Home Trees and shrubs Artistic image of the work. Creating an artistic image. System of images. Means of creating an artistic image How a story is created

Trees and shrubs

Artistic image of the work. Creating an artistic image. System of images. Means of creating an artistic image How a story is created

System of images. Tools for creating an artistic image

I. SYSTEM OF IMAGES (CHARACTERS)- the totality and principles of organization of images of the author, characters, narrator, storyteller.

AUTHOR-NARRATOR- in an epic work, a way of presenting artistic material in the third person. The author-narrator is impersonal, but omniscient: “The author must be assumed to be an omniscient being who does not sin” (Dostoevsky).

NARRATOR- the person on whose behalf the narrative in a work of art is conducted. The narrator can be one of the characters or the author if he participates in the action and expresses an emotional and evaluative attitude to what is happening.

CHARACTER, HERO- the protagonist of the work.

OFF-STAGE CHARACTER- a person mentioned in a dramatic work, but not appearing on stage.

CHARACTER- an image of a character presented with sufficient completeness.

TYPE- an image of a character that is natural for a given era, people, social group, age, psychological or ideological make-up.

LYRICAL HERO- the character closest to the author, on whose behalf the narration in a lyric poem is conducted.

2. ARTISTIC MEANS OF IMAGE CREATION

Types of speech as an artistic means of creating images

NARRATION- a story about something.

REASONING- a conclusion, a series of thoughts presented in a logically consistent form.

DESCRIPTION- image of something (verbal drawing):

A. LANDSCAPE- description of nature.

The role of landscape in a work of art

The background of the story, the events taking place.
The lyrical background is a way of emotionally influencing the reader.
Psychological background is one of the ways to reveal the psychology of characters.
Symbolic background is a way of symbolically reflecting the reality depicted in the work.
One way to create artistic time.

B. INTERIOR- description of the premises.

V. PORTRAIT- description of a person’s appearance.

PSYCHOLOGICAL PICTURE- a portrait that reveals the character’s character through appearance.

DIRECT SPEECH (SPEECH CHARACTERISTICS OF THE HERO)

A. DIALOGUE - a conversation between characters.

B. MONOLOGUE- a detailed, significant statement by a character addressed to himself or other characters, but, unlike dialogue, independent of their remarks.

B. REPLICA- a relatively small statement by a character.

D. INTERNAL MONOLOGUE, INTERNAL SPEECH- the thoughts of the character conveyed by himself or the author.

Other artistic means of creating images

B. CHARACTERISTICS OF OTHER CHARACTERS

B. AUTO CHARACTERISTICS

2. ARTISTIC DETAIL- expressive detail that has a significant semantic and emotional load: everyday objects, portraits, landscapes, psychological details.

3. SUBTEXT- internal, hidden meaning of the text. Subtext is contained, in particular, in almost all types of allegory

You may be interested in other topics:

Help me answer 2 questions about EXHIBIT No. Boris Lvovich Vasiliev 1. Determine the theme of the story. What is the author’s meaning in the title? Is it possible to say that there is hidden irony, a bitter smile in the title? 2. How is the image of Igor created in the story? Tell us in as much detail as possible about his character?

Answers:

1. Theme of memory. In the story, Boris Vasiliev exposes the inhuman, corrupting power of formalism. For Anna Fedotovna, letters are a memory of her son, a whole life, but for young pioneers they are just a forgotten exhibit. 2. The image of Igor in the story is created from an adult man who went to the front to a little boy, fatherless as only his mother Anna Fedorovna knew him - helpless, crawling, stomping, running away to Spain or solving problems incomprehensible to her - in the end he certainly stood in front of her slowly descending the first flight of stairs. And every evening she saw his narrow back and heard the same phrase: “I’ll be back, mom.” Igor's character: Igor grew up quiet, happy to obey his friend Volodka. (Igor fled to Spain. Boys doomed to fatherlessness grow up either desperately unhearing or quiet, and her son leaned towards the latter type). From his friend’s letter we see that Igor has always been an example for the entire detachment. (“Your Igor, dear Anna Fedotovna, has always been an example for our entire department..."

