Goncharov's portrait characteristics in the novel. Artistic Features

In the novel "Oblomov" Ivan Goncharov touches upon the problem of the formation of a personality that grew up in an environment where they tried in every possible way to infringe on the manifestation of independence.

The image and characterization of Oblomov will help the reader figure out what people become who are accustomed from childhood to get what they want with the help of others.

External image of Ilya Ilyich Oblomov

"He was a man of about thirty-two or three years old, of medium height, with dark gray eyes, of pleasant appearance."

On the face of a man, certain emotions were hardly guessed. Thoughts wandered through him, but disappeared too quickly, like birds.

Ilya Ilyich Oblomov was fat. Small plump hands, narrow shoulders, pale color of the neck indicated excessive effeminacy. In his youth, the master was distinguished by harmony. The pretty blond liked the girls. Now he is bald. Andrey Stolz advises a friend to drop excess weight, arguing that it makes him sleepy. Visiting Oblomov's apartment, he often sees that the master is sleeping on the go, looking for any excuse, just to lie down on the sofa. Yes, and puffiness makes it clear that health is bad. The weight gain could be the reason.

Rising from the bed, Oblomov grunts like an old man. He calls himself:

"a dilapidated, worn, flabby caftan."

Recently, Ilya Ilyich attended all kinds of social events. Soon, going out into the world began to oppress him. Visiting guests required a neat appearance, and he was tired of the daily change of shirts and the requirement to be clean-shaven. Keeping track of his own appearance seemed to him a "stupid idea."

Always messy in clothes. Linens rarely changes. Servant Zakhar often makes remarks to him. Stolz assures that they have not been walking in such dressing gowns as he wears for a long time. Socks on it from different pairs. He could easily wear a shirt inside out and not notice.

“Oblomov was always in the house without a tie and a vest. He loved space and freedom. The shoes on my feet were wide. Lowering his legs from the bed, he immediately hit them.

Many details of appearance indicate that Ilya is really lazy, indulging his own weaknesses.

Housing and life

For about eight years, Ilya Oblomov has been living in a spacious rented apartment, in the very center of St. Petersburg. Only one of the four rooms is used. She serves him as a bedroom, and a dining room, and a reception room.

“The room where Ilya lay seemed perfectly cleaned. There was a mahogany bureau, two sofas upholstered in expensive fabrics, chic embroidered screens. There were carpets, curtains, paintings, expensive porcelain figurines.”

Interior items were expensive things. But this did not brighten up the negligence emanating from every corner of the room.

There were a lot of cobwebs on the walls and ceiling. The furniture was covered in a thick layer of dust. After meeting with his beloved Olga Ilyinskaya, he would come home, sit on the sofa, and draw her name in large letters on the dusty table. Placed on the table miscellaneous items. There were dirty plates and towels, last year's newspapers, books with yellowed pages. There are two sofas in Oblomov's room.

Attitude towards learning. Education

At the age of thirteen, Ilya was sent to study at a boarding school in Verkhlevo. Literacy did not attract the boy.

“Father and mother planted Ilyusha for a book. It was worth the loud screams, tears and whims.”

When he should have left for training, he came to his mother and asked to stay at home.

“He sad came to his mother. She knew the reason, and secretly sighed about being separated from her son for a whole week.

I studied at the university without enthusiasm. Absolutely not interested additional information, read what the teachers asked.

He was satisfied with notes in a notebook.

In the life of a student Oblomov there was a passion for poetry. Comrade Andrei Stoltz brought him various books from the family library. At first he read them with delight, and soon gave up, as was to be expected of him. Ilya managed to graduate from the university, but the proper knowledge was not deposited in his head. When it was necessary to show his knowledge in jurisprudence and mathematics, Oblomov could not cope. I always believed that education was sent to a person as retribution for sins.

Service

After training, time flew by faster.

Oblomov "did not advance in any field, continued to stand at the threshold of his own arena."

Something had to be done, and he decided to go to St. Petersburg to prove himself in the service of a clerical clerk.

At 20, he was quite naive, certain views on life could be attributed to inexperience. The young man was sure that

"The officials were a friendly, close family, worried about mutual peace and pleasure."

He also believed that there was no need to attend the service every day.

“Sleet, heat, or just a lack of desire can always serve as a legitimate excuse for not going to work. Ilya Ilyich was upset when he saw that he had to be in the service strictly adhering to the schedule. I suffered from longing, despite the condescending boss.

After working for two years, he made a serious mistake. When sending an important document, I confused Astrakhan with Arkhangelsk. Didn't wait for a response. He wrote a report about leaving, and before that he stayed at home, hiding behind his shaky health.

After the incident, he did not attempt to return to the service. He was glad that he did not need now:

"from nine to three, or from eight to nine to write reports."

Now he is sure that work cannot make a person happy.

Relationships with others

Ilya Ilyich seems quiet, absolutely non-confrontational.

“An observant person, glancing briefly at Oblomov, would say: “Good man, simplicity!”

His communication with the servant Zakhar from the first chapters can radically change his opinion about not. He often raises his voice. The footman really deserves a little shake-up. The master pays him for maintaining order in the apartment. He often puts off cleaning. Finds hundreds of reasons why it's impossible to get out today. There are already bedbugs, cockroaches in the house, and occasionally a mouse runs through. It is for all sorts of violations that the master scolds him.

