Description of nature in Oblomov’s novel. How do the landscapes in A. I. Goncharov’s novel “Oblomov” help us understand the internal state of the main character? (Unified State Examination in Literature). When Oblomov begins to have doubts about the truth of Olga’s feelings, this novel seems like a miracle to him

Finished essay (“Oblomov” role of landscape in the novel)

Goncharov always differed from other writers in that he described the surrounding landscapes with great accuracy and paid attention to this huge amount text. In this he is comparable to N.V. Gogol. Let's analyze the landscapes in his novel Oblomov.
The role of landscape in a novel is great, because thanks to the landscape we imagine the place where the actions take place, we can characterize state of mind hero, feel the prevailing atmosphere.

We see the first picture in “Oblomov’s Dream”, the role of the landscape here is psychological, it allows us to understand the internal state of the hero, we learn about his childhood, about the formation of his character. The environment on the Oblomov estate is sparse and not luxurious.

The seasons of the year are compared here with the working days of the peasants. Everything in the natural cycle moves smoothly and harmoniously. The most wonderful time in this region is summer. Everything around is green, you want to breathe in the air deeply, feeling the smells of grass and flowers.

Peace and quiet reigns everywhere: in the fields, in villages and towns. At the Oblomov estate, everyone goes to bed after a delicious dinner. The people here are quiet and peaceful, just like everyone else around them. People on the estate are busy only with everyday affairs, which are rarely diversified by a wedding or christening. Oblomovites practically don’t work, because work is like a punishment for them.

This is where the protagonist spent his childhood, and his character was shaped by such a life. Ilya loved to run through the meadows with the boys. He was inquisitive and observant, studied the world around him with any accessible ways, but his parents always took care of him and watched over him so that he would not get hurt anywhere. And so all his aspirations faded away. Every year he became lazier, his interest turned into indifference. Oblomov turns into a standard village resident: lazy and peaceful. The landscape played an important role in shaping his character.

During the first meeting of Ilya and Olga, nature played a key role. After all, it was the plucked branch of lilac that became the first thing that united them. Oblomov before her and on the second date, Ilyinskaya liked it, and subsequently a sincere conversation took place between the characters, in which they felt a mutual attraction to each other.

Over time, their feelings grow stronger and develop into love. The characters become more attentive to the nature around them: they notice new smells, the gentle chirping of birds, watch silently soaring butterflies, and even feel the breath of flowers.

After Oblomov doubted Olga’s feelings, nature, sensing changes in Ilya’s internal state, changes along with him. It becomes cloudy and windy, the sky is overcast. But the hero, despite his doubts, continues to love Olga, but considers their relationship impossible. Their love ended at the end of the summer.

Autumn brings new colors to nature, the characters move further and further away from each other. After the final separation of Ilya and Olga, the first snow falls on the street, covering everything in the area with a thick layer. This landscape is symbolic, the snow covers the happiness of our hero. At the end of the novel, Goncharov describes the journey of Stolz and Olga to Crimea. But the description is scanty, it seems to reflect inner world Oblomov, yearning for Olga. Stolz and Olga experienced a lot of emotions caused by the local landscapes. Their love blooms, like all nature around.

The cemetery landscape is gloomy and terrible; the lilac branch that was planted next to the grave of the late Oblomov reappears. The branch symbolizes the culminating moments of Ilya's life, but not all of them are beautiful.

Drawing a conclusion, I would like to note that nature can be considered one of the main characters. Indeed, with the help of landscape, Goncharov conveys his attitude to feelings, to life, reveals the inner world and state of the characters.

The purpose of the landscape (like many other artistic techniques V this work) is subordinated to the main goal - to show the history of the emergence of such human character, like Oblomov, the history of the formation of his personality and the features of his lifestyle.

In the eighth chapter of the novel, the author mentions Ilya Ilyich’s favorite dream - to live in the village. And the pictures of this life are always associated not only with “sweet food and sweet laziness,” but also with wonderful rural nature. He would like to sit with a cup of tea “under a canopy of trees impenetrable to the sun, ... enjoying ... the coolness, the silence; and in the distance the fields turn yellow, the sun sets behind the familiar birch tree and blushes the pond, smooth as a mirror...” Oblomov definitely sees “eternal summer, eternal fun” and a lot of food for guests with an “unfading appetite.”

