Origin of the surname Oblomov. I.A. Goncharov’s novel “Oblomov”: system of proper names Speaking surnames Oblomov and Stolz
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meaning of the novel “Oblomov” is based on the opposition of an active, new social and personal principle with an outdated, passive and degrading one.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In the novel “Oblomov,” Goncharov first introduced the concept of “Oblomovism” as a generalized name for outdated patriarchal-landlord foundations, personal degradation, and the vital stagnation of an entire social layer of Russian philistinism, unwilling to accept new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. The author examined this phenomenon using the example of the main character of the novel, Oblomov, whose childhood was spent in distant Oblomovka, where everyone lived quietly, lazily, having 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 points to the central storyline of the 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 of real life, afraid of marriage, which he has dreamed of many times, 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
Semantics of names of the novel “Oblomov”
Introduction……………………………………………………………3
1. Anthroponyms and their role in the artistic space of the text…….. 4
2. Semantics of the names of the novel “Oblomov” in connection with the artistic concept of the novel………………………………………………………..5
Conclusion…………………………………………………………………………………....10
Literature……………………………………………………………………………….11
The purpose of our work was to study proper names in the novel “Oblomov”. In our research work, we solved the following problems: we established the connection between the names of the heroes and their characters and actions, revealed the secret meaning of the author’s naming of his heroes, and identified the semantics of proper names in the novel.
The relevance of this study is due not only to the fact that it helps to reveal the meanings of names and surnames in Goncharov’s novel, but helps to comprehend both the plot and the main patterns. This research work is also relevant because it was carried out on the eve of the study of global works of literature of the second half of the 19th century, when turning to which one should remember: behind the names of the characters there is a deep meaning.
Onomastics (from Greek - the art of giving names) is a branch of linguistics that studies proper names, the history of their origin and transformation as a result of prolonged use in the source language or in connection with borrowings from other languages of communication.
One of the objects of study of onomastics are anthroponyms (names of people or their individual components) and poetonyms (proper names of characters in literary works).
They help the writer convey the author’s intention to the reader, and through revealing the symbolism of names, better understand the actions of the characters in the novel.
The object of study of this work is anthroponyms. The subject is the semantics of names and its role in the structure and figurative system of the novel.
In studies devoted to artistic speech, we have often encountered the enormous expressive possibilities and constructive role of proper names in the text. Anthroponyms and poetonyms participate in the creation of images of the heroes of a literary work, the development of its main themes and motifs, contribute to the disclosure of the ideological and aesthetic content of the text, and often reveal its hidden meanings.
“belongs to those writers for whom the choice of the hero’s name is fundamentally important. As a rule, it is one of the key words of the text and usually contains symbolic meanings. In Goncharov’s prose, proper names consistently act as an important characterological means, are included in the system of comparisons and contrasts, and serve as the key to the subtext of the work. These features of the writer’s style can be traced through the example of the novel “Oblomov,” which contains a number of mysteries associated with the names of the characters” (RYASH 2001:4)
In the novel we have identified a contrast between two groups of proper names:
1) widespread first and last names with an erased internal form (i.e., a faceless hero):
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, is some kind of incomplete, impersonal allusion to the mass of people, a dull echo, its unclear reflection...;
2) “meaningful” names and surnames, the meaning of which is revealed in the text. For example, last name Makhov correlates with phraseological turns give up on everything and perhaps comes close to the verb wave; surname Worn out motivated by the verb rub over meaning “to hush up the matter,” and the surname Vytyagushin– verb pull out in the meaning of “to rob.” These “talking” names of officials thus directly characterize their activities. This group includes the surname Tarantiev, which is motivated by the verb ram(“speak briskly, sharply, quickly, hastily, chatter”; cf. region. taranta- “glib and sharp talker”). This interpretation of the surname of the “brisk and cunning” hero is also supported by the author’s direct description:
His movements were bold and sweeping; he spoke loudly, smartly and always angrily; if you listen in some distance, it sounds like three empty carts are driving across a bridge.
The name is Tarantiev - Micah– reveals intertextual (beyond the boundaries of the text) connections and refers to the image of Sobakevich, as well as to folklore characters (primarily the image of a bear).