Guests come to the apartment: Oblomov's former colleague Sudbinsky, writer Penkin, countryman Tarantiev. Each of those present tells Ilya Ilyich, lying in bed, about an eventful life, they invite him to take a walk, to unwind. However, he refuses everyone, it is a burden for him to leave the house. The master is afraid that he will not slip through. In each proposal, he sees a problem, expects a catch.

“Although Oblomov is affectionate with many, he sincerely loves one, believes him alone, maybe because he grew up and lived with him. This is Andrey Ivanovich Stolz.”

It will become clear that despite the indifference to all kinds of entertainment, Oblomov does not cause hostility among people. They still want to cheer him up, make another attempt to pull him out of his beloved bed.

Living with the widow Pshenitsyna, Ilya takes great pleasure in taking care of her children, teaching them to read and write. With the aunt of his beloved Olga Ilinskaya, he easily finds common topics for a conversation. All this proves the simplicity of Oblomov, the absence of arrogance, which is inherent in many landowners.

Love

With Olga Ilinskaya Oblomov his friend Andrey Stolts will introduce him. Her piano playing will make a lasting impression on him. At home, Ilya did not close his eyes all night. In his mind, he drew the image of a new acquaintance. He remembered every feature of his face with trepidation. After that, he began to visit the Ilyinsky estate often.

Confessing love to Olga, will plunge her into embarrassment. They didn't see each other for a long time. Oblomov moves to live in a rented dacha located near the house of his beloved. I could not help myself to visit her again. But fate itself will bring them together, organizing a chance meeting for them.

Inspired by feelings, Oblomov is changing for the better.

"He gets up at seven o'clock. There is neither fatigue nor boredom on the face. Shirts and ties shine like snow. His coat is beautifully tailored.”

Feelings have a positive effect on his self-education. He reads books, does not lie idle on the couch. Writes letters to the manager of the estate with requests and instructions to improve the situation of the estate. Before his relationship with Olga, he always put it off until later. Dreams of family, children.

Olga is more and more convinced of his feelings. He does all her errands. However, "Oblomovism" does not let the hero go. Soon it begins to seem to him that he:

"is in the service of Ilyinskaya."

In his soul there is a struggle between apathy and love. Oblomov believes that it is impossible to feel sympathy for someone like him. "Loving someone like that is ridiculous, with flabby cheeks and a sleepy look."

The girl responds to his guesses with crying and suffering. Seeing the sincerity in her feelings, he regrets what was said. After a while, he again begins to look for a reason to avoid meetings. And when her beloved comes to him herself, she cannot see enough of her beauty, and decides to make her a marriage proposal. However, the established way of life takes its toll.

Introduction

Goncharov's novel "Oblomov" is a socio-psychological work of Russian literature of the mid-19th century, in which the author touches on a number of "eternal" topics that are relevant for the modern reader. One of the leading literary devices used by Goncharov is the portrait characterization of the characters. Through a detailed description of the appearance of the characters, not only their character is revealed, but also emphasized individual characteristics, similarities and differences actors. A special place in the narrative is occupied by the portrait of Oblomov in the novel Oblomov. It is with a description of the appearance of Ilya Ilyich that the author begins the work, paying special attention to small details and nuances of the character's appearance.

Portrait of Ilya Ilyich Oblomov

Ilya Ilyich is portrayed as a thirty-two-year-old man of medium height with dark gray eyes. He is quite attractive in appearance, but "flabby beyond his years." The main feature of the hero's appearance was softness - in facial expression, in the movements and lines of the body. Oblomov did not give the impression of a person living with great goals or constantly thinking about something - in the features of his face one could read the absence of any definite idea and concentration, “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 it disappeared altogether, and then an even light of carelessness flickered all over her face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.

Sometimes an expression of boredom or fatigue slipped into his eyes, but they could not drive out of the face of Ilya Ilyich that softness that was present even in his eyes and smile. Too light skin, small plump hands, soft shoulders and a body too pampered for a man betrayed in him a man not accustomed to work, accustomed to spending all his days in idleness, counting on the help of servants. Any powerful emotions were not reflected in Oblomov's appearance: "when he was even alarmed," his movements "were also restrained by softness and laziness not devoid of a kind of grace. If a cloud of care came over the face from the soul, the look became foggy, wrinkles appeared on the forehead, a game of doubt, sadness, fright began; but seldom did this anxiety solidify in the form of a definite idea, still more rarely did it turn into an intention. All anxiety was resolved with a sigh and faded into apathy or drowsiness.

The portrait of Ilya Ilyich Oblomov allows us to capture the main character traits of the hero: inner softness, complaisance, laziness, complete calmness and even some kind of indifference of the character in relation to the world around him, forming a complex and multifaceted personality. Goncharov himself points to the depth of Oblomov’s character at the beginning of the work: “a superficially observant, cold person, glancing at Oblomov in passing, would say: “There must be a kind man, simplicity!” A deeper and more sympathetic person, peering into his face for a long time, would walk away in pleasant thought, with a smile.

