The author himself described the peculiarity of the construction of “Oblomov”. He calls part 1 “the overture of the entire novel,” a kind of “prologue” to the main part, where the plot movement unfolds: this is a “poem of love” that makes up parts 2 and 3 of the work. Only with Oblomov’s declaration of love for Olga does the novel action arise. It is here that the author’s position in relation to the hero is revealed and the meaning of the concept “Oblomov-shchina” is clarified. The result of the “poem of love”, and with it the result of the main character’s life, is summed up in the final 4 parts of the novel.

Thus, the plot basis of the work is the love story of a noble intellectual, landowner Oblomov, for a girl of an integral and spiritual character, Olga Ilyinskaya. It is in the love affair that all the ideological lines of the novel converge; it constitutes its ideological and compositional center. The dramatic action shows the true character of the main character, which is strikingly different from the one we see in part 1.

Such a meaning love affair in the novel is determined by the writer’s concept, according to which “love, with the power of Archimedes’ lever, moves the world.” The writer believed that this was the main beginning of existence. A person, according to Goncharov, can open up and show his essence only after going through the “school of love.” All the heroes of the novel go through this school. Even Stolz, an unpoetic, down-to-earth nature, having received Olga’s consent, exclaims: “This is the last happiness of a person!”

We can say that “Oblomov” is not just a novel with a love plot. This is a novel about different forms love, manifested in the destinies of people, in many ways opposite friends to a friend. They are reflected in different family structures: the families of Oblomov and Pshenitsyna, Stolts and Olga. Like the heroes themselves, the life of these families is depicted in accordance with the principle of antithesis, which plays the most important ideological and compositional role in the novel. In the outwardly happy, harmonious family of Stolz and Olga, based on love and mutual respect, the main thing is missing - there is no striving for an ideal, a universally significant goal, this family is, as it were, closed in on itself. That's why Olga in her family life repeats the path of Oblomov’s spiritual dissatisfaction, which Stolz does not have. The antipode of the family of Stolz and Olga is another family union - Oblomov and Pshenitsyna. But even here the author does not find the “norm” that he dreams of seeing. The speculative nature of the Stolz family is contrasted with the deliberate down-to-earthness of the family of Oblomov and Agafya Matveevna, and therefore there is no sought-after harmony of mind and heart here. Material from the site

Oblomov’s death is a verdict on what is associated in his character with “Oblomovism,” but the bright sides of his nature continue in the destinies of those who loved him. It turns out that he not only destroys himself with his apathy and inactivity, but also inspires a rare love that changes a person. Olga blossomed next to him, and even in a happy family with Stolz, she increasingly remembers Oblomov. Oblomov opened human meaning and light, breathed soul into the previously almost automatic existence of Agafya Matveevna. It is not without reason that after Oblomov’s death an unexpected rapprochement between these two so dissimilar heroines arises. So it turns out that the weak, passive Oblomov had a talent for kindness, which turned him into a nature that actively influences others, awakening in them all that is best, kind, and lofty. But such a person is doomed in the modern world. “Between the ideal and reality lies... an abyss through which a bridge has not yet been found, and hardly ever will be built,” stated Goncharov, and this contradiction takes the main problem of the novel far beyond the boundaries of the era depicted in it.

Roman I.A. Goncharov's "Oblomov" shook up Russian society in the 50s and 60s. XIX century, it can undoubtedly be called one of the largest events literary life countries. The attention of readers was primarily attracted by the acute problems of the novel; the literary elite split into two parts, some believed Oblomov positive hero, someone made a comparison in favor of Stolz. But all the eminent writers and critics agreed on one thing: Goncharov managed to find a new successful solution to the topic " extra person". The newly appeared novel was also recognized as an "encyclopedia of Russian life" and placed on a par with the immortal works of Pushkin and Lermontov, and the image of Oblomov entered the gallery of classic heroes of Russian literature along with Evgeny Onegin and Grigory Pechorin.

One of distinctive features The novel is the originality of the development of the conflict. The entire work is divided into four logical parts.