Analysis of the hero's image

Consider what means are involved in creating the images of the heroes of the second chapter of the novel “The Master and Margarita”.

Proposed image analysis plan hero for in-depth study of school literature. Modify this plan depending on your goals and class level. Download the hero image analysis plan

1. General information.

How is the hero introduced into the work?

Background.

Position in the work (hero-narrator, 3rd person).

If the narrator, show the narrator’s perspective (narrator, participant in events, reflective narrator).

Is there a prototype? How does the hero differ from the prototype?

Degree of participation in events (main character, secondary character).

2. Assessing the hero from different points of view:

What does the hero say about himself?

How do other characters treat the hero? What do they say about him?

How do you feel about the hero? (reader's position)

3. Portrait

Cloth

4. Language

internal monologues
dialogues with other characters

5. Housing
6. Actions:

What does the hero do?
How does he explain the motives for his behavior?
Is the behavior typical for its time?

7. The image of the hero in the structure of the work

What place does the hero occupy in the character system? (Is he involved in a conflict? Are there heroes opposed to this hero? Are there double heroes?)
What motives of the work is the hero connected with?
Features of classicism/romanticism/realism.
How is the character connected to the idea of the work?
Why did the author need this hero in this work?

8. Evaluation of the hero by the writer’s contemporaries.
9. Evaluation of the hero in literary criticism of different years.
10. General conclusion.

Questions for analyzing the images of heroes

Image of Yeshua

a) What do we learn about Yeshua before he appears?

b) Analyze the portrait of the hero. What can we tell about it by its appearance?

c) Read Yeshua’s lines in the scene with Mark the Ratcatcher. What do the author’s remarks in this dialogue say about the prisoner?

d) Analyze the language of Ha-Nozri as a separate text. Offer your interpretation.

e) What do we learn about Yeshua from the denunciation?

f) What does the arrested person tell about himself?

g) Why does Pilate call Yeshua a vagabond, a liar, a robber? What makes him called a strange robber? How and why does Pilate’s attitude towards Yeshua change in the future?

h) How is Yeshua's fearlessness demonstrated?

j) Why didn’t Yeshua take advantage of the opportunity to be saved?

k) What can we tell you about Yeshua’s philosophy? What words in the novel convey these meanings?

l) Compare Yeshua and the gospel Jesus Christ. How did Bulgakov change and interpret the biblical legend?

m) Trace how the image of Yeshua is connected with the motif of the sun.

o) Compare the image of Yeshua with his prototype using historical and religious literature.

Image of Pontius Pilate

a) Read the beginning of the chapter. How is the hero's portrait created?

b) Select from the text the most important details of the hero’s behavior in your opinion. Pay attention to body language and tone of conversation.

c) How does Bulgakov describe the details of the procurator’s clothes and house? What do these details tell us?

d) What does Pilate say about himself?

e) What does Yeshua say about him?

f) Why did the procurator call M. Ratboy? Why didn’t you look after him when he led Yeshua away?

g) What can we say about Pontius Pilate from his remarks in dialogue with Yeshua and Caiaphas?

h) Consider how the hero’s internal monologues are introduced.

How do they change the created image?

i) How does Pilate appear in the first part of the chapter? (before the words “everything about him...”).

j) How does Pilate try to help Yeshua? Why is he doing this?

k) Why does Pilate break into a scream, asserting the inviolability of the emperor’s power?

m) Summarize the previous 3 questions. How is the image of a hero created by describing his behavior?

m) How does the motif of illness help in creating the image of Pilate?

o) Compare Bulgakov's Pontius Pilate with the prototype using historical literature.