The symbolism of clothing in the image of Oblomov

Spending all his days in idleness and all sorts of dreams, making unrealizable plans and drawing in his imagination many pictures of the desired future, Oblomov did not follow his appearance, preferring to walk in his favorite home clothes, which seemed to complement his calm features and pampered body. He was wearing an old oriental dressing gown with large, wide sleeves, made of Persian fabric, in which Ilya Ilyich could wrap himself twice. The dressing gown was devoid of any decorative elements - tassels, velvet, belts - this simplicity, perhaps, was what Oblomov liked most of all in this element of the wardrobe. It was clear from the robe that the hero had been wearing it for a long time - he "lost his original freshness and in some places replaced his primitive, natural gloss with another, acquired", although he "still retained the brightness of oriental paint and the strength of the fabric." Ilya Ilyich liked that the dressing gown was soft, flexible and comfortable - "the body does not feel it on itself." The second obligatory element of the hero's home toilet were soft, wide and long shoes "when he, without looking, lowered his legs from bed to the floor, he would certainly fall into them immediately." Ilya Ilyich did not wear a waistcoat or tie at home, as he loved freedom and spaciousness.

The description of Oblomov's appearance in his home decoration draws before readers the image of a provincial gentleman who does not need to rush anywhere, because the servants will do everything for him and who does everything all day long by basking in bed. Yes, and the things themselves are more like faithful servants of Ilya Ilyich: a dressing gown, "like an obedient slave" submits to any of his movements, and there was no need to look for shoes or put them on for a long time - they were always at his service.

Oblomov seems to recreate the quiet, measured, "homely" atmosphere of his native Oblomovka, where everything was only for him, and his every whim was fulfilled. The dressing gown and shoes in the novel are symbols of Oblomovism, indicating internal state hero, his apathy, detachment from the world, leaving in illusion. Boots become a symbol of a real, “uncomfortable” life for Ilya Ilyich: “All days,” Oblomov grumbled, putting on a dressing gown, “you don’t take off your boots: your feet itch! I don't like this Petersburg life of yours." However, boots are also a symbol of getting out of the power of “Oblomovism”: having fallen in love with Olga, the hero himself throws away his favorite dressing gown and shoes, replacing them with a secular suit and such unloved boots. After breaking up with Ilinskoy Ilya Ilyich is completely disappointed in the real world, so he again takes out an old dressing gown and finally plunges into the swamp of "Oblomovism".

The appearance of Oblomov and Stolz in Goncharov's novel

Andrey Ivanovich Stolz is according to the plot of the work best friend Oblomov and his complete antipode both in character and outwardly. Stolz was "all made up of bones, muscles and nerves, like a blooded English horse", "that is, there is bone and muscle, but no sign of fat roundness." Unlike Ilya Ilyich, Andrey Ivanovich was thin, with a swarthy even complexion, greenish expressive eyes and a stingy facial expression, which he used exactly as much as was necessary. Stolz did not have that external softness, which was the main feature of his friend, he was characterized by firmness and calmness, without unnecessary fussiness and haste. Everything in his movements was harmonious and controlled: “It seems that he controlled both sorrows and joys, like the movement of his hands, like the steps of his feet, or how he treated bad and good weather.”

It would seem that both heroes - both Oblomov and Stolz were distinguished by outward calmness, but the nature of this calmness in men was different. The whole inner storm of Ilya Ilyich's experiences was lost in his excessive softness, carelessness and infantilism. For Stolz, strong feelings were alien: he controlled not only the whole world around and his movements, but also his feelings, not even allowing them to arise in his soul as something irrational and beyond his control.

findings

In Oblomov, Goncharov, as a skilled artist, was able through the portrait of the characters to show the depth of their inner world, "drawing" the features of the characters of the characters, depicting, on the one hand, two social characters typical of that time, and on the other, outlining two complex and tragic images, interesting for their versatility and modern reader.

Artwork test

Written in 1859, from the first days of publication to this day, like any great and powerful work of world classics, it evokes various emotions. Disputes and disagreements - no one is indifferent and never was. Hence the many critical articles: Dobrolyubov, Annensky, Druzhinin and others - each of them gave his own definition of Oblomov and Oblomovism, in some ways similar, and in some absolutely not the same.

In my opinion, this state is not only external characteristics hero, but also the whole life organization, their totality.

At the heart of the artist's desire to create works of art is an interest in man. But each person is a personality, character, individuality, and a special, only inherent appearance, and the environment in which he exists, and his house, and the world of things surrounding him, and much more ... Walking through life, a person interacts with himself, with people near and far for him, with time, with nature... And therefore, creating the image of a person in art, the artist seems to look at him from different angles, recreating and describing him in different ways. In a person, an artist is interested in everything - face and clothes, habits and thoughts, his home and place of service, his friends and enemies, his relationship with the world of people and the world of nature. In the literature, this interest takes on special art form, and the deeper you can study the features of this form, the more fully the content of the image of a person in the art of the word will be revealed to you, the closer the artist and his view of a person will become to you.

That is, for the concept of a work and the main intention of the author, it is necessary to compare both the portrait data of the heroes and the environment (its change) in which this or that hero is directly located. To do this, we will first consider the definitions of the terms "portrait" and "interior" and then proceed to their direct application and comparison in A. I. Goncharov's novel "Oblomov".

