What does the surname Oblomov mean in the novel? Origin of the surname Oblomov. Social meaning of the novel
Ilya - ancient Russian name, especially common among the common people. Suffice it to recall the epic hero Ilya Muromets, who, together with other heroes, defended the vast expanses of his native land. The same name, which carried the special, primordial features of the Russian nation, was given to another literary hero, Ilya Ilyich Oblomov. According to the writer Goncharov, Oblomov embodied the national type of character and worldview, those fundamental properties of the Russian soul, for which it is still considered mysterious and strange.
Etymology of the name
However, the name Ilya is not originally Russian. His East Slavic roots grew on Jewish soil. The full, traditional form of the word is Elijah. In the Slavic tradition, a short or truncated form (Ilya) and patronymics, respectively, Ilyich, Ilyinichna, were established. Diminutive nicknames - Ilyushenka, Ilyushechka, Ilyusha. It sounds beautiful, gentle, and kind, doesn’t it? The meaning of the name Elijah (in Hebrew sounds like “Eliyahu”) translated from Hebrew is “my God”, “true believer”, “the power of the Lord”. That is, it has a pronounced religious character. However, its modern speakers do not think so much about the semantic side, paying more attention to euphony and fashion. But probably few people know that Ilya has another meaning for the name. The same word exists in the Kurdish language. It is translated as “bright”, “glorious”, “great”. And in the Islamic religion there is a saint with this name. In the oriental manner it is pronounced Ali. What an interesting nickname Ilyush has!
Anthroponymy, astrology and psychology
What kind of person could Ilya be? The meaning of a name is a serious thing; it should always be taken into account when choosing a particular nickname for a baby. It was not for nothing that we remembered at the beginning of the article about Ilya Muromets. A favorite character in folk epics, he personifies enormous spiritual and physical strength, unshakable courage and bravery, generosity and kindness. It is believed that all these wonderful qualities manifested themselves in the hero largely thanks to such a sonorous, musical name. By the way, of the 3 heroes (there are also Dobrynya and Alyosha), it is Muromets who is the most fair, reasonable, and wise. True, and the oldest. And he holds the palm among the legendary mythological images created by the people's dream and fantasy of an almighty intercessor and patron. So, we have identified some psychological aspects of the name Ilya. The meaning of the name, however, is far from being exhausted by them.
Let us remember another hero of myths, now religious. The legendary Elijah the prophet, saint, the only one, besides Christ, who received the great honor of being ascended to heaven alive. He is widely and deeply revered among the peoples of the entire Christian world, and especially in Orthodoxy. Moreover, this is one of the greatest images of the Old Testament, the embodiment of true Faith, deep and serious, the ability to remain true to one’s convictions in any situation, to prove the truth by one’s own example and to lead entire nations. Therefore, Ilya (the meaning of the name and numerous examples confirm this) is usually endowed with special charisma - very strong, great charm, great will and endurance. This is the very core on which the character of people who are named so and raised accordingly from childhood is based. But the sound shell of the name also indicates other features: softness, even some femininity, affection, delicacy. It is sonorous, musical, pleasant to the ear due to the combination of vowel sounds and a sonorous soft consonant.
It is not without reason that among those named Ilya there are many people of art: Repin, Glazunov, Averbukh. What else can you add about the owners of the name Ilya? They are sociable and friendly, although they do not really like to let someone into the depths of their own “I”. Their intuition is high; their priorities are devotion to family, care for loved ones, and high ideals. True, they are characterized by short temper and impulsiveness. But on the other hand, Ilyusha is easy-going, forgets insults, and regrets his harshness.
OBLOMOV
Hero of the novel I.A. Goncharova"Oblomov."
The novel was written between 1848 and 1859. Ilya Ilyich Oblomov is a landowner, hereditary, educated man, 32–33 years old. In my youth I was official, but, having served only 2 years and being burdened by the service, he resigned and began to live on income from the estate.
The surname of the hero of the novel is formed from the words bummer, break off, which, indeed, corresponds to his character: Oblomov cannot withstand the difficulties of life and solve problems that arise. He is broken by life, passive and lazy. But at the same time, he is a nice, sincere, sincere person, trusting himself and winning people over.
Oblomov’s entire previous life was full of failures: in childhood he considered teaching as a punishment, and his head was filled with chaotic useless knowledge; the service was unsuccessful: he saw no point in it and was afraid of his superiors; he did not experience love, because it required, in his opinion, a lot of trouble; control estate also failed, and his participation in the household was limited to dreams on the sofa about rebuilding his life. Oblomov gradually ceases all contact with society and even with people close to him - his childhood friend Stolz, his servant Zakhar, his beloved girl Olga.
A symbol of Oblomov’s laziness is his robe, in which Ilya Ilyich’s life basically passes. No matter what blessings, even personal happiness, Oblomov’s life attracts, he again and again and finally finally returns to his sofa in his robe, where he remains in dreams, half-asleep and sleep.
Goncharov's novel has been dramatized many times and filmed several times. Latest film adaptation - director N.S. Mikhalkova 1988 The role of Oblomov in the film was played by a popular artist Oleg Tabakov.
