In world literature and culture the most long life falls to the lot of those works whose heroes have become symbols of a certain era, human types, characters, the embodiment of the aspirations of humanity. Among such heroes are the man-lover Prometheus, the eternal knight Don Quixote, the philosopher Hamlet, the giant Gulliver and many others. The wider, the more meaningful symbolic meaning image, the closer it is different people, the more popular and tenacious is the character created by the author’s imagination.
Such is the hero of the novel by I. A. Goncharov Oblomov, who gave not only the name to the work, but also given name many concepts.
Oblomov is both a type of human character, widespread and recognizable, and a way of life that still tempts a person, and the national misfortune of Russia, and at the same time best side her soul.
The hero’s family estate “Oblomovka” is also a symbol special world, in which people still live, “without embarrassing themselves with vague mental and moral issues”, but by taking care of food and healthy sleep.
Stolz is opposed to Oblomov in the novel. German by birth and upbringing, Stolz embodies a different type of person: active, reasonable, and not without decency and kindness. Everyone is a good friend of Oblomov, but he was unable to change Ilya Ilyich’s lifestyle, to convey to him his pride, his energy and his understanding of the meaning of life.
Oblomov’s servant, Zakhar, is also a kind of symbol of the repetition of Oblomov’s way of life at a lower level, devoid of the philosophy and spirituality of Ilya Ilyich.
Except symbolic images, there are many symbolic details in the novel. Oblomov’s favorite sofa and robe have forever grown together with him. They are the main milestones on Ilya Ilyich’s path to a new life. By the middle of the novel, the hero gets up from the sofa and finally takes off his robe. But having made an attempt to change himself and his life, he returns to it again as soon as familiar things appear on his way: a sofa and a robe in the house of the widow Pshenitsyna again beckoned him to his old life. They turned out to be more tenacious and more durable than the lilac branch in the hands of Olga Ilyinskaya. “Life, life is opening up to me again,” he said as if in delirium, “here it is, in your eyes, in your smile, in this branch, in Casta diva... everything is here...” But “the lilacs have gone away” did not happen love didn't happen new life.Material from the site
“The snow fell in thick flakes” at the end of the third part of the novel. “I fell asleep,” Oblomov whispered desperately, “went to bed and fell asleep in a leaden, joyless sleep...” And the reader sadly understands that Ilya Ilyich “will not wake up,” although there is still a quarter of the book ahead.
The hero will still wake up from the “fever” that has overcome him, but will never return to his previous dreams and plans. “Eternal peace, eternal silence and lazy crawling from day to day quietly stopped the machine of life.”
The image created by Goncharov has survived a dozen generations. And after a century and a half, the reader can repeat the words of Dobrolyubov: “...we are still Oblomovs.”
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I. A. Goncharov’s novel “Oblomov” is a novel about movement and peace. The author, revealing the essence of movement and rest, used many different artistic techniques, about which a lot has been and will be said. But often, when talking about the techniques used by Goncharov in his work, they forget about the important importance of details. Nevertheless, the novel contains many seemingly insignificant elements, and they are not given the last role.
Opening the first pages of the novel, the reader learns that Ilya Ilyich Oblomov lives in a large house on Gorokhovaya Street.
Gorokhovaya Street is one of the main streets of St. Petersburg, where representatives of the highest aristocracy lived. Having learned later about the environment in which Oblomov lives, the reader may think that the author wanted to mislead him by emphasizing the name of the street where Oblomov lived. But that's not true. The author did not want to confuse the reader, but, on the contrary, to show that Oblomov could still be something other than he is in the first pages of the novel; that he has the makings of a person who could make his way in life. That’s why he lives not just anywhere, but on Gorokhovaya Street.
Another detail that is rarely mentioned is the flowers and plants in the novel. Each flower has its own meaning, its own symbolism, and therefore mentions of them are not accidental. So, for example, Volkov, who suggested that Oblomov go to Kateringof, was going to buy a bouquet of camellias, and Olga’s aunt advised her to buy ribbons of the color pansies. While walking with Oblomov, Olga plucked a lilac branch. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end.