In the first part, the author introduces us to Ilya Ilyich Oblomov. The first pages are entirely devoted to the description of the hero. From the very beginning, Goncharov creates the image of such a good man, sincere person. He describes Oblomov’s lifestyle with irony, but is immediately surprised at how wonderfully laziness suits this man. At all, central character the first part is Ilya Ilyich, his general characteristics A fairly significant part of the work is devoted. The character of the hero is revealed both through the description of everyday life and through the image of Zakhar, but mainly, of course, through Oblomov’s communication with his guests. Thus, a social conflict arises; the author describes the hero’s attitude to the world around him as the attitude of a person to a large anthill, where everyone is rushing about their business, and he is not interested in their problems. The social conflict is finally formed when the author introduces the image of Stolz. He first appears immediately after Oblomov’s dream, thus the character of Ilya Ilyich is already clearly opposed to the character of his friend, and since these are not just characters, but entire types, the social conflict takes the form of a opposition between Oblomov and Stolz.

With the arrival of Stolz, the action seems to receive a powerful impetus. Andrei pulls his friend out of isolation, and this contributes to a much deeper development of the hero's image. The second part is more eventful than the first. Oblomov begins to appear in society, communicate with other people and, most importantly, meets the Ilyinskys. Olga strikes Oblomov’s heart, his laziness finally disappears. This is the beginning of a love conflict.

The third part is a complete description of the love of Oblomov and Olga. Voltage social conflict is weakening, since Stolz has gone abroad, and Oblomov seems to have finally “re-educated”. His activity reaches its climax, the hitherto unknown rich inner world of Oblomov is completely revealed. In this part, in fact, the culmination and denouement of the love conflict occurs. Ilya Ilyich could not, even for the sake of Olga, completely break with the past. He understands this and is not going to fight any further. This suggests that simultaneously with the love conflict, an internal conflict was developing in Oblomov himself.

Climax internal conflict– a difficult choice between movement and stagnation, Olga and Pshenitsyna. The choice is made, the final break with Olga and Stolz occurs.

The fourth and final part is Oblomov’s return to his usual Oblomovism. Summing up main problem novel: when will Russian people get rid of Oblomovism, wake up from spiritual sleep and go forward, towards the sun. Therefore, never. Inner world Ilya Ilyich calmed down, now to the end. The finishing touches are being applied to Oblomov’s portrait; he is shown as an aged man surrounded by his family, where he has finally plunged into spiritual hibernation. And with the death of Oblomov, there is a visible end to the plot-shaping social conflict. It would seem that the ideal person is Stolz, but he cannot be considered a winner. The ending of the novel remains open; the conflict between two personality types continues.

Particular attention is drawn to the dynamics of action in these parts.

The first part is not so much the beginning of the plot-shaping conflict as it is an exposition, an introduction to the main character. The unhurried pace of the narrative, the absence of a change in the scene of action - all this characterizes Ilya Ilyich and his measured life. However, the action develops with the arrival of Stolz, the dynamics become more intense, Oblomov “wakes up” and ceases to be a ruin, a mattress. He meets Olga, this is the beginning of another plot-shaping conflict. And in the third part, its culmination occurs, the culmination of Oblomov’s life. From the moment Oblomov is chosen, the action begins to slow down, the tension begins to drop. Ilya Ilyich returns to his robe, and nothing can pull him back out.

In general, the dynamics of the main events of the novel are associated with the change of seasons. Here the landscape plays a special plot and compositional role.

So, the development of the action is the spring of Oblomov’s love, the spring of his future life, the summer - happy time selfless love for Olga, the desire to forever link his destiny with her, and autumn, autumn of the soul of Ilya Ilyich, his love “fades”, life loses its meaning. Of course, what first attracts attention is the description of summer. Goncharov masterfully knew how to show the climax, the peak of summer - the July heat, the measured breath of nature, the heat of the field and the coolness of the forest. The descriptions are full of colors, they fully correspond to the mood of the main characters.

Of course, the role of landscape in revealing characters is great. The summer landscape characterizes Ilyinskaya, the autumn landscape – Pshenitsyna. Undoubtedly, in some ways Olga is inferior to Pshenitsyna, but the meager and gray descriptions of the Vyborg side, the very life of the hostess, do not speak in her favor.

The landscape is also interesting in terms of understanding the special plot and compositional role of “Oblomov’s Dream”. The landscape in the dream is, of course, an idyllic picture of Oblomovka. Through a dream, unclearly, like in a midday haze, Oblomov sees lovely pictures: forests, fields, meadows, a river, rare villages. Everything breathes peace. Tears well up in Ilya Ilyich’s eyes. This moment is generally very important for understanding the character of the main character, and at the same time Goncharov is trying to show what Oblomovism is.

