Ilya Ilyich Oblomov - the meaning of the name and surname. Roman I.A. Goncharova "Oblomov": a system of proper names

I.A. Goncharov belongs to those writers for whom it is fundamentally important to choose the name of the hero, who serves as one of the key words of the text and usually expresses symbolic meanings. In Goncharov's prose, proper names consistently act as an important characterological tool, are included in the system of comparisons and oppositions that organize artistic text at its different levels, serve as a key to the subtext of the work, highlight its mythological, folklore and other plans. These features of the writer's style are clearly manifested in the novel Oblomov.

In the text of the novel, two groups of proper names are contrasted: 1) widespread given names and surnames with an erased internal form, which, by definition of the author himself, are only a “deaf echo”, cf.: Many called him Ivan Ivanych, others - Ivan Vasilievich, others - Ivan Mikhailovich. His surname was also called differently: some said that he was Ivanov, others called Vasiliev or Andreev, others thought that he was Alekseev ... All this Alekseev, Vasiliev, Andreev, or whatever you want, there is some an incomplete, impersonal allusion to the human mass, dull echo, its unclear reflection, and 2) "meaningful" names and surnames, the motivation of which is revealed in the text: for example, the surname Makhov correlates with the phraseological unit “give up everything” and approaches the verb “wave”; surname worn out motivated by the verb "wipe" in the meaning of "hush up the matter", and the surname Vytyagushin- the verb "pull out" in the meaning of "rob". The "speaking" names of officials thus directly characterize their activities. This group includes the surname Tarantiev, which is motivated by the dialect verb "tarant" ("to speak briskly, briskly, quickly, hastily, chatter"; cf. obl. taranta -"brisk and sharp talker"). Such an interpretation of the surname of the "brisk and cunning", according to Goncharov, the hero is supported by a direct author's description: His movements were bold and sweeping; he spoke loudly, briskly, and always angrily; if you listen at some distance, it is as if three empty carts are driving over a bridge. Tarantiev's name - Mikhei - reveals undoubted intertextual connections and refers to the image of Sobakevich, as well as to folklore characters (primarily to the image of a bear) - it is no coincidence that a "fairy tale" is mentioned in the description of this character.

An intermediate group between "meaningful" and "insignificant" proper names in the text is made up of names and surnames with an erased internal form, which, however, evoke certain stable associations among readers of the novel: the surname Mukhoyarov, for example, is close to the word "mukhryga" ("rogue", "blowing deceiver"); The surname of an omnivorous journalist who always strives to “make noise”, Penkin, firstly, is associated with the expression “to remove foam”, and secondly, with the phraseological unit “with foam at the mouth” and actualizes the image of foam with its inherent signs of superficiality and empty fermentation.

The names of the characters in the novel are combined in the text with the names of literary and mythological heroes: Achilles, Ilya Muromets, Cordelia, Galatea, Caleb and others. These "dot quotes" determine the multidimensionality of the images and situations of the novel and reflect the hierarchy of its structure, include it in a dialogue with other works of world literature.

In the novel "Oblomov" anthroponyms are combined into system: its periphery is made up of "meaningful" names, which are, as a rule, secondary characters, in its center, in the core - the names of the main characters, which are characterized by a plurality of meanings. These anthroponyms form intersecting rows of oppositions. Their meaning is determined by taking into account repetitions and oppositions in the structure of the text.

The surname of the protagonist of the novel, rendered in strong position text - title, repeatedly attracted the attention of researchers. At the same time, they expressed different points vision. V. Melnik, for example, connected the hero's surname with E. Baratynsky's poem “Prejudice! He chip ancient truth...", noting the correlation of words Oblomov- chip. From the point of view of another researcher, P. Tiergen, the parallel “man - a fragment” serves to characterize the hero as an “incomplete”, “incomplete” person, “signals the dominant fragmentation and lack of integrity” . T.I. Ornatskaya connects words Oblomov, Oblomovka with folk poetic metaphor "dream-block". This metaphor is ambivalent: on the one hand, the “enchanted world” of Russian fairy tales with its inherent poetry is associated with the image of sleep, on the other hand, it is "shattered dream" disastrous for the hero, crushing him with a gravestone. From our point of view, for the interpretation of the surname Oblomov it is necessary to take into account, firstly, all possible generating words of this proper name, which acquires motivation in a literary text, secondly, the entire system of contexts containing the figurative characteristics of the hero, and thirdly, the intertextual (intertextual) connections of the work.

Word Oblomov characterized by a plurality of motivation, taking into account the ambiguity of a word in a literary text and revealing the plurality of meanings embodied by it. It can be motivated as a verb break off(both literally and figuratively - "to force someone to behave in a certain way, subordinating his will"), and nouns bummer("everything that is not whole, that is broken off") and chip; cf. interpretations given in the dictionary of V.I. Dahl and MAC:

Chip -"a thing broken off by a circle" (V.I. Dal); chip - 1) a broken or broken piece of something; 2) remnant: the remnant of something that previously existed, disappeared (MAC).

It is also possible to link words bummer And Oblomov on the basis of the evaluative meaning inherent in the first word as dialectism, - "clumsy person."