But while they did not think about the end, they were full of hope. Olga sang Sas1a ygua, which probably completely conquered Oblomov. He saw in her that same immaculate goddess. And indeed, these words - “immaculate goddess” - to some extent characterize Olga in the eyes of Oblomov and Stolz. To both of them, she truly was an immaculate goddess. In the opera, these words are addressed to Artemis, who is called the goddess of the Moon. But the influence of the moon and moon rays has a negative effect on lovers. That’s why Olga and Oblomov break up. What about Stolz? Is he really immune to the influence of the moon? But here we see a weakening union.
Olga will outgrow Stolz in her spiritual development. And if for women love is worship, then it is clear that here the moon will have its detrimental effect. Olga will not be able to stay with a person whom she does not worship, whom she does not extol.
Another very significant detail is the raising of bridges on the Neva. Just when in the soul of Oblomov, who lived with Pshenitsyna, a turning point began in the direction of Agafya Matveevna, her care, her corner of paradise; when he realized with all clarity what his life with Olga would be like; when he became frightened of this life and began to fall into “sleep,” that’s when the bridges were opened. Communication between Oblomov and Olga was interrupted, the thread that connected them was broken, and, as you know, a thread can be tied “forcibly,” but it cannot be forced to grow together, therefore, when bridges were built, the connection between Olga and Oblomov was not restored. Olga married Stolz, they settled in Crimea, in a modest house. But this house, its decoration “bears the stamp of thought and personal taste of the owners,” which is already important. The furniture in their house was not comfortable, but there were many engravings, statues, books, yellowed with time, which speaks of the education, high culture of the owners, for whom old books, coins, engravings are valuable, who constantly find something new in them for yourself.
Thus, in Goncharov’s novel “Oblomov” there are many details, to interpret which means to understand the novel more deeply.
Details of the situation in “Oblomov” by I. A. Goncharov
From the very first pages of I. A. Goncharov’s novel “Oblomov” we find ourselves in the atmosphere of a lazy person, an idle pastime and a certain loneliness. So, Oblomov had “three rooms... In those rooms the furniture was covered with covers, the curtains were drawn.” In Oblomov’s room itself there was a sofa, the back of which sank down and “the glued wood came loose in places.”
All around there was a cobweb filled with dust, “mirrors, instead of reflecting objects, could serve rather as tablets for writing on them, in the dust, some notes for memory,” - here Goncharov is ironic. “The carpets were stained. There was a forgotten towel on the sofa; On the rare morning there was not a plate with a salt shaker and a gnawed bone standing on the table, not cleared away from yesterday's dinner, and there were no bread crumbs lying around... If not for this plate, and not for the just smoked pipe leaning against the bed, or not for the owner himself lying on it, then one would think that no one lives here - everything was so dusty, faded and generally devoid of traces of human presence.” Next are listed dusty books unfolded, last year's newspaper and an abandoned inkwell - a very interesting detail.
“Oblomov wouldn’t trade a large sofa, a comfortable robe, or soft shoes for anything. Since childhood, I have been confident that life is an eternal holiday. Oblomov has no idea about work. He literally doesn’t know how to do anything and he says it himself6 “Who am I? What am I? Go and ask Zakhar, and he will answer you: “master!” Yes, I’m a gentleman and I don’t know how to do anything.” (Oblomov, Moscow, PROFIZDAT, 1995, introductory article “Oblomov and his time”, p. 4, A.V. Zakharkin).
“In Oblomov, Goncharov reached the pinnacle of artistic mastery, creating plastically tangible canvases of life. The artist fills the smallest details and particulars with a certain meaning. Goncharov's writing style is characterized by constant transitions from the particular to the general. And the whole contains a huge generalization.” (Ibid., p. 14).
Details of the setting appear more than once on the pages of the novel. The dusty mirror symbolizes the lack of reflection of Oblomov’s activities. This is how it is: the hero does not see himself from the outside until Stolz arrives. All his activities: lying on the sofa and shouting at Zakhar.