Taking the book in hand and starting to read Roma, already on the first page we pay attention to a detailed description of the appearance, that is, a portrait of the hero. Immediately after the portrait characteristics of the hero follows a description of the interior. Here the author uses the complementarity of the portrait with the interior

Let's carefully read the portrait of the hero “He was a man of about thirty-two or three years old, of medium height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in facial features. The thought walked like a free bird across the face, fluttered in the eyes, settled on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glowed all over the face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown. Sometimes his eyes were darkened by an expression as if of weariness or boredom; but neither fatigue nor boredom could for a moment drive away from the face the gentleness that was the dominant and basic expression, not only of the face, but of the whole soul; and the soul shone so openly and clearly in the eyes, in the smile, in every movement of the head, hand ... Ilya Ilyich's complexion was neither ruddy, nor swarthy, nor positively pale, but indifferent or seemed so, perhaps because that Oblomov is somehow flabby beyond his years: from a lack of movement, or air, or maybe both. The finest details: eyes, complexion, posture. After reading this passage, not only the author's, but also the reader's attitude towards the hero is immediately formed. This image deserves respect and indignation. The image of a lazy, weak-willed, amazingly carefree and serene, but at the same time he is pure and open-hearted, he is completely incapable of meanness. Oblomov, realizing the "truth" that exists in this world, voluntarily moves away from a big, active life, limiting himself to the framework of his own apartment.

Description of the apartment, its negligence is similar to state of mind hero: “The room where Ilya Ilyich lay, at first glance seemed beautiful

Cleaned up. There was a mahogany bureau, two sofas upholstered in silk

Matter, beautiful screens with embroidered birds and fruits unprecedented in nature. There were silk curtains, carpets, several paintings, bronze, porcelain and many beautiful little things ... if you look at it more closely, you were struck by the neglect and negligence that prevailed in it. On the walls, near the paintings, cobwebs saturated with dust were molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets for writing down some memoirs on them over the dust. Carpets were stained. There was a forgotten towel on the sofa; on the table, a rare morning, there was not a plate with a salt shaker and a gnawed bone, not removed from yesterday's dinner, and bread crumbs were not lying around.

The whole interior, like Ilya Ilyich himself, is soft, sleepy, cleaned only for appearance, and then with features of laziness and indifference.

But in more detail I would like to dwell on such an interior item as a sofa. Yes, each person has a place and circumstances in which he feels "like a king." He is protected, free, satisfied, self-sufficient. Goncharov's Oblomov has such a royal throne - a sofa. This is not just a piece of furniture, not a place of rest and after the labors of the righteous. This is a sacred place where all wishes come true. A fantastic world is being built in which Oblomov does not rule - for this, after all, efforts must be made - he takes for granted peace, contentment, satiety. And at the service of Oblomov - devoted slaves, if you call a spade a spade.

Oblomov became related, merged with his sofa. But not only laziness prevents Oblomov from leaving him. There, around - real life, which is arranged at all for the services and pleasure of the master. There is something to prove, something to achieve. It checks what kind of person you are and whether you have the right to what you want. And on the sofa it’s calm, comfortable - and there is order in the kingdom ... and Zakhar is in place ...

All this sleepy kingdom, where the owner himself becomes the subject of the situation, lives his unhurried, suspended animation life, but only until his old friend, Russian German, Stolz, comes to visit Oblomov.

The same age as Oblomov Stolz with early childhood He was brought up in the strictness of his father and the love of his mother. “He is all made up of bones, muscles and nerves, like a blooded English horse. He is thin; he has almost no cheeks at all, that is, there is bone and muscle, but no sign of fatty roundness; the complexion is even, swarthy and no blush; eyes, although a little greenish, but expressive. He didn't have any extra moves. If he was sitting, then he sat quietly, but if he acted, then he used as much facial expressions as needed. Just as he has nothing superfluous in his body, so in the moral aspects of his life he sought a balance of practical aspects with the subtle needs of the spirit. The two sides ran in parallel, crossing and twisting on the way, but never getting tangled up in heavy, unresolvable knots. He walked firmly, cheerfully; lived on a budget, trying to spend every day, like every ruble, with every minute, never dormant control of wasted time, labor, strength of soul and heart. It seems that he controlled both sorrows and joys, like the movement of his hands, like the steps of his feet, or how he dealt with bad and good weather. Stolz is a solid and active person, his arrival marked new stage in the life of Oblomov. Mobile and energetic, he does not allow Ilya Ilyich to idle. Behavior. Appearance and the whole image of Andrei is a striking contrast with the place, the apartment where Oblomov is engaged in peaceful lying. The element of Stolz is not a sleepy kingdom, but an eternal movement forward, overcoming life's barriers. It can be seen from this that there is no specific description of Stolz's house in the novel. Goncharov only writes that he "served, retired ... went about his business, ... found a house and money, ... learned Europe as his estate, ... saw Russia far and wide, ... travels into the world." Always striving somewhere, he does not have time, like any other busy person, for home comfort, slippers and measured lying in idleness.

Introduction

portrait in literary work- a description of the character's appearance, which plays a large role in his characterization, as well as one of the means of creating the image of Turaev S.V., Timofeev L.I., Vishnevsky K.D. etc. Literature: Reference material: A book for students. - M.: Enlightenment, 1988. - 335 p. .

Those aspects of the hero's nature that seem especially important to the author are reflected in the portrait. Psychological sense the portrait acquires with the development of literature. If in antiquity the portrait reflected the qualities that the ancients valued, then in the Renaissance it seeks to emphasize the spiritual life of a person. Sentimentalist writers sought to emphasize the liveliness of the hero's feelings with the help of a portrait. For romantics, the portrait seems to speak of the contrast between the environment of the hero and himself.

The psychological portrait becomes widespread in the era realism XIX century. The main differences from the romantics are that realists include in the portrait and description of the costume, and manners of behavior. Thanks to this, an idea is formed not only about the “nature” of the hero, but also about his belonging to one or another social environment, class affiliation. Also, in realism, sometimes a portrait can contrast with the character of the character: for example, a bright person is outwardly modest and ordinary.