Tags: image of the hero, Bulgakov, Pontius Pilate, Yeshua, analysis plan, text analysis
Yulia Fishman
Certificate of publication No. 890397 dated November 19, 2016

Briefly:

An artistic image is one of the aesthetic categories; depiction of human life, description of nature, abstract phenomena and concepts that form the picture of the world in the work.

An artistic image is a conditional concept; it is the result of poetic generalizations; it contains the author’s invention, imagination, and fantasy. It is formed by the writer in accordance with his worldview and aesthetic principles. In literary criticism there is no single point of view on this issue. Sometimes one work or even the entire work of the author is considered as a complete artistic image (the Irishman D. Joyce wrote with such a programmatic approach). But most often the work is studied as a system of images, each element of which is connected with the others by a single ideological and artistic concept.

Traditionally, it is customary to distinguish the following levels of imagery in a text: images-characters, images of living nature(animals, birds, fish, insects, etc.), landscape images, object images, verbal images, sound images, color images(for example, black, white and red in the description of the revolution in A. Blok’s poem “The Twelve”), images-smells(for example, the smell of fried onions wafting through the courtyards of the provincial town of S. in Chekhov’s “Ionych”), images-signs, emblems, and symbols, allegories and so on.

A special place in the system of images of a work is occupied by the author, the narrator and the narrator. These are not identical concepts.

Author's image- the form of existence of the writer in a literary text. It unifies the entire character system and speaks directly to the reader. We can find an example of this in A. Pushkin’s novel “Eugene Onegin”.

Narrator's image in the work, a generalized abstract person, as a rule, is devoid of any portrait features and manifests himself only in speech, in relation to what is being communicated. Sometimes it can exist not only within one work, but also within a literary cycle (as in “Notes of a Hunter” by I. Turgenev). In a literary text, the author reproduces in this case not his own, but his, the narrator’s, manner of perceiving reality. He acts as an intermediary between the writer and the reader in the transmission of events.

The image of the narrator- this is the character on whose behalf the speech is being conducted. Unlike the narrator, the narrator is given some individual features (portrait details, biographical facts). In works, sometimes the author can lead the narration along with the narrator. There are many examples of this in Russian literature: Maxim Maksimych in M. Lermontov’s novel “Hero of Our Time”, Ivan Vasilyevich in L. Tolstoy’s story “After the Ball”, etc.

An expressive artistic image can deeply excite and shock the reader and have an educational effect.

Source: Student's Handbook: grades 5-11. - M.: AST-PRESS, 2000

More details:

The artistic image is one of the most ambiguous and broad concepts that is used by theorists and practitioners of all types of art, including literature. We say: the image of Onegin, the image of Tatyana Larina, the image of the Motherland or a successful poetic image, meaning the categories of poetic language (epithet, metaphor, comparison...). But there is one more, perhaps the most important meaning, the broadest and most universal: the image as a form of expression of content in literature, as the primary element of art in general.

It should be noted that the image in general is an abstraction, which acquires concrete outlines only as an elementary component of a certain artistic system as a whole. Every work of art is figurative, and so are all its components.

If we turn to any work, for example, to Pushkin’s “Demons,” the beginning of “Ruslan and Lyudmila” or “To the Sea,” we read it and ask the question: “Where is the image?” - the correct answer will be: “Everywhere!”, because imagery is the form of existence of a work of art, the only way of its existence, a kind of “matter” from which it consists, and which, in turn, breaks down into “molecules” and “atoms” "

The artistic world is, first of all, a figurative world. A work of art is a complex single image, and each of its elements is a relatively independent, unique particle of this whole, interacting with it and with all other particles. Everything and everyone in the poetic world is imbued with imagery, even if the text does not contain a single epithet, comparison or metaphor.