The details of the furnishings in Oblomov’s house on Gorokhovaya Street are similar to what was in his parents’ house. The same desolation, the same clumsiness and lack of visibility of human presence: “a large living room in the parents’ house, with antique ash armchairs, always covered with covers, with a huge, awkward and hard sofa, upholstered in faded blue barracks in spots, and one leather chair... In There is only one tallow candle burning dimly in the room, and this was only allowed on winter and autumn evenings.”
The lack of thriftiness, the habit of inconvenience of the Oblomovites - just not to spend money - explains the fact that the porch is wobbly, that the gate is crooked, that “Ilya Ivanovich’s leather chair is only called leather, but in fact it is either a washcloth or a rope: leather “Only one piece of the back remains, and the rest has already fallen into pieces and peeled off for five years now...”
Goncharov masterfully ironizes the appearance of his hero, who suits the situation so well! “How well Oblomov’s home suit suited his calm features and pampered body! He was wearing a robe made of Persian material, a real oriental robe, without the slightest hint of Europe, without tassels, without velvet, very roomy, so that Oblomov could wrap himself in it twice. The sleeves, in constant Asian fashion, went wider and wider from the fingers to the shoulder. Although this robe had lost its original freshness and in places replaced its primitive, natural gloss with another, acquired one, it still retained the brightness of the oriental paint and the strength of the fabric...
Oblomov always walked around the house without a tie and without a vest, because he loved space and freedom. His shoes were long, soft and wide; when he, without looking, lowered his feet from the bed to the floor, he certainly fell into them immediately.”
The situation in Oblomov’s house, everything that surrounds him, bears Oblomov’s imprint. But the hero dreams of elegant furniture, books, sheet music, a piano - alas, he only dreams.
There is not even paper on his dusty desk, and there is no ink in the inkwell either. And they won't appear. Oblomov failed “to sweep away the cobwebs from the walls along with the dust and cobwebs from his eyes and to see clearly.” Here it is, the motif of a dusty mirror that gives no reflection.
When the hero met Olga, when he fell in love with her, the dust and cobwebs became unbearable for him. “He ordered several crappy paintings to be taken out, which some patron of poor artists had forced upon him; He himself straightened the curtain, which had not been raised for a long time, called Anisya and ordered him to wipe the windows, brushed away the cobwebs ... "
“The author of Oblomov characterizes things, everyday details not only appearance hero, but also the contradictory struggle of passions, the story of growth and fall, his subtlest experiences. Illuminating feelings, thoughts, psychology in their confusion with material things, with phenomena of the external world, which are like an image - the equivalent of the hero’s internal state, Goncharov acts as an inimitable, original artist. (N.I. Prutskov, “The Mastery of Goncharov the Novelist”, Publishing House of the USSR Academy of Sciences, Moscow, 1962, Leningrad, p. 99).
In chapter six of part two, details of the natural setting appear: lilies of the valley, fields, groves - “and the lilacs are still growing near the houses, the branches are climbing into the windows, the smell is cloying. Look, the dew on the lilies of the valley has not yet dried.”
Nature testifies to the short awakening of the hero, which will pass just as the lilac branch withers.
The lilac branch is a detail that characterizes the peak of the hero’s awakening, as is the robe, which he threw off for a while, but which he will inevitably put on at the end of the novel, repaired by Pshenitsyna, which will symbolize a return to his former, Oblomov’s life. This robe is a symbol of Oblomovism, like cobwebs with dust, like dusty tables and mattresses and dishes piled up in disarray.
Interest in details brings Goncharov closer to Gogol. Things in Oblomov's house are described in Gogol's style.
Both Gogol and Goncharov do not have everyday surroundings “for background”. All objects in their artistic world are significant and animated.
Goncharova's Oblomov, like Gogol's heroes, creates a special microworld around himself that gives him away. Suffice it to recall Chichikov’s box. Everyday life is filled with the presence of Oblomov Ilya Ilyich, Oblomovism. Likewise, the world around us in Gogol’s “Dead Souls” is animated and active: it shapes the lives of the heroes in its own way and invades it. One can recall Gogol’s “Portrait”, in which there are a lot of everyday details, just like Goncharov’s, showing the spiritual rise and decline of the artist Chartkov.