Thus, one of his artistic features in a literary work is a portrait.

If we consider in detail the novel by I.A. Goncharov "Oblomov", then in the reader's understanding of the hero himself, the portrait plays a very important role here. The author gives a very detailed, detailed portrait, which is included in the description of the hero's appearance, and clothing, and even his environment. I.A. Goncharov has a detailed portrait-essay. Such a creative manner of the writer brings him closer to creative manner N.V. Gogol.

The author of the novel himself, in one of his articles, writes as follows regarding the creation of all the images of Oblomov: “I draw, I rarely know at that moment what my image, portrait, character means: I only see him alive in front of me - and I see if it’s true I draw, I see him with others - therefore, I see scenes and here these others, sometimes far ahead, according to the plan of the novel ... ”Otradin, M.V. Collection of articles: Roman I.A. Goncharova "Oblomov" in Russian criticism. - L.: Leningrad University, 1991. - 304 p. . Despite such a “quick drawing” of portraits of heroes, their images turned out to be very vivid and memorable. As many critics noted, the work reflected not only Russian life, but also presented to readers a chain of characters reflecting the living, modern Russian type of people. This is Ilya Ilyich Oblomov, and Andrei Stolz and Olga Ilyinskaya and other heroes of the work. Moreover, I.A. Goncharov presents the reader not only with portraits of the main characters, but also with minor ones. For example, even the servant of Zakhar was not spared by the writer.

I will consider the portraits of the above characters in this essay.

1. Portraits of the main characters

1.1 ImageI. I. Oblomova

Ilya Ilyich Oblomov is the main figure, images, in the entire novel by I.A. Goncharov. It is with a portrait sketch of this hero that the whole work begins:

“He was a man of about thirty-two or three years of age, of medium height, of pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his features. The thought walked like a free bird across the face, fluttered in the eyes, settled on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glimmered in the whole body. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown. Goncharov, I.A. Oblomov. A novel in 4 parts. - M.: Fiction, 1984. - 493 p. - p. 21

Such carelessness in the face and in the whole body will be, wild thought will accompany the hero throughout almost the entire novel, and only a short-term interest in Olga Ilyinskaya will somehow change this situation of Oblomov.

Further, the author notes that “softness, which was the dominant and main expression, not only of the face, but of the whole soul ...” Ibid. - P. 21 of the main character, at the first meeting, she would win over, and the person would leave in pleasant thought, with a smile.

“Ilya Ilyich’s complexion was neither ruddy, nor swarthy, nor positively pale, but indifferent or seemed so, perhaps because Oblomov was somehow flabby beyond his years ...” Ibid. - S. 21.

This small part of the portrait reveals the inner essence of Ilya Ilyich, some of his qualities: laziness, passivity, the absence of any interest in life at all, nothing interests him. Even any anxieties were always resolved simply by sighs, everything simply froze either in apathy or anxiety.

N.A. Dobrolyubov wrote that it was Oblomov’s laziness and apathy that was the only spring in his entire history.

When drawing a portrait of I.A. Goncharov, he does not forget to mention what and how the character dresses. Ilya Ilyich's home costume is a real oriental dressing gown, which embodies and complements the image of a master. Although this wardrobe item has lost its former freshness and brightness of oriental colors, for Oblomov it had "a host of invaluable virtues." This dressing gown also plays a symbolic role in the work: the dressing gown is a calm, inactive life. At first, the hero appears in him in front of the reader, but Oblomov is not in him throughout the novel. Having met Ilyinskaya, he is ready for action, for changes in his usual way of life. He no longer needs a bathrobe, now it is important for him appearance, because the hero comes out. And only at the end of the work, the dressing gown returns to Ilya Oblomov, since life with Pshenitsyna returned everything to normal: the same laziness and frailty.

The portrait also complements the interior of the place where this or that hero lives. Oblomov's room is described in the most detail. “The room where Ilya Ilyich lay, at first glance seemed beautifully decorated. There was a bureau of mahogany, two sofas upholstered in silk, beautiful screens embroidered with birds and fruits unknown in nature. There were silk curtains, carpets, several paintings, bronze, porcelain and many beautiful little things ... ”Goncharov, I.A. Oblomov. A novel in 4 parts. - M.: Fiction, 1984. - 493 p. - S. 22. If you look with an experienced eye, you can see the ungraceful chairs, the unsteadiness of whatnots, the settled back of the sofa. “On the walls, near the paintings, a cobweb saturated with dust was molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets for writing down some memoirs on them over the dust. Carpets were stained. There was a forgotten towel on the sofa; on the table, a rare morning, there was not a plate with a salt shaker and a gnawed bone that had not been removed from yesterday’s dinner, and bread crumbs were not lying around ”Goncharov, I.A. Oblomov. A novel in 4 parts. - M.: Fiction, 1984. - 493 p. - S. 23. All these details of the interior reflect not only the neglect and carelessness of the office, but also show the deadness and petrification that seized the hero of the novel.