In Pushkin’s poem “I loved you...” there is none of the traditional “decorations”, i.e. tropes usually called “artistic images” (the extinct linguistic metaphor “love... faded” does not count), therefore it is often defined as “ugly”, which is fundamentally wrong. As R. Jacobson superbly showed in his famous article “The Poetry of Grammar and the Grammar of Poetry,” using exclusively the means of poetic language, and only the skillful juxtaposition of grammatical forms, Pushkin created an exciting artistic image of the experiences of a lover who deifies the object of his life, striking in its noble simplicity and naturalness. love and sacrificing his happiness for him. The components of this complex figurative whole are private images of purely verbal expression, revealed by an insightful researcher.

In aesthetics, there are two concepts of the artistic image as such. According to the first of them, an image is a specific product of labor, which is designed to “objectify” a certain spiritual content. This idea of the image has a right to life, but it is more convenient for spatial types of art, especially for those that have applied significance (sculpture and architecture). According to the second concept, the image as a special form of theoretical development of the world should be considered in comparison with concepts and ideas as categories of scientific thinking.

The second concept is closer and clearer to us, but, in principle, both suffer from one-sidedness. In fact, do we have the right to identify literary creativity with a certain kind of production, ordinary routine work that has well-defined pragmatic goals? Needless to say, art is hard, exhausting work (let us remember Mayakovsky’s expressive metaphor: “Poetry is the same mining of radium: / In a year of mining there is a gram of work”), which does not stop day or night. The writer sometimes literally creates even in his sleep (as if this is how the second edition of the Henriad appeared to Voltaire). There is no leisure. There is no personal privacy either (as O'Henry excellently portrayed in the story "Confessions of a Humorist").

Is artistic creativity hard? Yes, undoubtedly, but not only work. It is torment, and incomparable pleasure, and thoughtful, analytical research, and an unbridled flight of free imagination, and hard, exhausting work, and an exciting game. In a word, it is art.

But what is the product of literary labor? How and with what can it be measured? After all, not with liters of ink and not with kilograms of worn-out paper, not with sites posted on the Internet with the texts of works that now exist in purely virtual space! The book, still a traditional way of recording, storing and consuming the results of a writer’s work, is purely external, and, as it turned out, not at all a necessary shell for the imaginative world created in his process. This world is both created in the consciousness and imagination of the writer, and is translated, respectively, into the field of consciousness and imagination of the readers. It turns out that consciousness is created through consciousness, almost like in Andersen’s witty fairy tale “The King’s New Clothes”.

So, an artistic image in literature is by no means a direct “objectification” of spiritual content, some idea, dream, ideal, as this is easily and clearly presented, say, in the same sculpture (Pygmalion, who “objectified” his dream in ivory, All that remains is to ask the goddess of love Aphrodite to breathe life into the statue in order to marry her!). Literary work does not carry direct materialized results, any tangible practical consequences.

Does this mean that the second concept is more correct, insisting that the artistic image of a work is a form of exclusively theoretical exploration of the world? No, and there is a certain one-sidedness here. Imaginative thinking in fiction, of course, is opposed to theoretical and scientific thinking, although it does not exclude it at all. Verbal-figurative thinking can be represented as a synthesis of philosophical or, rather, aesthetic comprehension of life and its objective-sensory design, reproduction in material specifically inherent to it. However, there is no clear definiteness, no canonical order, no sequence of both, and there cannot be, if, of course, we mean real art. Comprehension and reproduction, interpenetrating, complement each other. Comprehension is carried out in a concrete, sensory form, and reproduction clarifies and clarifies the idea.

Cognition and creativity are a single holistic act. Theory and practice in art are inseparable. Of course, they are not identical, but they are one. In theory, the artist asserts himself practically, in practice - theoretically. For each creative individual, the unity of these two sides of one whole is manifested in its own way.

Thus, V. Shukshin, “exploring,” as he put it, life, saw it, recognized it with the trained eye of an artist, and A. Voznesensky, appealing to “intuition” in knowledge (“If you look for India, you will find America!”), with an analytical gaze architect (education could not help but have an impact). The difference was also reflected in terms of figurative expression (naive sages, “eccentrics”, animated birch trees in Shukshin and “atomic minstrels”, cultural leaders of the NTR, “triangular pear” and “trapezoidal fruit” in Voznesensky).

