Who is Stolz? Goncharov does not force the reader to puzzle over this question. The first two chapters of the second part contain a detailed account of Stolz's life, of the conditions in which his active character was formed. “Stolz was only half German by his father; his mother was Russian; he professed the Orthodox faith, his native language was Russian ... ”. Goncharov first tries to show that Stolz is more Russian than German: after all, the most important thing is that his faith and language are the same as those of the Russians. But the further, the more begin to show through in him the qualities of a German: independence, perseverance in achieving their goals, thrift. The unique character of Stolz was formed under the influence of two forces - soft and hard, at the junction of two cultures - Russian and German. From his father he received a "labor, practical education", and his mother introduced him to the beautiful, tried to put into the soul of little Andrei love for art, for beauty. His mother "in her son ... dreamed the ideal of a master," and his father taught him to hard, not lordly work. Practical intelligence, love of life, courage helped Stolz achieve success after he left at the insistence of his father to study in St. Petersburg ... According to Goncharov's idea, Stolz is a new type of Russian progressive figure. However, he does not portray the hero in specific activities. The author only informs the reader about what Stolz has been and what he has achieved. He "served, retired ... went about his business, ... made a house and money, ... learned Europe as his estate, ... saw Russia inside and out, ... travels to the world." If we talk about the ideological position of Stolz, then he "was looking for a balance of practical sides with the subtle needs of the spirit." Stolz could control his feelings and was "afraid of every dream." Happiness for him was constancy. According to Goncharov, he "knew the value of rare and expensive properties and wasted them so sparingly that he was called an egoist, insensitive ..." In short, the potters created such a hero that Russia has long lacked. For the author, Stolz is the force that can revive the Oblomovs and destroy Oblomovism. In my opinion, Goncharov somewhat idealizes the image of Stolz, setting him up as an example to the reader as an impeccable person. But by the end of the novel, it turns out that salvation did not come to Russia with the advent of Stolz. Dobrolyubov explains this by the fact that "now there is no ground for them" in Russian society. For more productive activities of the stolts, it is necessary to reach some compromise with the break-off ones. That is why Andrei Stolts takes up his son Ilya Ilyich for education. Stolz is certainly the opposite of Oblomov. Each character trait of the first is a sharp protest against the qualities of the second. Stolz loves life - Oblomov often falls into apathy; Stolz has a thirst for activity, for Oblomov the best activity is relaxing on the couch. The origins of this opposition are in the upbringing of heroes. Reading the description of the life of little Andrey, you involuntarily compare it with the life of Ilya. Thus, already at the very beginning of the novel, two completely different characters appear before the reader, two life paths ... 8 years ago

Additional questions for the analysis of this episode:

· After what circumstances did Oblomov rebel against "your life in St. Petersburg"?

· How are familiar images-symbols (sofa, robe, shoes) played out throughout the scene?

· Why at the beginning of the dispute in his accusatory statements Oblomov opposes two concepts: "light" and "life"? Did Andrey understand this?

· Why does Oblomov speak long speeches for most of the "fight", while Stolz only parries them with short, biting blows, adding fuel to the fire, and in the process of dialogue, friends practically change places twice?

· What does each of the characters consider "life"?

· How does the ideal outlined by Oblomov differ from Oblomovka's life and the subsequent stay of Ilya Ilyich in Pshenitsyna's house?

· What was Stolz convinced of? How did he rouse Oblomov's soul?

· How did Oblomov, in turn, touch Andrei's soul at the end of the scene?

· Why is it important to look at the beginning of the next, 5th chapter?

Episode analysis (part 2, chapter 4)

A dispute between friends erupted at the moment when Stolz once again calls Oblomov somewhere to go, to do something, and they drive around for a whole week on all sorts of business. “Oblomov protested, complained, argued, but was carried away and accompanied his friend everywhere,” the author writes. But the next evening, "returning from somewhere late," Oblomov exploded: "I don't like your life in St. Petersburg!" After Stolz's question: "Which one do you like?" - Oblomov burst out with a sharp, caustic and long monologue about senseless vanity, in which there is no "wholeness" and there is no person who "exchanged for every little thing." Oblomov's long satirical speeches expose light and society, and gambling games without the "task of life", and youth activities, and the absence of a "clear, calm look," and "sound sleep" into which the really fussy and active is immersed in first glance, society. In this monologue, only occasionally interrupted by Andrei with short, sharp objections or questions, Oblomov's remarkable mind and satirical talent is revealed.

Ilya Ilyich's monologue ends with a key phrase: "No, this is not life, but a distortion of the norm, the ideal of life, which nature has indicated as a goal for man ..." To Andrey's question, what is this ideal, Oblomov found an answer not immediately, but only after a long dialogue with short remarks from both. Stolz in this dialogue ironically mocks Oblomov's awkward attempts to explain at least something to a friend, but then, apparently infuriated by this irony, Ilya Ilyich begins to describe in detail how he would “spend his days”. This description is long, kind and poetic, even a dryish Stolz remarks: "You're a poet, Ilya!" Inspired, Oblomov, who seized the initiative at this time of the conversation, exclaims: “Yes, a poet in life, because life is poetry. People are free to distort it. " Oblomov's ideal is not in immobility, which he seems to have plunged into now, Ilya in this story, on the contrary, is very mobile and poetic, this ideal is that everything should be "to your liking", sincerely, honestly, freely, measuredly, "what's in eyes, in words, then in the heart. " And he, Oblomov, actively participates in this life: he makes and gives his wife a bouquet, conducts a conversation with sincere friends, fishes, takes a gun, although, of course, Oblomov's immobility and gluttony often slip in this story. "This is life!" - sums up Oblomov and immediately stumbles upon an alternative answer: "This is not life!" And it is at this moment that the word "Oblomovism", which is uttered by Stolz, appears on the stage of the novel for the first time. Then, with each new objection from Oblomov, he repeats this word in different interpretations, while not finding more convincing arguments against Oblomov's logic that all of Stoltsev's “running around in launches” is the same “dressing up rest”, has the same goal: “Everything looking for rest and peace. "

Here Stolz still manages to seize the initiative by reminding him of the joint dreams of his youth, after which Oblomov's confidence disappears, he begins to speak unconvincingly, with numerous pauses (the author uses ellipses), hesitations. He still sluggishly resists: "So when to live? .. Why should I suffer the whole century?" Stolz replies dryly and meaninglessly: "For labor itself." Here, too, the author is not on Stolz's side, because work as an end in itself is really meaningless. In fact, the heroes at this moment remain in their positions. And here Stolz again uses the only winning technique - once again reminds Ilya of childhood, dreams, hopes, ending these reminders with a supporting phrase: "Now or never!" Reception works flawlessly. Oblomov is moved and begins his sincere and pure confession about the absence of a high goal, about the extinction of life, about the loss of pride. "Either I did not understand this life, or it is no good, and I did not know anything better ..." Oblomov's sincerity unsettled Andrei's soul, he seemed to swear to a friend "I will not leave you ..." At the end of the 4th chapter it seems that victory in the fight remained with Stolz, but at the beginning of the 5th there is a comic decline and, in fact, the destruction of this "victory".

Stolz's Alternative "Now or Never!" goes for Oblomov into Hamlet's question “To be or not to be?”, but at first Oblomov wants to write something (to start acting), took a pen, but there was no ink in the inkwell, and paper on the table, and then, when it seemed , decided to answer Hamlet's question in the affirmative, "I got up from the chair, but did not immediately hit the shoe with my foot, and sat down again." The lack of ink and paper and not falling into a shoe return Oblomov to his former life.

The whole story with Olga will still be ahead, the internal struggle in Oblomov's soul is far from over, but in the history of the relationship between Oblomov and Stolz, and in the possible fate of Oblomov after this scene, accents have already been placed. Even I. Goncharov himself, who believed in the possibility of combining Oblomov's soulfulness with Stoltsev's efficiency and practicality in a Russian person, seems to understand at this moment of his narration that the heroes will remain where they are: neither from Oblomov, nor from Stolz, as the author originally wanted , such an ideal will not work. One will be hindered by laziness, contemplation and poetry, which are incompatible with everyday everyday heroes, the other - winglessness and refusal from all reflections on the meaning of life. The author and the reader are painfully aware after this dispute that the true ideal, which would combine purity and efficiency, is unattainable. That is why, despite the fact that the heroes still face many challenges, this debate about the ideal can be considered a key episode of the novel. This will happen later, when each of the heroes will find their own "peace": Oblomov - first the cozy and satisfying, but devoid of poetry house of Agafya Matveyevna Pshenitsyna, and then death, and Stolz - a quiet haven with Olga suffering from the loss of the meaning of life, who did not recognize in time of his possible happiness with Oblomov.

In an episode of a dispute between friends, the main question is the purpose and meaning of a person's life, and it is this question that is decisive for the whole novel. As a true great artist, I. Goncharov poses this eternal question, and leaves the answer open. Therefore, it must be admitted that no one won the dispute between friends in the considered episode of the great novel.

Who is Stolz? Goncharov does not force the reader to puzzle over this question. The first two chapters of the second part contain a detailed account of Stolz's life, of the conditions in which his active character was formed. “Stolz was only half German by his father; his mother was Russian; he professed the Orthodox faith, his native language was Russian ... ”. Goncharov first tries to show that Stolz is more Russian than German: after all, the most important thing is that his faith and language are the same as those of the Russians. But the further, the more begin to show through in him the qualities of a German: independence, perseverance in achieving their goals, frugality.
Stolz's unique character was formed under the influence of two forces - soft and tough, at the junction of two cultures - Russian and German. From his father he received a "labor, practical education", and his mother introduced him to the beautiful, tried to put in the soul of little Andrew love for art, for beauty. His mother "in her son ... dreamed the ideal of a master," and his father taught him to hard, not lordly work.
A practical mind, love of life, courage helped Stolz achieve success after he left at the insistence of his father to study in St. Petersburg ...
As conceived by Goncharov, Stolz is a new type of Russian progressive figure. However, he does not portray the hero in specific activities. The author only informs the reader about what Stolz was, what he achieved. He "served, retired ... went about his business, ... made a house and money, ... learned Europe as his estate, ... saw Russia far and wide, ... travels into the world."
If we talk about the ideological position of Stolz, then he "was looking for a balance of practical sides with the subtle needs of the spirit." Stolz could control his feelings and was "afraid of every dream." Happiness for him was constancy. According to Goncharov, he "knew the value of rare and expensive properties and wasted them so sparingly that he was called an egoist, insensitive ..." In short, the potters created such a hero that Russia has long lacked. For the author, Stolz is the force that can revive the Oblomovs and destroy Oblomovism. In my opinion, Goncharov somewhat idealizes the image of Stolz, setting him up as an example to the reader as an impeccable person. But by the end of the novel, it turns out that salvation did not come to Russia with the advent of Stolz. Dobrolyubov explains this by the fact that "now there is no ground for them" in Russian society. For more productive activities of the stolts, it is necessary to reach some compromise with the break-off ones. That is why Andrei Stolts takes on the education of his son Ilya Ilyich.
Stolz is certainly the opposite of Oblomov. Each character trait of the first is a sharp protest against the qualities of the second. Stolz loves life - Oblomov often falls into apathy; Stolz has a thirst for activity, for Oblomov the best activity is relaxing on the couch. The origins of this opposition are in the upbringing of heroes. Reading the description of the life of little Andrey, you involuntarily compare it with the life of Ilya. Thus, at the very beginning of the novel, two completely different characters, two life paths appear before the reader ...

Vitaloblomov and Stolz ideals

Throughout his life, I.A.Goncharov dreamed of people finding harmony of feeling and reason. is he reflected on the strength and poverty of “a person oncemind ”, about the charm and weakness of the“ man of the heart ”.In Oblomov, this thought became one of the leading,In this novel, two types of male characters are opposed: passive and weak Oblomov, withhis heart of gold and pure soul, and energetic Stolz, able to overcome anystanding by the power of your mind and will. However, whatgoncharov's human ideal is not personifiedvan in none of them. Stolz does not seema writer with a more complete personality than Aboutcrowbar, at which he also looks "sobereyes. " Unbiased exposing "extremes"nature of both, Goncharov advocated thethe loyalty of the spiritual world of man with all the diversity of its manifestations.