Surname Oblomov for Russians has become a household word to denote a lazy, weak-willed person, indifferent to life. The word is derived from the “speaking” surname Oblomovism, denoting apathy, lack of will, a state of inactivity and laziness.
I.A. Goncharov. Lithography. 1847 Illustration for the novel. Artist N.V. Shcheglov. 1973:
Still from the film N.S. Mikhalkov “A few days in the life of I.I. Oblomov." Olga - E. Solovey, Oblomov - O. Tabakov:
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Russia. Large linguistic and cultural dictionary. - M.: State Institute Russian language named after. A.S. Pushkin. AST-Press. T.N. Chernyavskaya, K.S. Miloslavskaya, E.G. Rostova, O.E. Frolova, V.I. Borisenko, Yu.A. Vyunov, V.P. Chudnov. 2007 .
Synonyms:See what "OBLOMOV" is in other dictionaries:
bummers- Cm … Synonym dictionary
OBLOMOV- hero of I.A. Goncharov’s novel “Oblomov” (1848-1859). Literary sources of the image of O. Gogol Podkolesin and old-world landowners, Tentetnikov, Manilov. Literary predecessors of O. in the works of Goncharov: Tyazhelenko (“Dashing Sickness”), Egor ... Literary heroes
Oblomov- This term has other meanings, see Vasya Oblomov. Oblomov Genre: social psychological novel
bummers- (foreign) lazy, apathetic Oblomovshchina apathy, ponderous drowsiness of Russian nature and lack of internal inspiration in it Russian laziness; indifference to social issues and lack of energy; mental immobility and indecision. Wed... ... Michelson's Large Explanatory and Phraseological Dictionary
Oblomov- the hero of the same name. rum I. A. Goncharova (1859), professing renunciation of activity, inactivity, peace of mind as ch. life principle. After the article by N. A. Dobrolyubov What is Oblomovism? the concepts of Oblomov and Oblomovism have acquired a generalizing... Russian humanitarian encyclopedic dictionary
Oblomov- Oblomov (foreign language) lazy, apathetic. Oblomovism is apathy, the ponderous drowsiness of Russian nature and its lack of inner inspiration. Explanation Russian laziness; indifference to public issues and lack of energy; mental immobility and... Michelson's Large Explanatory and Phraseological Dictionary (original spelling)
Oblomov- m. 1. Literary character. 2. Used as a symbol of a person characterized by a sluggish indifference to public interests, a reluctance to make any decisions or perform any actions, who believes that others should do this... Modern Dictionary Russian language Efremova
Oblomov- Region omov, and... Russian spelling dictionary
Oblomov- (2 m) (lit. character; type of inactive person) ... Spelling dictionary of the Russian language
bummers- A; m. About a lazy, apathetic, inactive person; sybarite. ◁ Oblomovsky, oh, oh. Oh laziness, boredom. Character traits of the Oblomov type. According to Oblomov, adv. To languish in idleness like Oblomov. ● By the name of Oblomov, the hero of the novel of the same name... ... encyclopedic Dictionary
I.A. Goncharov belongs to those writers for whom the choice of the name of the hero is fundamentally important, serving as one of the key words of the text and usually expressing symbolic meanings. In Goncharov’s prose, proper names consistently act as an important characterological means, are included in the system of comparisons and contrasts that organize the literary text at its different levels, serve as the key to the subtext of the work, highlight its mythological, folklore and other plans. These features of the writer’s style were clearly manifested in the novel “Oblomov”.
The text of the novel contrasts two groups of proper names: 1) widespread first and last names with an erased internal form, which, according to the author’s own definition, are only “dull echoes”, cf.: Many called him Ivan Ivanovich, others - Ivan Vasilyevich, others - Ivan Mikhailovich. His last name was also called differently: some said that he was Ivanov, others called him Vasiliev or Andreev, others thought that he was Alekseev... All this Alekseev, Vasiliev, Andreev or whatever you want to say an incomplete, impersonal allusion to the human mass, a dull echo, its unclear reflection, and 2) “meaningful” names and surnames, the motivation of which is revealed in the text: for example, surname Makhov correlates with the phraseological unit “to give up on everything” and is close to the verb “to wave”; surname Worn out is motivated by the verb “overwrite” in the meaning “to hush up the matter,” and the surname Vytyagushin- the verb “to pull out” in the meaning of “to rob.” The “talking” names of officials thus directly characterize their activities. This group includes the surname Tarantiev, which is motivated by the dialect verb “tarantit” (“to speak briskly, briskly, quickly, hastily, chatter”; cf. region. taranta -"glib and sharp talker"). This interpretation of the surname of the “glib and cunning” hero, according to Goncharov, is supported by the author’s direct description: His movements were bold and sweeping; he spoke loudly, smartly and always angrily; if you listen at some distance, it sounds as if three empty carts are driving across a bridge. Tarantyev’s name - Mikhey - reveals undoubted intertextual connections and refers to the image of Sobakevich, as well as to folklore characters (primarily the image of a bear) - it is no coincidence that a “fairy tale” is mentioned in the description of this character.