Theory in relation to the objective world is a “reflection,” and practice is the “creation” (or rather, “transformation”) of this objective world. The sculptor “reflects” a person—let’s say, a sitter—and creates a new object—a “statue.” But works of material art are obvious in the most literal sense of the word, which is why it is so easy to trace the most complex aesthetic patterns from their example. In fiction, in the art of words, everything is more complicated.

Exploring the world in images, the artist plunges into the depths of the subject, like a natural scientist in a dungeon. He cognizes its substance, fundamental principle, essence, extracts the very root from it. The secret of how satirical images are created was wonderfully revealed by the character of Heinrich Böll’s novel “Through the Eyes of a Clown,” Hans Schnier: “I take a piece of life, raise it to a power, and then extract the root from it, but with a different number.”

In this sense, one can seriously agree with M. Gorky’s witty joke: “He knows reality as if he did it himself!..” and with Michelangelo’s definition: “This is the work of a man who knew more than nature itself,” which he cites in in his article V. Kozhinov.

Creating an artistic image is less like looking for beautiful clothes for an initially ready-made primary idea; plans of content and expression are born and mature in him in complete harmony, together, at the same time. Pushkin’s expression “the poet thinks in poetry” and almost the same version of Belinsky in his 5th article about Pushkin: “The poet thinks in images.” “By verse we mean the original, immediate form of poetic thought” authoritatively confirm this dialectic.

The image of a person is included in the general system of artistic images of a literary work. Many literary heroes seem alive to the reader, taken from real life, because the author uses artistic means to create the image of his hero, creating the illusion of reality.

The means of creating a human image are Esalnek A.Ya. Theory of literature [Text] Textbook / A.Ya. Esalnek. - M.: Flinta, 2012. - p. 64.:

1) nominations: first name, last name, nickname, etc. (for example, in A.P. Chekhov’s play “The Cherry Orchard,” Varya calls Petya Trofimov a “shabby gentleman”; in Fonvizin’s comedy “The Minor,” the characters have “telling” names and surnames - Pravdin, Skotinin, Starodum, etc.) ;
2) a portrait - fragmentary, “fragmentary”, the details of which are scattered throughout the work (portrait of Natasha Rostova, Princess Marya in the epic novel “War and Peace”); detailed, monographic (in the poem “Dead Souls”, in the novel “Oblomov”);
3) speech characteristics (the content of speech and its form: what the hero is talking about and how);
4) interior (in the poem “Dead Souls,” Chichikov’s meeting with each landowner is preceded by a detailed description of the furnishings and interior decoration of the house, which allows the author to give a hidden characterization of the owner himself; in the novel “Eugene Onegin,” a description of the protagonist’s office is given twice - and the reader, watching changes in the interior, sees the evolution of Eugene’s inner world);
- the author's irony; Akaki Bashmachkin's overcoat as the meaning of his life and a metaphor for his personality);
6) landscape (pictures of nature can be in tune with the hero’s state of mind or contrast with it in order to highlight the depth of his inner experiences: the endless sky of Austerlitz helps Prince Andrei rethink his life goals, the sight of a green oak evokes hope for happiness in Bolkonsky);
7) artistic detail - a small everyday, psychological detail that becomes the most important feature of the image or helps to reveal the character, the mental state of the hero (for example, in the novel by E. Zamyatin “We” the psychological state of the hero, his suffering is conveyed in one stroke: “I
8) the actions of the hero;
9) evaluative statements addressed to the hero on behalf of other characters (Razumikhin about Raskolnikov: “I know Rodion: gloomy, gloomy, arrogant and proud”);
10) author's assessment - reviews of the author himself about his hero (for example, the Author about Onegin: “my good friend”);
11) the composition of the work, including such extra-plot elements as dreams, letters, diary entries, inserted episodes (for example, a Kalmyk fairy tale-parable told by Pugachev to Pyotr Grinev; the love story of Pavel Petrovich Kirsanov, told to Arkady Bazarov), etc.;
12) visual and expressive means (tropes, stylistic figures, linguistic means) Esalnek A.Ya. Theory of literature [Text] Textbook / A.Ya. Esalnek. - M.: Flinta, 2012. - p. 65..

