If you want to have
little time, do nothing.
A. Chekhov

The term "composition" is often replaced by the synonymous words "structure", "architectonics", "construction" and is often identified with the plot and plot. To be honest, the composition does not have an unambiguous interpretation; composition is sometimes understood as the purely external organization of a work (division into chapters, parts, phenomena, acts, stanzas, etc.).

- "external composition"); sometimes it is considered as its internal basis ("internal composition").

The difference between artistically interesting and entertaining and entertaining works is expressed in a number of specific features of their composition. In the first case, the fascination of the plot is achieved by psychological means, by deepening the characters and ideologically sharpening the work; in this case, the circumstances are not hidden, but, on the contrary, are revealed to the reader from the very beginning. In the second case, the plot is built on the principle of depicting a complex interweaving of external circumstances (intrigue), an intricate incident, mystery and clues. What is a work of art - a textbook of life, a cast from nature or a miracle of art? To clarify the semantic role of the composition of the novel "Oblomov" you need to draw up a reference diagram. The first and fourth parts of the novel are its support, the soil. The rise in the second and third parts is the culmination of the novel, the very hill that Oblomov has to climb. The first part of the novel is internally connected with the fourth part, that is, Oblomovka and the Vyborg side are compared. The four parts of the novel correspond to the four seasons. The novel begins in the spring, May 1. A love story - summer turning into autumn and winter. The composition is inscribed in the annual cycle, the annual cycle of nature, cyclical time. Goncharov closes the composition of the novel in a ring, ending Oblomov with the words: "And he told him what is written here." Oblomov cannot break out of this vicious circle. Or maybe vice versa? And will Ilya Ilyich wake up again in the morning in his office? The desire "to a point of rest" - this is how the composition of the novel is built. Thus, there is already enough evidence that a work of art is a "miracle of art", it is special world living by its own artistic laws. One of the main laws of composition is the distinct motivation of all actions, behavior and experiences of the characters. It is she who, according to Chernyshevsky, gives the writer the opportunity to "impeccably group the figures", that is, the very grouping of characters to reflect life truth.

The first part of the novel is devoted to one ordinary day of the hero, who spends it without getting up from the couch. The unhurried author's narrative depicts in detail the atmosphere of his apartment, which bears the stamp of abandonment and desolation. But the main thing is not even this, but the fact that in the first part Goncharov leads many different people past the Oblomov sofa, creates a structural background, a kind of arrangement that will set the general tone for the entire novel. In the fourth part, a similar intonation will sound, but quieter, fading away. This is a spiral or ring composition (a game at the level of artistic time), which has independent content, its means and techniques transform and deepen the meaning of the image.

The composition is different from the plot and plot. It is determined by the material, the object of the image, the worldview of the writer, his vision of the world, the specific idea underlying the work, and the genre tasks set by the author. It would seem that almost nothing happens in the novel, but compositional structure captures from the first lines, when Oblomov hides in a closet, hiding from the intrusion of external life.

The exposition of the first chapter, despite the inertia of the protagonist, is still swift - life breaks into his dimly clogged room in the form of an unpleasant letter from the headman or the owner's demand to move out of the apartment. Oblomov cannot force himself to read the letter, delays the search for a new apartment, but thoughts about this constantly poison his existence. “It touches life, it gets everywhere,” complains Ilya Ilyich, trying to turn to his guests for help and advice. These people from the outside world are completely different from each other, there is not the slightest resemblance to Oblomov in them. All of them are active, mobile and energetic. Here appears the empty dandy Volkov, and the careerist Sudbinsky, and the writer-denunciator Penkin, and the impudent countryman Oblomov Tarantyev, and the faceless Alekseev.

Why does the writer introduce these episodic heroes into the novel, who appear in turn at the famous Oblomov sofa? And then only that, firstly, he wants to oppose Oblomov's energy of external life, and secondly, to show the frivolity of this secular fuss. Thus, the composition also acquires a kind of “behind-the-scenes” frame, a subtext in which social accusation is expressed quite clearly.