The intermediate group between “meaningful” and “insignificant” proper names in the text consists of first and last names with an erased internal form, which, however, evoke certain stable associations among readers of the novel: the surname Mukhoyarov, for example, is close to the word “mukhryga” (“rogue”, "blown deceiver") ; the surname of the omnivorous journalist, always striving to “make noise”, Penkin, firstly, is associated with the expression “skimming foam”, and secondly, with the phraseological unit “foaming at the mouth” and actualizes the image of foam with its inherent signs of superficiality and empty fermentation.
The names of the characters in the novel are combined in the text with the names of literary and mythological heroes: Achilles, Ilya Muromets, Cordelia, Galatea, Caleb, etc. These "point quotes" determine the multidimensionality of the novel’s images and situations and reflect the hierarchical nature of its structure, including it in dialogue with other works of world literature.
In the novel "Oblomov" anthroponyms are combined into system: its periphery consists of “meaningful” names, which are, as a rule, minor characters; in its center, at the core, are the names of the main characters, which are characterized by a plurality of meanings. These anthroponyms form intersecting series of oppositions. Their meaning is determined taking into account repetitions and oppositions in the structure of the text.
The surname of the main character of the novel, listed in strong position text - title, has repeatedly attracted the attention of researchers. At the same time, different points of view were expressed. V. Melnik, for example, connected the hero’s surname with E. Baratynsky’s poem “Prejudice! He chip ancient truth...", noting the correlation of words Oblomov- chip. From the point of view of another researcher, P. Tiergen, the parallel “man is a fragment” serves to characterize the hero as an “incomplete”, “under-embodied” person, “signals about the dominant fragmentation and lack of integrity.” T.I. Ornatskaya connects words Oblomov, Oblomovka with folk poetic metaphor "dream-oblomon". This metaphor is ambivalent: on the one hand, the “enchanted world” of Russian fairy tales with its inherent poetry is associated with the image of sleep, on the other hand, it "bummer dream" disastrous for the hero, crushing him with a gravestone. From our point of view, to interpret the surname Oblomov it is necessary to take into account, firstly, all possible producing words of this proper name, which in a literary text acquires motivation, secondly, the entire system of contexts containing the figurative characteristics of the hero, thirdly, the intertextual (intertextual) connections of the work.
Word Oblomov characterized by a multiplicity of motivation, taking into account the polysemy of a word in a literary text and revealing the multiplicity of meanings embodied by it. It can be motivated either by a verb break off(both directly and figurative meaning- “to force someone to behave in a certain way by subordinating his will”), and nouns bummer("everything that is not whole, that is broken) and chip; Wed interpretations given in the dictionary by V.I. Dalia and MAC:
Chip -“a thing broken off all around” (V.I. Dal); fragment - 1) a broken or broken piece of something; 2) transfer: the remnant of something that previously existed, disappeared (MAC).
It is also possible to connect words bummer And Oblomov on the basis of the evaluative meaning inherent in the first word as dialectism - “a clumsy person.”
The noted areas of motivation highlight such semantic components as “static”, “lack of will”, “connection with the past” and emphasize the destruction of integrity. In addition, it is possible that the surname is connected Oblomov with adjective bald("round"): the proper name and this word come together on the basis of obvious sound similarity. In this case, the hero’s surname is interpreted as a contaminated, hybrid formation that combines the semantics of words bald And break: the circle, symbolizing the lack of development, staticity, immutability of order, appears torn, partially “broken.”
In contexts containing figurative characteristics of the hero, images of sleep, stone, “extinguishing”, stunted growth, dilapidation and at the same time childishness are regularly repeated, cf.: [Oblomov]... I was glad that he was lying there, carefree, How newborn baby; I'm flabby, shabby, worn out caftan; He felt sad and hurt for his underdevelopment, stop in the growth of moral forces, for the heaviness that interferes with everything; From the first minute I became aware of myself, I felt that I was already going out; He... fell asleep soundly, like a stone, sleep; [He]fell asleep leaden, joyless sleep. IN The text, therefore, regularly emphasizes the early “extinction” of the strength of spirit and the lack of integrity in the character of the hero.
Plurality of surname motivations Oblomov is connected, as we see, with different meanings realized in the noted contexts: this is, first of all, under-embodiment, manifested in the “bummer” of a possible, but unrealized life path (He hasn’t moved one step forward in any field) lack of integrity, and finally, a circle reflecting the features of the hero’s biographical time and the repetition of “the same thing that happened to grandfathers and fathers” (see description of Oblomovka). The “sleepy kingdom” of Oblomovka can be graphically depicted as a vicious circle. “What is Oblomovka, if not forgotten by everyone, miraculously surviving “blessed corner” - a fragment of Eden?”
Oblomov’s connection with cyclical time, the main model of which is a circle, his belonging to the world of “sluggish life and lack of movement,” where “life ... stretches in a continuous monotonous fabric,” is emphasized by the repetition that combines the hero’s name and patronymic - Ilya Ilyich Oblomov. The first name and patronymic reflect the image of time that runs through the novel. The “fading” of the hero makes the main rhythm of his existence the periodicity of repetitions, while biographical time turns out to be reversible, and in Pshenitsyna’s house Ilya Ilyich Oblomov again returns to the world of childhood - the world of Oblomovka: the end of life repeats its beginning (as in the symbol of the circle), cf.:
And he sees a large, dark living room in his parents’ house, illuminated by a tallow candle, with his late mother and her guests sitting at a round table... The present and the past merged and mixed up.