Why is this so? Why is he like this and “not different”? This question arises both among readers and the hero himself. Sometimes Oblomov becomes “sad and painful for his underdevelopment, the stop in the growth of moral forces...”. It became especially scary when the “idea of human destiny and purpose...", and he "painfully felt that some good, bright beginning was buried in him, as in a grave...", but "a treasure of rubbish was buried deep and heavily." Oblomov understood that he needed to get rid of all this superficial stuff, all this rubbish that was preventing him from living a full-blooded life, and... his thought obediently returned him to a world where everything was beautiful, where wonderful pictures of nature made it possible to forget about worries and escape from the reality that troubled the soul. The peculiar, “Oblomov” love for nature, combined with daydreaming, brought calm and even a feeling of happiness into the hero’s life.

In the ninth chapter, Goncharov paints a world where the hero of the novel could live happily if he had never left his native Oblomovka. It is here that we find answers to many questions and understand why Ilya Ilyich’s soul aspired to this “blessed corner.”

Goncharov does not immediately begin the chapter with a description of the “wonderful land.” He first gives landscape sketches in the form of successive beautiful paintings, very contrasting with the nature of Oblomovka, which also makes it possible to understand why this region and this nature contributed to the emergence of Oblomov’s character. Here “there is no sea, no high mountains, rocks and abysses, no dense forests - there is nothing grandiose, wild and gloomy.” And the author explains the negative view of ordinary people on exotic landscapes: images of a raging sea, the power of the elements or the sight of inaccessible rocks, formidable mountains and abysses induce melancholy, fear, anxiety in the soul, tormenting it, and “the heart is embarrassed by timidity...”. This nature does not contribute to the “fun” mood of life, does not calm, does not “lull”, but helps to form an active and energetic character that is able to overcome obstacles and fight difficulties.

Ilya Ilyich Oblomov is one of the most controversial literary heroes. Goncharov's contemporaries immediately after the release of the novel branded the main character as an inveterate sloth and a purely negative character. However, over time, the view of him has changed, although a complete rethinking of Oblomov’s image is still ahead.

In all the everyday vicissitudes that come his way, Oblomov takes the passive side. He leaves, turns away from reality. Away from all everyday joys and fears, affairs and news, he prefers to plunge into dreams, fantasies and... sleep. Oblomov's dream is the best, ideal (for Oblomov) world into which he strives to get.

Descriptively, Oblomov’s dream represents his past, childhood. Through a dream we are shown a house - Oblomovka, early years hero, his family and environment. Father - Ilya Ivanovich, a landowner, a kind man, even good-natured. Mother is a loving and affectionate, caring housewife. Numerous aunts and uncles, guests and distant relatives who fill the house.

All, without exception, people in Oblomovka are simple and kind, do not suffer from illnesses of the soul, and do not worry about questions of the meaning of life. Everyone living in this “blessed land” is interested only in themselves and their own interests. " Happy people lived, thinking that it should not be otherwise, confident that everyone else lived in exactly the same way and that living differently was a sin.”

Nature is especially delightful in that region. It fully corresponds to the lifestyle of the Oblomovka people. Summer is hot and stuffy, filled with the aroma of wormwood, winter is harsh and frosty, but predictable and constant. In due course spring comes, generous warm rains, thunderstorms at the same time... Everything in Oblomovka is clear, simple and somehow sincere. Even “the sky presses closer to the earth to hug it tighter, with love.” What kind of character can there be, nurtured in such a corner of paradise?

(Little Ilyusha with his nanny in the vivid dreams of adult Oblomov)

To understand a person, find out what he dreams about and what he dreams about. In this sense, Oblomov’s dream vividly and comprehensively gives us the opportunity to get to know the hero. One can argue for a long time whether Oblomov’s life was good, whether Oblomov’s life was correct, but one thing remains unchanged. His soul. “A soul as pure as crystal” - this is how everyone who had the opportunity to look into Oblomov’s heart and soul remembers him. Stolts, Olga, Agafya Matveevna, Zakhar - until the end of their lives they keep the bright memory of their friend. So can a purely negative character evoke such feelings in different, not similar friends on a friend, people?