The novel by I. A. Goncharov is read with great interest, thanks not only to the plot and love affair, but also due to the truth in the depiction of the details of the situation, their high artistry. The feeling when you read this novel is as if you are looking at a huge written oil paints, a bright, unforgettable canvas, with the delicate taste of a master depicting everyday details. All the dirt and awkwardness of Oblomov’s life is striking.
This life is almost static. At the moment of the hero's love, he is transformed, only to return to his former self at the end of the novel.
“The writer uses two main methods of depicting an image: firstly, the method of detailed sketching of the appearance and surroundings; secondly, the method of psychological analysis... Even the first researcher of Goncharov’s work, N. Dobrolyubov, saw the artistic originality of this writer in the uniform attention “to all the small details of the types he reproduced and the entire way of life”... Goncharov organically combined plastically tangible paintings, distinguished by amazing external detail, with a subtle analysis of the heroes’ psychology.” (A.F. Zakharkin, “Novel by I.A. Goncharov “Oblomov”,” State Educational and Pedagogical Publishing House, Moscow, 1963, pp. 123 – 124).
The motif of dust appears again on the pages of the novel in chapter seven of part three. This is a dusty page of a book. Olga understands from it that Oblomov did not read. He didn't do anything at all. And again the motif of desolation: “the windows are small, the wallpaper is old... She looked at the crumpled, embroidered pillows, at the disorder, at the dusty windows, at the desk, sorted through several dust-covered papers, moved the pen in the dry inkwell...”
Throughout the novel, the ink never appeared in the inkwell. Oblomov does not write anything, which indicates the degradation of the hero. He doesn't live - he exists. He is indifferent to the inconvenience and lack of life in his home. It was as if he had died and wrapped himself in a shroud when, in the fourth part, in the first chapter, after breaking up with Olga, he watches the snow fall and cause “large snowdrifts in the yard and on the street, like covering firewood, chicken coops, a kennel, a garden, and vegetable garden beds.” how pyramids were formed from fence posts, how everything died and was wrapped in a shroud.” Spiritually, Oblomov died, which resonates with the situation.
On the contrary, the details of the furnishings in the Stolts house prove the love of life of its inhabitants. Everything there breathes life in its various manifestations. “Their house was modest and small. Its internal structure had the same style as the external architecture, and all the decoration bore the stamp of thought and personal taste of the owners.”
Here, various little things speak of life: yellowed books, and paintings, and old porcelain, and stones, and coins, and statues “with broken arms and legs,” and an oilcloth raincoat, and suede gloves, and stuffed birds, and shells...
“A lover of comfort, perhaps, would shrug his shoulders, looking at all the assorted furniture, dilapidated paintings, statues with broken arms and legs, sometimes bad, but dear in memory engravings, little things. Would a connoisseur's eyes light up more than once with the fire of greed when looking at this or that painting, at some book yellowed with time, at old porcelain or stones and coins?
But among this multi-century furniture, paintings, among those that have no meaning for anyone, but are marked for both of them happy hour, a memorable moment of little things, in the ocean of books and sheet music there was a breath of warm life, something irritating the mind and aesthetic sense; Everywhere there was either a vigilant thought or the beauty of human affairs shone, just as the eternal beauty of nature shone all around.
Here there was also a place for a high desk, like Andrei’s father had, and suede gloves; An oilcloth cloak hung in the corner near a cabinet with minerals, shells, stuffed birds, samples of various clays, goods and other things. Among everything, the wing of Erar shone in a place of honor in gold and inlay.
A network of grapes, ivy and myrtles covered the cottage from top to bottom. From the gallery one could see the sea, and on the other side the road to the city.” (Whereas snowdrifts and a chicken coop were visible from Oblomov’s window).