The fossil motif was also reflected in Oblomov's appearance. And as noted by P. Weil and A. Genis, the frozen "folds" on the face of Ilya Ilyich draw an analogy with an antique statue. “In the figure of Oblomov, it is observed that golden ratio, which gives a feeling of lightness, harmony and completeness to antique sculpture. Oblomov's immobility is graceful in its monumentality, it is endowed with certain meaning. In any case, as long as he does nothing, but only represents himself "Weil P., Genis A. Oblomov and Others [Electronic resource]: Access mode URL: www.oblomov.omsk.edu (date accessed: 12/21/2014) . Looking at the main character in motion, one can see him rather clumsy, funny and awkward, but he only looks like this when he is in the company of Stolz or in comparison with Olga. Being in the house of Agafya Matveevna Pshenitsyna, I.I. Oblomov again becomes a statue: “He will sit down, cross his legs, prop his head with his hand - he does everything so freely, calmly and beautifully ... he is all so good, so clean, can and does not do anything” Goncharov, I.A. Oblomov. A novel in 4 parts. - M.: Fiction, 1984. - 493 p. - S. 394. A certain monumentality and petrification of the hero, in the opinion of Olga and Stolz, who are constantly on the move, is an indicator of a person without a goal. He is dead in life. A number of researchers compare Stolz and Olga with machines that have their own washers and gears in order to find an approach to others. Oblomov is a statue. The hero is complete, perfect in the novel. “He has already taken place, fulfilling his destiny only by the fact that he was born” Vayl P., Genis A. Oblomov and “Others” [Electronic resource]: Access mode URL: www.oblomov.omsk.edu (date of access: 21.12. 2014) . His life was not only formed, but also created, then it was intended so simply, no wonder, to express the possibility of an ideally calm side of human existence, - Oblomov comes to this conclusion by the end of his days.

This is how Ilya Ilyich Oblomov appears on the pages of I.A. Goncharov's novel "Oblomov". The portrait of this hero is organically included in philosophical problems novel.

1.2 Portrait of Andrey Stolz

The portrait of Andrei Stolz contrasts in the novel with the portrait of I.I. Oblomov. Stolz is the complete antipode of the protagonist, although he is the same age as him. He had already served, retired, went into business and amassed both money and a house. I.A. Goncharov built his work in such a way and created such images of heroes that the reader involuntarily begins to compare Stolz and Oblomov.

Such a comparison begins with appearance. If Oblomov was soft-bodied, Stolz, on the contrary, “... is all made up of bones, muscles and nerves, like a blooded English horse. He is thin; he has almost no cheeks at all, that is, bone and muscle, but no sign of fatty roundness; the complexion is even, swarthy and no blush; eyes, although a little greenish, but expressive ”Goncharov, I.A. Oblomov. A novel in 4 parts. - M .: Fiction, 1984. - 493 p. - P. 172. He did not make any unnecessary movements, the restraint in his manners was indescribable. If he just sat, then he sat calmly, but if he acted, then "used as much facial expressions as needed."

Andrei Ivanovich is energetic, smart, active. His whole life is movement. And this is emphasized throughout the portrait of the hero. “He is constantly on the move: if society needs to send an agent to Belgium or England, they send him; need to write some project or adapt new idea to the point - choose it. Meanwhile, he travels to the world and reads: when he has time - God knows ”Ibid. - P.172.

He had everything under control: both time, and labor, and the strength of the soul, and even the heart. Andrey Stolz is a rationalist: “it seems that he controlled both sorrows and joys like the movement of his hands”, and “he enjoyed joy like a flower plucked along the way.” One gets the impression that such a person is not afraid of anything, perceives all difficulties as a milestone that must be overcome and which will only bring him closer to the goal. After all, above all, he put perseverance in achieving goals.

In fact, Andrei Ivanovich Stolz was afraid of any dream. Everything mysterious and mysterious simply had no place in the soul of the character. And if he plunged into such a state, he always knew when he would come out of it.

The author does not describe the interior of the place where Andrei Ivanovich lives, so the reader can only guess. Perhaps his house is in disrepair, because his owner is so active that he does not have enough time for household chores. It can be assumed that, by virtue of character, the house, on the contrary, is cleaned and well-groomed. But it remains a mystery...

The image of Stolz is very attractive, but some kind of selfishness and excessive prudence emanates from him, but meanwhile the reader is captured by the hard work, determination of the hero. Sometimes it is precisely these qualities that are lacking in people in order to fulfill their plans.

But how could such a person be so close to Oblomov? It seems that every trait of their character, portrait is opposite to each other. But as they say, opposites attract. It was the arrival of Andrei Stolz that changed the usual calm life of Ilya Ilyich.

1.3 The image of Olga Ilyinskaya

One of portraits of women in the novel is the image of Olga Sergeevna Ilyinskaya, Stolz's friend and Oblomov's lover. Ilya Ilyich cannot forget this woman for a long time, he painted her portrait in his memory. “Olga in the strict sense was not a beauty, that is, there was neither whiteness in her, nor the bright color of her cheeks and lips, and her eyes did not burn with rays of inner fire; there were no corals on the lips, no pearls in the mouth, no miniature hands, like those of a five-year-old child, with fingers in the form of grapes ... ”Goncharov, I.A. Oblomov. A novel in 4 parts. - M.: Fiction, 1984. - 493 p. - S. 202. Such a woman could not leave indifferent the main character, who had not been published for a long time.

Further, one can trace the view of I.A. Goncharov himself on the image of Olga: “Whoever met her, even absent-minded, stopped for a moment in front of this so strictly and deliberately, artistically created creature ... the nose formed a noticeably convex, graceful line; lips thin and mostly compressed ... eyebrows gave a special beauty to the eyes ... they were two blond, fluffy, almost straight stripes that rarely lay symmetrically ... ”Ibid. - S. 202.