Each of the main characters of the novel had their own understanding the meaning of life, your life ideasalas that they dreamed of realizing. At the beginningnarratives to Ilya Ilyich Oblomov a little over thirty years old, he is a columnar nobleman, possessingbody of three hundred and fifty souls of serfsyang, inherited by him. Having served after graduating from Moscow University for threeyears in oyne from metropolitan departments, he youretired with the rank of collegiate secretary.Since then he lived in St. Petersburg without a break. Novelbegins with a description of one of his days, his habits and character. Oblomov's life to thattime has turned into a lazy crawlfrom day to day". Having retired from vigorous activity, he lay on the sofa and irritatedargued with Zakhar, a serf servant whory courted him. Revealing socialthe roots of Oblomovism, Goncharov shows that

“It all started with the inability to put on stockings, and the it was an inability to live. "

Raised in a patriarchal noble family, Ilya Ilyich perceived life in Oblomovka, his family estate, with its peace and withoutaction as the ideal of a human beingniya. The norm of life was ready and taught aboutparents, and they took it from their parents. Three main acts of life were constantly played out in front of little Ilyusha inchildhood; homeland, weddings, funerals. Then after were given by their divisions: christenings, name days,family holidays. Focus on thisall the pathos of life. This was “shirocky expanse of lordly life "with itsness, forever became the ideal of life for Oblomov a.

All Oblomovites treated work as a punishment and did not like it, considering it something of a humiliation nym. Therefore, life in the eyes of Ilya Ilyich oncewas divided into two halves. One consisted of truand boredom, and they were synonyms for him.The other is out of peace and peaceful fun. In about lomov ke Ilya Ilyich was also instilled with feelingsin superiority over other people. "Other"he cleans his boots, dresses himself, escapes himselffor what you need. This "other" haswork tirelessly. Ilyusha, on the other handbut, neither cold nor hunger he endured,knew, did not earn bread for himself, black workdid not study. " And he considered study a punishment sent by heaven for sins, and avoided schoolclasses whenever possible. After graduating from universion, he was no longer concerned with his education, was not interested in science, art, politics.

When Oblomov was young, he expected a lot from fate, and from myself. Prepared to serve fatherland, play a prominent role in public

life, dreamed of family happiness. But the days went by after days, and he was still going to start life, everythingdrew my future in my mind. However, "the flower of life blossomed and did not bear fruit."

The future service did not appear to him in the form harsh activities, and in the form of some "familieslesson ". It seemed to him that the officials,employees together make up a friendly and closea family whose members tirelessly care for mutual pleasure. However, his youthfulthe ideas were deceived. Not youpowers of difficulties, he resigned,alive for only three years and having done nothing meancorporeal.

Only Stolz's youthful fervor could still hit Oblomov, and in dreams he sometimes burned out fromthirst for work and a distant but attractive pricewhether. It happened, lying on the couch, he flared upthe desire to point out to humanity its vices.He will quickly change two poses, with shiningeyes rise on the bed and inspiredlooks around. It seems that his high wuxiit is about to turn into a feat and bring good consequences to humanity. Sometimes he imagineshimself an invincible commander: he will invent a war, arrange new crusades, perform feats of goodness and magnanimity. Or, introducinghimself a thinker, an artist, he in his mindreaps laurels, everyone worships him,the crowd chases after him. However, in reality, he was notable to figure out how to manage your ownestate and easily became the prey of such scammers as Tarantyev and the ebratets "his apartmentshooting gallery mistress.

Over time, he developed remorse that haunted him. It hurt him for his underdevelopment, for the severity that prevented himlive. He was gnawed by envy that others live like thisfull and wide, and something prevents him from boldly walking

through life. He painfully felt that well the neck and the bright beginning are buried in him, as in a grave. He tried to find the culprit outside himself and did not finddil. However, apathy and indifference quickly replaced is there anxiety in his soul, and he is again peacefulslept on his couch.

Even love for Olga did not revive him for practical tic life. Faced with the needi can act, overcoming thedifficulties, he got scared and retreated. Having settledon the Vyborg side, he completely abandoned himself to the care of Agafya Pshenitsyna, windowsdeliberately removed from active life.

In addition to this inability brought up by the lordship, Oblomov is prevented from being active by many othergoe. He really feels objectively su the existing disunity of the "poetic" and"Practical" in life, and this is the reason for his bitter disappointment. He is outraged that the highest meaning of human existence in society is often replaced by false, imaginarycontent "Although Oblomov has nothing to argue withreproaches of Stolz, some kind of spiritual rightness forkey in the confession of Ilya Ilyich that he failed to understand this life.

If at the beginning of the novel Goncharov says more rit about Oblomov laziness, then at the end the theme of Oblomov's “golden heart” sounds more and more insistently,which he carried unharmed through life. Notoblomov's happiness is associated not only with socialenvironment, the influence of which he could not resistyat. It is also contained in the “fatal excess of hearttsa ". Softness, delicacy, vulnerability of the herodisarm his will and render him powerless in the face of people and circumstances.

As opposed to passive and idleness to Oblomov Stolz was conceived a carrum as a completely unusual figure, Gonchathe moat sought to make it attractive to

reader with his "efficiency", rational practicality. These qualities have not yet beencharacteristic of the heroes of Russian literature.

Son of a German burgher and a Russian noblewoman, Andrey Stolts since childhood thanks to his fatherchil labor, practical education. It is incombined with the poetic influence of his mothermade him a special person. Unlikeoutwardly rounded Oblomov, Stolz was thin, all consisted of muscles and nerves. From himbreathed some freshness and strength. there was nothing superfluous in hisism, andhe was looking for the proper functions of his lifeequilibrium of practical sides with subtlethe needs of the spirit. " "He walked steadily through life"cheerfully, lived on a budget, trying to spend everyevery day, like every ruble. " He attributed the cause of any failure to himself, “and not veshawl like a caftan on someone else's nail. " He aimedto develop a simple and direct view ofa life. Most of all he feared the imagination,"This two-faced companion", and every dream,therefore, everything mysterious and mysterious is notthere was a place in his soul. Anything that does not exposeanalysis of experience does not correspond to practicalwhich truth, he considered a deception. Labor was imagezom, content, element and purpose of his lifeneither. He prioritized persistence in dospursuing goals: it was a sign of characterin his eyes. According to the author, personalitiesthe future must belong to Stolz:"How many Stolts should appear under the Russianin my names! "

Emphasizing rationalism and volitional qualities his hero, Goncharov, however, was aware of thestolz's childish callousness. Apparently man"Budget", emotionally contained within tight and tight limits, not the hero of Goncharov, the writer speaks of the "moral

your hero as a physiological work op ganism or about sending official dutiesnost. Friendly feelings cannot be “sent”.However, in relation to Stolz to Oblomov, thisthe tint is present.

In the development of the action, Stolz is little by little about reveals himself as "not a hero". For Goncharov, whory sang the holy folly of Chatsky andredly understood the anxiety of great spiritualrequests, it was a sign of internal failure. Lack of high purpose, I understandthe meaning of human life is constantly being discoveredrushes, despite the vigorous activityStolz in the practical sphere. He has nothing to skacall Oblomov in response to the admission that histhe friend did not find meaning in the surrounding life. Having received Olga's consent to the marriage, Stolz pronouncedsits puzzling words: “All found, nothinglook, nowhere else to go. " And later he will carefully try to persuade the alarmedOlga resign herself to the "rebellious questionmi ", excluding the" Faustian "anxiety.

Remaining objective about everyone his heroes, the writer explores the innerthe possibilities of different modern humanstypes, finding strength and weakness in each ofthem. However, Russian reality has not yetwaited for her true hero. According to Dobrolyubov, a real historical case in Russiathis was not in the sphere of practicality and bargaining, butin the fight for the renewal of the publicfret. Active existence and new, asset people were still only a prospect, alreadyvery close, but still not realstew. It has already become clear what kind of person is not neededRussia ", but that kind of deactivities and the type of actor that she needsare.

Appendix 1

Sudbinsky

Insignificant connections

Significant connections

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Appendix 2

Worksheet # 1

Criterion
Appearance (when presented to the reader)	"... thirty-two years old three years of age, of medium height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea ... an even light of carelessness glimmered all over his face "		the same age as Oblomov, "thin, he has almost no cheeks at all, ... his complexion is even, swarthy and no blush; although a little greenish, but expressive "
Origin	from a wealthy noble family with patriarchal traditions. His parents, like grandfathers, did nothing: serfs worked for them		a native of the bourgeois class (his father left Germany, wandered around Switzerland and settled in Russia, becoming the manager of the estate). Sh. Graduated brilliantly from university, served with success, and retired to pursue his own business; makes a house and money. He is a member of a trading company that sends goods overseas; as an agent of the company, Sh. travels to Belgium, England, throughout Russia. The image of Sh. Is built on the basis of the idea of \u200b\u200bbalance, harmonious correspondence of the physical and spiritual, reason and feeling, suffering and pleasure. The ideal of Sh. Is measure and harmony in work, life, rest, love. ( or ... from a poor family: his father (Russified German) was the manager of a rich estate, his mother was an impoverished Russian noblewoman
Upbringing	Parents wanted to present Ilya with all the benefits “somehow cheaper, with various tricks.” Parents taught him to be idle and calm (they did not allow him to pick up the dropped thing, dress, pour himself water). the stigma of slavery.the family had a cult of food, and after eating - a deep sleep		his father gave him the upbringing that he received from his father: he taught all the practical sciences, forced him to work early and sent his son, who had graduated from the university, away from him. his father taught him that the main thing in life is money, strictness and accuracy
	Oblomov didn't even let out into the street. "And what are the servants for?" Soon Ilya himself realized that giving orders was calmer and more convenient. A dexterous, agile child is constantly stopped by his parents and a nanny for fear that the boy will "fall, hurt himself" or catch a cold, he was cherished like a greenhouse flower. "Seekers of manifestations of power turned inward and nickle, fading."		"Breaking away from the pointer, he ran to destroy the birds nests with boys ",
Education	studied in a small boarding house, located five miles from Oblomovka, in the village of Verkhlev. Both graduated from Moscow University
			From the age of eight, he sat with his father at a geographical map, sorted out biblical verses in the warehouses of Herder, Wieland and summed up the illiterate accounts of peasants, burghers and factory workers, and with his mother he read sacred history, taught Krylov's fables and sorted out Telemac's warehouses.
Pledged program	Dream. Stagnation and sleep - the passive beginning found solace in his favorite “conciliatory and soothing” words “maybe”, “maybe” and “somehow” and protected himself from misfortunes with them. He was ready to shift the matter to anyone, not caring about his outcome and the decency of the chosen person (this is how he trusted the swindlers who robbed his estate)		Stolz was afraid to dream, his happiness was in constancy, energy and vigorous activity are an active principle
Activity	"Lying down for Ilya Ilyich was not a necessity, like a sick person or a person who wants to sleep, nor an accident, like someone who is tired, nor pleasure, like a lazy person: this was his normal state"		"He is incessantly on the move: society needs to send an agent to Belgium or England - they send him; you need to write some project or adapt a new idea to the case - they choose him. Meanwhile, he travels to the light and reads."
Outlook on life	"Life: life is good!" - says Oblomov, - "What is there to look for? The interests of the mind, the heart? Look where the center around which all this revolves: there is no him, there is nothing deep that touches the living. All these are dead, sleeping people, worse than me, these members of the world and society! ... Do they not sleep sitting all their lives? How am I more guilty of them lying at home and not infecting their heads with threes and jacks?		Stolz learns life, asks her: "What to do? Where to go next?" And it goes! Without Oblomov ...
	the kind, lazy one worries most about his own peace. happiness for him is complete peace and good food. he spends his life on the sofa with his comfortable robe on. does nothing, is not interested in anything, loves to withdraw into himself and live in the world of dreams and dreams he created, the amazing childish purity of his soul and introspection, worthy of a philosopher, the embodiment of gentleness and meekness		strong and intelligent, he is in constant activity and does not shy away from the dirtiest work. Thanks to his hard work, willpower, patience and enterprise, he became a rich and famous person. a real "iron" character was formed. But in some ways he resembles a machine, a robot, a dryish rationalist
Love test	“Life is poetry. People are free to distort it! " Frightened that he was not worthy of love. He needs love not equal, but maternal (the kind that Agafya Pshenitsyna gave him)		he needs a woman equal in views and strength (Olga Ilyinskaya). I am glad that I met her abroad, glad that she listens to him and does not even notice that sometimes she does not understand Olga's sadness
	"Two faces" Oblomov
	Honesty, conscientiousness, kind-heartedness, meekness, striving for ideals, dreaminess, "heart of gold"	Infantilism, lack of will, inability to act, lethargy, slowness, "Russian laziness"