When creating an image of a person, the author selects artistic means appropriate to his task; this choice may be limited by the type and genre characteristics of the work. Thus, in dramaturgy, portraits, landscapes, and interiors are possible only in the author’s stage directions; the hero’s speech characteristics and actions come to the fore as the main means of creating an image. In a lyrical work, the image of a person - a lyrical hero - is created through a lyrical monologue containing a description of the experiences, mental state of the subject of speech, as well as his manner of verbal self-expression.

The image combines the general, typical for a certain social group, era, nationality, and the individual, characteristic only of this hero. The totality of the hero’s individual properties is his character, which can be shown in development (Natasha Rostova, Andrei Bolkonsky, Pierre Bezukhov).

If in the image of a character only a generalization is given, without individualization, he cannot claim vitality, because it only portrays a personality type, not a complete character. Such are the heroes in the works of classicism: they have only one feature sharpened. A.S. Pushkin, comparing the characters of Shakespeare’s heroes, notes: “In Shakespeare, Shylock is stingy, sharp-witted, vengeful, child-loving, witty. In Molière - Stingy is stingy, and that’s all.” Khalizeev V.E. Theory of literature [Text] Textbook / V.E. Khalizeev. - M.: Academy, 2013. - p. 96..

Based on the generalization of socio-historical, universal and psychological personality traits, literary types arise that have some stable set of qualities (the type of superfluous person, the little person, the noble robber, Turgenev’s girls, etc.).

Writers often pay attention to detail when revealing the image of a hero in a work of fiction. A.I. Goncharov did the same when he introduced Ilya Ilyich Oblomov to the reader. The novel “Oblomov” is permeated with symbolic images, the main one of which was V.A. Kesovidi’s robe. A verbal portrait as a form of artistic and figurative representation of a person in a literary work (using the example of I.A. Goncharov’s novel “Oblomov”) [Text] / V.A. Kesovidi // Bulletin of the Adygea State University. - 2013. - No. 1 (114). - With. 50..

Oblomov’s robe in the novel “Oblomov” is, in fact, a separate character. He lives his life and goes through his life stages. Oblomov’s robe is a symbol of “Oblomovism,” a boring, empty and lazy life. Taking off this robe means radically changing your life: “...get rid of excess fat, let go of heaviness, refresh your soul with that air that you once dreamed of with a friend, live without a robe, without Tarantiev and Zakhar...” The author describes in great detail Oblomov’s robe, as if it were a living creature: “... He was wearing a robe made of Persian fabric, a real oriental robe, without the slightest hint of Europe, without tassels, without velvet, without a waist, very roomy, so that Oblomov could wrap himself twice into it. The sleeves, according to the constant Asian fashion, went from the fingers to the shoulder wider and wider...” Ermolaeva N.L. The archetype of the robe in Russian literature of the 19th century [Text] / N.L. Ermolaeva // Scientific notes of Kazan University. - 2009. - No. 3. - p. 48..

Oblomov's robe is his “double”, that is, a projection of Oblomov himself. Oblomov’s cozy, homely robe reflects the cozy and quiet character of the hero. Even Oblomov’s carelessness also passes into the folds of his dressing gown: “... From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown...” Oblomov loves his dressing gown because it is soft and flexible, unnoticeable and unobtrusive. Oblomov himself is very similar to his robe. Oblomov himself is also soft, submissive and inconspicuous: “...The robe had in Oblomov’s eyes a darkness of invaluable merits: he is soft, flexible; the body does not feel it on itself; he, like an obedient slave, submits to the slightest movement of the body...” Oblomov wears his robe not only on his body. Oblomov’s soul and mind are also wrapped in an “invisible” robe: “...To go forward means suddenly throwing off a wide robe not only from your shoulders, but also from your soul, from your mind...”. Oblomov’s robe goes through several “life” stages in the novel, just like Oblomov himself. Ibid., p. 49.:

1. The story of Oblomov’s robe begins on Gorokhovaya Street, in Oblomov’s apartment. Oblomov has been wearing his robe for a very long time. Oblomov’s guests notice that such dressing gowns have not been worn for a long time: “...What kind of dressing gown are you wearing? They stopped wearing these a long time ago,” he shamed Oblomov... “This is not a dressing gown, but a dressing gown,” said Oblomov, lovingly wrapping himself in the wide skirts of the dressing gown...” What does this mean? This means that Oblomov has been wearing his robe for a long time. For just as long, he has been carrying laziness and apathy in his soul.
2. Robe Oblomova and Olga Ilyinskaya. Oblomov is experiencing a romantic relationship with Olga Ilyinskaya. During this period, Oblomov sees the meaning of life in Olga. Thanks to his love for Olga, Oblomov comes to life and wakes up from hibernation. And of course, during this period Oblomov forgets about his old robe: “...He gets up at seven o’clock, reads, carries books somewhere. There is no sleep, no fatigue, no boredom on his face... You can’t see the robe on him: Tarantiev took him with him to his godfather with other things...” “...And the robe seemed disgusting to him, and Zakhar was stupid and unbearable, and the dust and cobwebs were unbearable...” “...He said goodbye to the robe a long time ago and ordered it to be hidden in the closet...”
3. Robe Oblomov and Agafya Pshenitsyna. After breaking up with Olga, Oblomov lives in the house of Agafya Pshenitsyna. Housekeeper Pshenitsyna takes Oblomov’s old robe out of the closet: “...I also took your robe out of the closet,” she continued, “it can be repaired and washed: the material is so nice! He will serve for a long time...” Life with Agafya Pshenitsyna again leads Oblomov into his usual laziness and apathy. Oblomov returns to his old, lazy life. And Oblomov’s robe also appears in use again: “...The hostess brought it today: they washed and repaired the robe,” said Zakhar...” Agafya Pshenitsyna does not look like Olga Ilyinskaya. She does not force Oblomov to take off his old robe. Pshenitsyna, on the contrary, repairs and removes stains on Oblomov’s robe: “...Take it off and give it quickly, I’ll take it out and wash it: tomorrow nothing will happen...”.
4. Oblomov’s robe and the last years of his life. Oblomov never parted with his robe until the end of his life. The robe remains Oblomov’s companion, just like his laziness and apathy: “... - why won’t you give up this robe? Look, it's all covered in patches! - Habit, Andrey; It’s a pity to leave...” Years later, the thrifty Agafya Pshenitsyna still takes care of Oblomov’s dressing gown. She doesn't suggest throwing it away. She repairs it with love: “... these blankets and Ilya Ilyich’s robe were spread [...] Agafya Matveevna cut them out with her own hands, lined them with cotton wool and quilted them...” Ilya Ilyich Oblomov’s robe in the novel “Oblomov” is a real character , with its history and its character Ermolaeva N.L. The archetype of the robe in Russian literature of the 19th century [Text] / N.L. Ermolaeva // Scientific notes of Kazan University. - 2009. - No. 3. - p. 50..

The image of Oblomov is the greatest creation of I. A. Goncharov. However, this type of hero in general is not new in Russian literature. We meet him both in Fonvizin’s “The Lazy Man” and in Gogol’s “Marriage.” But he was especially fully and multifacetedly embodied in the image of Oblomov in Goncharov’s novel.