Wasn’t this the kind of decoration Oblomov dreamed of when he told Stolz about elegant furniture, a piano, sheet music and books? But the hero did not achieve this, “did not keep up with life” and instead listened to “the crackling of a coffee mill, the jumping on a chain and the barking of a dog, Zakhar polishing his boots and the measured knock of a pendulum.” In Oblomov’s famous dream, “it would seem that Goncharov simply masterfully described a noble estate, one of thousands of similar ones in pre-reform Russia. In detailed essays, the nature of this “corner”, the customs and concepts of the inhabitants, the cycle of their ordinary day and their whole life are reproduced. All and every manifestation of Oblomov’s life and being (everyday custom, upbringing and education, beliefs and “ideals”) are immediately integrated by the writer into “one image” through the “main motive” that penetrates the entire picture » silence And immobility or sleep, under whose “charming power” reside in Oblomovka and the bar, both the serfs, and the servants, and finally, the local nature itself. “How quiet everything is... sleepy in the villages that make up this area,” Goncharov notes at the beginning of the chapter, then repeating: “The same deep silence and peace lie in the fields...”; “...Silence and undisturbed calm reign in the morals of the people in that region.” This motif reaches its culmination in the afternoon scene of “an all-consuming, invincible sleep, a true likeness of death.”
Imbued with one thought, the different facets of the depicted “wonderful land” are thanks to this not only united, but also generalized, acquiring the super-everyday meaning of one of the stable - national and global – types of life. It is the patriarchal-idyllic life, the distinctive properties of which are a focus on physiological needs (food, sleep, procreation) in the absence of spiritual ones, the cyclical nature of the circle of life in its main biological moments “homelands, weddings, funerals”, people’s attachment to one place, fear of moving , isolation and indifference to the rest of the world. Goncharov’s idyllic Oblomovites are at the same time characterized by gentleness and warmth and, in this sense, humanity.” (Articles on Russian literature, Moscow State University, Moscow, 1996, V. A. Nedzvetsky, Article “Oblomov” by I. A. Goncharov,” p. 101).
It is precisely this regularity and slowness that marks Oblomov’s life. This is the psychology of Oblomovism.
Oblomov has no business that would be a vital necessity for him; he will live anyway. He has Zakhar, he has Anisya, he has Agafya Matveevna. In his house there is everything that the master needs for his measured life.
There are a lot of dishes in Oblomov’s house: round and oval dishes, gravy boats, teapots, cups, plates, pots. “Entire rows of huge, pot-bellied and miniature teapots and several rows of porcelain cups, simple, with paintings, with gilding, with mottos, with flaming hearts, with Chinese. Large glass jars with coffee, cinnamon, vanilla, crystal teapots, bowls with oil, with vinegar.
Then whole shelves were cluttered with packs, bottles, boxes of home medicines, herbs, lotions, plasters, alcohols, camphor, powders, and incense; there was soap, potions for cleaning mugs, removing stains, etc., etc. - everything that you would find in any house in any province, from any housewife.”
More details of Oblomov’s abundance: “hams were hung from the ceiling so that mice would not spoil them, cheeses, heads of sugar, hanging fish, bags of dried mushrooms, nuts bought from a Chukhonka... On the floor there were tubs of butter, large covered pots with sour cream, baskets with eggs - and something didn’t happen! You need the pen of another Homer to count in completeness and detail everything that was accumulated in the corners, on all the shelves of this little ark of home life”...
But, despite all this abundance, there was no main thing in Oblomov’s house - there was no life itself, there was no thought, everything went on by itself, without the participation of the owner.
Even with the appearance of Pshenitsyna, the dust did not completely disappear from Oblomov’s house - it remained in the room of Zakhar, who at the end of the novel became a beggar.