The intermediate group between “meaningful” and “insignificant” proper names consists of anthroponyms with an erased internal form, which, however, evoke certain stable associations among readers of the novel. Surname Mukhoyarov, for example, comes close to the word mukhryga(“rogue”, “scheming deceiver”), as well as with phraseological units beat flies“drink, drink” and stable comparison annoying as a fly; the second component of the word corresponds to the adjective ardent"evil, cruel"
The name of the omnivorous journalist who strives to “make noise,” Penkin, firstly, is associated with the expression remove foam, and secondly, with phraseology foaming at the mouth and actualizes the image of foam with its inherent signs of superficiality and empty fermentation.
We saw that in the novel “Oblomov” anthroponyms are combined into a fairly coherent system: its periphery is made up of “meaningful” names, which are given, as a rule, to minor characters, while in the center, at the core, are the names of the main characters. These names are characterized by a plurality of meanings; they form a series of intersecting oppositions, their meaning is determined taking into account repetitions and oppositions in the structure of the text.
Getting acquainted with the works of literary scholars who studied creativity, we noticed that the name of the main character of the novel, included in the title, has repeatedly attracted the attention of researchers. At the same time, different points of view were expressed.
1) V. Melnik, for example, connected the hero’s surname with E. Baratynsky’s poem “Prejudice! he is a fragment of an ancient truth...”, noting the correlation of words Oblomov is a wreck.
2) 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 a lack of integrity.”
3) connects words Oblomov, Oblomovka with folk poetic metaphor dream-bummer. This metaphor is twofold: 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, this is a “bummer dream”, disastrous for the hero, crushing him with a gravestone.
Word Oblomov characterized by a multiplicity of explanations and meanings embodied by it. It can be motivated either by a verb break off(both in the literal and figurative meaning - “to force someone to behave in a certain way, subordinating his will”), and as a noun bummer(“everything that is not whole is broken”) and chip; Wed interpretations given in the dictionary: 1) “ Chip“a thing broken off all around” (); " Fragment – 2) a broken or broken piece of something; 3) trans..The remnant of something previously existing that has disappeared.” This direction of motivation emphasizes the connection with the past and at the same time the destruction of integrity.
The connection between the surname seems more convincing to us Oblomov with adjective bald(“round”): the proper name and this adjective come together on the basis of obvious sound similarity. In this case, the hero’s surname is interpreted as a hybrid formation that combines the semantics of words bald and breaking: the circle, symbolizing isolation, lack of development, staticity, immutability of order, appears torn (broken).
In contexts containing figurative characteristics of the hero, images of sleep, stone, “extinction,” stunted growth, dilapidation and, at the same time, childishness are repeated; compare:
.../he/ was glad that he was lying there, carefree, like newborn baby...; … I'm flabby, shabby, worn out caftan; He felt sad and hurt for his underdevelopment, stunting moral forces for the severity, interfering with everything; and envy gnawed at him that others lived so fully and widely, but with him it was as if heavy stone abandoned on the narrow and miserable path of his existence; From the first minute I became aware of myself, I felt that I was already going out; He... fell asleep soundly, like stone, sleep
In the text, therefore, we saw that the early “extinction” of the powers of the spirit and the lack of integrity in the character of the hero are regularly emphasized.
Plurality of surname motivations Oblomov connected, as we see, with different meanings: this is, first of all, under-embodiment, manifested in the “bummer” of a possible but unrealized life path (“He has not advanced a single step in any field”), a lack of integrity, and finally, a circle reflecting features of the hero’s biographical time and 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” - fragment Eden?.
Oblomov’s connection with cyclical time, the main model of which is a circle, belongs to his world of “sluggish life and lack of movement,” where “life ... stretches in a continuous, monotonous fabric,” emphasized by the repetition that combines the hero’s name and patronymic: Ilya Ilyich.
Perhaps the etymology of the “Old Testament” name is also significant Ilya(<др.-евр. Yahweh“my God”), with which the name Zakhar (“memory of God”) is correlated in this regard; Wed author's comment:
Only the gray-haired servants of the house kept and passed on to each other the faithful memory of the past , cherishing it as a shrine.