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Appendix 3
Worksheet # 2
criteria	education	the purpose of life	activities	attitude to a woman	family	vital
	"I am a master, and I do not know how to do anything." Oblomovka is the ideal of life. Love and affection of relatives.	"the poetic ideal of life;" the goal was - "all life is thought and work"; Now: "What is my goal? There is none." There is no lofty goal.	Drawing up a plan for the reconstruction of the estate; "volcanic work of an ardent head"; "not used to the movement."	"was not their slave, worshiped from afar ";" recognized her power and rights "; mother woman and never a mistress.	wife, children, good friends gray, chores are in dreams; "he has nowhere else to go, nothing to look for, the ideal of his life has come true, although without poetry "- life with Pshenitsyna.	"... the soul is not torn, the mind sleeps peacefully."
	"labor, practical education"; "there is no one to bless"; possibility Determine your own way of life.	"work is the goal of life"; stolz's life with oblomov's point of view: "daily empty shuffle There is no lofty goal.	"He has no unnecessary movements was ";" I was going to sit on Oblomov's wide sofa and take away and calm down an anxious or tired soul ... "empty vanity, in the end -" as if he lived a second time. "	"Life itself and work is the goal of life, not a woman"; "he doesn't want bodies of impetuous passion, as Oblomov did not want it ";" he dreamed of a creator mother ";" was not a slave, did not experience fiery joys. "	"silence has come, the impulses also subsided "; "everything as dreamed and Oblomov. "	"we are not titans ... we will not go to daring struggle with rebellious questions, we will not accept their challenge, we bow our heads and we will humbly survive the difficult moment. "
			Double in pain Shey degree.
problematic issue.	"Stolz at a high stage of his active life turned out to be the same Oblomov ..." (Ya.I. Kuleshov.)

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Research lesson summary

"Oblomov and Stolz (based on the novel by I.A. Goncharov" Oblomov ")"

1. Educational: check and evaluate homework; analyze the image of Oblomov; analyze the image of Stolz; select criteria for character matching; draw conclusions and formulate them in a small written work.

2. Developing: develop the skill of working with artistic text; develop the skill of analyzing the character of a work of art; improve the skill of pair and independent work; improve the logical and creative thinking of students; create a psychologically comfortable environment in the lesson.

3. Educational: continue to instill a sense of respect for 19th century Russian literature; foster a respectful attitude towards the creative heritage of Russian literature; develop the ability to listen and hear each other.

Form of work: research lesson, conversation, analysis of literary text.

Teaching methods: euretic, explanatory and illustrative.

Lesson type: combined.

Literary concepts: main character, character, portrait, speech, interior, comparative characteristics.

Interdisciplinary connections: history, music.

Equipment: portrait of I.A. Goncharova, illustrations for the novel "Oblomov", projector, screen, handouts, presentation in MS.ppt format.

During the classes:

1. Greetings. Goal setting.

Teacher's word: Our today's lesson will be devoted to two characters in the novel by I.A. Goncharov "Oblomov" is Ilya Ilyich himself and his childhood friend Andrei Stolts. Let's think together and decide what we need to explore in today's lesson. After all, it is declared as a lesson-study.

Student responses: We must analyze the images of Oblomov and Stolz, choose criteria for comparing them, and draw a conclusion.

Teacher's word: Well done! In addition, at the end of our lesson, we will write down the resulting conclusions and try to supplement them ourselves as part of a little independent work.

2. Motivation.

Teacher's word: One of the characteristics of a literary hero is his relationship with other characters, which helps in many ways to understand this hero. We have already dealt with the characterization of Ilya Ilyich Oblomov in previous lessons, casually touching on the image of another character - Andrei Stolts. To continue working on compiling the characteristics of Oblomov, you and I must correlate the names of the characters in the novel with the philosophical concepts of "relationship", "essential connections", "insignificant connections." (Appendix 1. ) To do this, first remember what these concepts mean.

Student responses: Interrelation - the interconnection of objects, phenomena, etc. with each other, their dependence on each other.

Essential ties are those ties that are most significant in a relationship between someone or something.

Insignificant connections are those connections that do not play any role in revealing the character of a character.

Teacher's word: Next, you will need to determine what connections between the characters in the novel by I.A. Goncharov's "Oblomov" will be significant and which will not. We draw a diagram in our notebooks. The work is a pair. When answering, you will need to substantiate your opinion.

(The students work with the scheme, as a result, they come to the conclusion that among the characters represented, only Olga and Andrei have a significant connection with Oblomov, since it was Ilyinskaya and Stolz who could change Oblomov's lifestyle.)

Teacher's word: Do you think Oblomov himself is ready to change his life? Prove with text.

Student response: Yes, since the text contains a quote: "Give me your will and mind and lead me wherever you want. Maybe I will follow you ..."

Teacher's word: In the lesson, we must analyze the relationship between Oblomov and Stolz. Let's formulate the problematic questions of the lesson.

Student responses : 1) Why didn't Andrei Stolz manage to change the lifestyle of Ilya Oblomov?

2) Andrey Stolz - the antipode or the double of Ilya Oblomov?

If the students formulate only the first (problematic) question, the teacher helps with the formulation of the second question: this research question is more specific and helps to answer the problematic question of the lesson. Students write down the topic and questions of the lesson in a notebook.

3. Learning new material. Study. Working in groups.

Teacher's word: To answer the question "Is Andrei Stolts an antipode or a double of Ilya Oblomov?" we need to formulate criteria by which we will compare or contrast characters, and give the meaning of the words "antipode" and "double". Let's start by defining terms. (Implementation of homework.)

Students' word: Antipodes - (Greek antipodes - facing feet to feet). 1. only plural. Inhabitants of two opposite points of the earth, two opposite ends of one of the diameters of the globe (geogr.). 2. to someone or someone to something. A person of opposite properties, tastes or beliefs (book). He is his perfect antipode or he is his perfect antipode.

A double is a person who has complete resemblance to another (both about a man and a woman).

Teacher's word: Well thank you. Now let's turn to the criteria by which the writer Stolz and Oblomov are characterized, which you were able to identify while reading the text.

Student responses: Appearance (when they appeared before the reader), origin, upbringing, education, the program laid down, outlook on life, the characteristics of the author, the test of love.

Teacher's word: It is by these criteria that we will characterize and compare the characters. Plus, I propose to add one more criterion to the table - "Two faces of Oblomov".

4. Work in groups (3 groups).

In accordance with these criteria for comparing heroes, students are given an assignment for research:

1) each group should choose 2 criteria for comparing the heroes (if the guys cannot do this themselves, the teacher himself distributes the tasks);

3) find material for comparison according to this criterion (write out quotations);

4) give an answer to the research question "Is Andrei Stolts an antipode or a double of Ilya Oblomov?";

5) formulate an answer to the problematic question of the lesson "Why did Andrei Stolz fail to change the way of life of Ilya Oblomov ?;

6) arrange a worksheet.

5. Exchange of information.

After the study, the guys exchange information using worksheets (Appendix 2, Appendix 3.)

6. Summing up.

Teacher's word: We see that Andrei Stolts is Ilya Oblomov's double by most criteria. This will also be the reason why Andrei could not change the life of Ilya Oblomov.

7. Reflection. Assessment.

8. Assignment to the house.

A written answer to the question "Why did Olga prefer Stolz to Oblomom?"

Every person is different. There are no absolutely alike people who coincide in their worldview, thoughts, and views on all aspects of life. In this respect, literary heroes do not differ from real people.

Oblomov. Stolz. They seem to be completely different people. Oblomov is slow, lazy, not focused. Stolz is energetic, cheerful, purposeful. But these two people love and respect each other, they are true friends. This means that they are not so different, they have something in common that holds them together. Is it true? Are Oblomov and Stolz really antipodes?

They had known each other since childhood, since Oblomovka and Verkhlevo, where the friends lived, were nearby. But how different the situation was in these two regions! Oblomovka is a village of peace, blessing, sleep, laziness, illiteracy, stupidity. Everyone lived in it for their own pleasure, without experiencing any mental, moral and spiritual needs. The Oblomovites had no goals, no troubles; no one thought about why man, the world was created. They lived their whole life, not particularly straining, like a flat river that flows quietly, sluggishly along a long-laid flat bed, and there are no stones, mountains or other obstacles in its path, it never spills more than usual, never dries up; begins somewhere on its way, flows very calmly, without noise, and quietly flows into some lake. Nobody even notices that there is such a river. So everyone lived in Oblomovka, caring only about food and peace in their village. Few people drove through it, and the Oblomovites had nowhere to find out that someone was living differently, they also had no idea of \u200b\u200bscience, and they did not need all this ... Ilyusha lived among such people - beloved, protected by everyone. He was always surrounded by care and tenderness. He was not allowed to do anything on his own and was not allowed to do everything that any child wants, thus involving him in the essence of the Oblomovite. His attitude to education and science was also shaped by those around him: “learning will not go away,” the main thing is a certificate, “that Ilyusha passed all the arts and sciences,” but the inner “light” of education was unknown to either the Oblomovites or to Ilya himself.

In Verkhlevo everything was the other way around. The manager there was Andryusha's father, a German. Therefore, he undertook everything with the pedantry characteristic of this nation, including his son. From the earliest childhood of Andryusha, Ivan Bogdanovich forced him to act independently, to look for a way out of all situations himself: from a street fight to the execution of instructions. But this does not mean that his father abandoned Andrei to the mercy of fate - no! He only directed him at the right moments for independent development, accumulation of experience; later he simply gave "soil" to Andrey, on which he could grow without anyone's help (trips to the city, errands). And the young Stolz used this "soil", derived the maximum benefit from it. But it was not only his father who raised Andryusha. The mother had completely different views on raising her son. She wanted him to grow up not as a “German burgher”, but as a highly moral and spiritual, with excellent manners, with a “white-handed” master. Therefore, she played Hertz for him, sang about flowers, about the poetry of life, about her high vocation. And this two-sided upbringing - on the one hand, laborious, practical, tough, on the other - gentle, lofty, poetic - made Stolz an outstanding person who combines hard work, energy, will, practicality, intelligence, poetry and moderate romanticism.

Yes, these two people lived in different environments, but they met as children. Therefore, from childhood, Ilya and Andrei strongly influenced each other. Andryusha liked the calmness, the serenity that Ilya gave him, who received it from Oblomovka. Ilya, in turn, was attracted by the energy, the ability to concentrate and do what was necessary for Andrey. So it was when they grew up and left their homes ...

It is even interesting to compare how they did it. The Oblomov people said goodbye to Ilyusha with tears, bitterness, sadness. They provided him with a long, but very comfortable - otherwise Ilya could not - trip among the servants, treats, featherbeds - as if part of Oblomovka had separated and swam away from the village. Andrei said goodbye to his father dryly and quickly - everything they could say to each other, they understood without words. And the son, having learned his route, quickly drove along it. Already at this stage in the life of friends, their divergence is visible.