He dreams that he has reached that promised land, where rivers of honey and milk flow, where they eat unearned bread, walk in gold and silver...
At the end of the novel, as we see, the meaning of “cool” in the hero’s surname especially stands out, at the same time the meanings associated with the verb also turn out to be significant break (break off): in a “forgotten corner”, alien to movement, struggle and life, Oblomov stops time, overcomes it, but the acquired “ideal” of peace “breaks off the wings” of his soul, plunges him into sleep, cf.: You had wings, but you untied them; He is buried, crushed[mind] all sorts of rubbish and fell asleep in idleness. The individual existence of the hero, who “broken off” the flow of linear time and returned to cyclical time, turns out to be the “coffin”, “grave” of the personality, see the author’s metaphors and comparisons: ...He quietly and gradually fits into a simple and wide coffin... of his existence, made with one's own hands, like the desert elders who, turning away from life, dig for themselves grave.
At the same time, the name of the hero - Ilya - indicates not only “eternal repetition”. It reveals the folklore and mythological plan of the novel. This name, connecting Oblomov with the world of his ancestors, brings his image closer to the image of the epic hero Ilya of Muromets, whose exploits after a miraculous healing replaced the hero’s weakness and his thirty-year “sitting” in a hut, as well as to the image of Ilya the Prophet. Oblomov’s name turns out to be ambivalent: it carries an indication of both long-term static (“motionless” peace) and the possibility of overcoming it, finding a saving “fire”. This possibility remains unrealized in the hero’s fate: In my life, no fire, either salutary or destructive, had ever lit up... Elijah did not understand this life, or it was no good, and I didn’t know anything better...
Antipode of Oblomov - Andrey Ivanovich Stolts . Their first and last names are also contrasting in the text. This opposition, however, has a special character: it is not the proper names themselves that come into opposition, but the meanings generated by them, and the meanings directly expressed by the name and surname of Stolz are compared with the meanings only associatively associated with the image of Oblomov. Oblomov’s “childishness”, “under-embodiment”, “roundness” is contrasted with Stolz’s “masculinity” (Andrey - translated from ancient Greek - “courageous, brave” - “husband, man”); Pride (from German. stolz-"proud") an active person and] a rationalist.
Stolz’s pride has different manifestations in the novel: from “self-confidence” and awareness of one’s own willpower to “economy of soul strength” and some “arrogance.” The German surname of the hero, contrasted with the Russian surname Oblomov, introduces into the text of the novel the opposition of two worlds: “our own” (Russian, patriarchal) and “alien”. At the same time, the comparison of two toponyms - the names of the villages of Oblomov and Stolz - turns out to be significant for the artistic space of the novel: Oblomovka And Verkhlevo.“A fragment of Eden”, Oblomovka, associated with the image of a circle and, accordingly, the dominance of statics, is opposed in the text by Verkhlevo. This title suggests possible motivating words: top as a vertical sign and top-headed(“moving”, i.e. breaking the immobility, monotony of a closed existence).
Olga Ilyinskaya (after marriage - Stolz) occupies a special place in the system of images of the novel. Her internal connection with 06-lomov is emphasized by the repetition of his name in the structure of the heroine’s surname. “In the ideal version, planned by fate, Olga was destined for Ilya Ilyich (“I know, you were sent to me by God”). But the insurmountability of circumstances separated them. The drama of human under-incarnation was revealed in the sad ending by the fate of the blessed meeting.” The change in Olga’s surname (Ilyinskaya → Stolz) reflects both the development of the novel’s plot and the development of the heroine’s character. It is interesting that in the text field of this character words with the seme “pride” are regularly repeated, and it is in this field (compared to the characteristics of other characters) that they dominate, cf.: Olga walked with her head tilted slightly forward, resting so slenderly and nobly on her thin, proud neck; She looked at him with calm pride;...in front of him[Oblomov]... offended goddess of pride and anger; ...And him[to Stolz] for a long time, almost my entire life, I had to take... considerable care to maintain at the same height my dignity as a man in the eyes of self-loving, proud Olga...
The repetition of words with the seme “pride” brings the characteristics of Olga and Stolz closer together, see, for example: He... suffered without timid submission, but more with annoyance, with pride;[Stolz] he was chastely proud;[He] was inwardly proud... whenever he happened to notice a crookedness in his path. At the same time, Olga’s “pride” is contrasted with Oblomov’s “meekness,” “softness,” and his “dovelike tenderness.” It is significant that the word pride appears in Oblomov’s descriptions only once, and in connection with the hero’s awakened love for Olga, and serves as a kind of reflex of her text field: Pride began to sparkle in him, life began to shine, its magical distance...