Is the life shown to us in Oblomov’s dream bad? To some it will seem primitive and boring, to others it will be considered the ideal of peaceful existence and existence. Most people would probably lean towards the first category. Even the author seems to favor another, “active and fulfilling life,” the kind that is presented to us by Stolz.

“The time will come, and vigorous steps will be heard... - thousands of Stolts will appear under Russian names, old Oblomovka will leave.” But then Goncharov’s prediction came true and the time came when everyone became entrepreneurs and businessmen. But people are still looking for the meaning of life, they are still dissatisfied with what fate gives them. Only now it’s not the Oblomovs who are waiting for the Stolts, but the Stolts are looking for kind, sincere Oblomovs. When will they finally meet? When will they be able to combine their strengths and abilities to create not a dream, but a real, real, beneficial life?

Oblomov's dream is not an ideal, not the perfection of life, not the goal of existence to which one must strive. However, there is no need to deny it or throw it away as unnecessary.

"Oblomov's Dream" The origins of one person and the whole country. By the end of the first part, Oblomov is ready to change his old life. The hero is forced by external circumstances (the need to move, a decrease in the profitability of the estate). However, internal motivations are more important. But before we see the results of Ilya Ilyich’s efforts to get up from the couch, Goncharov introduces a specially titled short story about the hero’s childhood - “Oblomov’s Dream.” The author seeks to find an answer to the question tormenting Oblomov, why “a heavy stone was thrown on<…>path of his existence" who "stole<…>treasures brought to him as a gift of peace and life.”

Literary heroes often dream... Dreams help us understand the character's character, predict future fate or reveal the author’s philosophical thoughts. So Oblomov is not just dozing. The dream draws us ideal hero. But the ideal is not abstract: it was once embodied in parental home, in Oblomovka. Therefore the dream is at the same time memory happy childhood, it is seen through the prism of excited tenderness (especially the image of the late mother). However, both this ideal and this memory are more real for Oblomov than the present. Having fallen asleep in a sad sleep, “disturbed” by the worries of life in St. Petersburg, which was foreign to him, Ilya Ilyich woke up as a seven-year-old boy - “it’s easy and fun for him.” Goncharov's hero is physically present in the capital, but his soul here curls up and dies. Spiritually the character is still lives in his native Oblomovka.

In Oblomovka, as in Hrach, people live with a patriarchal consciousness. “The norm of life was taught to them ready-made by their parents, and they accepted it, also ready-made, from their grandfather, and grandfather from their great-grandfather... Just as what was done under their fathers and grandfathers, so it was done under Ilya Ilyich’s father, so, perhaps, is still being done now in Oblomovka.” That is why any manifestation of personal will and interests, even the most innocent, like a letter, fills the souls of Oblomovites with horror.

Even time flows differently in Oblomovka. “They kept track of time by holidays, by seasons<...>, never referring to months or numbers. Perhaps this was due to the fact that<…>everyone confused the names of the months and the order of the numbers.” To the linear flow of events - from number to number, from event to event - they preferred circular, or cyclical, time according to the seasons of the year, according to repeating church holidays. And this is the guarantee of universal stability.

Nature itself seems to support them: “Neither terrible storms nor destruction can be heard in that region,”<…>there are no poisonous reptiles there, locusts do not fly there; there are no roaring lions or roaring tigers...” The relatively mild climate makes it unnecessary to resist nature, to be ready to repel its attacks (as we would say, “cataclysms”). Nature helps to live in Peace, “at random”: “Like one hut ended up on the cliff of a ravine, it has been hanging there since time immemorial, standing with one foot in the air and propped up by three poles. Three or four generations lived quietly and happily in it. It seems that the chicken was afraid to enter it, and there lives with his wife Onisim Suslov, a respectable man who does not stare at his full height in his home.” But maybe the peasant Onisim simply does not have the money to repair his home? The author introduces a paired episode: the same thing happens in the manor’s courtyard, where a dilapidated gallery “suddenly collapsed and buried a hen and chickens under its ruins...”. “Everyone was amazed that the gallery had collapsed, and the day before they wondered how it had held up for so long!” And here this “maybe” psychology manifests itself: “Old Man Oblomov< …>will be preoccupied with the thought of an amendment: he will call a carpenter,” and that’s the end of it.