What did they do while far from home? How did you study? How did they behave in the light? Oblomov in his youth the goal of his life was calmness, happiness; Stolz - work, spiritual and physical strength. Therefore, Ilya also perceived education as another obstacle on the way to the goal, and Andrei - as the main, integral part of life. Oblomov Ilya wanted to serve peacefully, without worries and worries "like, for example, lazy writing down in a notebook of receipts and expenditures." For Stolz, service was a duty for which he was ready. Two friends brought this attitude from childhood. What about love? Ilya "never surrendered himself to beauties, never was their slave, even a very diligent admirer, just because there are great efforts to get closer to women." Andrei "was not blinded by beauty and therefore did not forget, did not humiliate the dignity of a man, was not a slave," did not lie at the feet "of beauties, although he did not experience fiery passions." Girls could only be his friends. Because of this same rationalism, Stolz always had friends. Oblomov had them at first, too, but, over time, they began to tire him, and, on the sly, he very much limited his social circle.

Time passed and passed ... Stolz developed - Oblomov "went into himself." And now they are over thirty years old. What are they like?

Stolz is a super-energetic, muscular, active, firmly on his feet, amassed a lot of capital, a scientist, who travels a lot. He has friends everywhere, he is respected as a strong person. He is one of the main representatives of the trading company. He is cheerful, cheerful, hardworking ... but inwardly he gradually gets tired of such a rhythm of life. And then his childhood friend, Ilya Oblomov, helps him, cordiality, calmness, the serenity of which allows Stolz to relax. Well, what is the second friend himself?

Ilya does not travel, like Andrei, abroad, on business, in the world. He rarely leaves the house. He is lazy and does not like vanity, noisy companies, he has not a single real friend except Stolz. His main occupation is to lie on the sofa in his favorite dressing gown among dust and dirt, sometimes in the company of persons "without bread, without craft, without hands for productivity and only with a stomach for consumption, but almost always with rank and rank." This is his outer existence. But the inner life of dreams, imaginations was the main thing for Ilya Ilyich. Everything that he could do in real life, Oblomov does in dreams and dreams - only without physical expenditure and special mental efforts.

What is life for Oblomov? Obstacles, burdens, worries that hinder calmness and blessing. And for Stolz? Enjoying any of its forms, and if you do not like it, then Stolz easily changes it.

For Andrey Ivanovich, the basis of everything is reason and work. For Oblomov - happiness and tranquility. And in love they are the same ... Both friends fell in love with the same girl. In my opinion, Ilya Ilyich fell in love with Olga simply because his untouched heart had been waiting for love for a long time. Stolz fell in love with her not with his heart, but with his mind; he fell in love with Olga's experience, maturity, and intelligence. The prospect of family life in Oblomov's understanding is to live life happily and cheerfully, without worries, without difficulty, "so that today is like yesterday." For Stolz, marriage with Olga Sergeevna brought mental happiness, and with it both spiritual and physical. So he lived the rest of his life - in harmony of mind, soul, heart with Olga. And Oblomov, "decaying" completely, married a woman who can hardly be called a man. He traded Olga's mind, maturity, will for the round elbows of Agafya Matveyevna, who even had no idea about the existence of qualities, thanks to which Man can be called a man. I believe that this is the highest point of differences between Oblomov Ilya Ilyich and Stolts Andrei Ivanovich.

These two people are childhood friends. At first, because of this, they were similar and united in many aspects of life. But, over time, when Ilya and Andrei grew up, Oblomovka and Verkhlevo - two opposites - had an effect on them, and friends began to differ more and more. Their relationship took many blows, nevertheless the childhood friendship held them tight. But already at the end of their life, they became so different that further normal full-fledged maintenance of relations turned out to be impossible, and they had to be forgotten. Of course, throughout their lives Oblomov and Stolz were antipodes, antipodes, which were held together by childhood friendship, and were torn apart by different upbringing.

Oblomov and Stolz

Stolz - the antipode of Oblomov (Principle of the antithesis)

The entire figurative system of Ivan Goncharov's novel Oblomov is aimed at revealing the character and essence of the protagonist. Ilya Ilyich Oblomov is a bored gentleman, lying on the sofa, dreaming of transformations and a happy life with his family, but doing nothing to make dreams come true. The antipode of Oblomov in the novel is the image of Stolz. Andrei Ivanovich Stolts is one of the main characters, a friend of Ilya Ilyich Oblomov, the son of Ivan Bogdanovich Stolts, a Russified German who manages an estate in the village of Verkhlevo, which is five miles from Oblomovka. The first two chapters of the second part contain a detailed account of Stolz's life, of the conditions in which his active character was formed.

1. General features:

a) age ("Stolz is the same age as Oblomov and he is already over thirty");

b) religion;

c) training at the Ivan Stolz boarding house in Verkhlev;

d) service and quick retirement;

e) love for Olga Ilyinskaya;

f) kind attitude towards each other.

2. Various features:

and ) portrait;

Oblomov ... “He was a man of about thirty-two or three years of age, of medium height, pleasant appearance, with dark gray eyes, but with lack of: any definite idea, any concentration in the facial features. "

«… flabby beyond his yearswhether from lack of movement or air. In general, his body, judging by the matte, overly white neck, small chubby arms, soft shouldersseemed too pampered for a man. His movements, when he was even alarmed, were also restrained. gentlenessand laziness is not devoid of a kind of grace. "

Stolz - the same age as Oblomov, he is already over thirty. Sh .'s portrait is in contrast to Oblomov's: “It is all composed of bones, muscles and nerves, like a blood English horse. He is thin, he has almost no cheeks at all, that is, bone and muscle, but not a sign of fat roundness ... "

Getting acquainted with the portrait characteristics of this hero, we understand that Stolz is a strong, energetic, purposeful person who is alien to dreaminess. But this almost ideal personality resembles a mechanism, not a living person, and this repels the reader.

b) parents, family;

Oblomov's parents are Russian, he grew up in a patriarchal family.

Stolz. - a native of the bourgeois class (his father left Germany, wandered around Switzerland and settled in Russia, becoming the manager of the estate). “Stolz was only half German by his father; his mother was Russian; he professed the Orthodox faith, his native language was Russian ... ”.Mother was afraid that Stolz, under his father's influence, would become a rude burgher, but Stolz's Russian entourage prevented.

c) education;

Oblomov moved “from embraces to the embraces of family and friends,” his upbringing was of a patriarchal nature.

Ivan Bogdanovich raised his son strictly: "From the age of eight he sat with his father at a geographical map, sorting through the warehouses of Herder, Wieland, biblical verses and summing up the illiterate accounts of peasants, burghers and factory workers, and with his mother he read sacred history, taught Krylov's fables and sorted out Telemac's warehouses."

When Stolz grew up, his father began to take him to the field, to the market, forced him to work. Then Stolz began to send his son to the city with errands, "and it never happened that he forgot something, altered, overlooked, made a mistake."

Upbringing, like education, was twofold: dreaming that a "good bursh" would grow out of his son, the father encouraged boyish fights in every possible way, without which his son could not do a day. If Andrei appeared without a lesson prepared "by heart" sent his son back where he came from - and each time young Stltz returned with lessons learned.

From his father he received a "labor, practical education", and his mother introduced him to the beautiful, tried to put in the soul of little Andrew love for art, for beauty. His mother "in her son ... dreamed the ideal of a master," and his father taught him to hard, not lordly work.

d) attitude towards studying in a boarding house;

Oblomov studied "out of necessity," "serious reading bored him," "but the poets hurt him ... for a living"

Stolz always studied well, was interested in everything. And was a tutor at my father's boarding house

e) further education;

Oblomov lived in Oblomovka until he was twenty, then graduated from the university.

Stolz graduated brilliantly from the university. Parting with his father, who was sending him from Verkhlev to Petersburg, Stolz. says that he will certainly follow his father's advice and will go to Ivan Bogdanovich's old friend Reingold - but only when he, Stolz, will have, like Reingold, a four-story house. Such independence and independence, as well as self-confidence. - the basis of the character and worldview of the younger Stolz, which his father so fervently supports and which Oblomov lacks so much.

f) lifestyle;

"Lying at Ilya Ilyich's was his normal state"

Stolz has a thirst for action

g) housekeeping;

Oblomov did not do business in the village, received an insignificant income and lived on credit.

Stolz serves successfully, retires to pursue his own business; makes a house and money. He is a member of a trading company that sends goods overseas; as an agent of the company, Sh. travels to Belgium, England, throughout Russia.

h) life aspirations;

Oblomov in his youth "prepared for the field", thought about the role in society, about family happiness, then he excluded social activities from his dreams, his ideal was a carefree life in unity with nature, family, friends.

Stolz, chose an active principle in his youth ... Stolz's ideal of life is continuous and meaningful work, it is "the image, content, element and purpose of life."

i) views on society;

Oblomov believes that all members of the world and society are "dead, sleeping people", they are characterized by insincerity, envy, a desire by any means to "get a loud rank", he is not a supporter of progressive forms of economic management.

According to Stolz, with the help of the organization of "schools", "piers", "fairs", "highways", the old, patriarchal "ruins" should be turned into comfortable estates that bring income.

j) attitude towards Olga;

Oblomov wanted to see a loving woman who could create a serene family life.

Stolz marries Olga Ilyinskaya, and Goncharov tries in their active, full of work and beauty alliance to present an ideal family, a true ideal that Oblomov fails in his life: “We worked together, dined, went to the fields, played music as Oblomov dreamed of ... Only there was no slumber, despondency, they spent their days without boredom and without apathy; there was no sluggish look, no word; the conversation did not end with them, it was often hot. "

k) relationship and mutual influence;

Oblomov considered Stolz his only friend, able to understand and help, he listened to his advice, but Stolz failed to break Oblomovism.

Stolz highly appreciated the kindness and sincerity of the soul of his friend Oblomov. Stolz is doing everything to awaken Oblomov to activity. In friendship with Oblomov Stolz. also turned out to be at his best: he replaced the rogue manager, destroyed the intrigues of Tarantyev and Mukhoyarov, who tricked Oblomov into signing a fake loan letter.

Oblomov is used to living on Stolz's orders in the smallest matters, he needs the advice of a friend. Without Stolz, Ilya Ilyich cannot decide on anything, however, and Oblomov is in no hurry to follow Stolz's advice: they have too different concepts about life, about work, about the application of strength.

After the death of Ilya Ilyich, a friend takes on the education of Oblomov's son, Andryusha, named in his honor.

m) self-esteem ;

Oblomov constantly doubted himself. Stolz never doubts himself.

m) character traits ;

Oblomov is inactive, dreamy, slovenly, indecisive, soft, lazy, apathetic, not devoid of subtle emotional experiences.

Stolz is active, sharp, practical, neat, loves comfort, is open in emotional manifestations, reason prevails over feeling. Stolz could control his feelings and was "afraid of every dream." Happiness for him was constancy. According to Goncharov, he "knew the value of rare and expensive properties and wasted them so sparingly that he was called an egoist, insensitive ...".

The meaning of the images of Oblomov and Stolz.

Goncharov reflected in Oblomov the typical features of the patriarchal nobility. Oblomov has absorbed the contradictory features of the Russian national character.

Stolz in Goncharov's novel was assigned the role of a man capable of breaking Oblomovism and reviving the hero. According to critics, the ambiguity of Goncharov's idea of \u200b\u200bthe role of "new people" in society led to the unconvincing image of Stolz. As conceived by Goncharov, Stolz is a new type of Russian progressive figure. However, he does not portray the hero in specific activities. The author only informs the reader about what Stolz was, what he achieved. Showing Stolz's Parisian life with Olga, Goncharov wants to reveal the breadth of his views, and in fact reduces the hero

So, the image of Stolz in the novel not only clarifies the image of Oblomov, but is also interesting to readers for its eccentricity and the complete opposite of the main character. Dobrolyubov says about him: “He is not the person who can, in a language understandable to the Russian soul, tell us this omnipotent word“ forward! ” Dobrolyubov, like all revolutionary democrats, saw the ideal of a "man of action" in serving the people, in the revolutionary struggle. Stolz is far from this ideal. However, next to Oblomov and Oblomovism, Stolz was still a progressive phenomenon.