Thus, Olga both correlates and contrasts different worlds heroes of the novel. Her name itself evokes strong associations among readers of the novel. “Missionary” (according to the subtle remark of I. Annensky) Olga bears the name of the first Russian saint (Olga → German Helge - supposedly “under the protection of a deity”, “prophetic”). As noted by P.A. Florensky, the name Olga... reveals a number of character traits of those who bear it: “Olga... stands firmly on the ground. In her integrity, Olga is unrestrained and straightforward in her own way... Once she has set her will towards a known goal, Olga will completely and without looking back go towards achieving this goal, sparing neither those around her, nor those around her, nor herself...”
In the novel, Olga Ilyinskaya is contrasted with Agafya Matveevna Pshenitsyna. The portraits of the heroines are already contrasting; compare:
Lips are thin and for the most part compressed: a sign of a thought continuously directed at something. The same presence of a speaking thought shone in the vigilant, always cheerful, never-missing gaze of dark, gray-blue eyes. The eyebrows gave special beauty to the eyes... one was a line higher than the other, because of this there was a small fold above the eyebrow, which seemed to say something, as if a thought rested there (portrait of Ilyinskaya). She had almost no eyebrows at all, but in their place there were two slightly swollen, shiny stripes, with sparse blond hair. The eyes are grayish-simple, like the whole expression on her face... She listened stupidly and stupid thought about it (portrait of Pshenitsyna).
The intertextual connections that bring the heroines closer to literary or mythological characters mentioned in the work are also of a different nature: Olga - Cordelia, “Pygmalion”; Agafya Matveevna - Militrisa Kirbitevna. If Olga’s characteristics are dominated by words thought And proud (pride), then in Agafya Matveevna’s descriptions the words are regularly repeated simplicity, kindness, shyness, finally, Love.
The heroines are also contrasted through figurative means. The comparisons used to characterize Agafya Matveevna figuratively are of an emphatically everyday (often reduced) nature, cf.: - “I don’t know how to thank you,” Oblomov said, looking at her with the same pleasure with which he had in the morning looked at the hot cheesecake; - Now, God willing, we’ll live until Easter, so we’ll kiss,- she said, not surprised, not obeying, not timid, but standing straight and motionless, like a horse being put on a collar.
The heroine's surname at her first perception is Pshenitsyna - also, first of all, reveals the everyday, natural, earthly principle; in her name - Agafya - its internal form “good” (from ancient Greek “good”, “kind”) is actualized in the context of the whole. Name Agafya also evokes associations with the ancient Greek word agape denoting a special kind of active and selfless love. At the same time, this name apparently “reflected a mythological motif (Agathias is a saint who protects people from the eruption of Etna, that is, fire, hell).” In the text of the novel, this motif of “protection from flame” is reflected in the author’s extensive comparison: Agafya Matveevna makes no urgings, no demands. And he has[Oblomova] no selfish desires, urges, aspirations for achievements are born...; It was as if an invisible hand had planted it, like a precious plant, in the shade from the heat, under shelter from the rain, and was caring for it, nurturing it.
Thus, a number of meanings that are significant for the interpretation of the text are updated in the heroine’s name: she is kind mistress(this is the word that is regularly repeated in her nomination series), selflessly loving woman, protector from the burning flame of the hero, whose life is “extinguishing.” It is no coincidence that the heroine’s middle name (Matveevna): firstly, it repeats the middle name of I.A.’s mother. Goncharov, secondly, the etymology of the name Matvey (Matthew) - “gift of God” - again highlights the mythological subtext of the novel: Agafya Matveevna was sent to Oblomov, the anti-Faust with his “timid, lazy soul”, as a gift, as the embodiment of his dream of peace , about the continuation of “Oblomov’s existence”, about “serene silence”: Oblomov himself was a complete and natural reflection and expression of that peace, contentment and serene silence. Looking and reflecting on his life and becoming more and more accustomed to it, he finally decided that he had nowhere else to go, nothing to look for, that the ideal of his life had come true. It is Agafya Matveevna, who becomes Oblomova at the end of the novel, compared in the text either to an active, “well-organized” machine or to a pendulum, who determines the possibility the ideally peaceful side of human existence. In her new surname, the image of a circle, which runs through the text, is again actualized.
At the same time, the characteristics of Agafya Matveevna in the novel are not static. The text emphasizes the connection of its plot situations with the myth of Pygmalion and Galatea. This intertextual connection is manifested in the interpretation and development of three images of the novel. Oblomov is initially compared to Galatea, while Olga is assigned the role of Pygmalion: ...But this is some kind of Galatea, with whom she herself had to be Pygmalion. Wed: He will live, act, bless life and her. To bring a person back to life - how much glory to a doctor when he saves a hopelessly ill person! But to save a morally perishing mind and soul?.. However, in these relations, the lot of 06-lomov becomes “extinction”, “extinction”. The role of Pygmalion passes to Stolz, who revives “pride? Olga and dreaming of creating " new woman», dressed in his color and shining with his colors. Ilya Ilyich Oblomov, who awakened the soul in Agafya Matveevna Pshenitsyna, turns out to be not Galatea, but Pygmalion in the novel. At the end of the novel, it is in her descriptions that key lexical units of the text appear, creating images of light and radiance: She realized that she had lost and her life shone, that God put his soul into her and took her out again; that the sun shone in it and darkened forever... Forever, really; but on the other hand, her life also became meaningful forever: now she knew why she lived and that she had not lived in vain. At the end of the novel, the previously opposed characteristics of Olga and Agafya Matveevna come closer: in the descriptions of both heroines such a detail as the thought in the face (look) is emphasized. Wed: Here she is[Agafya Matveevna], in a dark dress, in a black woolen scarf around her neck... with a concentrated expression, with hidden inner meaning in her eyes. This thought sat invisibly on her face...