The hero's name and patronymic are connected with the image of time that runs through the novel. The passage of time in Pshenitsyna’s house, as in Oblomovka, is compared with “the slow gradualness with which the geological modifications of our planet occur: there the mountain is slowly crumbling, here for centuries the sea deposits silt or retreats from the shore and forms an increase in soil,” notes E. Krasnoshchekova. This expanded image extends to Oblomov’s life in the last (fourth) part of the novel:
But the mountain crumbled little by little, the sea was receding from the shore or it was high tide to him, and Oblomov little by little entered into previous normal own life.
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 the house 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):
The present and the past merged and mixed...
At the end of the novel, as we see, the meaning of “circle” 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 in turn breaks off“wings” of his soul, plunges him into sleep; compare:
You had wings, but you untied them; ...he has no less intelligence than others, only he is buried, crushed by all sorts of rubbish and fell asleep in idleness.
A special place in the novel of images occupies Olga Ilyinskaya(after marriage - Stolz). Her internal connection with Oblomov is emphasized by the repetition of his name in the structure of the heroine’s surname. At the beginning of the novel, readers have an assumption about the possible union of Oblomov and Olga (Ilya Ilyich and Ilyinskaya). Researcher of creativity E. Krasnoshchenova in her book “. The World of Creativity" writes: "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 plot of the novel and the development of the character of the heroine.
In the text of the novel, the word “pride” is regularly used in connection with Olga’s behavior:
She even shuddered from the proud, joyful trepidation; 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]... an insulted goddess pride And
anger.
The repetition of the words “pride” brings the characteristics of Olga and Stolz closer together; see for example:
He... suffered without timid submission, but more with annoyance, with pride...was chaste proud; was internally proud... whenever he happened to notice a crookedness in his path and take a straight step.
At the same time, Olga’s pride is contrasted with Oblomov’s meekness, gentleness, and his “dovelike tenderness.” It is significant that the word pride appears in Oblomov’s descriptions only once, and in connection with the love awakened in him for Olga:
Pride began to play in it, life began to shine, its magical distance, all the colors and rays that had not existed until recently.
In the novel, Olga Ilyinskaya is contrasted with Agafya Matveevna Pshenitsyna. Their portraits are already contrasting; compare:
1) ...lips are thin and mostly compressed: a sign of a thought constantly directed at something. Same presence speaking thought shone in the vigilant eye, always cheerful, not missing anything glance dark, gray-blue eyes. Brows gave special beauty to the eyes...
2) She had almost no eyebrows at all, and in their places there were two slightly swollen, shiny stripes, with sparse blond hair. Grayish-simple eyes, like the whole facial expression... She I listened stupidly and thought stupidly.
If Olga’s characteristics are dominated by words thought And proud, then in the descriptions of Agafya Matveevna the words are repeated simplicity, kindness, shyness.
The comparisons used to characterize Agafya Matveevna figuratively are of an emphatically everyday (often reduced) nature; compare:
“I don’t know how to thank you,” said Oblomov, looking at her with the same pleasure as What a morning I looked at the hot cheesecake...
“Here, 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.
Heroine's last name ( Pshenitsyna) also reveals the everyday, natural, earthly principle; in her name ( Agafya) its internal form “good” (ancient Greek. agathe- “good”, “kind”). Agafya also evokes associations with ancient Greek. the word adare, meaning active and selfless love.
Thus, a number of meanings that are significant for the interpretation of the text are updated in the heroine’s name: she good"mistress". It is no coincidence that the heroine’s middle name was chosen ( Matveevna): firstly, it repeats the mother’s patronymic; secondly, the etymology of the name Matvey (Matthew)- “the gift of God” - again highlights the mythological subtext of the novel: Agafya Matveevna was sent as a gift, as the embodiment of his dream of peace, of the continuation of “Oblomov’s existence,” of “serene silence.”
Oblomov, who becomes Oblomov at the end of the novel and is compared in the text either to an active, “well-organized” machine or to a pendulum, defines “the possibility of an ideally calm side of human existence.” In her new surname, the image of a circle, which runs through the text, is again actualized.