I want to write about two women who played huge role in the life of one person. This man is Ilya Ilyich Oblomov, main character novel by I. A. Goncharov and one of my favorite literary characters. Both of these women, completely different from each other, loved Ilya Ilyich Oblomov, and each of them influenced his life in her own way. Olga Ilyinskaya is a smart, proud, proud girl. She has a passionate and active nature. She tried to awaken Oblomov to life, to useful activity, did a lot to save him from laziness and apathy. Here is how Goncharov writes about Olga: “Introducing the presence of a young, pretty, intelligent and somewhat mocking woman into Oblomov’s sleepy life is like bringing a lamp into a gloomy room, from which pink light will spill into all dark corners, a few degrees of heat, and the room will be more cheerful. Olga meets Oblomov at the age of twenty. Her life is rich and full. She loves music and sings beautifully. She wants to know everything, understand everything. Olga has a very wide range of interests. She reads books, newspapers, follows literary novelties. From the first days of meeting Oblomov, Olga actively interferes in his life. At first, she was simply fascinated by the idea of ​​saving Oblomov, but, saving, she fell in love with him. For Olga, love, life and a sense of duty are inseparable. She is sure that with her love she will bring Ilya Ilyich back to life and thereby make him happy. Dobrolyubov said about Olga Ilyinskaya that she has "the amazing harmony of her heart and will." In the struggle for Oblomov, her naturalness, truthfulness in words and deeds, lack of coquetry and ability to love appeared. Olga knows how to sacrifice herself, in her actions she is guided not by the laws of etiquette, but by her inner voice - the voice of conscience and love. Oblomov, having fallen in love with Olga, simply changed under her influence. He began to get up early, dress carefully: "You can't see a bathrobe on him." Together with Olga, he visits theaters, museums, even climbs the hill after her. This friendship, which later grew into love, influenced not only Oblomov. She also accelerated spiritual growth Olga herself. Here is what D. I. Pisarev said about this: “Olga grows with her feeling; each scene that takes place between her and the person she loves adds a new trait to her character, with each scene the graceful image of the girl becomes more familiar to the reader, is outlined brighter and stands out more strongly from the general background of the picture. Oblomov was shocked by Olga's wonderful singing. His natural spirituality woke up in him, the existence of which he himself had already forgotten. This was the beginning of a great feeling: “No, I feel ... not music ... but ... love!” But if Oblomov wants love not to disturb the peaceful course of his life, the peace to which he is accustomed, then Olga expects something completely different from love ... Olga demanded activity and determination from Oblomov. She was looking for an application for her strength and, having met Oblomov, she set fire to the dream of resurrecting him, awakening him to life. But it turned out to be an impossible task even for her. Another loving woman in the life of Ilya Ilyich Oblomov was the widow of a petty official Agafya Matveevna Pshenitsyna. Agafya Matveevna is an ideal hostess. She never sits idle for a minute. Everything is arguing with her, the house is clean and tidy. Agafya Matveevna has no spiritual requests. When Oblomov asked her: “Are you reading anything?”, She only “looked at him stupidly” in response. What attracted Oblomov to this simple, uncultured woman? I think that it turned out to be very close to the Oblomov way of life. Ilya Ilyich liked her house on a quiet street of the Vyborg side. The owner of this house provided Oblomov with all the necessary conditions - silence, peace, delicious food. Agafya Matveevna saved Oblomov from declarations of love and showdown of relationships that filled his life during the period of communication with Olga. Pshenitsyna became an attentive, caring nanny for him. The days passed slowly and quietly. Oblomov was calm and happy. Agafya Matveevna disinterestedly and selflessly loved Oblomov. However, with her love and care, she again drowned out the human feelings that had awakened in him. Thus, she completed the process of Oblomov's spiritual death, which began back in Oblomovka. It is surprising that Oblomov was loved by two women, completely different in intellect, education and social status. However, Olga sought to save Oblomov, and Agafya Matveevna ruined him with her love. Which of them was more needed and closer to Oblomov? Goncharov leaves this question open. The term "composition" is often replaced by the synonymous words "structure", "architectonics", "construction" and is often identified with the plot and plot. To be honest, the composition does not have an unambiguous interpretation, the composition is sometimes understood as the purely external organization of the work (dividing into chapters, parts, phenomena, acts, stanzas, etc. - “external composition”), sometimes it is considered as its internal basis (“ internal composition). The difference between artistically interesting and entertaining and entertaining works is expressed in a number of specific features of their composition. In the first case, the fascination of the plot is achieved by psychological means, by deepening the character and ideological sharpening of the work; in this case, the circumstances are not hidden, but, on the contrary, are revealed to the reader from the very beginning. In the second case, the plot is built on the principle of depicting a complex interweaving of external circumstances (intrigue), an intricate incident, mystery and clues. What is a work of art: a textbook of life, a cast from nature, or a miracle of art? To clarify the semantic role of the composition of the novel "Oblomov", we put a reference scheme. The first and fourth parts of the novel are its support, the soil. The rise in the second and third parts is the culmination of the novel, the very hill that Oblomov has to climb. The first part of the novel is internally connected with the fourth part, that is, Oblomovka and the Vyborg side are compared. The four parts of the novel correspond to the four seasons. The novel begins in the spring, May 1. A love story - summer turning into autumn and winter. The composition is inscribed in the annual cycle, the annual cycle of nature, cyclical time. Goncharov closes the composition of the novel in a ring, ending "Oblomov" with the words: "he told him what is written here." Oblomov cannot break out of this vicious circle. Or maybe vice versa? And will Ilya Ilyich wake up again in the morning in his office? The striving “for a point of view” is how the composition of the novel is built* Thus, there is already enough evidence that a work of art is a “miracle of art”, this is a special world that lives according to its own artistic laws. One of the main laws of composition is the distinct motivation of all the actions, behavior and experiences of the characters. It is she, according to N.G. Chernyshevsky, who gives the writer the opportunity to “irreproachably group the figures”, that is, the very grouping of characters reflects the truth of life. The first part of the novel is devoted to one ordinary day of the hero, who spends it without getting up from the couch. The unhurried author's narrative depicts in detail the atmosphere of his apartment, which bears the stamp of abandonment and desolation. But the main thing is not even this, but the fact that in the first part Goncharov leads many different people past the Oblomov sofa, creates a structural background, a kind of arrangement that sets the general tone for the entire novel. In the fourth part, a similar intonation will sound, but quieter, fading away. This is a spiral or ring composition (a game at the level of artistic time), which has independent content, its means and techniques transform and deepen the meaning of the image. The composition is different from the plot and plot. It is determined by the material, the object of the image, the worldview of the writer, his vision of the world, the specific idea underlying the work, and the genre tasks set by the author. It would seem that almost nothing happens in Goncharov's novel, but the compositional structure captures from the first lines, when Oblomov hides in a closet, hiding from the intrusion of external life. The exposition of the first chapter, despite the inertia of the protagonist, is still swift - life breaks into his dimly clogged room in the form of an unpleasant letter from the headman or the owner's demand to move out of the apartment. He cannot force himself to read the letter, delays the search for a new apartment, but the thought of this constantly poisons his existence. These people from the outside world are completely different from each other, they do not have the slightest resemblance to Oblomov. All of them are active, mobile and energetic. Here appears the empty dandy Volkov, and the careerist Sudbinsky, and the writer-denunciator Penkin, and the impudent countryman Oblomov Tarantyev, and the faceless Alekseev. Why does the writer introduce these episodic heroes into the novel, who appear in turn at the famous Oblomov sofa? Yes, only because, firstly, he wants to oppose Oblomov's energy of external life, and secondly, to show the frivolity of this secular fuss. Thus, the composition also acquires a kind of “behind-the-scenes” frame, a subtext in which social accusation is expressed quite clearly.