The transformation of Agafya Matveevna actualizes another meaning of her surname, which, like the name Oblomov, is ambivalent in nature. “Wheat” in Christian symbolism is a sign of rebirth. The spirit of Oblomov himself could not be resurrected, but the soul of Agafya Matveevna, who became the mother of Ilya Ilyich’s son, was reborn: “Agafya... turns out to be directly involved in the continuation of the Oblomov family (the immortality of the hero himself).”
Andrei Oblomov, who is brought up in Stolz's house and bears his name, in the finale of the novel is associated with the plan of the future: the unification of the names of two heroes opposed to each other serves as a sign of a possible synthesis of the best principles of both characters and the “philosophies” they represent. Thus, the proper name also acts as a sign highlighting the plan of prospection in a literary text: Ilya Ilyich Oblomov is replaced by Andrei Ilyich Oblomov.
So, proper names play an important role in the structure of the text and the figurative system of the novel under consideration. They not only determine the essential features of the characters’ characters, but also reflect the main plot lines of the work and establish connections between different images and situations. Proper names are associated with the spatiotemporal organization of the text. They “reveal” hidden meanings that are important for the interpretation of the text; serve as the key to its subtext, actualize the intertextual connections of the novel and highlight its different plans (mythological, philosophical, everyday, etc.), emphasizing their interaction.
Questions and tasks
1. Read the drama by A.N. Ostrovsky "Dowry".
2. Determine the etymology of the names, patronymics and surnames of such characters in the play as Knurov, Vozhevatov, Paratov. Can these anthroponyms be considered meaningful names your own? What is the relationship between these names and the name of the main character of the drama - Larisa?
3. Analyze the nomination row of the main character of the play. Is its deployment related to the development of the plot and the compositional features of the drama?
4. Consider the proper names of other characters in the play. What role do they play in revealing the images of the characters and in interpreting the text as a whole? What oppositions can you identify in the onomastic space of drama?
5. Show the role of proper names in the drama “Dowry” in creating the semantic multidimensionality of the text.
Goncharov’s novel “Oblomov” is a landmark work of literature of the 19th century, touching on both acute social and many philosophical problems, remaining relevant and interesting to the modern reader. The ideological meaning of the novel “Oblomov” is based on the opposition of an active, new social and personal principle with an outdated, passive and degrading one. In the work, the author reveals these principles on several existential levels, therefore, to fully understand the meaning of the work, a detailed consideration of each of them is required.
Social meaning of the novel
In the novel “Oblomov,” Goncharov first introduced the concept of “Oblomovism” as a generalized name for outdated patriarchal-landlord foundations, personal degradation, and the vital stagnation of an entire social layer of Russian philistinism, unwilling to accept new social trends and norms. This phenomenon The author looked at the example of the main character of the novel, Oblomov, whose childhood was spent in distant Oblomovka, where everyone lived quietly, lazily, with little interest in anything and caring almost nothing. The hero's native village becomes the embodiment of the ideals of Russian old-time society - a kind of hedonistic idyll, a “preserved paradise” where there is no need to study, work or develop.
Portraying Oblomov as a “superfluous man,” Goncharov, unlike Griboyedov and Pushkin, whose characters of this type were ahead of society, introduces into the narrative a hero who lags behind society, living in the distant past. The active, active, educated environment oppresses Oblomov - the ideals of Stolz with his work for the sake of work are alien to him, even his beloved Olga is ahead of Ilya Ilyich, approaching everything from a practical side. Stolts, Olga, Tarantyev, Mukhoyarov, and other acquaintances of Oblomov are representatives of a new, “urban” personality type. They are more practitioners than theorists, they do not dream, but do, create new things - some by working honestly, others by deception.
Goncharov condemns “Oblomovism” with its gravitation towards the past, laziness, apathy and complete spiritual withering away of the individual, when a person essentially becomes a “plant” lying on the sofa around the clock. However, Goncharov also portrays the images of modern, new people as ambiguous - they do not have the peace of mind and inner poetry that Oblomov had (remember that Stolz only found this peace while relaxing with a friend, and the already married Olga is sad about something distant and is afraid to dream , making excuses to her husband).
At the end of the work, Goncharov does not make a definite conclusion about who is right - the practitioner Stolz or the dreamer Oblomov. However, the reader understands that it was precisely because of “Oblomovism,” as a phenomenon that is sharply negative and has long since become obsolete, that Ilya Ilyich “disappeared.” That is why the social meaning of Goncharov’s novel “Oblomov” is the need for constant development and movement - both in the continuous construction and creation of the surrounding world, and in working on the development of one’s own personality.