But 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 the three images of the novel. Oblomov is initially compared to Galatea, while Olga is assigned the role of Pygmalion:
But this some kind of Galatea, with whom she herself had to be Pygmalion; He will live, act, bless life and her. To bring a person back to life - how much glory to the doctor when he saves a hopeless patient! And to save a morally perishing mind, soul?..
However, Oblomov’s destiny becomes “extinction”, “extinction”. And the role Pygmalion moves on to Stolz, reviving Olga’s “pride” and dreaming of creating a “new woman”, “dressed in his color and shining with his colors.” Ilya Ilyich Oblomov himself becomes not Galatea, but Pygmalion, awakening the soul in Agafya Matveevna Pshenitsyna. 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 beamed her life, that God put his soul into her life and took it out again; What lit up in it Sun and faded forever... Forever, really; but it made sense foreverand her life: now she knew why she lived and that she did not live in vain.
The previously contrasted characteristics of Olga and Agafya Matveevna are coming closer: in the descriptions of both heroines such a detail as thought (in the gaze) is emphasized.
“The transformation of Agafya Matveevna actualizes another meaning of her surname, which, like the surname Oblomov, is symbolic. Wheat in Christian symbolism - a sign of rebirth. The spirit of Oblomov himself could not be resurrected, but the soul of Agafya Matveevna was reborn, who became the mother of Ilya Ilyich’s son. 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 perspective plan in a literary text: Ilya Ilyich Oblomov replaces Andrey Ilyich Oblomov" (2001:4)
So, proper names play an important role in the structure of the text and the figurative system of the novel. Their semantics not only determines the essential features of the characters’ characters, but also reflects the main plot lines of the work and establishes connections between different images and situations. Proper names are associated with the spatio-temporal organization of the text, with its repeating motifs and images. Anthroponyms and poetonyms “reveal” hidden meanings that are important for the interpretation of the text, serve as a key to the subtext, actualize the intertextual connections of the novel, and highlight its different plans (mythological, philosophical, everyday, etc.), emphasizing their interaction.
Literature used in the preparation of scientific and practical work.
1. Goncharov. Op.: In 8 volumes - M., 1973
2. Oblomov as a person is a wreck. Russian literature. – 1990.-№3
3. Is Ilya Ilyich Oblomov a “fragment”? Russian literature. – 1991.№4
4. Gocharov. –M.1977.-p.172
5. Florensky. – M., 1993
6. Dal Dictionary of the Living Great Russian Language. - M. 1980
7. Realism. - Vladivostok 1985
8. Ivan Aleksandrovich Goncharov. The world of creativity. - 1997
Goncharov, like Gogol, has a logically verified system of personal naming in his works, which applies to both the main characters and episodic ones:
1. Ilya Ilyich Oblomov . Name: echoes the name of a folk hero, as well as the name of the thunder god (Ilya the Prophet), associated with the cult of fertility. Surname: the fact that the name and patronymic are duplicated indicates the hero’s close connection with his ancestors, with his father. The “doubleness” of the name shows the immutability, closed nature of Oblomov’s world Etymology of the surname: oblo - round, “cloud, envelop”, a fragment of one’s past, part of the whole, “fragmentable” - fragile, brittle (at the edges), dialectal “oblomon” - a dream , lean on your elbows (connected with the special role of such a detail as Agafya Matveevna’s bare arms, expressing the semantics of roundness, softness, bliss and laziness).
2. Olga Ilyinskaya . The method of connecting the characters with each other through names is obvious. Olga's surname indicates her closeness to the image of Oblomov. Her surname and the hero’s first name and patronymic together form a full circle of absolute consonance, the name “Ilya” repeated three times. The names of the heroes establish a hidden contact from the very beginning; the communication between Olga and Ilya is predetermined from the very beginning - the initials of the heroes mirror each other. Olga and Andrei Stolts are also related to each other.