In "The Dream" the detail is very important as a means of describing Oblomov and Oblomovism. First of all, this is a clear, measured flow of life: the rituals of dressing, drinking tea, and taking an afternoon nap. That state, similar to death, that reigns in Oblomovka during sleep, the collapsing gallery and porch - all this is Oblomovism, people prefer to remember the old, fearing to build a new one, and this fear is depicted in a grotesque form: what prevents you from demolishing the gallery and building a new one? Nothing, but instead a strict order is made not to go to dangerous place. On the other hand, all this serves to characterize little Ilyusha, while he was not like everyone else: he ran away from home during everyone’s sleep, ate dug up roots, observed nature and loved visiting the forbidden gallery. That is, until Oblomovism extended its power to him.

In general, the details characterize Oblomov well. This is a robe - a symbol of Oblomovism, and a book, laid on one page for many years, which indicates that time has stopped for Ilya Ilyich. His leisurely speech, his habit of relying on Zakhar in everything fits perfectly with the image of a “master” who lives simply because he is a master. There is also irony in the descriptions: there is so much dust on Oblomov’s chairs that one of the guests is afraid of ruining his new tailcoat.

But the detail in “Oblomov” characterizes not only Ilya Ilyich himself. The lilac branch is also one of the famous symbols of the novel. This is the love of Olga and Oblomov, which faded so quickly. The crease above Olga's eyebrow and the dimples on hands full Pshenitsyna also hints at the characteristics of these characters.

No less significant is the plot and compositional role minor characters. Oblomov’s guests, on the one hand, emphasize his laziness, but on the other hand, they demonstrate his attitude towards vain and petty life. Zakhar is generally a copy of the master. Goncharov's ironic teasing of him extends to Ilya Ilyich.

The contrast between fathers Oblomov and Stolz gives rise to the main conflict of the work, the conflict of two bright types. Thus, antithesis in the novel is the main artistic device.

Another striking example of antithesis is the contrast between Olga and Pshenitsyna. The author never answered the question of which of them is better. But with the help of antithesis, he managed to more fully and vividly display the merits of both.

So, the plot and composition of the novel "Oblomov" are very interesting, the action is complex and intense. Goncharov used many techniques to diversify the narrative. All this makes the novel extremely interesting both from an artistic and philosophical point of view.

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Purpose of the lesson: To show the conditions that give rise to laziness and apathy of a person using the example of the main character, to trace how a person gradually fades away, turning into a dead soul; development of students' analytical abilities, moral education students

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The idea for the novel arose in 1847. The novel was published in 1859. home theme - fate a generation seeking a place in society and history, but unable to find the right path. There is little action in the first part of the novel. It begins with a description of the main character lying in bed in his apartment. Lives on Gorokhovaya Street on one of central streets. To edit the structure, click the mouse Second level of structure Third level of structure Fourth level of structure Fifth level of structure Sixth level of structure Seventh level of structure Eighth level of structure Ninth level of structure Sample text Second level Third level Fourth level Fifth level

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Oblomov's image The main character is 32 years old, of average height, pleasant appearance with dark gray eyes. His favorite thing was a robe, which had several advantages: it was soft; the body did not feel it on itself. In the room there was a mahogany bureau, 2 sofas upholstered in silk, beautiful screens with embroidered birds and fruits that never existed in nature.

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What does the writer pay attention to when describing the room of Ilya Ilyich Oblomov? The carpets are stained, there is a forgotten towel on the sofa. On the table stood a plate with hodgepodge and a gnawed bone that had not been cleared from yesterday’s dinner. The mirrors are covered with dust and instead of reflecting objects, they could have been used to write down some notes.

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Oblomov's Dream In a dream, Oblomovka and its inhabitants appear before us. The Oblomov family loved to gather in the kitchen and sleep after dinner. My father read occasionally; he considered it a luxury. He considered writers to be revelers and drunkards. The whole family decided what they would cook for lunch or dinner, what sauce they would serve. They only thought about how to feed and drink the child. They were stingy about money and went to bed early so as not to waste candles. Ilya was not forced to work, their life flowed sluggishly.