The meaning of the title of the work
The meaning of the title of the novel “Oblomov” is closely related to the main theme of the work - it was named after the surname of the main character Ilya Ilyich Oblomov, and is also associated with the social phenomenon “Oblomovism” described in the novel. The etymology of the name is interpreted differently by researchers. Thus, the most common version is that the word “Oblomov” comes from the words “Oblomok”, “break off”, “break”, denoting the state of mental and social breakdown of the landowner nobility, when it found itself in a borderline state between the desire to preserve old traditions and foundations and the need to change according to the requirements of the era, from a creative person to a practical person.
In addition, there is a version about the connection of the title with the Old Slavonic root “oblo” - “round”, which corresponds to the description of the hero - his “rounded” appearance and his quiet, calm character “without sharp corners”. However, regardless of the interpretation of the title of the work, it indicates the central storyline novel - the life of Ilya Ilyich Oblomov.
The meaning of Oblomovka in the novel
From the plot of the novel “Oblomov,” the reader from the very beginning learns many facts about Oblomovka, about what a wonderful place it is, how easy and good it was for the hero and how important it is for Oblomov to return there. However, throughout the entire narrative, events never take us to the village, which makes it a truly mythical, fairy-tale place. Picturesque nature, gentle hills, a calm river, a hut on the edge of a ravine, which the visitor needs to ask to stand “with his back to the forest, and his front to it” in order to enter - even in the newspapers there was never a mention of Oblomovka. The inhabitants of Oblomovka did not care about any passions - they were completely cut off from the world, they spent their lives in boredom and tranquility, based on constant rituals.
Oblomov's childhood was spent in love, his parents constantly spoiled Ilya, indulging all his desires. However, Oblomov was particularly impressed by the stories of his nanny, who read to him about mythical heroes and fairy-tale heroes, closely linking his native village with folklore in the hero’s memory. For Ilya Ilyich, Oblomovka is a distant dream, an ideal comparable, perhaps, to the beautiful ladies of medieval knights who glorified wives who were sometimes never seen. In addition, the village is also a way to escape from reality, a kind of half-imagined place where the hero can forget about reality and be himself - lazy, apathetic, completely calm and renounced from the world around him.
The meaning of Oblomov's life in the novel
Oblomov’s whole life is connected only with that distant, quiet and harmonious Oblomovka, however, the mythical estate exists only in the memories and dreams of the hero - pictures from the past never come to him in a cheerful state, his native village appears before him as some kind of distant vision, in its own way unattainable , like any mythical city. Ilya Ilyich is in every possible way opposed to the real perception of his native Oblomovka - he still does not plan the future estate, he delays for a long time in responding to the headman’s letter, and in a dream he does not seem to notice the disrepair of the house - a crooked gate, a sagging roof, a shaky porch, a neglected garden. And he really doesn’t want to go there - Oblomov is afraid that when he sees the dilapidated, ruined Oblomovka, which has nothing in common with his dreams and memories, he will lose his last illusions, which he clings to with all his might and for which he lives.
The only thing that brings complete happiness to Oblomov is dreams and illusions. He is afraid real life, is afraid of marriage, which he has dreamed of many times, is afraid of breaking himself and becoming someone else. Wrapping himself in an old robe and continuing to lie on the bed, he “preserves” himself in a state of “Oblomovism” - in general, the robe in the work is, as it were, part of that mythical world that returns the hero to a state of laziness and extinction.
The meaning of the hero's life in Oblomov's novel comes down to gradual dying - both moral and mental, and physical, for the sake of maintaining his own illusions. The hero does not want to say goodbye to the past so much that he is ready to sacrifice a full life, the opportunity to feel every moment and recognize every feeling for the sake of mythical ideals and dreams.
Conclusion
In the novel “Oblomov,” Goncharov depicted the tragic story of the decline of a person for whom the illusory past became more important than the multifaceted and beautiful present - friendship, love, social well-being. The meaning of the work indicates that it is important not to stand still, indulging oneself in illusions, but to always strive forward, expanding the boundaries of one’s own “comfort zone.”
Work test
The novel "Oblomov" is integral part Goncharov’s trilogy, which also included “The Precipice” and “An Ordinary Story.” It was first published in 1859 in the magazine " Domestic notes“, however, the author published a fragment of the novel “Oblomov’s Dream” 10 years earlier, back in 1849. According to the author, the draft of the entire novel was already ready at that time. A trip to his native Simbirsk with its ancient patriarchal way of life largely inspired him to publish the novel. However, I had to take a break creative activity in connection with a trip around the world.
Analysis of the work
Introduction. The history of the creation of the novel. Main idea.
Much earlier, in 1838, Goncharov published a humorous story, “Dashing Illness,” where he condemningly describes such a destructive phenomenon, flourishing in the West, as a tendency to excessive daydreaming and melancholy. It was then that the author first raised the issue of “Oblomovism,” which he later fully and comprehensively revealed in the novel.
Later, the author admitted that Belinsky’s speech on the topic of his “Ordinary History” made him think about creating “Oblomov”. In his analysis, Belinsky helped him outline a clear image of the main character, his character and individual traits. In addition, the hero Oblomov is, in some way, Goncharov’s recognition of his mistakes. After all, he, too, was once a supporter of serene and meaningless pastime. Goncharov spoke more than once about how difficult it was sometimes for him to do some everyday things, not to mention the difficulty with which he decided to go on a circumnavigation of the world. His friends even nicknamed him “Prince De Lazy.”