3. Stolz stolz – pride, pride. The very adjective “pride” marks the quality attributed to foreigners by the stereotypical consciousness of Russian people. A Russian person, according to these ideas, is characterized by humility and obedience, while a foreigner is characterized by pride, even some arrogance. Pride has long been considered in Rus' one of the seven deadly sins. Dahl: “to be proud is to be considered stupid”, “Pride is the devil’s delight.” (An example of Andrei’s pride. His father advises him, having arrived in St. Petersburg, to go to Ivan Bogdanovich’s friend (Andrei’s father) Reingold: “He will teach...We came from Saxony together...He has a four-story house. I'll tell you the address" Andrey: " Don’t, don’t say it, I’ll go to him when I have a four-story house, but now I’ll do without him" When Olga agreed to become his wife, he “went home with pride.” Olga also has pride: she reads Ilya’s letter and cries “with pride,” then says: “I am punished for pride.” Olga and Stolz are as if on the border of two worlds: “theirs” and “theirs”. In the “foreign” world, pride is welcomed, in “our own” it is condemned. In the Russian consciousness, the concept of “pride” is associated with individualism, selfishness, and is viewed as negative, associated with feelings of shame and guilt.
4. Oblomov's guests:
ü Volkov – a character who constantly makes "visits". His surname matches his character and is reminiscent of the famous expression: “The wolf is fed by the legs.” Volkov advises Ilya to go to Goryunov, Tyumenev, Mussinsky, Mezdrov- Volkov lists a number of surnames that imitate the euphonious surnames of middle-class nobles. (the space of the text is filled with “off-stage”, “off-screen” characters), Musinsky - from the word “muse”, Apollo Musaget, Mezdrov - from “mezdra” - a thin subcutaneous layer of tissue in animals, “mezdryak” (dialect) - crybaby, weak person .
ü Sudbinsky – By constant work he achieves ranks and money. This character's last name hints at the concept of "fate" that will be developed later. Thanks to Sudbinsky, a number of surnames of Oblomov’s former colleagues appear in the text: Svinkin (lost his “business” in the department, for which he was deprived of an award. The surname is associated with the common comparison of a careless worker with a pig: to work like a pig. But the rude style is softened due to the suffix ^ " TO") .
Metaphysics of the finale
Sun. Sechkarev: “The fourth part of the novel is the most delightful and most metaphysically significant part of the novel.” The charm of Goncharov's prose is not easy to decipher. Goncharov’s great artistic talent is a kind of Venus de Milo: his beauty is felt, his strength is beyond doubt, but almost impossible to analyze and define.
The rhythm and coloring of the fourth part of the novel is set by the phrase: “ Everything fell into sleep and darkness around him" The pink-lilac color that accompanies a summer romance (two soft pink spots on the cheeks of the excited Olga, pinkish rays of the sun) gave way to white - the color of snow slowly falling to the ground: “ Everything died and was wrapped in a shroud" These words can be read metaphorically: under the snow, as well as under the shroud, his love, his hope were buried. Although Ilya will live another seven years (a significant number!), it will only be survival. As the hero admits: “ Once upon a time I lived and was in paradise", Now " bitter, lost life b". On the last pages, as if in focus, all the ideas of the novel are concentrated. Motive " crystal soul“(nobility, kindness, purity of nature) of Oblomov doomed to death is not just stated, as in the first part, but convincingly embodied (the scene of Ilya Ilyich’s sincere joy when reporting the family happiness of Stolz and Olga). The problematics of the “novel of education” come to life again in the hero’s reflections on the “ideal of life” and “the purpose of man.”
Death of Ilya Ilyich
His departure took place organically and painlessly, becoming a step in the usual direction: “eternal peace, eternal silence and lazy crawling from day to day quietly stopped the machine of life.” Usually the death of a hero is perceived as blessed by God. This phrase is forgotten: “ He had a presentiment of imminent death and was afraid of it.” This phrase is not passing, not accidental, it is in the logic of the leading theme of Oblomov’s entire story: childhood fears, frightening fantasies - the product of an unfree, monotonous life. Perhaps the philosophical approach to death, which Ilya cultivated in himself in recent years, changed him at the very end, the soul of the little boy was exposed. Shyness and fear, which originated in childhood, also colored the last days of the hero’s stay on earth.
The surnames of the characters in Goncharov's novel have a symbolic meaning. They can be called “talking”, as they indicate the distinctive properties of the heroes.