Oblomov and Stolz

Stolz - the antipode of Oblomov (Principle of the antithesis)

The entire figurative system of Ivan Goncharov's novel Oblomov is aimed at revealing the character and essence of the protagonist. Ilya Ilyich Oblomov is a bored gentleman, lying on the sofa, dreaming of transformations and a happy life with his family, but doing nothing to make dreams come true. The antipode of Oblomov in the novel is the image of Stolz. Andrei Ivanovich Stolts is one of the main characters, a friend of Ilya Ilyich Oblomov, the son of Ivan Bogdanovich Stolts, a Russified German who manages an estate in the village of Verkhlevo, which is five miles from Oblomovka. The first two chapters of the second part contain a detailed account of Stolz's life, of the conditions in which his active character was formed.

1. General features:

a) age ("Stolz is the same age as Oblomov and he is already over thirty");

b) religion;

c) training at the Ivan Stolz boarding house in Verkhlev;

d) service and quick retirement;

e) love for Olga Ilyinskaya;

f) kind attitude towards each other.

2. Various features:

and ) portrait;

Oblomov ... “He was a man of about thirty-two or three years of age, of medium height, pleasant appearance, with dark gray eyes, but with lack of: any definite idea, any concentration in the facial features. "

«… flabby beyond his yearswhether from lack of movement or air. In general, his body, judging by the matte, overly white neck, small chubby arms, soft shouldersseemed too pampered for a man. His movements, when he was even alarmed, were also restrained. gentlenessand laziness is not devoid of a kind of grace. "

Stolz - the same age as Oblomov, he is already over thirty. Sh .'s portrait is in contrast to Oblomov's: “It is all composed of bones, muscles and nerves, like a blood English horse. He is thin, he has almost no cheeks at all, that is, bone and muscle, but not a sign of fat roundness ... "

Getting acquainted with the portrait characteristics of this hero, we understand that Stolz is a strong, energetic, purposeful person who is alien to dreaminess. But this almost ideal personality resembles a mechanism, not a living person, and this repels the reader.

b) parents, family;

Oblomov's parents are Russian, he grew up in a patriarchal family.

Stolz. - a native of the bourgeois class (his father left Germany, wandered around Switzerland and settled in Russia, becoming the manager of the estate). “Stolz was only half German by his father; his mother was Russian; he professed the Orthodox faith, his native language was Russian ... ”.Mother was afraid that Stolz, under his father's influence, would become a rude burgher, but Stolz's Russian entourage prevented.

c) education;

Oblomov moved “from embraces to the embraces of family and friends,” his upbringing was of a patriarchal nature.

Ivan Bogdanovich raised his son strictly: "From the age of eight he sat with his father at a geographical map, sorting through the warehouses of Herder, Wieland, biblical verses and summing up the illiterate accounts of peasants, burghers and factory workers, and with his mother he read sacred history, taught Krylov's fables and sorted out Telemac's warehouses."

When Stolz grew up, his father began to take him to the field, to the market, forced him to work. Then Stolz began to send his son to the city with errands, "and it never happened that he forgot something, altered, overlooked, made a mistake."

Upbringing, like education, was twofold: dreaming that a "good bursh" would grow out of his son, the father encouraged boyish fights in every possible way, without which his son could not do a day. If Andrei appeared without a lesson prepared "by heart" sent his son back where he came from - and each time young Stltz returned with lessons learned.

From his father he received a "labor, practical education", and his mother introduced him to the beautiful, tried to put in the soul of little Andrew love for art, for beauty. His mother "in her son ... dreamed the ideal of a master," and his father taught him to hard, not lordly work.

d) attitude towards studying in a boarding house;

Oblomov studied "out of necessity," "serious reading bored him," "but the poets hurt him ... for a living"

Stolz always studied well, was interested in everything. And was a tutor at my father's boarding house

e) further education;

Oblomov lived in Oblomovka until he was twenty, then graduated from the university.

Stolz graduated brilliantly from the university. Parting with his father, who was sending him from Verkhlev to Petersburg, Stolz. says that he will certainly follow his father's advice and will go to Ivan Bogdanovich's old friend Reingold - but only when he, Stolz, will have, like Reingold, a four-story house. Such independence and independence, as well as self-confidence. - the basis of the character and worldview of the younger Stolz, which his father so fervently supports and which Oblomov lacks so much.

f) lifestyle;

"Lying at Ilya Ilyich's was his normal state"

Stolz has a thirst for action

g) housekeeping;

Oblomov did not do business in the village, received an insignificant income and lived on credit.

Stolz serves successfully, retires to pursue his own business; makes a house and money. He is a member of a trading company that sends goods overseas; as an agent of the company, Sh. travels to Belgium, England, throughout Russia.

h) life aspirations;

Oblomov in his youth "prepared for the field", thought about the role in society, about family happiness, then he excluded social activities from his dreams, his ideal was a carefree life in unity with nature, family, friends.

Stolz, chose an active principle in his youth ... Stolz's ideal of life is continuous and meaningful work, it is "the image, content, element and purpose of life."

i) views on society;

Oblomov believes that all members of the world and society are "dead, sleeping people", they are characterized by insincerity, envy, a desire by any means to "get a loud rank", he is not a supporter of progressive forms of economic management.

According to Stolz, with the help of the organization of "schools", "piers", "fairs", "highways", the old, patriarchal "ruins" should be turned into comfortable estates that bring income.

j) attitude towards Olga;

Oblomov wanted to see a loving woman who could create a serene family life.

Stolz marries Olga Ilyinskaya, and Goncharov tries in their active, full of work and beauty alliance to present an ideal family, a true ideal that Oblomov fails in his life: “We worked together, dined, went to the fields, played music as Oblomov dreamed of ... Only there was no slumber, despondency, they spent their days without boredom and without apathy; there was no sluggish look, no word; the conversation did not end with them, it was often hot. "

k) relationship and mutual influence;

Oblomov considered Stolz his only friend, able to understand and help, he listened to his advice, but Stolz failed to break Oblomovism.

Stolz highly appreciated the kindness and sincerity of the soul of his friend Oblomov. Stolz is doing everything to awaken Oblomov to activity. In friendship with Oblomov Stolz. also turned out to be at his best: he replaced the rogue manager, destroyed the intrigues of Tarantyev and Mukhoyarov, who tricked Oblomov into signing a fake loan letter.

Oblomov is used to living on Stolz's orders in the smallest matters, he needs the advice of a friend. Without Stolz, Ilya Ilyich cannot decide on anything, however, and Oblomov is in no hurry to follow Stolz's advice: they have too different concepts about life, about work, about the application of strength.

After the death of Ilya Ilyich, a friend takes on the education of Oblomov's son, Andryusha, named in his honor.

m) self-esteem ;

Oblomov constantly doubted himself. Stolz never doubts himself.

m) character traits ;

Oblomov is inactive, dreamy, slovenly, indecisive, soft, lazy, apathetic, not devoid of subtle emotional experiences.

Stolz is active, sharp, practical, neat, loves comfort, is open in emotional manifestations, reason prevails over feeling. Stolz could control his feelings and was "afraid of every dream." Happiness for him was constancy. According to Goncharov, he "knew the value of rare and expensive properties and wasted them so sparingly that he was called an egoist, insensitive ...".

The meaning of the images of Oblomov and Stolz.

Goncharov reflected in Oblomov the typical features of the patriarchal nobility. Oblomov has absorbed the contradictory features of the Russian national character.

Stolz in Goncharov's novel was assigned the role of a man capable of breaking Oblomovism and reviving the hero. According to critics, the ambiguity of Goncharov's idea of \u200b\u200bthe role of "new people" in society led to the unconvincing image of Stolz. As conceived by Goncharov, Stolz is a new type of Russian progressive figure. However, he does not portray the hero in specific activities. The author only informs the reader about what Stolz was, what he achieved. Showing Stolz's Parisian life with Olga, Goncharov wants to reveal the breadth of his views, and in fact reduces the hero

So, the image of Stolz in the novel not only clarifies the image of Oblomov, but is also interesting to readers for its eccentricity and the complete opposite of the main character. Dobrolyubov says about him: “He is not the person who can, in a language understandable to the Russian soul, tell us this omnipotent word“ forward! ” Dobrolyubov, like all revolutionary democrats, saw the ideal of a "man of action" in serving the people, in the revolutionary struggle. Stolz is far from this ideal. However, next to Oblomov and Oblomovism, Stolz was still a progressive phenomenon.

All his life, Goncharov dreamed of finding harmony of feeling and reason for people. He reflected on the strength and poverty of the "man of reason", on the charm and weakness of the "man of the heart." In Oblomov, this idea became one of the leading ones. In this novel, two types of male characters are opposed: passive and weak Oblomov, with his golden heart and pure soul, and energetic Stolz, overcoming any circumstances with the strength of his mind and will. However, the human ideal of Goncharov is not personified in either one or the other. Stolz does not seem to the writer a more complete person than Oblomov, whom he also looks at with "sober eyes." Impartially exposing the "extremes" of the nature of both, Goncharov advocated the completeness and integrity of the spiritual world of man with all the diversity of its manifestations.

At the beginning of the story, Ilya Ilyich Oblomov is a little over thirty years old, he is a columnar nobleman, the owner of three hundred and fifty souls of serfs, which he inherited. After serving three years after graduating from Moscow University in one of the Moscow departments, he retired with the rank of collegiate secretary. Since then he lived in St. Petersburg without a break. The novel begins with a description of one of his days, his habits and character. Oblomov's life by that time had turned into a lazy "crawling from day to day." Having retired from vigorous activity, he lay on the sofa and irritatedly argued with Zakhar, his serf servant, who looked after him. Revealing the social roots of Oblomovism, Goncharov shows that "it all began with the inability to put on stockings, and ended with the inability to live."

Brought up in a patriarchal noble family, Ilya Ilyich perceived life in Oblomovka, his family estate, with its peace and inaction as the ideal of human existence.
Three main acts of life were constantly played out in front of little Ilyusha in childhood: homeland, weddings, funerals. Then followed their divisions: christenings, name days, family holidays. All life's pathos is focused on this. This was the "wide expanse of the lordly life" with its idleness, which forever became the ideal of life for Oblomov.

All Oblomovites treated work as a punishment and did not like it, considering it something humiliating. Therefore, life in the eyes of Ilya Ilyich was divided into two halves. One consisted of toil and boredom, and these were synonyms for him. The other is out of peace and peaceful fun. In Oblomovka, Ilya Ilyich was also instilled in a sense of superiority over other people. The “other” cleans his own boots, dresses himself, and runs off for whatever is needed. This “other” has to work tirelessly. Ilyusha, however, "was raised tenderly, he did not endure either cold or hunger, he did not know the need, he did not earn his own bread, he did not engage in black business." And he considered studying as a punishment sent from heaven for sins, and avoided schoolwork whenever possible. After graduating from university, he was no longer engaged in his education, was not interested in science, art, politics.

When Oblomov was young, he expected a lot both from fate and from himself. He was preparing to serve the fatherland, play a prominent role in public life, and dreamed of family happiness. But days went by, and he was still going to start life, he was drawing his future in his mind. However, "the flower of life blossomed and did not bear fruit."

The future service seemed to him not in the form of harsh activity, but in the form of some kind of "family occupation." It seemed to him that the officials serving together constituted a friendly and close family, all of whose members tirelessly care for mutual pleasure. However, his youthful ideas were deceived. Unable to withstand the difficulties, he resigned, serving only three years and not having accomplished anything significant.

It happened, lying on the sofa, he flared up with the desire to point out to humanity its vices. He will quickly change two or three positions, stand up on the bed with shining eyes and look around with inspiration. It seems that his high effort is about to turn into a heroic deed and bring good consequences to humanity. Sometimes he imagines himself an invincible commander: he will invent a war, organize new crusades, and perform feats of goodness and magnanimity. Or, imagining himself a thinker, an artist, he reaps laurels in his imagination, everyone worships him, the crowd chases after him. However, in reality, he was not able to understand the management of his own estate and easily became the prey of such swindlers as Tarantyev and the "brother" of his landlady.

In addition to this inability brought up by the lordship, many other things prevent Oblomov from being active. He really feels the objectively existing separation of the “poetic” and “practical” in life, and this is the reason for his bitter disappointment.

