. Part 2 - Oblomov’s acquaintance with Olga. Oblomov’s feelings for Olga are growing stronger, but he doubts whether he can give up laziness.

3. Climax - Chapter 12 of the 3rd part. Ilya Ilyich declares his love for Olga. But he cannot sacrifice his peace, which leads to a quick break in the relationship.

4. Denouement– 11, 12 chapters of part 3, which show the insolvency and bankruptcy of Oblomov.

In chapter 4 of the novel - further decline of the hero. He finds ideal living conditions for himself in Pshenitsyna’s house. He again lies on the sofa in a robe all day long. The hero suffers a final downfall. Relationship between Olga and Stolz.

In the epilogue – Chapter 11, part 4, Goncharov talks about the death of Oblomov, the fate of Zakhar, Stolz and Olga. This chapter explains the meaning of “Oblomovism”.