Composition is a certain sequence of presentation of parts of a work, adopted by the author. What meaning does it carry? We can already associate the very word “composition” with the concept of “position of the author”. This means that the composition expresses Goncharov's position in the novel and helps the author in revealing the main idea.
An important role in the work is played by "Oblomov's dream". This is a piece of distant childhood, Oblomov's past, crashing into the present, coming like a dream. This chapter makes it clear to the reader where Oblomov came from, and, perhaps, predicts the future. Goncharov in "Oblomov's dream" paints a picture of the heavenly, measured life of an entire village, where no one is used to working, and they try to keep little Ilya longer from work and from teaching. We understand that Ilya Ilyich in childhood was a lively, lively boy, but his abilities were prevented from developing by the environment surrounding him.
Oblomov's dream ends the first part of the novel. The hero wakes up and discovers Stolz - the hero of his dream, his best friend since childhood, who sincerely loved Ilya.
With the arrival of Stolz, the usual course of things for Oblomov is sharply disrupted. Friends go to Olga Ilyinskaya, and soon Oblomov falls in love with her. Further, all events develop naturally, the author does not run ahead and does not return to the past. But such a course of events, that is, the development of the novel by Olga and Oblomov, ends with a break in relations between these heroes. This is the climax of the novel; at this moment, Olga realizes that she can no longer stay with Ilya. She failed to stir him up, revive him - it is clear that what was laid down in childhood cannot be changed in the hero.
A bright streak in Oblomov's life is ending. He moves to the Vyborg side and continues his old life. The owner of his apartment, Agafya Pshenitsyna, becomes the wife of Ilya Oblomov. But soon the hero dies. The novel begins and ends with Ilya Ilyich's dream.
At the beginning of the work - this is a dream about the past, "news" from childhood. And now that one last sleep Oblomov. But despite the outward calmness of body and soul, Oblomov was alive, he was able to love - and loved. In the middle of the work, during an affair with Olga, Oblomov lived a full life, he almost shook off his usual dream. But precisely because the hero could not part with his Oblomovism, his romance with Ilyinskaya ended.
So, the novel can be divided into semantic parts: from the beginning to the meeting with Olga, from falling in love with Olga to parting with her, and from moving to the Vyborg side to the end of the novel. The composition is mirrored: it begins and ends with the protagonist's dream. The culmination is parting with Olga.
At the very end of the work, Goncharov resorts to a "framework" construction: Stolz and his acquaintance writer - obviously Goncharov himself - meet Ilya Ilyich's impoverished servant, Zakhar. He tells them what brought him to poverty; and Stoltz himself tells the writer "everything that is written here." Probably, with this technique of “repeating history in a circle”, that is, moving from the end of the novel to the beginning, the author wanted to show that with the death of Oblomov, Oblomovism did not disappear. The story of the hero of the novel will be repeated many more times, he - eternal image not only literature, but also our real life.