The motif of the statue can be traced here as well. Oblomov himself compares Olga with a statue of "grace and harmony." She is "several high growth strictly corresponded to the size of the head, the size of the head - the oval and the size of the face; all this, in turn, was in harmony with the shoulders, the shoulders - with the camp ... ". But the researchers notice that Olga is not a statue. There is another analogy for it - a machine.

As a statue, Ilyinskaya is certainly beautiful, but as a machine, it is functional. Oblomov's love seems to have curled the hero, but now the factory ends and the hero himself freezes. The hero's eyes no longer sparkle and burst into tears "from words, from sounds, from this pure, strong girlish voice", from which the heart beat so much before.

I.A. Goncharov gives a portrait of the heroine at different moments of her life. Here she sings “Her cheeks and ears flushed with excitement; sometimes, on her fresh face, a play of heart lightning suddenly flashed, a ray of such mature passion flared up, as if she was experiencing a distant future time of life with her heart, and suddenly this instant ray went out again, again her voice sounded fresh and silvery, "the author describes and" the awakening of the soul of the heroine ", when she understands Oblomov's feelings: "... her face was gradually filled with consciousness; a ray of thought, conjecture made its way into every line, and suddenly the whole face lit up with consciousness ... The sun also sometimes, coming out from behind a cloud, gradually illuminates one bush, another, the roof, and suddenly showers the whole landscape with light ... ". But a completely different Olga after a farewell conversation with Oblomov “she changed in her face: two pink spots disappeared, and her eyes dimmed ... she violently pulled a branch from a tree in passing, tore it off with her lips ...”. This shows all the disappointment, excitement and even annoyance of the heroine.

Olga Ilyinskaya is also changing during her acquaintance with Ilya Oblomov. If at first, before the recognition of Ilya Ilyich, she is light, always cheerful, lively, open and trusting "dependent" of Stolz (he is her teacher), then after recognition and subsequent parting with the main character, she is also thoughtful, restrained, persistent, firm, confident, restrained. She is no longer just a windy girl, but a woman.

The writer identifies in Olga Ilyinskaya two important, in his opinion, personality traits that are so lacking in modern women and therefore especially valuable. These are words and movements. They are presented convincingly enough in the novel. This is the talent of I.A. Goncharova.

2. Portraits of secondary characters

2.1 Portrait of AgafiaPshenitsynoh

In contrast, I.A. Goncharov with a portrait of Olga Ilyinskaya puts a "everyday" portrait of Agafya Matveevna Pshenitsyna, wife of Ilya Ilyich Oblomov. Unlike full image Olga, which includes not only the appearance of the heroine, but also the features of her character, here the author shows some features of Pshenitsyna's appearance, her clothes, the writer is silent about her character, manners and habits.

This is how Oblomov sees this woman: “She was about thirty years old. She was very white and full in the face, so that the blush could not seem to break through her cheeks. She had almost no eyebrows at all, and in their place were two slightly swollen, shiny stripes, with sparse blond hair. The eyes are greyish-ingenuous, as is the whole expression of the face; the arms are white, but stiff, with large knots of blue veins protruding. The dress sat tight on her: it is clear that she did not resort to any art, not even an extra skirt, to increase the volume of the hips and reduce the waist. From this, even her closed bust, when she was without a headscarf, could serve as a model for a painter or sculptor of a strong, healthy chest, without violating her modesty. Her dress, in relation to the elegant shawl and dress cap, seemed old and worn. Goncharov, I.A. Oblomov. A novel in 4 parts. - M.: Fiction, 1984. - 493 p. - S. 304

The heroine made a positive impression on Ilya Oblomov, although she had a “simple but pleasant face” and the hero thought that she was probably a pleasant woman. Love for work and farming, gave out the hands of the heroine. And as the writer notes, household chores did not burden Pshenitsyn in any way, this was her vocation.

Agafya Matveevna completely immersed herself in the main character. She is ready for a lot for the love of Oblomov, although she seems to him shy and meek. Her feeling of falling in love can be seen only by excessive absent-mindedness: then her “roast will burn, the fish in the ear will be digested, she will not put greens in the soup ...”.

If we compare the portraits of the heroine at the beginning of I.I. Oblomov and the portrait after a long time of living together with him, one can notice significant differences. In the beginning, she is full of health, full, ruddy, round-cheeked. And here is the portrait a few years later. “She has changed terribly, not in her favor” Goncharov, I.A. Oblomov. A novel in 4 parts. - M .: Fiction, 1984. - 493 p. - P. 427 - notes I.A. Goncharov - “She lost weight. There are no round, white, non-blushing and non-blanching cheeks; sparse eyebrows do not shine, her eye is sunken.

She is dressed in an old cotton dress; her hands are either tanned or hardened from work, from fire or from water, or from both ... deep despondency lies in her face. There. - S. 427

What happened to the heroine? And all because Ilya Ilyich has not eaten all her cooking for a year now. This is how reverently Agafya Matveevna treated Oblomov. And as soon as the protagonist’s deeds improved with the payment of the debt, the heroine returned to her former position again: “she gained weight; chest and shoulders shone with the same contentment and fullness, meekness and only economic solicitude shone in the eyes. There. - S. 473

And Pshenitsyna's face showed much more. It "expressed the same happiness, complete, satisfied and without desires."