In contrast to the passive and inactive Oblomov, Stolz was conceived by the author as a completely unusual figure. Goncharov strove to make him attractive to the reader by his "efficiency", rational skillful practicality. Until now, these qualities have not been characteristic of the heroes of Russian literature.

The son of a German burgher and a Russian noblewoman, Andrei Stolts from childhood, thanks to his father, received a labor, practical education. This, combined with the poetic influence of his mother, made him a special person. Unlike the rounded Oblomov, he was thin, all consisted of muscles and nerves. Some freshness and strength emanated from him. "As in his body there was nothing superfluous, so in the moral functions of his life, he was looking for a balance of practical sides with the subtle needs of the spirit." "Through life he walked firmly, cheerfully, lived on a budget, trying to spend every day, like every ruble." He attributed the cause of any failure to himself, "and did not hang it like a caftan on someone else's nail." He strove to develop a simple and direct view of life. Most of all he was afraid of the imagination, "this two-faced companion", and any dream, so everything mysterious and mysterious had no place in his soul. Everything that is not subjected to the analysis of experience does not correspond to practical truth, he considered a deception.

Although Oblomov has nothing to object to Stolz's reproaches, there is some kind of spiritual righteousness in Ilya Ilyich's confession that he failed to understand this life.

If at the beginning of the novel Goncharov speaks more about Oblomov's laziness, then at the end the theme of Oblomov's "golden heart" sounds more and more insistently, which he carried unharmed through life. Oblomov's misfortune is connected not only with the social environment, the influence of which he could not resist. It is also contained in the "fatal excess of the heart." The gentleness, delicacy, vulnerability of the hero disarm his will and make him powerless in front of people and circumstances.

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All his life Goncharov dreamed of finding harmony of feeling and reason for people. He reflected on the strength and poverty of the "man of reason", on the charm and weakness of the "man of the heart." In "Oblomov" this idea became one of the leading ones. In this novel, two types of male characters are opposed: passive and weak Oblomov, with his golden heart and pure soul, and energetic Stolz, overcoming any circumstances with the strength of his mind and will. However, the human ideal of Goncharov is not personified in either one or the other. Stolz does not seem to the writer a more complete personality than Oblomov, whom he also looks at with "sober eyes." Impartially exposing the "extremes" of the nature of both, Goncharov advocated the completeness and integrity of the human spiritual world with all the diversity of its manifestations.

Each of the main characters of the novel had their own understanding of the meaning of life, their own ideals in life, which they dreamed of realizing.

At the beginning of the story, Ilya Ilyich Oblomov is a little over thirty years old, he is a columnar nobleman, the owner of three hundred and fifty souls of serfs, which he inherited. After serving three years after graduating from Moscow University in one of the Moscow departments, he retired with the rank of collegiate secretary. Since then he lived in St. Petersburg without a break. The novel begins with a description of one of his days, his habits and character. Oblomov's life by that time had turned into a lazy "crawling from day to day." Having retired from vigorous activity, he lay on the sofa and irritatedly argued with Zakhar, his serf servant who looked after him. Revealing the social roots of Oblomovism, Goncharov shows that "it all began with an inability to put on stockings, and ended with an inability to live."

Brought up in a patriarchal noble family, Ilya Ilyich perceived life in Oblomovka, his family estate, with its peace and inaction as the ideal of human existence. The norm of life was ready and taught to the Oblomovites by their parents, and they took it from their parents. Three main acts of life were constantly played out in front of little Ilya in childhood: homeland, weddings, funerals. Then followed their divisions: christenings, name days, family holidays. All life's pathos is focused on this. This was the "wide expanse of lordly life" with its idleness, which forever became the ideal of life for Oblomov.

All Oblomovites treated work as a punishment and did not like it, considering it something humiliating. Therefore, life in the eyes of Ilya Ilyich was divided into two halves. One consisted of toil and boredom, and these were synonyms for him. The other is out of peace and peaceful fun. In Oblomovka, Ilya Ilyich was also instilled in a sense of superiority over other people. The "other" cleans his own boots, dresses himself, and runs off for whatever is needed. This "other" has to work tirelessly. Ilyusha, on the other hand, "was raised tenderly, he did not endure either cold or hunger, he did not know the need, he did not earn bread for himself, he did not engage in black business." And he considered studying as a punishment sent from heaven for sins, and avoided schoolwork whenever possible. After graduating from university, he was no longer engaged in his education, was not interested in science, art, politics.

When Oblomov was young, he expected a lot both from fate and from himself. He was preparing to serve the fatherland, play a prominent role in public life, dreamed of family happiness. But days went by, and he was still going to start life, he was drawing his future in his mind. However, "the flower of life blossomed and did not bear fruit."

The future service seemed to him not in the form of harsh activity, but in the form of some kind of "family occupation." It seemed to him that the officials serving together constituted a friendly and close family, all of whose members tirelessly care for mutual pleasure. However, his youthful ideas were deceived. Unable to withstand the difficulties, he resigned, serving only three years and not having accomplished anything significant.

Only the youthful heat of his friend Stolz could still infect Oblomov, and in his dreams he sometimes burned out with a thirst for work and a distant but attractive goal. It happened, lying on the sofa, he flushed with a desire to point out to humanity its vices. He will quickly change two or three positions, stand up on the bed with shining eyes and look around with inspiration. It seems that his lofty effort is about to turn into a feat and bring good consequences to humanity. Sometimes he imagines himself an invincible commander: he will invent a war, organize new crusades, and perform feats of goodness and magnanimity. Or, imagining himself a thinker, an artist, he reaps laurels in his imagination, everyone worships him, the crowd chases after him. However, in reality, he was not able to understand the management of his own estate and easily fell prey to such scammers as Tarantyev and the "brother" of his landlady.

Over time, he developed remorse that haunted him. It hurt him for his underdevelopment, for the heaviness that prevented him from living. He was gnawed by envy that others live so fully and widely, and something prevents him from boldly going through life. He painfully felt that a good and bright beginning was buried in him, as in a grave. He tried to find the culprit outside himself and did not find. However, apathy and indifference quickly replaced anxiety in his soul, and he again slept peacefully on his sofa.

Even love for Olga did not revive him to practical life. Faced with the need to act, overcoming the difficulties that got in the way, he was frightened and retreated. Having settled on the Vyborg side, he completely abandoned himself to the cares of Agafya Pshenitsyna, finally withdrawing from active life.

In addition to this inability brought up by the lordship, many other things prevent Oblomov from being active. He really feels the objectively existing separation of the "poetic" and "practical" in life, and this is the reason for his bitter disappointment. He is outraged that the highest meaning of human existence in society is often replaced by a false, imaginary content. Although Oblomov has nothing to argue with Stolz's reproaches, some kind of spiritual righteousness lies in Ilya Ilyich's confession that he failed to understand this life.

If at the beginning of the novel Goncharov talks more about Oblomov's laziness, then at the end the theme of Oblomov's "golden heart" sounds more and more insistently, which he carried unharmed through life. Oblomov's misfortune is connected not only with the social environment, the influence of which he could not resist. It is also contained in the "fatal excess of the heart." The gentleness, delicacy, vulnerability of the hero disarm his will and make him powerless in front of people and circumstances.

In contrast to the passive and inactive Oblomov, Stolz was conceived by the author as a completely unusual figure. Goncharov strove to make him attractive to the reader by his "efficiency", rational skillful practicality. Until now, these qualities have not been characteristic of the heroes of Russian literature.

The son of a German burgher and a Russian noblewoman, Andrei Stolts from childhood, thanks to his father, received a labor, practical education. This, combined with the poetic influence of his mother, made him a special person. Unlike the rounded Oblomov, he was thin, all consisted of muscles and nerves. Some freshness and strength emanated from him. "As in his body there was nothing superfluous, so in the moral functions of his life, he sought a balance of practical sides with the subtle needs of the spirit." "Through life he walked firmly, cheerfully, lived on a budget, trying to spend every day like every ruble." He attributed the cause of any failure to himself, "and did not hang it like a caftan on someone else's nail." He strove to develop a simple and direct view of life. Most of all he was afraid of the imagination, "this two-faced companion", and any dream, so everything mysterious and mysterious had no place in his soul. Everything that is not subjected to the analysis of experience does not correspond to practical truth, he considered a deception. Labor was the image, content, element and purpose of his life. Above all, he put perseverance in achieving goals: this was a sign of character in his eyes.

Emphasizing the rationalism and strong-willed qualities of his hero, Goncharov, however, was aware of Stolz's heartfelt callousness. Apparently, the person of the "budget", emotionally contained within tight and tight limits, is not the hero of Goncharov. One mercantile comparison: Stolz spends "every day" of his life as "every ruble" - removes him from the author's ideal. Goncharov also speaks of the "moral functions of the personality" of his hero as the physiological work of the body or "the discharge of official duties." Friendship "send" it is impossible. But in Stolz's attitude to Oblomov, this shade is present.

In the development of the action, Stolz gradually manifests himself as "not a hero." For Goncharov, who glorified the holy folly of Chatsky and perfectly understood the anxiety of great spiritual needs, this was a sign of inner insufficiency. The absence of a lofty goal, an understanding of the meaning of human life, is constantly revealed, despite Stolz's vigorous activity in the practical sphere. He has nothing to say to Oblomov in response to the admission that his friend did not find meaning in the life around him. Having received Olga's consent to the marriage, Stolz utters the puzzling words: "Everything has been found, there is nothing to look for, nowhere else to go." Later, he will carefully try to persuade the alarmed Olga to come to terms with the "rebellious questions", eliminating the "Faustian" anxiety from his life.

Remaining objective in relation to all his heroes, the writer explores the inner possibilities of various contemporary human types, finding strength and weakness in each of them. However, Russian reality has not yet waited for its true hero. According to Dobrolyubov, the real historical business in Russia was not in the sphere of practicality and bargaining, but in the struggle for the renewal of the social order. An active existence and new, active people were still only a prospect, already quite close, but still not a reality. It has already become clear what kind of person Russia does not need, but the kind of activity and the type of leader that it needs was still elusive.

“Oblomov” - Andrey Stolts (part 2, chapters 1 - 5). Lilac branch. Oblomov's family happiness. Portrait as a means of creating an image. I. A. Goncharov "Oblomov". M. Yu. Lermontov. Read chapter 1 and answer the question: Analysis of the episode "Oblomov's Dream" (chapter 9). Olga Ilyinskaya and Ilya Oblomov. What is a portrait? Love story.

"Roman Oblomov" - The novel "An Ordinary History" Ill. IAGoncharov's novel "Oblomov" Ill. YS Gershkovich 1981. Zakhar - A. Popov; Oblomov - O. Tabakov. A still from the film "A few days from the life of II Oblomov." Trilogy by Ivan Alexandrovich Goncharov: Director N.S. Mikhalkov. 1980. In the living room before dinner. Still from the film. Yuri Gershkovich 1982.

"Oblomov Goncharova" - Room (interior). Article "What is Oblomovism?" An Ordinary History (1844 - 1846). I.A. Goncharov. The novel "Oblomov". Hero portrait. Oblomov in the system of author's reasoning. A. V. Druzhinin, liberal critic. The Cliff (1868). From the history of the creation of r. Contemporaries about the novel "bummer". Ilya Ilyich Oblomov.

"Oblomov in Goncharov's novel" - One day in Oblomov's life. The chapter "Oblomov's Dream" shows the origins of the character of the hero. Stolz. The second and third parts are devoted to the love story of Oblomov and Olga Ilyinskaya. Oblomov's love story. There is no sleep, no fatigue, no boredom on my face. " Oblomov and Stolz. Oblomov's dream. Olga Ilyinskaya. The image of Olga Ilyinskaya is the creative success of I.A. Goncharov.

"Goncharov Oblomov" - The role of details in I.A.Goncharov. Oblomov did not pass the test of love. The role of detail in the work of IAGoncharov "Oblomov". Portrait of I. I. Oblomov. "Sleepy" interior. Details of the portrait. Interior. The robe is a symbol of immobility and laziness. The sofa is a symbol of inactivity, laziness and apathy. Details of the plot. Oblomov's interior is similar to that of Manilov.