Goncharov also includes fairy tales, epics, scary stories about the dead, werewolves, etc. among the historical origins of “Oblomovism.” The writer sees in Russian folklore not just “legends of deep antiquity.” This is evidence of a certain stage in the development of human society: “The life of the man of that time was terrible and wrong; It was dangerous for him to go beyond the threshold of the house: he would be whipped by an animal, a robber would kill him, an evil Tatar would take everything from him, or the man would disappear without a trace, without any trace.” A person had a primary task: to survive physically, to feed himself. That is why a cult reigns in Oblomovka Food, the ideal of a well-fed, plump child - “you just have to look at what pink and weighty cupids the local mothers wear and lead around with them.” Of primary importance for people are not individual events (love, career), but those that contribute to the continuation of the Family - births, funerals, weddings. In this case, what was meant was not the personal happiness of the newlyweds, but the opportunity through the eternal ritual to confirm the eternity of the Family: “They ( Oblomovites) with hearts beating with excitement, they awaited the ritual, the ceremony, and then,<...>got married<...>people, they forgot about the man himself and his fate..."

Misunderstanding of the laws of the surrounding world leads to the flourishing of fantasy: “Our poor ancestors lived gropingly; They did not inspire or restrain their will, and then they naively marveled or were horrified by the inconvenience, evil and interrogated the reasons from the silent, unclear hieroglyphs of nature.” Frightening themselves with real and imaginary dangers, people perceived the distant world as initially hostile, and tried in every possible way to hide from it in their Home. Goncharov was sure that all countries of the world had passed through the “Oblomov” period. The writer discovered signs of Oblomov’s fearful isolation on Japanese islands. But how did Oblomovka preserve its old way of life through centuries and decades? In its own way, it was also located on distant islands - “peasants<...>transported bread to the nearest pier to the Volga, which was their Colchis and the Pillars of Hercules<…>and had no further relations with anyone.” “Oblomov’s Dream” tells about the impenetrable Russian wilderness. Just two centuries ago, the Volga, Trans-Volga lands were the last outpost of civilization (almost like the frontier in America). Further on stretched the spaces inhabited by semi-wild uncivilized tribes - Kazakhs, Kirghiz.

The reluctance to look beyond Oblomovka was a kind of commandment: “Happy people lived, thinking that it should not and could not be otherwise, confident that<…>to live otherwise is a sin.” But the Oblomovites not only did not want, they did not feel the need to go beyond the boundaries of their self-sufficient little world. “They knew that eighty miles from them there was a “province”, that is, provincial town <…>, then they knew that further away, there, Saratov or Nizhny; we heard that there are Moscow and St. Petersburg, that the French or Germans live beyond St. Petersburg, and then it began<…>a dark world, unknown countries inhabited by monsters...” The alien, the unfamiliar can be hostile, but everyone born within the small world of Oblomovka is guaranteed love and affection. There are no internal conflicts or tragedies here. Even death, surrounded by many ancient rituals, appears as a sad, but not dramatic episode in the endless flow of generations. The features of an earthly paradise and fairy tales in reality are preserved here. According to the laws of the fairy tale, all important philosophical questions about the meaning of existence are either not raised or are resolved satisfactorily by fathers and grandfathers (in Oblomovka there is an undeniable cult of Home, Family, Peace). But all ordinary objects and phenomena acquire truly fabulous, grandiose proportions: “imperturbable calm,” gigantic meals, heroic sleep, terrible thefts (“one day two pigs and a chicken suddenly disappeared”). And here’s what’s interesting: another modern researcher V.A. Niedzvetsky suggested that the idea to describe the life and customs of the patriarchal people of hobbits came to Tolkien after reading the book of the Russian writer. For now, this is a hypothesis and, therefore, does not claim to be absolutely certain. But also discount the fact that everyone’s favorite foreign writers taking lessons from Russian literature is also not allowed.