Goncharov's novel "Oblomov" was published in 1859 and immediately interested the writer's contemporaries with the depth of the issues revealed in the work. In the novel, the author first described such a tendentious for Russian society phenomenon as "Oblomovism", sharply denoting the conflict between the heroes living in the past and the heroes-creators of the future. However, an equally important aspect to understand ideological sense The work is the composition "Oblomov", built from four main parts, reflecting the different stages of the formation of the personality and state of mind of Ilya Ilyich.

The plot-compositional construction of "Oblomov"

To understand the ideological and semantic functions of the composition of the novel "Oblomov" by Goncharov, it is necessary to briefly retell the main storylines works.

In the first part, the author draws before the reader one day in the life of Ilya Ilyich. Lazy, mired in Oblomovism, Oblomov spends all day in bed, not daring to get up and do any business. Moreover, he does not even get up to greet Volkov, Sudbinsky and Penkin, who came to him, and then Alekseev and Tarantiev. The first part ends with the chapter "Oblomov's Dream" - the only chapter in the novel that has a title. This is due not only to the history of the creation of the work (the idea of ​​the book appeared back in 1847, and in 1849 Goncharov published "Oblomov's Dream" as an independent work, which then formed the basis of the novel "Oblomov"), but also the importance of sleep for understanding the phenomenon of "Oblomovism". ”, its influence on Ilya Ilyich as the central goal of his life.

The second part begins with the arrival of Stolz, who pulls Oblomov out of his half-asleep state and takes him to the guests. The life of Ilya Ilyich changes dramatically - Andrei Ivanovich introduces him to Olga Ilyinskaya, with whom Oblomov falls in love. The girl also fell in love with Ilya Ilyich and the second part ends with their confessions and plans for a happy future.

The third part is devoted to the development of relations between Olga and Oblomov. Goncharov describes both the happiness of lovers and the difficulties of mutual understanding. At the end of the third part, Oblomov and Olga break up, as they understand that the idealized images of each other that they fell in love with do not correspond to reality.

The fourth part talks about later life Olga and Oblomov. Oblomov finds his family happiness with Pshenitsyna, who creates for him that very desirable atmosphere of Oblomovka. Olga marries Stolz. The novel ends with the death of Oblomov.

Semantic features of the composition "Oblomov"

In the novel "Oblomov" the composition is divided into four main parts, symbolizing the four stages of the hero's life, corresponding to the seasons. It is not surprising that the theme of nature in the novel occupies one of the central places - all events seem to be complemented by landscapes, weather or images of nature.