The main character of the novel is. The surname Oblomov indicates that something has broken off in the hero’s soul. And now he has no integrity, no desire for decisive action. The hero’s name is the same as his father’s, which symbolizes the desire for the same life that his parents lived in the village of Oblomovka.
By calling his hero the name Ilya, Goncharov also referred to folklore. The epic hero Ilya Muromets was also bedridden for thirty years, but, unlike Oblomov, he was sick. After healing, Ilya Muromets began to perform feats, but Ilya Oblomov was never able to make his dreams come true. The hero was unable to adapt to the new society and gradually “broke off” from it forever.
The opposite of Ilya Oblomov was his friend. The surname Stolz means “proud” in German, and the name Andrei means “courageous and brave.” This is what the author focuses on when portraying the hero. From childhood, he was instilled with self-esteem and taught to bravely pursue his goal. Stolz is the surname given to the hero by his German father. German roots made Andrey an organized, active person.
The main character of the work is. Goncharov, the heroine’s surname, shows her destiny to become the wife of Ilya Oblomov, but due to an unsuccessful relationship with Ilya, she becomes Stolz’s wife. And although the marriage with Andrei can be called successful, it is not happy, because Ilya was destined for her.
- a simple, kind woman with whom Oblomov was able to get along. Her last name shows the natural element in her. The name Agafya means “good, kind.” In the ancient Greek dictionary, the word agape means selfless love. This is exactly how Agafya treated Ilya Oblomov: “Agafya Matveevna makes no prodding, no demands.”
The surnames of minor characters also reveal their character. For example, Makhov means “to give up on everything” or “to wave.” And Zateryty comes from the verb “to wipe out,” which can be understood as the hero’s ability to “hush up the matter.” Tarantiev says that a person knows how to “tarant,” that is, speak sharply, quickly. The author described this hero as lively and cunning. The fashion journalist's surname Penkin is also not without reason. It is associated with the expressions “skimming the foam”, “foaming at the mouth” and symbolizes the image of foam, that is, something superficial. Penkin is portrayed like this - a man who does not delve deeply into anything, does not study.
First and last names play an important role in the novel, as they help to understand the character traits of the characters and the author’s intention as a whole.
The role of proper names in I. A. Goncharov’s novel “Oblomov”.
The purpose of the lesson:
To prove that for I. A. Goncharov in his novel “Oblomov” the choice of the hero’s first and last name is fundamentally important, that they, as a rule, are one of the key words of the text and usually contain symbolic meanings;
Improve skills in analyzing literary texts;
Contribute to the formation of an active life position of students.
Equipment: portrait of I. A Goncharov, blank posters and diagrams.
During the classes:
Teacher: In many studies devoted to artistic speech, the enormous expressive possibilities and constructive role of proper names in the text are constantly noted. Proper names also participate in the creation of images of the heroes of a literary work, the development of its main themes and motifs, the formation of artistic time and space, and contribute to the disclosure of the ideological and aesthetic content of the text, often revealing its hidden meanings.
Next, the teacher formulates the goals of the lesson. It is noted that in the process of preparing the lesson, all students in the class received the task: to work with the names and surnames of the novel, using the explanatory dictionaries of V. I. Dahl, MAS and “Explanatory Dictionary” ed. Ozhegova. In parallel with this, creative groups worked, engaged in a more detailed study of proper names.
So, how many names did you find in the text? Do these surnames have the same meaning?
The floor is given to the creative group involved in this issue.
Teacher: Do you agree with the conclusions of our researchers?
How many names are there in the novel? Do they play any role in the text?
The floor is given to the second creative group dealing with this issue.
Teacher: Do you agree with her research?
I specifically asked not to touch on the first 4 surnames of the main characters, knowing that the class had done a lot of work researching them and finding the lexical meanings of the words from which, in their opinion, these surnames were derived. Of course, the first in this row is the name of the main character. The lexical meanings of what words did you look up in dictionaries to explain this surname?
Answer: Broken, broken, broken off, bummer.
Teacher: Which of these words would you put in first place?
Answer: Fragment. Meaning is a remnant of something that previously existed and disappeared.
Students explain that this is a symbol of the past.
Teacher: What does the past symbolize in the novel?