By the time Goncharov wrote these lines, Oblomovka had not yet disappeared from the map of Russia. The flesh disappeared, but the spirit remained. Oblomovka’s rules of life are too adapted to the way of Russian life, the worldview of the Russian person. Druzhinin believed that “Oblomov’s Dream”<…>“connected him with a thousand invisible bonds to the heart of every Russian reader.” Old world was the keeper eternal values, carefully separating good from evil. Love reigns here, everyone is provided with warmth and affection. In addition, the “Oblomov” world is an inexhaustible source of poetry, from which Goncharov generously drew color throughout creative path. The writer often resorts to fairy-tale comparisons, contrasts, formulas (to enter the hut to Onesimus, you must ask stand with your back to the forest and your front towards it; frightened Ilyusha " neither alive nor dead rushes" to the nanny; when the gallery collapsed “they began to reproach each other for how it had not occurred to them for a long time: one - to remind, another - to tell to correct, to the third - to correct"). Researcher Yu. Loschits called creative method writer's fabulous realism.

Only one thing worries the Russian writer in this primordial moral structure of Oblomovka. This is disgust, an organic rejection of all kinds of work; everything that requires a little effort. “They endured labor as a punishment imposed on our forefathers, but they could not love, and where there was a chance, they always got rid of it, finding it possible and necessary.” It may seem that the writer had in mind lordly Russia. Indeed, if the old Oblomovs can concentrate their worries on thinking about and devouring dinner, the peasants have to work, and the plowman is “throwing around in a black field, sweating profusely.” But the ideal of happiness as laziness and doing nothing is common to them. This is evidenced by symbolic images a house threatening to collapse, a general sleep, or a “gigantic” birthday cake. Everyone devoured the pie as evidence of participation in the lordly way of life. That is why fairy tales about heroes like Emelya, who managed to pike command achieve everything without working.”

In the midst of this "blessed" peace grows little man. Mother’s chores, father’s “business” conversations with the servants, the daily routine of the manor’s house, weekdays and holidays, summer and winter - everything flashes before the child’s eyes like frames from a film. Everyday episodes are interspersed with remarks: “And the child listened,” “the child sees...”, “and the child watched and observed everything.” Again, as in “ Ordinary history", Goncharov appears in the guise of a teacher. He comes to a conclusion that was bold for its time. Raising a child begins not with targeted efforts, but with an early, almost unconscious assimilation of the impressions of the environment. Goncharov depicts his hero as a living, active child, eager to explore a gallery, ravine, grove, earning the nickname “yula” from his nanny. But the influence scary tales, loving despotism of parents led to the fact that vitality boy "nikli, fading." In light of such a sad conclusion, the episodes of Ilyusha’s interrupted pranks literally sound like “laughter through tears”: “At home they already despaired of seeing him, considering him dead;<…>the parents' joy was indescribable<…>. They gave him mint, then elderberry, and in the evening, raspberries.<…>, and one thing could be useful for him: playing snowballs again.” And, of course, let’s not forget about the famous stockings that Oblomov Jr. is pulled on first by the nanny, then by Zakhar. Once again his elders instill in him the norm of idleness; As soon as the boy forgets himself before doing something himself, a parental voice reminds him: “What about Vanka, and Vaska, and Zakharka?”

Studying, which also requires mental effort and limitations, also falls into the category of hated work. Which to the modern schoolchild I don’t understand, for example, the lines: “As soon as he ( Ilyusha) wakes up on Monday, he is already overwhelmed by melancholy. He hears Vaska’s sharp voice shouting from the porch:

Antipka! Lay down the pinto: take the little baron to the German!

His heart will tremble.<…>Otherwise, his mother will look at him intently on Monday morning and say:

Somehow your eyes are not fresh today. Are you healthy? - and shakes his head.

The crafty boy is healthy, but silent.

“Just sit at home this week,” she will say, “and see what God gives.”