"Spring" and "Summer" Oblomov

The novel begins with a "winter" in Oblomov's life - a state of drowsiness, almost "dying", when a person practically does not get out of bed, waiting for his death. The next stage - the second part - is the "spring" of Ilya Ilyich - the rebirth from the "winter" sleep and steps towards a new life and new love. The boundary moment between the "winter" of the first part and the "spring" of the second is Oblomov's dream, which tells about the actual "spring" of the hero's life - his childhood in his native village. The functional role of sleep in the composition of the novel is a smooth transition from apathy and "winter" to "spring" through memories of youth, joy and life through a dream - that is, in fact, Oblomov's dream is prophetic, since then his life again becomes similar on his youth - filled with the enchanting beauty of nature, new impressions and love. On the other hand, the arrival of the "spring" of the hero in a dream indicates that the following events are a continuation of this dream, and not really happening to the hero. This is also indicated by Olga's words at their parting that she is not in the power to change Oblomov, since he is already dead. That is, starting the novel with Oblomov's "winter", the author indicates that the hero is already irrevocably immersed in a sleepy state, leading to the collapse of "Oblomovism".

The characters’ spring love, symbolized by a fragile lilac branch, is replaced by “summer” (the third part of the novel) both in the hero’s soul and in the relationship between Olga and Oblomov. They think about the need to get married, but Oblomov's lack of initiative and fear of the future does not allow this to happen. The parting of the lovers represents the end of the "summer" emphasized by the snowfall that Oblomov falls on the way home - like a reminder that the hero again fell into a deadly winter sleep and apathy, from which only Olga and Stolz could bring him out.

"Autumn" and "Winter" Oblomov

The fourth part of the novel represents the "autumn" and "winter" of Oblomov's personality - a calm, deadly quiet life with Pshenitsyna. Before the death of Ilya Ilyich, it is as if he returns to his native Oblomovka, while more and more plunging into dreams that are not destined to come true. At the time of actual death, Oblomov's personality was already dead - he had long existed outside real world, plunging into the illusory world of "winter" half-asleep.

At the same time, the real calendar of events is somewhat shifted in relation to the development of events that begin in May and end in late autumn, thus symbolizing the period of the hero’s life corresponding to his real age - from 30 years old (end of spring) to late autumn - about 50 -ty years.

conclusions

The main feature of the composition of the novel "Oblomov" is "loopback" internal state Main character. At the beginning of the work, Ilya Ilyich is not only immersed in Oblomovism, he himself is part of this distant, cut off from big world Oblomovki. We see the same thing at the end of the work - Oblomov dies spiritually and physically, just like his native village dies. On a philosophical scale, the composition of the novel points to the inevitability of the passage of time, the change of seasons and stages of life, the finiteness of not only a person and a village, but also the whole history of the family with its traditions, which will surely be replaced by something new.

This characterization and description of the features of the composition of the novel are recommended for the study of 10 classes before writing an essay on the topic "Compositions of the novel" Oblomov "".