"Goncharov Roman Oblomov" - 1855-1857 - travel sketches "Frigate" Pallada ". Restore the composition of the dream: highlight the main thematic parts. N. Mikhailovsky. Stolz. Ilya ilyich's circle of life. “Olga is a moderate, balanced missionary. Ivan Aleksandrovich Goncharov 1812 - 1891. Vyborg side. What is it worth getting off the couch for?

What are Stolz's life ideals? (based on the novel by Ivan A. Goncharov "Oblomov")

In IA Goncharov's novel Oblomov, Andrei Stolts is the opposite of Oblomov. Every feature of Stolz is a blatant protest against the qualities of Oblomov. The first loves an active and interesting life, the second often falls into apathy, he is like a snail that is afraid to crawl out of the shell. The difference in the characters and ideals of life between Oblomov and Stolz was laid in childhood. Stolz received a strict European upbringing. Since childhood, he was instilled in good manners, taught to stay in society, forced to read various books, learn poems.
The upbringing had a great influence on Andrey, he is incessantly on the move, travels to the world, reads clever books: "In the moral functions of his life, he was looking for the balance of practical sides with the subtle needs of the spirit." Stolz lived according to an exact plan, according to a budget, there was nothing superfluous in his actions: "He had no extra movements." Most of all he was afraid of imagination, of any dream, for this there was no place in his soul. What was not analyzed, Stolz perceived as an optical illusion. He had no idols, but he retained the strength of his soul.
This man lived in the name of the cause: "for work itself." Stolz is shown as a "renovator" of Russian society, just such a person can change the world and life.

Additional questions for the analysis of this episode:

· After what circumstances did Oblomov rebel against "your life in St. Petersburg"?

· How are familiar images-symbols (sofa, robe, shoes) played out throughout the scene?

· Why at the beginning of the dispute in his accusatory statements Oblomov opposes two concepts: "light" and "life"? Did Andrey understand this?

· Why does Oblomov speak long speeches for most of the "fight", while Stolz only parries them with short, biting blows, adding fuel to the fire, and in the process of dialogue, friends practically change places twice?

· What does each of the characters consider "life"?

· How does the ideal outlined by Oblomov differ from Oblomovka's life and the subsequent stay of Ilya Ilyich in Pshenitsyna's house?

· What was Stolz convinced of? How did he rouse Oblomov's soul?

· How did Oblomov, in turn, touch Andrei's soul at the end of the scene?

· Why is it important to look at the beginning of the next, 5th chapter?

Episode analysis (part 2, chapter 4)

A dispute between friends erupted at the moment when Stolz once again calls Oblomov somewhere to go, to do something, and they drive around for a whole week on all sorts of business. “Oblomov protested, complained, argued, but was carried away and accompanied his friend everywhere,” the author writes. But the next evening, "returning from somewhere late," Oblomov exploded: "I don't like your life in St. Petersburg!" After Stolz's question: "Which one do you like?" - Oblomov burst out with a sharp, caustic and long monologue about senseless vanity, in which there is no "wholeness" and there is no person who "exchanged for every little thing." Oblomov's long satirical speeches expose light and society, and gambling games without the "task of life", and youth activities, and the absence of a "clear, calm look," and "sound sleep" into which the really fussy and active is immersed in first glance, society. In this monologue, only occasionally interrupted by Andrei with short, sharp objections or questions, Oblomov's remarkable mind and satirical talent is revealed.

Ilya Ilyich's monologue ends with a key phrase: "No, this is not life, but a distortion of the norm, the ideal of life, which nature has indicated as a goal for man ..." To Andrey's question, what is this ideal, Oblomov found an answer not immediately, but only after a long dialogue with short remarks from both. Stolz in this dialogue ironically mocks Oblomov's awkward attempts to explain at least something to a friend, but then, apparently infuriated by this irony, Ilya Ilyich begins to describe in detail how he would “spend his days”. This description is long, kind and poetic, even a dryish Stolz remarks: "You're a poet, Ilya!" Inspired, Oblomov, who seized the initiative at this time of the conversation, exclaims: “Yes, a poet in life, because life is poetry. People are free to distort it. " Oblomov's ideal is not in immobility, which he seems to have plunged into now, Ilya in this story, on the contrary, is very mobile and poetic, this ideal is that everything should be "to your liking", sincerely, honestly, freely, measuredly, "what's in eyes, in words, then in the heart. " And he, Oblomov, actively participates in this life: he makes and gives his wife a bouquet, conducts a conversation with sincere friends, fishes, takes a gun, although, of course, Oblomov's immobility and gluttony often slip in this story. "This is life!" - sums up Oblomov and immediately stumbles upon an alternative answer: "This is not life!" And it is at this moment that the word "Oblomovism", which is uttered by Stolz, appears on the stage of the novel for the first time. Then, with each new objection from Oblomov, he repeats this word in different interpretations, while not finding more convincing arguments against Oblomov's logic that all of Stoltsev's “running around in launches” is the same “dressing up rest”, has the same goal: “Everything looking for rest and peace. "

Here Stolz still manages to seize the initiative by reminding him of the joint dreams of his youth, after which Oblomov's confidence disappears, he begins to speak unconvincingly, with numerous pauses (the author uses ellipses), hesitations. He still sluggishly resists: "So when to live? .. Why should I suffer the whole century?" Stolz replies dryly and meaninglessly: "For labor itself." Here, too, the author is not on Stolz's side, because work as an end in itself is really meaningless. In fact, the heroes at this moment remain in their positions. And here Stolz again uses the only winning technique - once again reminds Ilya of childhood, dreams, hopes, ending these reminders with a supporting phrase: "Now or never!" Reception works flawlessly. Oblomov is moved and begins his sincere and pure confession about the absence of a high goal, about the extinction of life, about the loss of pride. "Either I did not understand this life, or it is no good, and I did not know anything better ..." Oblomov's sincerity unsettled Andrei's soul, he seemed to swear to a friend "I will not leave you ..." At the end of the 4th chapter it seems that victory in the fight remained with Stolz, but at the beginning of the 5th there is a comic decline and, in fact, the destruction of this "victory".

Stolz's Alternative "Now or Never!" goes for Oblomov into Hamlet's question “To be or not to be?”, but at first Oblomov wants to write something (to start acting), took a pen, but there was no ink in the inkwell, and paper on the table, and then, when it seemed , decided to answer Hamlet's question in the affirmative, "I got up from the chair, but did not immediately hit the shoe with my foot, and sat down again." The lack of ink and paper and not falling into a shoe return Oblomov to his former life.

The whole story with Olga will still be ahead, the internal struggle in Oblomov's soul is far from over, but in the history of the relationship between Oblomov and Stolz, and in the possible fate of Oblomov after this scene, accents have already been placed. Even I. Goncharov himself, who believed in the possibility of combining Oblomov's soulfulness with Stoltsev's efficiency and practicality in a Russian person, seems to understand at this moment of his narration that the heroes will remain where they are: neither from Oblomov, nor from Stolz, as the author originally wanted , such an ideal will not work. One will be hindered by laziness, contemplation and poetry, which are incompatible with everyday everyday heroes, the other - winglessness and refusal from all reflections on the meaning of life. The author and the reader are painfully aware after this dispute that the true ideal, which would combine purity and efficiency, is unattainable. That is why, despite the fact that the heroes still face many challenges, this debate about the ideal can be considered a key episode of the novel. This will happen later, when each of the heroes will find their own "peace": Oblomov - first the cozy and satisfying, but devoid of poetry house of Agafya Matveyevna Pshenitsyna, and then death, and Stolz - a quiet haven with Olga suffering from the loss of the meaning of life, who did not recognize in time of his possible happiness with Oblomov.

In an episode of a dispute between friends, the main question is the purpose and meaning of a person's life, and it is this question that is decisive for the whole novel. As a true great artist, I. Goncharov poses this eternal question, and leaves the answer open. Therefore, it must be admitted that no one won the dispute between friends in the considered episode of the great novel.

Goncharov's novel Oblomov was highly praised by critics of the second half of the 19th century. In particular, Belinsky noted that the work fell on time and reflected the socio-political thought of the 50-60s of the nineteenth century. Two lifestyles - Oblomov and Stolz - are compared in this article.

Oblomov's characteristic

Ilya Ilyich was distinguished by his desire for peace, inaction. Oblomov cannot be called interesting and varied: he used to spend most of the day in thought, lying on the couch. Plunging into these thoughts, he often did not get up from his bed, did not go out into the street, did not learn the latest news throughout the day. He did not read newspapers in principle, so as not to bother himself with unnecessary, and most importantly, meaningless information. Oblomov can be called a philosopher, he is worried about other issues: not everyday, not momentary, but eternal, spiritual. He is looking for meaning in everything.

When you look at him, you get the impression that he is a happy free-thinker, not burdened with the hardships and problems of external life. But life "touches, gets everywhere" Ilya Ilyich, makes him suffer. Dreams remain only dreams, because he does not know how to translate them into real life. Even reading tires him: Oblomov has a lot of started books, but they all remain unread, not understood. The soul seems to be dormant in him: he avoids unnecessary worries, worries, worries. In addition, Oblomov often compares his calm, secluded existence with the life of other people and finds that the way others live is not good for living: "When should we live?"

This is what Oblomov's ambiguous image is. "Oblomov" (Goncharov I.A.) was created in order to outline the personality of this character - uncommon and extraordinary in its own way. Impulses and deep emotional experiences are not alien to him. Oblomov is a true dreamer with a poetic, sensitive nature.

Stolz characteristic

Oblomov's lifestyle cannot be compared with Stolz's worldview. The reader first meets this character in the second part of the work. Andrei Stolz loves order in everything: his day is scheduled by hours and minutes, dozens of important things are planned that need to be urgently redone. Today he is in Russia, tomorrow, you see, he has suddenly gone abroad. What Oblomov finds boring and meaningless is important and significant for him: trips to cities, villages, intentions to improve the quality of life of those around him.

He opens in his soul such treasures that Oblomov cannot even guess about. Stolz's way of life consists entirely of activity, which feeds his entire being with the energy of vigor. In addition, Stolz is a good friend: more than once he helped Ilya Ilyich in business matters. The lifestyle of Oblomov and Stolz is different from each other.

What is Oblomovism?

As a social phenomenon, the concept denotes a focus on the idle, monotonous, devoid of colors and any changes in life. Andrei Stolts called Oblomov's lifestyle itself, Oblomov's striving for endless peace and lack of activity. Despite the fact that a friend constantly pushed Oblomov to the opportunity to change the way of existence, he did not budge at all, as if he did not have enough energy to do it. At the same time, we see that Oblomov admits his mistake, pronouncing the following words: "I have long been ashamed to live in the world." He feels useless, unnecessary and abandoned, and therefore he does not want to dust off the table, take apart the books that have been lying for a month, leave the apartment once again.

Love in the understanding of Oblomov

Oblomov's lifestyle did not in any way contribute to the acquisition of real, and not invented, happiness. He dreamed and made plans more than he really lived. Amazingly, in his life there was a place for quiet rest, philosophical reflections on the essence of life, but there was not enough strength for decisive actions and implementation of intentions. Love for Olga Ilyinskaya temporarily pulls Oblomov out of his usual existence, makes him try new things, start looking after himself. He even forgets old habits and sleeps only at night, and does business during the day. But still, love in Oblomov's worldview is directly related to dreams, thoughts and poetry.

Oblomov considers himself unworthy of love: he doubts whether Olga can love him, whether he suits her enough, whether he is able to make her happiness. Such thoughts lead him to sad thoughts about his useless life.

Love as understood by Stolz

Stolz approaches the question of love more rationally. He does not indulge in ephemeral dreams in vain, as he looks at life soberly, without imagination, without the habit of analyzing. Stolz is a business man. He does not need romantic walks in the moonlight, loud declarations of love and sighs on the bench, because he is not Oblomov. Stolz's lifestyle is very dynamic and pragmatic: he makes an offer to Olga at the moment when he realizes that she is ready to accept him.

What did Oblomov come to?