Since the time of Mitrofanushka, enlightenment has taken a step forward: “The old people understood the benefits of enlightenment, but only its external benefits...” The need to work, at least in order to make a career, stumbled over a truly fabulous dream of achieving everything “at the behest of a pike.” An “Oblomov” decision comes to try to cleverly bypass the established rules, “stones and obstacles scattered along the path of enlightenment and honor, without bothering to jump over them<…>. Study lightly<…>, just to comply with the prescribed form and somehow obtain a certificate that would say that Ilyusha passed all sciences and arts" In the fabulous Oblomovka, even this dream partially came true. "Son of Stolz ( teachers) spoiled Oblomov, either suggesting lessons to him or doing translations for him.” The German boy was not immune to Oblomovka’s charm and was captivated by the “pure, bright and kind beginning” of Ilya’s character. What more could you want? But such relationships also provide advantages to Andrey. This is the “role of the strong” that Stolz occupied under Oblomov “both physically and morally" Nobility and slavery, according to Dobrolyubov’s observation, are two sides of the same coin. Not knowing how to work, you have to give up your independence to the will of another (like Zakhar later). Stolz himself sums up Oblomovka’s educational methods with his famous formulation: “It started with the inability to put on stockings, and ended with the inability to live.”

The first landscape appears before us in “Oblomov’s Dream”. Pictures of nature here are given in the spirit of a poetic idyll. The main function of these landscapes is psychological; we find out in what conditions we grew up main character, how his character was formed, where he spent his childhood. Oblomov’s estate is a “blessed corner”, a “wonderful land”, lost in the outback of Russia. The nature there does not amaze us with luxury and pretentiousness - it is modest and unpretentious. There is no sea, high mountains, rocks and abysses, dense forests. The sky there presses “closer... to the earth..., like a parent’s reliable roof”, “the sun... shines brightly and hotly for about six months...”, the river runs “merrily”: sometimes it “spills into a wide pond, sometimes it “strives like a fast thread”, sometimes it barely "crawls over the stones." The stars there are “friendly” and “friendly” blinking from the sky, the rain “will pour briskly, abundantly, jumping merrily, like the large and hot tears of a suddenly joyful person,” thunderstorms “are not terrible, but only beneficial.”

• In the love scenes between Oblomov and Olga Ilyinskaya, pictures of nature acquire symbolic meaning. So, a lilac branch becomes a symbol of this emerging feeling. Here they meet on the path. Olga picks a lilac branch and gives it to Ilya. And he responds by noting that he loves lilies of the valley more, since they are closer to nature.

Trust and understanding appear in their relationship - Oblomov is happy. And Goncharov compares his condition with a person’s impression of an evening landscape. “Oblomov was in that state when a person had just followed the setting summer sun with his eyes and was enjoying its ruddy traces, without taking his eyes off the dawn, without turning back to where the night came from, thinking only about the return of warmth and light tomorrow.”

• When Oblomov begins to have doubts about the truth of Olga’s feelings, this novel seems to him a monstrous mistake. And again the writer compares Ilya’s feelings with natural phenomena. “What wind suddenly blew on Oblomov? What clouds did you make?

Autumn paintings nature creates an atmosphere of distance between the characters and each other. They can no longer meet so freely in the forest or parks. And here we note the plot-forming significance of the landscape. Here is one of autumn landscapes: “The leaves have flown off, you can see right through everything; The crows in the trees scream so unpleasantly..." Oblomov invites Olga not to rush into announcing the news of the wedding. When he finally breaks up with her, snow falls and thickly covers the fence, fence, and garden beds. “The snow was falling in flakes and thickly covering the ground.” This landscape is also symbolic. The snow here seems to bury the hero’s possible happiness.

The landscape that paints the picture is simple and modest local cemetery at the end of the novel. Here the motif of the lilac branch, which accompanied the hero at the climactic moments of his life, reappears. “What happened to Oblomov? Where is he? Where? “In the nearest cemetery, under a modest urn, his body rests between the bushes, in a quiet place. Lilac branches, planted by a friendly hand, doze over the grave, and wormwood smells serenely. It seems that the angel of silence himself is guarding his sleep.”

• Thus, the pictures of nature in the novel are picturesque and varied. Through them, the author conveys his attitude to life, love, reveals the inner world and mood of the characters.