The ideological content of the novel is extremely deep: the author raises deep social problems, which were relevant for many of his contemporaries. For example, the dominance of European ideals and canons among the nobility and the vegetation of original Russian values. Eternal questions of love, duty, decency, human relationships and life values.
General characteristics of the work. Genre, plot and composition.
According to genre features, the novel “Oblomov” can be easily identified as a typical work of the realism movement. Here there are all the signs characteristic of works of this genre: a central conflict of interests and positions of the protagonist and the society opposing him, many details in the description of situations and interiors, authenticity from the point of view of historical and everyday aspects. For example, Goncharov very clearly depicts the social division of layers of society inherent in that time: bourgeois, serfs, officials, nobles. During the course of the story, some characters receive their development, for example, Olga. Oblomov, on the contrary, degrades, breaking under the pressure of the surrounding reality.
The typical phenomenon of that time, described on the pages, which later received the name “Oblomovshchina,” allows us to interpret the novel as a social one. The extreme degree of laziness and moral depravity, vegetation and personal decay - all this had an extremely detrimental effect on the bourgeoisie of the 19th century. And “Oblomovshchina” became a household name, in a general sense reflecting the way of life of the Russia of that time.
In terms of composition, the novel can be divided into 4 separate blocks or parts. At the beginning, the author lets us know what he is main character, to follow the smooth, non-dynamic and lazy flow of his boring life. What follows is the climax of the novel - Oblomov falls in love with Olga, comes out of “hibernation”, strives to live, enjoy every day and receive personal development. However, their relationship was not destined to continue and the couple experienced a tragic breakup. Oblomov's short-term insight turns into further degradation and disintegration of personality. Oblomov again falls into despondency and depression, plunging into his feelings and joyless existence. The denouement is the epilogue, which describes the further life of the hero: Ilya Ilyich marries a homely woman who does not shine with intelligence and emotions. He spends his last days in peace, indulging in laziness and gluttony. The finale is the death of Oblomov.
Images of the main characters
In contrast to Oblomov is the description of Andrei Ivanovich Stolts. These are two antipodes: Stolz’s gaze is directed clearly forward, he is confident that without development there is no future for him as an individual and for society as a whole. Such people move the planet forward; the only joy available to them is constant work. He takes pleasure in achieving goals, he has no time to build ephemeral castles in the air and vegetate like Oblomov in a world of ethereal fantasies. At the same time, Goncharov is not trying to make one of his heroes bad and the other good. On the contrary, he repeatedly emphasizes that neither one nor the other male image is an ideal. Each of them has both positive features, and disadvantages. This is another feature that allows us to classify the novel as a realistic genre.
Just like men, women in this novel are also opposed to each other. Pshenitsyna Agafya Matveevna - Oblomov's wife is presented as a narrow-minded, but extremely kind and flexible nature. She literally idolizes her husband, trying to make his life as comfortable as possible. The poor thing does not understand that by doing so she is digging his grave. She is a typical representative of the old system, when a woman is literally a slave of her husband, having no right to own opinion, and a hostage to everyday problems.
Olga Ilyinskaya
Olga is a progressive young girl. It seems to her that she can change Oblomov, set him on the true path, and she almost succeeds. She is incredibly strong-willed, emotional and talented. In a man, she wants to see, first of all, a spiritual mentor, a strong, integral personality, at least equal to her in mentality and beliefs. This is where the conflict of interests with Oblomov occurs. Unfortunately, he cannot and does not want to meet her high demands and goes into the shadows. Unable to forgive such cowardice, Olga breaks up with him and thereby saves herself from “Oblomovism.”
Conclusion
The novel raises a rather serious problem from the point of view historical development Russian society, namely “Oblomovshchina” or the gradual degradation of certain layers of the Russian public. The old foundations that people are not ready to change and improve their society and way of life, philosophical issues of development, the theme of love and the weakness of the human spirit - all this rightfully allows us to recognize Goncharov’s novel as a brilliant work of the 19th century.
“Oblomovism” from a social phenomenon gradually flows into the character of the person himself, dragging him to the bottom of laziness and moral decay. Dreams and illusions are gradually replacing the real world, where there is simply no place for such a person. This leads to another problematic topic raised by the author, namely the issue of the “Superfluous Man,” which is Oblomov. He is stuck in the past and sometimes his dreams actually prevail. important things, for example, love for Olga.
The success of the novel was largely due to the deep crisis of the serfdom that coincided at the same time. The image of a bored landowner, incapable of independent life, was perceived very sharply by the public. Many recognized themselves in Oblomov, and Goncharov’s contemporaries, for example, the writer Dobrolyubov, quickly picked up the theme of “Oblomovism” and continued to develop it on the pages of their scientific works. Thus, the novel became an event not only in the field of literature, but the most important socio-political and historical event.
The author is trying to reach the reader, make him look at own life, and perhaps rethink something. Only by correctly interpreting Goncharov’s fiery message can you change your life and then you can avoid Oblomov’s sad ending.