In the portrait of Agafya Pshenitsyna I.A. Goncharov embodied the image of a typical Russian woman who is ready to completely devote herself to household chores and in every possible way to please the typical Oblomovs.

2.2 Portraits of Oblomov's guests

hero of oblomov stolz

I did not bypass I.A. Goncharov and guests of Ilya Ilyich. Each of them has his own portrait, although not very complete. Thanks to this, the reader creates an image of those people with whom he communicated. the protagonist. Let's get acquainted with some of them.

Volkov comes first: “... a young man of about twenty-five, shining with health, with laughing cheeks, lips and eyes. Envy took to look at him. ”Goncharov, I.A. Oblomov. A novel in 4 parts. - M.: Fiction, 1984. - 493 p. - S. 32 He dazzled with the freshness of his face, and linen, and tailcoat. He had a glossy hat and patent leather boots. And as Oblomov himself correctly called him - "brilliant gentleman."

Sudbinsky appears in a different way before the reader. This is "a gentleman in a dark green tailcoat with coat of arms buttons, clean-shaven ... with a troubled, but calmly conscious expression in his eyes, with a heavily worn face, with a thoughtful smile." There. - P. 36 These features are not accidental, because this guest is the head of the department.

Another guest, Alekseev, was a man "... of indeterminate years, with an indefinite physiognomy ... not handsome and not bad, not tall and not short, not blond and not brunette ...". There. - P. 44 As the writer notes, nature did not give this character any noticeable features.

A more complete portrait of Mikhei Andreevich Tarantiev is given. This is "a man of about forty ... tall, voluminous in the shoulders and throughout the torso, with large features, with a large head ... a short neck, with large bulging eyes, thick-lipped." There. - p. 52 He did not pursue the elegance of the costume, he was not always shaved ... But all this, it seems, did not bother the hero himself. Tarantiev is unfriendly to everything around him, scolds everyone and everything. For twenty-five years he has been working in the office. Sometimes he is like a child: he overlooks something, he misses something.

It is this description of Oblomov's guests that is especially detailed, since I.A. Goncharov brings this hero closer to Oblomov. It's not even that they have one small homeland, but also the fact that both Tarantiev and Oblomov remained with their unfulfilled hopes, although somewhere inside they were full of dormant forces.

I.A. Goncharov puts the portraits of the above heroes at the very beginning of the chapter, which allows the reader to immediately imagine the image of Oblomov's guest, and then follow the conversation of the characters.

2.3 PortraitZahara

Zakhar is a servant of Ilya Ilyich. Despite the fact that this is a simple person, low class, I.A. Goncharov also created his portrait. The servant was in his fifties, with "immensely wide and thick blond whiskers with gray hair." The image is complemented by clothing: a gray frock coat and a vest, which the character really liked, but this is all at the beginning of the novel. At the end, a sad portrait is given: “... he has patches on his elbows; he looked so poor, hungry, as if he ate poorly, slept little and worked for three. Goncharov, I.A. Oblomov. A novel in 4 parts. - M .: Fiction, 1984. - 493 p. - P. 427 This is how Zakhar changed while in Pshenitsyna's house.

Interestingly, I.A. Goncharov complements the portrait with some character traits, the habits of a servant. For example, the reader will learn that Zakhar is a gossip, ready to scold the master at every opportunity, loves to drink, and sometimes steals from Oblomov.

Zakhar is unpleasant (rarely shaves). Very awkward, slow, clumsy. Even when he tries to please the master, everything happens quite the opposite. "There is no end to troubles and losses" from such a servant.

Despite all his shortcomings and repulsive properties, Zakhar is passionately devoted to the master, he would have died instead of the master, if necessary, as he considered it his duty.

Conclusion

Thus, the portrait in the novel by I.A. Goncharova plays a very important role: it emphasizes not only the individual features of the character's appearance, but also reveals it inner world. This is the feature psychological portrait, which begins to enter literature of the 19th in.

The portrait characteristics of the heroes are bright and accurate, which makes it possible to trace the changes in the character, lifestyle, attitude to the world of a particular person.

The portraits drawn in the novel "Oblomov" allow us not only to accurately imagine the depicted character, but also to deeply feel all his experiences, and also to more accurately capture the author's intention, to understand what class the hero belongs to, what place he occupies in society, among friends and acquaintances. .

The writer managed to convey the whole color of typical Russian images, to emphasize their most obvious features. This is not only laziness, excessive daydreaming, but also activity and prudence.

Portrait at I.A. Goncharov is presented in dynamics. The image presented by the author at the very beginning gradually changes depending on the development of the plot, the events happening to the hero, changes in their worldview.

Bibliography

1. Vail P., Genis A. Oblomov and “Others” [Electronic resource]: Access mode URL: www.oblomov.omsk.edu (date of access: 21.12.2014)

2. Goncharov, I.A. Oblomov. A novel in 4 parts. - M.: Fiction, 1984. - 493 p.

3. Desnitsky, V.A. Trilogy of Goncharov // Desnitsky, V.A. Selected articles on Russian literature of the XVIII-XIX centuries. M.-L., 1958.

4. Otradin, M.V. Collection of articles: Roman I.A. Goncharova "Oblomov" in Russian criticism. - L.: Leningrad University, 1991. - 304 p.

5. Turaev S.V., Timofeev L.I., Vishnevsky K.D. etc. Literature: Reference material: A book for students. - M.: Enlightenment, 1988. - 335 p.