“Goncharov is considered a brilliant writer of everyday life of his era. Numerous everyday paintings are usually associated with this artist... (E. Krasnoshchekova, “Oblomov” by I. A. Goncharov,” publishing house “ Fiction", Moscow, 1970, p. 92)
“In Oblomov, Goncharov’s ability to paint Russian life with almost picturesque plasticity and tangibility was clearly demonstrated. Oblomovka, Vyborg side, the St. Petersburg day of Ilya Ilyich is reminiscent of the paintings of the “Little Flemings” or the everyday sketches of the Russian artist P. A. Fedotov. While not deflecting praise for his “painting,” Goncharov was at the same time deeply upset when readers did not feel in his novel that special “music” that ultimately permeated the pictorial facets of the work.” (Articles on Russian literature, Moscow State University, Moscow, 1996, V. A. Nedzvetsky, article “Oblomov” by I. A. Goncharov,” p. 112)
“In Oblomov, the most important of the “poetic” and poeticizing principles of the work is “graceful love” itself, the “poem” and “drama” of which, in Goncharov’s eyes, coincided with the main moments in people’s lives. And even with the boundaries of nature, the main states of which in Oblomov are parallel to the origin, development, culmination, and finally, the extinction of the feelings of Ilya Ilyich and Olga Ilyinskaya. The hero's love arose in the atmosphere of spring with a sunny park, lilies of the valley and the famous lilac branch, blossomed on a sultry summer afternoon, full of dreams and bliss, then died out with the autumn rains, smoking city chimneys, empty dachas and a park with crows on bare trees, and finally ended along with the raised bridges over the Neva and everything being covered with snow.” (Articles on Russian literature, Moscow State University, Moscow, 1996, V. A. Nedzvetsky, Article “Oblomov” by I. A. Goncharov,” p. 111).
Describing life, I. A. Goncharov characterizes the inhabitant of the house, Oblomov, - his mental laziness and inaction. The setting characterizes the hero and his experiences.
Details of the situation in I. A. Goncharov’s novel “Oblomov” are the main witnesses to the character of the owners.
List of used literature
1. I. A. Goncharov, “Oblomov”, Moscow, PROFIZDAT, 1995;
2. A. F. Zakharkin, “Roman by I. A. Goncharov “Oblomov”,” State Educational and Pedagogical Publishing House, Moscow, 1963;
3. E. Krasnoshchekova, “Oblomov” by I. A. Goncharov,” publishing house “Khudozhestvennaya Literatura”, Moscow, 1970;
4. N. I. Prutskov, “The Mastery of Goncharov the Novelist,” Publishing House of the USSR Academy of Sciences, Moscow, 1962, Leningrad;
5. Articles on Russian literature, Moscow State University, Moscow, 1996, V. A. Nedzvetsky, article “Oblomov” by I. A. Goncharov.”
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I. A. Goncharov’s novel “Oblomov” is a novel about movement and peace. The author, revealing the essence of movement and rest, used many different artistic techniques, about which a lot has been and will be said. But often, when talking about the techniques used by Goncharov in his work, they forget about the important importance of details. Nevertheless, the novel contains many seemingly insignificant elements, and they are not given the last role.
Opening the first pages of the novel, the reader learns that Ilya Ilyich Oblomov lives in a large house on Gorokhovaya Street.
Gorokhovaya Street is one of the main streets of St. Petersburg, where representatives of the highest aristocracy lived. Having learned later about the environment in which Oblomov lives, the reader may think that the author wanted to mislead him by emphasizing the name of the street where Oblomov lived. But that's not true. The author did not want to confuse the reader, but, on the contrary, to show that Oblomov could still be something other than he is in the first pages of the novel; that he has the makings of a person who could make his way in life. That’s why he lives not just anywhere, but on Gorokhovaya Street.
Another detail that is rarely mentioned is the flowers and plants in the novel. Each flower has its own meaning, its own symbolism, and therefore mentions of them are not accidental. So, for example, Volkov, who suggested that Oblomov go to Yekateringhof, was going to buy a bouquet of camellias, and Olga’s aunt advised her to buy ribbons the color of pansies. While walking with Oblomov, Olga plucked a lilac branch. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end.
But while they did not think about the end, they were full of hope. Olga sang Sasta diva, which probably won Oblomov completely. He saw in her that same immaculate goddess. And indeed, these words - “immaculate goddess” - to some extent characterize Olga in the eyes of Oblomov and Stolz. To both of them, she truly was an immaculate goddess. In the opera, these words are addressed to Artemis, who is called the goddess of the Moon. But the influence of the moon and moon rays has a negative effect on lovers. That’s why Olga and Oblomov break up. What about Stolz? Is he really immune to the influence of the moon? But here we see a weakening union.
Olga will outgrow Stolz in her spiritual development. And if for women love is worship, then it is clear that here the moon will have its detrimental effect. Olga will not be able to stay with a person whom she does not worship, whom she does not extol.