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Oblomov's attractive features: gentleness, simplicity, generosity, kindness. Weaknesses: apathy, laziness, lack of purpose in life and interest in life, indifference to oneself, values ​​only peace of mind, is not prepared and not adapted to life. Symbols: large sofa, comfortable robe, soft shoes.

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Oblomov entered the gallery best images world literature, and his name became a household name. Goncharovsky Oblomov is not like the landowners depicted by Gogol. There is no despotism in him; on the contrary, he is meek and grateful. The writer sympathizes with the hero, but at the same time condemns, exposes him, and pronounces a verdict on Oblomovism.

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Zakhar, his servant, matches his master. He lies in another room and does nothing. If he was required to sweep away dust and wash floors, he began to argue about the need for enormous fuss in the house, then all this horrified the master himself. Inserting a picture

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Oblomov and Olga Stolts Andrei was a tutor at the boarding school. After graduating from university, he goes to St. Petersburg to pursue a career. He is over 30, served, retired, went about his own business, made money and a house. Persistent in achieving goals. Stolz introduces Ilya to Olga Sergeevna Ilyinskaya. To edit the structure, click the mouse Second level of structure Third level of structure Fourth level of structure Fifth level of structure Sixth level of structure Seventh level of structure Eighth level of structure Ninth level of structure Sample text Second level Third level Fourth level Fifth level

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In chapters 3 and 5 In the second part, the knot of the event is tied - Oblomov’s acquaintance with Olga. Ilya’s feelings for Olga are growing stronger, but he doubts whether he can give up laziness, as we learn from his letter to Olga. But he cannot sacrifice his peace, which leads to a quick break. Chapters 11-12 of Part 3, which make up the denouement, are devoted to this. They show Oblomov's insolvency and bankruptcy. To edit the structure, click the mouse Second level of structure Third level of structure Fourth level of structure Fifth level of structure Sixth level of structure Seventh level of structure Eighth level of structure Ninth level of structure Sample text Second level Third level Fourth level Fifth level

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In part 4 - the further decline of the hero. He finds ideal conditions in Pshenitsyna's house. He again lies on the sofa in a robe all day long. The hero suffers a final downfall. Having married Pshenitsyna, he sinks even further, goes into hibernation, and then dies physically. Just as he lived unnoticed, so he died.

Goncharov’s novel “Oblomov” was published in 1859 and immediately attracted the interest of the writer’s contemporaries due to the depth of the issues revealed in the work. In the novel, the author for the first time described such a tendentious phenomenon for Russian society as “Oblomovism,” sharply highlighting the conflict between heroes living in the past and heroes who are the creators of the future. However, no less important aspect for understanding ideological meaning The work is the composition “Oblomov”, built from four main parts, reflecting different stages of the development of Ilya Ilyich’s personality and mental state.

The plot and compositional structure of "Oblomov"

To understand the ideological and semantic functions of the composition of the novel “Oblomov” by Goncharov, it is necessary to briefly retell the main plot lines of the work.

In the first part, the author depicts one day in the life of Ilya Ilyich for the reader. Lazy, mired in “Oblomovism,” Oblomov spends the whole day in bed, never daring to get up and do any business. Moreover, he does not even get up to greet Volkov, Sudbinsky and Penkin, and then Alekseev and Tarantiev, who came to him. The first part ends with the chapter “Oblomov’s Dream” - the only chapter in the novel that has a title. This is due not only to the history of the creation of the work (the idea for the book appeared back in 1847, and in 1849 Goncharov published “Oblomov’s Dream” as an independent work, which then formed the basis of the novel “Oblomov”), but also the importance of sleep for understanding the phenomenon of “Oblomovism” ", its influence on Ilya Ilyich as the central goal of his life.

The second part begins with the arrival of Stolz, who pulls Oblomov out of his half-asleep state and takes him with him to his guests. Ilya Ilyich’s life changes dramatically - Andrei Ivanovich introduces him to Olga Ilyinskaya, with whom Oblomov falls in love. The girl also fell in love with Ilya Ilyich and the second part ends with their confessions and plans for a happy future.

The third part is devoted to the development of relations between Olga and Oblomov. Goncharov describes both the happiness of lovers and the difficulties of mutual understanding. At the end of the third part, Oblomov and Olga break up because they realize that the idealized images of each other with which they fell in love do not correspond to reality.