The first part of the novel describes one ordinary day of the hero, which he spends without leaving the sofa. The author's unhurried narration introduces the reader in detail to the furnishings of the protagonist's apartment, which bears the stamp of desolation and abandonment. His character is revealed in the things that surround Oblomov. The author paid special attention to the description of the hero’s robe, oriental, “without the slightest hint of Europe,” wide, spacious, dutifully repeating the movements of his body. The image of the robe grows to a symbol, as if denoting milestones in the spiritual evolution of Oblomov Kesovidi V.A. A verbal portrait as a form of artistic and figurative representation of a person in a literary work (using the example of I.A. Goncharov’s novel “Oblomov”) [Text] / V.A. Kesovidi // Bulletin of the Adygea State University. - 2013. - No. 1 (114). - With. 51..

The hero's surname is telling. Oblomov - from “break off”, “break”. Ilya Ilyich is broken by life, depressed by it, retreated in the face of the problems and troubles that have rolled in. It’s easier for him to hide in the corner of the sofa in his house and lie there forever.

In this regard, the main attributes of laziness of this hero appear in the novel: a sofa, a robe and slippers. The symbolic image of the robe is of particular significance. Its roots go back to Yazykov’s poem “To the Robe.”

The robe is the favorite and main attire of the main character of Goncharov’s novel. In him, the reader sees Ilya Ilyich in the middle of his office. The robe is “oriental, ... very roomy, so that our hero could wrap himself in it twice,” - this is the description of the main detail, which becomes a sign of Oblomov’s laziness. Goncharov focuses readers' attention on details in order to better reveal the image of the hero. For Oblomov, his robe is a symbol of protection from the outside world with its endless problems Ermolaeva N.L. The archetype of the robe in Russian literature of the 19th century [Text] / N.L. Ermolaeva // Scientific notes of Kazan University. - 2009. - No. 3. - p. 51..

Andrei Stolts and Olga Ilyinskaya, the people closest to Oblomov, repeatedly make attempts throughout the work to pull him out of his robe. And for a moment it succeeds. The reader remembers how Oblomov is transformed under the influence of a living feeling - a certain love for Olga. However, even here laziness still takes its toll, and Oblomov again dresses his corpulent body in an eternal oriental robe.

With the advent of love for Olga, the hero's soul is stimulated to an active, active life. Oblomov associates such thoughts in his thoughts with the fact that it is necessary to “throw off the wide robe not only from the shoulders, but also from the soul and the mind.” Indeed, for some time he disappears from sight, and then the new owner of Oblomovka, Agafya Matveevna Pshenitsyna, discovers him in the closet and brings him back to life Kondratyev A.S. Tragic results of Oblomov’s spiritual biography: (Based on the novel by I. A. Goncharov) [Text] / A.S. Kondratiev // Goncharov I. A.: Materials of the International Conference dedicated to the 190th anniversary of the birth of I. A. Goncharov / Comp. M. B. Zhdanova, A. V. Lobkareva, I. V. Smirnova; Ed. M. B. Zhdanova, Yu. K. Volodina, A. Yu. Balakin, A. V. Lobkareva, E. B. Klevogina, I. V. Smirnova. - Ulyanovsk: Promotion Technologies Corporation, 2003. - p. 60..

Together with the owner, the robe gradually grew old, frayed, and deteriorated. But Oblomov was never able to part with the signs of a comfortable, quiet life: slippers, a robe, an oilcloth sofa. At the end of the novel, the reader again sees Oblomov in his favorite robe, albeit in a different setting - with the widow Pshenitsyna.

A similar social phenomenon was later defined by literary critics as “Oblomovism.” The main character's name is now a household name. And Oblomov’s robe became a symbol of Oblomovism. He is genetically fused with his owner and is inseparable from him. There is a moment in the novel when Oblomov could still part with his robe - when he fell in love with Ilyinskaya. However, the test of love requires a lot of stress; for Oblomov it turned out to be too much.

As you know, Oblomov’s robe in the novel “Oblomov” is not just a detail. The robe is Oblomov's favorite clothing. Oblomov’s robe is also called a dressing gown (in German, “schlafrock” means “sleeping robe”).