Artwork test

I want to write about two women who played a huge role in the life of one person. This person is Ilya Ilyich Oblomov, the protagonist of the novel by I. A. Goncharov and one of my favorite literary characters. Both of these women, completely different from each other, loved Ilya Ilyich Oblomov, and each of them influenced his life in her own way. Olga Ilyinskaya is a smart, proud, proud girl. She has a passionate and active nature. She tried to awaken Oblomov to life, to useful activity, did a lot to save him from laziness and apathy. Here is how Goncharov writes about Olga: “Introducing the presence of a young, pretty, intelligent and somewhat mocking woman into Oblomov’s sleepy life is like bringing a lamp into a gloomy room, from which pink light will spill into all dark corners, a few degrees of heat, and the room will cheer up.”
Olga meets Oblomov at the age of twenty. Her life is rich and full. She loves music and sings beautifully. She wants to know everything, understand everything. Olga has a very wide range of interests. She reads books, newspapers, follows literary novelties.
From the first days of meeting Oblomov, Olga actively interferes in his life. At first, she was simply fascinated by the idea of ​​saving Oblomov, but, saving, she fell in love with him. For Olga, love, life and a sense of duty are inseparable. She is sure that with her love she will bring Ilya Ilyich back to life and thereby make him happy. Dobrolyubov said about Olga Ilyinskaya that she has "the amazing harmony of her heart and will."
In the struggle for Oblomov, her naturalness, truthfulness in words and deeds, lack of coquetry and ability to love appeared. Olga knows how to sacrifice herself, in her actions she is guided not by the laws of etiquette, but by her inner voice - the voice of conscience and love. Oblomov, having fallen in love with Olga, simply changed under her influence. He began to get up early, dress carefully: “You can’t see a robe on him.” Together with Olga, he visits theaters, museums, even climbs the hill after her. This friendship, which later grew into love, influenced not only Oblomov. She also accelerated the spiritual growth of Olga herself. Here is what D. I. Pisarev said about this: “Olga grows with her feeling; each scene that takes place between her and the person she loves adds a new trait to her character, with each scene the graceful image of the girl becomes more familiar to the reader, is outlined brighter and stands out more strongly from the general background of the picture.
Oblomov was shocked by Olga's wonderful singing. His natural spirituality woke up in him, the existence of which he himself had already forgotten. This was the beginning of a great feeling: “No, I feel… not music… but… love!” But if Oblomov wants love not to disturb the peaceful course of his life, the peace to which he is accustomed, then Olga expects something completely different from love ...
Olga demanded activity and determination from Oblomov. She was looking for an application for her strength and, having met Oblomov, she set fire to the dream of resurrecting him, awakening him to life. But it turned out to be an impossible task even for her.
Another loving woman in the life of Ilya Ilyich Oblomov was the widow of a petty official, Agafya Matveevna Pshenitsyna. Agafya Matveevna is an ideal hostess. She never sits idle for a minute. Everything is arguing with her, the house is clean and tidy. Agafya Matveevna has no spiritual requests. When Oblomov asked her: “Are you reading anything?”, She only “looked at him stupidly” in response.
What attracted Oblomov to this simple, uncultured woman? I think that it turned out to be very close to the Oblomov way of life. Ilya Ilyich liked her house on a quiet street of the Vyborg side. The owner of this house provided Oblomov with all the necessary conditions - silence, peace, delicious food. Agafya Matveevna saved Oblomov from declarations of love and showdown of relationships that filled his life during the period of communication with Olga. Pshenitsyna became an attentive, caring nanny for him. The days passed slowly and quietly. Oblomov was calm and happy. Agafya Matveevna disinterestedly and selflessly loved Oblomov. However, with her love and care, she again drowned out the human feelings that had awakened in him. Thus, she completed the process of Oblomov's spiritual death, which began back in Oblomovka.
It is surprising that Oblomov was loved by two women, completely different in intellect, education and social status. However, Olga sought to save Oblomov, and Agafya Matveevna ruined him with her love. Which of them was more needed and closer to Oblomov? Goncharov leaves this question open.
The term "composition" is often replaced by the synonymous words "structure", "architectonics", "construction" and is often identified with the plot and plot. To be honest, the composition does not have an unambiguous interpretation, the composition is sometimes understood as the purely external organization of the work (dividing into chapters, parts, phenomena, acts, stanzas, etc. - “external composition”), sometimes it is considered as its internal basis (“ internal composition).
The difference between artistically interesting and entertaining and entertaining works is expressed in a number of specific features of their composition. In the first case, the fascination of the plot is achieved by psychological means, by deepening the character and ideological sharpening of the work; in this case, the circumstances are not hidden, but, on the contrary, are revealed to the reader from the very beginning. In the second case, the plot is built on the principle of depicting a complex interweaving of external circumstances (intrigue), an intricate incident, mystery and clues. What is a work of art: a textbook of life, a cast from nature, or a miracle of art? To clarify the semantic role of the composition of the novel "Oblomov" we put a reference scheme.
The first and fourth parts of the novel are its support, the soil. The rise in the second and third parts is the culmination of the novel, the very hill that Oblomov has to climb.
The first part of the novel is internally connected with the fourth part, that is, Oblomovka and the Vyborg side are compared. The four parts of the novel correspond to the four seasons. The novel begins in the spring, May 1.
A love story - summer, turning into autumn and winter. The composition is inscribed in the annual cycle, the annual cycle of nature, cyclical time. Goncharov closes the composition of the novel in a ring, ending "Oblomov" with the words: "he told him what is written here." Oblomov cannot break out of this vicious circle. Or maybe vice versa? And will Ilya Ilyich wake up again in the morning in his office?
The striving “for a point of view” – this is how the composition of the novel is built – Thus, there is already enough evidence that a work of art is a “miracle of art”, this is a special world that lives according to its own artistic laws.
One of the main laws of composition is the distinct motivation of all the actions, behavior and experiences of the characters. It is she who, according to N. G. Chernyshevsky, gives the writer the opportunity to “irreproachably group the figures”, that is, the very grouping of characters reflects the truth of life.
The first part of the novel is devoted to one ordinary day of the hero, who spends it without getting up from the couch. The unhurried author's narrative depicts in detail the atmosphere of his apartment, which bears the stamp of abandonment and desolation. But the main thing is not even this, but the fact that in the first part Goncharov leads many different people past the Oblomov sofa, creates a structural background, a kind of arrangement that sets the general tone for the entire novel. In the fourth part, a similar intonation will sound, but quieter, fading away.
This is a spiral or ring composition (a game at the level of artistic time), which has independent content, its means and techniques transform and deepen the meaning of the image.
The composition is different from the plot and plot. It is determined by the material, the object of the image, the worldview of the writer, his vision of the world, the specific idea underlying the work, and the genre tasks set by the author. It would seem that almost nothing happens in Goncharov's novel, but the compositional structure captures from the first lines, when Oblomov hides in a closet, hiding from the intrusion of external life.
The exposition of the first chapter, despite the inertia of the protagonist, is still swift - life breaks into his dimly sealed room in the form of an unpleasant letter from the headman or the owner's demand to move out of the apartment. He cannot force himself to read the letter, delays the search for a new apartment, but the thought of this constantly poisons his existence. These people from the outside world are completely different from each other, they do not have the slightest resemblance to Oblomov. All of them are active, mobile and energetic. Here appears the empty dandy Volkov, and the careerist Sudbinsky, and the writer-denunciator Penkin, and the impudent countryman Oblomov Tarantyev, and the faceless Alekseev.
Why does the writer introduce these episodic heroes into the novel, who appear in turn at the famous Oblomov sofa? Yes, only because, firstly, he wants to oppose Oblomov's energy of external life, and secondly, to show the frivolity of this secular fuss. Thus, the composition also acquires a kind of “behind the scenes” frame, a subtext in which social accusation is expressed quite clearly.