The fourth part talks about later life Olga and Oblomov. Oblomov finds his family happiness with Pshenitsyna, who creates for him that very desired atmosphere of Oblomovka. Olga marries Stolz. The novel ends with the death of Oblomov.

Semantic features of the composition “Oblomov”

In the novel "Oblomov" the composition is divided into four main parts, symbolizing the four stages of the hero's life, corresponding to the seasons. It is not surprising that the theme of nature in the novel occupies one of the central places - all events seem to be complemented by landscapes, weather or images of nature.

“Spring” and “Summer” by Oblomov

The novel begins with “winter” in Oblomov’s life - a state of half-asleep, almost “dying,” when a person practically does not get out of bed, waiting for his death. The next stage - the second part - is the “spring” of Ilya Ilyich - the revival from the “winter” sleep and steps towards a new life and new love. The borderline moment between the “winter” of the first part and the “spring” of the second is Oblomov’s dream, which tells about the actual “spring” of the hero’s life - his childhood in his native village. The functional role of sleep in the composition of the novel is a smooth transition from apathy and “winter” to “spring” through memories of youth, joy and life through a dream - that is, in fact, Oblomov’s dream is prophetic, since then his life again becomes similar to his youth - filled with the enchanting beauty of nature, new impressions and love. On the other hand, the arrival of the hero’s “spring” in a dream indicates that the following events are a continuation of this dream, and not actually happening to the hero. This is also indicated by Olga’s words during their separation that she is not able to change Oblomov, since he is already dead. That is, starting the novel with Oblomov’s “winter,” the author indicates that the hero is already irrevocably immersed in a sleepy state, leading to the collapse of “Oblomovism.”

The spring love of the heroes, symbolized by a fragile lilac branch, is replaced by “summer” (the third part of the novel) both in the hero’s soul and in the relationship between Olga and Oblomov. They think about the need to get married, but Oblomov’s lack of initiative and fear of the future prevents this from happening. The separation of the lovers represents the end of “summer”, emphasized by the snowfall that Oblomov falls into on his way home - as if a reminder that the hero had again fallen into a winter deathly sleep and apathy, from which only Olga and Stolz could bring him out.

“Autumn” and “Winter” by Oblomov

The fourth part of the novel represents the “autumn” and “winter” of Oblomov’s personality - the calm, deathly quiet life of Pshenitsyna. Before Ilya’s death, Ilyich seems to be returning to his native Oblomovka, while becoming more and more immersed in dreams that are not destined to come true. At the time of actual death, Oblomov’s personality was already dead - he had long existed outside real world, immersed in illusory world“winter” half-asleep.

At the same time, the real calendar of events is somewhat shifted in relation to the development of events that begin in May and end late autumn, thus symbolizing the period of the hero’s life corresponding to his real age - from 30 years old (late spring) to late autumn– about 50 years old.

conclusions

The main feature of the composition of the novel “Oblomov” is its “circularity” internal state Main character. At the beginning of the work, Ilya Ilyich is not only immersed in “Oblomovism,” he himself is part of this distant, divorced from big world Oblomovki. We see the same thing at the end of the work - Oblomov dies spiritually and physically, just as his native village dies. On a philosophical scale, the composition of the novel points to the inevitability of the passage of time, the changing seasons and stages of life, to the finitude of not only man and the village, but also the whole story kind with its traditions, which are always replaced by something new.

This characteristic and description of the features of the novel’s composition are recommended for study by 10th graders before writing an essay on the topic “Compositions of the novel “Oblomov”.”