As a result of protective and careful behavior, Oblomov misses the opportunity to build a close relationship with Olga Ilyinskaya. His marriage was upset shortly before the wedding - it took too long to get ready, to explain, to ask himself, to compare, to figure out, to analyze Oblomov. The characterization of the image of Oblomov Ilya Ilyich teaches not to repeat the mistakes of an idle, aimless existence, raises the question of what love is really like? Is she the subject of lofty, poetic aspirations, or is it the calm joy, peace that Oblomov finds in the house of the widow Agafya Pshenitsyna?

Why did Oblomov's physical death come?

The result of Ilya Ilyich's philosophical reflections is as follows: he chose to bury in himself former aspirations and even lofty dreams. with Olga, his life focused on everyday life. He knew no greater joy than a delicious meal and an afternoon nap. Gradually, the engine of his life began to stop, subside: ailments and cases became more frequent.Even previous thoughts left him: there was no longer a place for them in a quiet room that looked like a coffin, in all this sluggish life that lulled Oblomov, more and more distanced him from reality. Mentally, this man had long been dead. Physical death was only a confirmation of the falsity of his ideals.

Stolz's achievements

Stolz, unlike Oblomov, did not miss his chance to become happy: he built family well-being with Olga Ilyinskaya. This marriage was accomplished out of love, in which Stolz did not fly into the clouds, did not stay in destructive illusions, but acted more than reasonably and responsibly.

The lifestyles of Oblomov and Stolz are diametrically opposed and opposed to each other. Both characters are unique, inimitable and significant in their own way. This may explain the strength of their friendship over the years.

Each of us is close to either the Stoltz or Oblomov type. There is nothing wrong with that, and the coincidences are likely to be only partial. Those who are deep, loving to reflect on the essence of life, most likely, will understand Oblomov's experiences, his restless mental rushes and searches. Business pragmatists, who left romance and poetry far behind, will embody themselves with Stolz.

What are Stolz's life ideals? (based on the novel by Ivan A. Goncharov "Oblomov")

In IA Goncharov's novel Oblomov, Andrei Stolts is the opposite of Oblomov. Every feature of Stolz is a blatant protest against the qualities of Oblomov. The first loves an active and interesting life, the second often falls into apathy, he is like a snail that is afraid to crawl out of the shell. The difference in the characters and ideals of life between Oblomov and Stolz was laid in childhood. Stolz received a strict European upbringing. Since childhood, he was instilled in good manners, taught to stay in society, forced to read various books, learn poems.

Education had a great influence on Andrei, he is incessantly on the move, travels to the world, reads clever books: "In the moral functions of his life, he was looking for a balance of practical sides with the subtle needs of the spirit." Stolz lived according to an exact plan, according to a budget, there was nothing superfluous in his actions: "He had no extra movements." Most of all he was afraid of imagination, of any dream, for this there was no place in his soul. That which was not analyzed, Stolz perceived as an optical illusion. He had no idols, but he retained the strength of his soul.

This man lived in the name of the cause: "for work itself." Stolz is shown as a "renovator" of Russian society, it is such a person who can change the world and life.

Ideal and idyll

Belokurova S.P., teacher of gymnasium No. 405 of Krasnogvardeisky district of St. Petersburg Drugoveiko S.V., teacher of the Russian language department of St. Petersburg State University

One of the modern researchers, once again reflecting on the pages of the novel "Oblomov", comes to the following, at first glance, rather paradoxical conclusion: "The structural construction of the novel is symmetrical. Between two idealized centers - the idyll in Oblomovka and on the Vyborgskaya side - Oblomov's temporary residence on Gorokhovaya street: an intermediate state of homelessness. Three places are places of three states of mind and everyday life: paradise - paradise lost - paradise returned "[Haynadi Zoltan. Paradise Lost / Literature. 2002. N 16]. Note that attempts to see in Goncharovskaya Oblomovka a description of the earthly paradise, a kind of "Theocritus idyll" in the Russian manner, have already been repeatedly undertaken in domestic literary criticism. If the writer's contemporaries - both Dobrolyubov and Apollo Grigoriev - were still able to assess the depiction of Oblomov's idyll as very ironic, then in the criticism of the turn of the 19th and 20th centuries, "ironic intonations were somehow supplanted from the definition of Oblomovka as an idyllic place. From capitalizing Russia they sought refuge in the past, in patriarchal Russia, in Oblomovka "[Kantor V. Long Skill to Sleep: Reflections on the novel by I. A. Goncharov" Oblomov "/ Voprosy literatury. 1989. No. 1. P.154]. So, Y. Eichenwald Oblomovka resembled "a clear and quiet lake", "idyll of settled life" [Eichenwald Y. Silhouettes of Russian writers. Issue 1.- M., 1906. P.143-144], D. Merezhkovsky - "scenery for the idyll of Theocritus shepherds" [Merezhkovsky DS Eternal companions. - SPb.-M., 1911. P.238]. In the second half of the twentieth century, in the era of stagnation, Oblomovka began to seem at all "a dream of a lost paradise", one of the "most defenseless, albeit charming, idylls that man has ever dreamed of" [Loshchits Yu. Goncharov. - M., 1986. P.201]. However, when analyzing the text of the chapter "Oblomov's Dream", the position of the author himself in relation to the "ideal of peace and inaction", which is how the main character of the novel thinks of the existence of Oblomovka residents, clearly becomes clear. It is not for nothing that in the description of Oblomovka, the images of sleep and death are not only endlessly repeated, but are also equated to each other, because peace and silence serve as characteristics of both "twins", as F.I. called these states of the human soul ("There are twins - for earthly deities - then Death and Sleep, / Like a brother and sister wonderfully similar, / She is sullen, he is gentle ... "(F. Tyutchev. Gemini)):

everything promises there a deceased long-term life to yellow hair and imperceptible, Sleep like death Quiet and sleepy all in the village in vain you will click loudly: Dead silence will be the answer ... and if anyone and Died in eternal sleep … Sleepy life her, which without that, maybe Would fade away ... the house reigned Dead silence... The hour of universal afternoon has come Sleep It was some kind of all-consuming, invincible Sleep, true likeness of death... Everything in Oblomovka Rest so tight and Peacefully.

Moreover, often in the same context, the symbolic designations of life and death collide:

everything promises there Deceased long-term A life A life, as Deceased river A life according to this program it stretches in a continuous monotonous fabric, imperceptibly breaking off at the very Graves three main acts Of life : homeland, wedding, The funeral Sleep, Eternal silence sluggish Of life etc.

The concepts of life, death, sleep, rest and silence, in fact, do not have independent characteristics - which means that these states themselves are no different for Oblomovites. Not only the annual, but also the life circle is completed for the inhabitants of Oblomovka "correctly and calmly." "Sleepy Oblomovka is an afterlife, this is the absolute peace of man. Oblomovka is death" [Weil P., Genis A. Native speech. - M., 1991. P.123-124] (Generally the topic Dreams plays an extremely important role in the structure of the novel. You can recall the description of Olga and Stolz's dreams (part four, chapter VIII), and Agafya Matveevna's insomnia (part four, chapter I).). In essence, the same "equating" can be observed in the description of Oblomov's life on the Vyborg side:

World and Silence Rest over the Vyborg side All Quiet and in Pshenitsyna's house. You will come in and be covered Alive an idyll Oblomov himself was a complete and natural reflection and expression of that Rest, contentment and serene Silence And here, as in Oblomovka, he managed to cheaply get rid of Of life, bargain from her and insure yourself an imperturbable Rest if reproaches for Lived so and not otherwise A life, it Sleeps restlessly looking like Quiet and peaceful drowning in the fire of dawn the evening sun finally decides that A life it was not only developed, but also created, it was even intended so simply, no wonder, to express the possibility of ideally Deceased human side Of being it Quiet and gradually fit into Coffin the rest Of its existencemade with his own hands, like the desert elders, who, turning away from Of lifedig themselves Grave in Dream whether he saw the phenomenon taking place in front of him, Lived has ever been everlasting Rest, eternal Silence Quiet stopped the car Of lifeetc.

When comparing the two fragments of the novel, one can see other similar details: a description of household chores, the cult of food reigning in both worlds; numerous "reflections" of some microplots of the chapter "Oblomov's Dream" in the description of the hero's life on the Vyborg side; the similarity of Agafya Matveyevna's attitude to Oblomov with maternal feelings for little Ilyusha, etc. The basis of the surname Agafya Matveyevna Pshenitsyna reminds of the everyday, natural, earthly beginning. According to one of the researchers, the fact that the reader's acquaintance with the novel begins in Gorokhovaya Street and ends with the hero's marriage to a woman named Pshenitsyn is also not accidental: “Oblomov's existence is inserted into the frame of vegetative associations, as if hinting that this human life is essentially vegetable "[Mildon V. On the meaning of Oblomov / XX century and the world. 1995. No. 1]. On the other hand, wheat is associated with the word bread - a symbol of life. Agafya Matveyevna, who became the mother of the son of Ilya Ilyich Oblomov, "is directly involved in the continuation of the Oblomov family (the immortality of the hero himself)" [Krasnoshchekova E. Ivan Aleksandrovich Goncharov: The World of Creativity. SPb., 1997. S. 343]. Name - common, leading its origin from the Greek "good, kind". The epithet kind is most often repeated in the description of this heroine. In addition, the sound of the name Agafya evokes associations with the ancient Greek agape, meaning a special kind of love - selfless and devoted. The patronymic of Matveevna is also no coincidence: first, it repeats the patronymic of the mother of the author of the novel himself; secondly, the etymology of the name Matthew (Matthew) - "the gift of God" - "again highlights the mythological subtext of the novel: Agafya Matveyevna was sent to Oblomov, anti-Faust with his" timid, lazy soul "as a gift, as the embodiment of his dream of peace" [Nikolina N. A. Philological analysis of the text. M., 2003. P.205]. The name of the heroine also reminds of Oblomov's childhood dream "to marry some unheard-of beauty Militrisa Kirbityevna" from nannies' tales about a magical land "where there are no worries and sorrows." It is here, on the Vyborg side, that Ilya Ilyich Oblomov dreams that he "reached that promised land where rivers of honey and milk flow" - it was here that "the ideal of his life was realized, although without poetry." This is a paradoxical conclusion, for the ideal (\u003d dream) is impossible without "poetry". In fact, this is not an ideal that has come true - it is an idyll that has come true. The words Ideal and Idyll although they were formed on the basis of a common Greek root, they later received fundamentally different meanings. And in the text of Goncharov's novel, they appear as a kind Antonyms... According to the dictionary interpretation, the ideal (\u003e gr. Idea - "prototype, essence") is perfection, the highest ultimate goal of aspirations, activities; while idyll (\u003e gr. eidyllion - "external image, picture") - 1. One of the genre forms of ancient poetry, painting the atmosphere of a peaceful life in the bosom of nature, paying special attention to describing happy love experiences; 2. (usually ironic) Peaceful, serene, happy, unclouded existence. "What is Oblomovism"? Oblomovism is the reluctance, impossibility and incapacity of striving for the ideal: the substitution of an unattainable ideal with a completely feasible idyll, which means the substitution of the inner with the outer, the essence with visibility, the high poetry of the spirit with the prose of real existence. To understand the secret of "Oblomov" means in many ways to comprehend the secret of human existence. According to one of the researchers, "Oblomov" "was a stern warning to culture, which contemporaries did not realize, referring the problems of the novel to a bygone or already passing time. More than a hundred years had to pass, it had to survive the revolution, the civil war, Stalinist terror, decades of stagnation. and immobility, so that the cultural relevance of the great novel becomes obvious "[Kantor V. Long habit to sleep: Reflections on the novel by I. A. Goncharov" Oblomov "/ Voprosy literatury. 1989. No. 1. P.185]. The ability to overcome OblomovismObviously, I. A. Goncharov saw himself in the future: Oblomov's son, Andrei Ilyich, given to Olga Ilyinskaya and Stolts for upbringing, had to combine the kindness and "dovish gentleness" of Ilya Ilyich and Agafya Matveyevna with the practicality and active spirit of Stolts and Olga Ilyinskaya - to bring reality closer to the ideal.

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