Essay on literature on the topic: Features of the composition of the novel “Oblomov”

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  1. In the center of Goncharov's novel "Oblomov" is a complex and contradictory image of the landowner Ilya Ilyich Oblomov. In the first part of the novel, the seemingly most obvious features of his personality are depicted: laziness, lack of will, contemplation. Gogol's traditions stand out vividly in the image of the hero, the author focuses on the details Read More ......
  2. The novel "Oblomov" was written by Ivan Alexandrovich Goncharov in the middle of the 19th century. In it, the author touches on the current topic of his time - serfdom. People see that it has outlived itself. A reorganization of society must take place, because serfdom will no longer be able to give Read More ......
  3. A realist writer, Goncharov believed that an artist should be interested in stable forms in life, that the work of a true writer is the creation of stable types that are composed of “long and many repetitions or moods of phenomena and persons.” These principles determined the basis of the novel Oblomov. Dobrolyubov gave Read More ......
  4. The novel by I. A. Goncharov “Oblomov” was published in 1859. In it, the writer truthfully depicted the contemporary life of Russian society. It is hardly possible to find another work that so vividly showed the reader the process of degeneration of the nobility. In the novel, the author asks Read More ......
  5. The term "composition" is often replaced by the synonymous words "structure", "architectonics", "construction" and is often identified with the plot and plot. To be honest, the composition does not have an unambiguous interpretation, the composition is sometimes understood as the purely external organization of the work (division into chapters, parts, phenomena, acts, stanzas and Read More ......
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  7. Composition is organization artwork, correlation and interaction of its components, which ensure the unity of form and content. It depends on the peculiarities of the writer's artistic thinking and the genre characteristics of his work, it includes the unity of all figurative means and the principles of their Read More ......
  8. In the novel Oblomov, Goncharov reflected a part of contemporary reality, showed the types and images characteristic of that time, explored the origins and essence of contradictions in Russian society in the mid-19th century. The author used a series artistic techniques, which contributed to a more complete disclosure of images, themes and ideas Read More ......
Features of the composition of the novel "Oblomov"