Another very significant detail is the raising of bridges on the Neva. Just when in the soul of Oblomov, who lived with Pshenitsyna, a turning point began in the direction of Agafya Matveevna, her care, her corner of paradise; when he realized with all clarity what his life with Olga would be like; when he became frightened of this life and began to fall into “sleep,” that’s when the bridges were opened. Communication between Oblomov and Olga was interrupted, the thread that connected them was broken, and, as you know, a thread can be tied “forcibly,” but it cannot be forced to grow together, therefore, when bridges were built, the connection between Olga and Oblomov was not restored. Olga married Stolz, they settled in Crimea, in a modest house. But this house, its decoration “bears the stamp of thought and personal taste of the owners,” which is already important. The furniture in their house was not comfortable, but there were many engravings, statues, books, yellowed with time, which speaks of the education, high culture of the owners, for whom old books, coins, engravings are valuable, who constantly find something new in them for yourself.
Thus, in Goncharov’s novel “Oblomov” there are many details, to interpret which means to understand the novel more deeply.
I. A. Goncharov’s novel “Oblomov” is a novel about movement and peace. The author, revealing the essence of movement and rest, used many different artistic techniques, about which a lot has been and will be said. But often, when talking about the techniques used by Goncharov in his work, they forget about the important importance of details. Nevertheless, the novel contains many seemingly insignificant elements, and they are not given the last role.
Opening the first pages of the novel, the reader learns that Ilya Ilyich Oblomov lives in a large house on Gorokhovaya Street.
Gorokhovaya Street is one of the main streets of St. Petersburg, where representatives of the highest aristocracy lived. Having learned later about the environment in which Oblomov lives, the reader may think that the author wanted to mislead him by emphasizing the name of the street where Oblomov lived. But that's not true. The author did not want to confuse the reader, but, on the contrary, to show that Oblomov could still be something other than he is in the first pages of the novel; that he has the makings of a person who could make his way in life. That’s why he lives not just anywhere, but on Gorokhovaya Street.
Another detail that is rarely mentioned is the flowers and plants in the novel. Each flower has its own meaning, its own symbolism, and therefore mentions of them are not accidental. So, for example, Volkov, who suggested that Oblomov go to Kateringof, was going to buy a bouquet of camellias, and Olga’s aunt advised her to buy ribbons the color of pansies. While walking with Oblomov, Olga plucked a lilac branch. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end.
But while they did not think about the end, they were full of hope. Olga sang Sas1a ygua, which probably completely conquered Oblomov. He saw in her that same immaculate goddess. And indeed, these words - “immaculate goddess” - to some extent characterize Olga in the eyes of Oblomov and Stolz. To both of them, she truly was an immaculate goddess. In the opera, these words are addressed to Artemis, who is called the goddess of the Moon. But the influence of the moon and moon rays has a negative effect on lovers. That’s why Olga and Oblomov break up. What about Stolz? Is he really immune to the influence of the moon? But here we see a weakening union.
Olga will outgrow Stolz in her spiritual development. And if for women love is worship, then it is clear that here the moon will have its detrimental effect. Olga will not be able to stay with a person whom she does not worship, whom she does not extol.
Another very significant detail is the raising of bridges on the Neva. Just when in the soul of Oblomov, who lived with Pshenitsyna, a turning point began in the direction of Agafya Matveevna, her care, her corner of paradise; when he realized with all clarity what his life with Olga would be like; when he became frightened of this life and began to fall into “sleep,” that’s when the bridges were opened. Communication between Oblomov and Olga was interrupted, the thread that connected them was broken, and, as you know, a thread can be tied “forcibly,” but it cannot be forced to grow together, therefore, when bridges were built, the connection between Olga and Oblomov was not restored. Olga married Stolz, they settled in Crimea, in a modest house. But this house, its decoration “bears the stamp of thought and personal taste of the owners,” which is already important. The furniture in their house was not comfortable, but there were many engravings, statues, books, yellowed with time, which speaks of the education, high culture of the owners, for whom old books, coins, engravings are valuable, who constantly find something new in them for yourself.
Thus, in Goncharov’s novel “Oblomov” there are many details, to interpret which means to understand the novel more deeply.