Answer: Oblomovka.
The answer is supported by quotations.
Teacher: What imprint did the old world leave on Oblomov?
The students talk about the upbringing Oblomov received in Oblomovka, and about how he grew up thanks to this upbringing.
On a large poster entitled “Oblomov” the first entry appears:
Oblomov - a resident of Oblomovka - is a fragment of the past world, which left its mark on the hero (upbringing, future life).
Teacher: Is only Oblomov a fragment of the past?
Answer: No, also Zakhar.
Students provide evidence: an indication of Zakhar’s connection with the surname Oblomov, and pay attention to the meaning of his name. He carefully preserves the memory of the past and values it as a shrine. (All evidence is supported by quotations).
Teacher: Some students in your class found a connection between the surname “Oblomov” and the old adjective “obly” - round. This is how we formed our third creative group. Let's give her the floor.
After the performance of the creative group, another entry appears on the poster: a circle is a symbol of isolation, lack of development, immutability of order (images of sleep, stone, extinction), to go out - the extinction of strength, spirit; The circle is the biographical time of the hero, attempts to break out of which led nowhere.
Teacher: Why did it become possible for Oblomov to return to cyclic time?
What did such a return bring him?
Why? After all, it seems that he has found what was ideal for him?
Are there any clues in the text that Oblomov will remain the same?
Answer: The combination of the first and last name Ilya Ilyich means sluggish life, lack of monotony.
Teacher: What other words have you written down the lexical meanings of? Prove that they are related to the hero's surname.
Answer: Break off - break off the edges, ends of something, break off - a place where something broke off, broke off.
The students remember the phrase about broken wings. Another entry appears on the poster: broken wings - dreams, best aspirations.
Teacher: Let's pay attention to other heroes of the novel. Who is the antipode of Oblomov?
Answer: Stolz.
Students, proving their answer, compare the sound recording of the characters’ names and surnames, their character traits. It is noted that the opposition also applies to proper names. Stolz - translated from him. "pride". The name Ilya is an old name - unearthly, dreamy, Andrey - courageous, man, brave, according to the names of the estates: Oblomovka - a fragment of the past, Verkhlevo - top-heavy - mobile - a violation of monotony, statics. Everything is confirmed by quotes. The conclusions are recorded on the second poster, entitled “Oblomov - Stolz”.
Teacher: What united these different people?
Students support their answers with text.
Teacher: Are there any other antipodes in the text of the novel?
Answer: Olga Ilyinskaya and Agafya Matveevna Pshenitsyna.
The conclusions are recorded on the third poster, entitled “Ilyinskaya” - “Pshenitsyna”.
Teacher: What does the surname “Ilyinskaya” mean?
Students note the sound design and say that Olga is more suitable for Oblomov, and note the commonality of their interests.
Teacher: Why didn’t Olga stay with Oblomov?
Are there any clues in the text that she will not be with Oblomov?
Answer: Repeatedly emphasizing such a quality of her character as pride. This is a hint that she will be with Stolz.
Students compare the heroines by appearance (eyebrows - elbows), by names, and note the similarity of the name Agafya with the name of St. Agafia - the protector of people from fire.
Teacher: Maybe the mention of the saint was made in vain?
Students talk about the motif of fire in the novel. Olga is the fire of feelings and actions (Oblomov’s words, her impulses), Agafya is connected with fire as the keeper of the hearth. Oblomov's life is fading. She, like the saint, protects him from fire.
Answer: She was sent to the hero by God as the embodiment of his dream.
The teacher draws attention to the poster and asks if it is finished.
Answer: At the end of the novel, Agafya Matveevna changes and becomes closer to Olga Ilyinskaya. Olga dreamed of reviving Oblomov, but as a result Agafya Matveevna is reborn. No wonder her last name comes from the word “wheat,” and wheat was a Christian symbol of rebirth.
Teacher: Is there a unification of the two antipodes Oblomov - Stolz in the novel?
The students talk about Oblomov’s son Andrei, who took his surname and patronymic from his father, and his name and upbringing from Stolz. They find two meanings in this: either he will take the best from both heroes, or Oblomovism is immortal.
At the end of the lesson, students make written conclusions.