Work test

Composition of the novel "Oblomov"
Composition is a certain sequence of presentation of parts of a work, adopted by the author. We not only see how and in what sequence certain actions developed, but we also understand the attitude of the author himself towards them.
In 1849, Goncharov published the first excerpt from the novel, “Oblomov’s Dream.” It must be said that the plot of “Oblomov” was conceived as a generalized biography of the outdated landowner class using the example of one of the landowners, Oblomov. But the novel was written for many years, and the author changed his attitude towards it. Goncharov's contemporaries recall that he had a negative attitude towards the first part and advised reading the second and third parts, written much later.
“Oblomov’s Dream” shows Ilya’s childhood. It reveals the essence of the environment in which little Oblomov was brought up and grew up. Goncharov paints a picture of a heavenly, measured life. Even the nature on the estate is somehow special, created for the benefit of man: “The sky there... is like a parent’s reliable roof...”, “the sun shines brightly and hot there for about six months and then leaves from there not suddenly, but as if reluctantly.. .”, “everything there promises a calm, long-term life until gray hairs and an imperceptible, dream-like death.” The residents are also not like everyone else, they seem to be doing something, but somehow reluctantly. Oblomovka's main concern was food and sleep. We weren’t used to working here and didn’t want to get used to it. This is how their fathers and grandfathers lived. Someone worked for them; this other people’s work was taken for granted. Naturally, in this environment a person could only grow up the way Oblomov grew up - inert and inactive. The first part of the novel ends with Oblomov's dream.
As the following parts are written, the author's position in relation to his hero changes. Goncharov settles Oblomov in the city among high society and shows the hero’s attitude towards this society. In the future, the storyline becomes more complicated.
Let's go back to the first part. Oblomov wakes up and finds his friend Stolz visiting. This is a person with whom Ilya knew as a child. In the novel he is contrasted with Oblomov. Stolz is in constant motion, which is due to the environment in which he was raised. Using the example of Stolz, the author shows an advanced person who combines a flexible mind with a constant thirst for action. He is destined to play an important role in the novel.
Let's turn to the subsequent parts of the novel. Storyline here is the development of the relationship between Olga Ilyinskaya and Ilya Ilyich Oblomov - the so-called method of testing by love. It was Stolz who introduced Olga to Oblomov, telling her about him as a amazing person with a crystal soul. Now the events in the novel develop on their own. We see how the love of Olga and Oblomov arises and develops. At first, the girl tries to awaken Oblomov to life. Stolz also wants this. But all her attempts ultimately fail. Oblomovism lives so strongly in Ilya Ilyich that he is no longer able to abandon it and change his lifestyle. The author undoubtedly treats Olga kindly. She is endowed with such traits as insight, poise, and pride. The author likes the sense of duty that guides Olga in life, the sublimity of her soul. At the same time, Goncharov shows that Olga’s mission was initially doomed to failure.
The breakdown of the relationship between Olga and Oblomov is the climax of the novel. Olga understands that she cannot continue to stay with Ilya Ilyich. The love of Olga and Oblomov is a bright streak both in the novel and in Oblomov’s life. Everything was revealed in her best qualities Main character. Well, under what other circumstances could Ilya Ilyich’s “pure, faithful heart” be able to manifest itself like that! After breaking up with Olga, Oblomov changes his place of residence. From Gorokhovaya Street, where the aristocrats lived, he moved to Vyborgskaya, the meshchanskaya street. Thus, the author shows the moral decline of the hero. Oblomov settles in Pshenitsyna’s house and continues to live as before: lying on the sofa and doing nothing. Here the author rewards his hero with another love, quiet and imperceptible, which in no way changes the hero’s life and the sluggish flow of the novel’s plot. Oblomov, feeling the persistent care of Agafya Matveevna, falls in love with this woman. He loves her because she represents him past life- Oblomovka. Pshenitsyna, with her irrepressible thirst for activity, finds the main thing for herself - an object of care. Having lived a monotonous, colorless life with Pshenitsyna, Oblomov dies. The novel ends the same way it began - with Oblomov's dream.
So, in the first part of the novel there is one hero - Oblomov; in the second and third parts, Oblomov is compared first with Stolz, then with Olga. The first part tells about the life of the hero among people like him, landowners and other representatives of high society on Gorokhovaya.
The fourth part presents another environment - the bourgeoisie. The author shows how the hero gradually descends.
The novel can also be divided into semantic parts. Here the first part will represent Oblomov’s life before meeting Olga. The second part is the love of Oblomov and Olga, their breakup. And the third part begins from the moment of moving to Vyborgskaya Street and ends with the death of Oblomov.
It is noteworthy in the novel that Stolz tells Oblomov’s story to his friend the writer. Probably, Goncharov himself acts as a writer. With this technique, history seems to repeat itself in a circle. This also carries with it double meaning: on the one hand - the history of Oblomov, on the other - Oblomov and Oblomovism, as eternal concepts.