The noted directions of motivation highlight such semantic components as "static", "lack of will", "connection with the past" and emphasize the destruction of integrity. In addition, it is possible to link the surname Oblomov with an adjective obly("round"): a proper name and this word are approaching on the basis of a clear sound similarity. In this case, the hero's surname is interpreted as a contaminated, hybrid formation that combines the semantics of the words obly And break: the circle, symbolizing the lack of development, static, immutable order, appears to be torn, partially “broken”.

In contexts containing a figurative characterization of the hero, images of sleep, stone, “extinction”, stunting, dilapidation and at the same time childishness are regularly repeated, cf.: [Oblomov]... rejoiced that he lies, carefree, How newborn baby; I'm flabby, dilapidated, worn out caftan; He was sad and hurt for his underdevelopment, stop in the growth of moral forces, for the heaviness that interferes with everything; From the first moment, when I became conscious of myself, I felt that go out; He... fell asleep soundly, like a stone, sleep; [He]fell asleep leaden, bleak sleep. IN Thus, the text regularly emphasizes the early “extinguishment” of the forces of the spirit and the lack of integrity in the character of the hero.

Plurality of surname motivation Oblomov associated, as we see, with different meanings that are realized in the noted contexts: this is, first of all, underincarnation, manifested in the “bummer” of a possible, but unrealized life path (He did not move a single step in any field), lack of integrity, finally, a circle that reflects the features of the biographical time of the hero and the repetition of "the same thing that happened to grandfathers and fathers" (see Oblomovka's description). The “sleepy kingdom” of Oblomovka can be graphically depicted as vicious circle. “What is Oblomovka, if not forgotten by everyone, miraculously surviving “blissful corner” - a piece of Eden?”

Oblomov’s connection with cyclic time, the main model of which is the circle, his belonging to the world of “sluggish life and lack of movement”, where “life ... stretches as an uninterrupted monotonous fabric”, are emphasized by a repetition that combines the name and patronymic of the hero, - Ilya Ilyich Oblomov. The name and patronymic reflect the image of the time through the novel. The “extinction” of the hero makes the main rhythm of his existence the periodicity of repetitions, while the biographical time turns out to be reversible, and in the house of Pshenitsyna Ilya Ilyich Oblomov again returns to the world of childhood - the world of Oblomovka: the end of life repeats its beginning (as in the circle symbol), cf .:

And he sees a large dark living room in the parental house, lit by a tallow candle, sitting behind round table the dead mother and her guests... The present and the past merged and mixed up.

He dreams that he has reached that promised land, where rivers of honey and milk flow, where they eat unearned bread, walk in gold and silver...

At the end of the novel, as we can see, the meaning of "cool" stands out in the hero's surname, at the same time, the meanings associated with the verb break (break off): in a “forgotten corner”, alien to movement, struggle and life, Oblomov stops time, overcomes it, however, the acquired “ideal” of peace “breaks off the wings” of his soul, plunges him into sleep, cf .: You had wings, but you untied them; Buried, he is crushed[mind] all sorts of rubbish and fell asleep in idleness. The individual existence of the hero, who “broken off” the course of linear time and returned to cyclic time, turns out to be a “coffin”, a “grave” of the personality, see the author’s metaphors and comparisons: ... He quietly and gradually fits into a simple and wide coffin ... of his existence, made with his own hands, like the elders of the desert, who, turning away from life, dig for themselves grave.

At the same time, the name of the hero - Ilya - indicates not only "eternal repetition". It reveals the folklore and mythological plan of the novel. This name, connecting Oblomov with the world of his ancestors, brings his image closer to the image of the epic hero Ilya Muromets, whose exploits, after miraculous healing, replaced the hero’s infirmity and his thirty-year “sitting” in the hut, as well as with the image of Elijah the prophet. Oblomov's name turns out to be ambivalent: it carries an indication of both long-term static (“immovable” peace) and the possibility of overcoming it, finding a saving “fire”. This possibility remains unrealized in the fate of the hero: After all, no fire, either saving or destructive, has ever ignited in my life ... Elijah did not understand this life, or it is no good, but I did not know anything better ...

Oblomov's antipode - Andrei Ivanovich Stolz . Contrasting are in the text and their names and surnames. This opposition, however, is of a special nature: it is not the proper names themselves that enter into opposition, but the meanings generated by them, and the meanings directly expressed by the name and surname of Stolz are compared with the meanings that are only associatively associated with the image of Oblomov. “Childhood”, “underincarnation”, “roundness” of Oblomov is contrasted with the “masculinity” of Stolz (Andrey - in translation from other Greek - “courageous, brave” - “husband, man”); meekness, gentleness, "natural gold" of the protagonist's heart is compared with pride (from him. stolz-"proud") active person and] rationalist.

Stolz's pride has different manifestations in the novel: from "self-confidence" and awareness of one's own willpower to "saving the strength of the soul" and some "arrogance". The hero's German surname, which is opposed to the Russian surname Oblomov, introduces into the text of the novel the opposition of two worlds: "one's own" (Russian, patriarchal) and "alien". Simultaneously for art space The novel turns out to be significant and the comparison of two toponyms - the names of the villages of Oblomov and Stolz: Oblomovka And Top left."The Fragment of Eden", Oblomovka, associated with the image of a circle and, accordingly, the dominance of statics, is opposed in the text by Verkhlevo. In this title, possible motivating words are guessed: top as a vertical sign and top-heavy("mobile", i.e., breaking the immobility, the monotony of a closed existence).

A special place in the system of images of the novel is occupied by Olga Ilyinskaya (after marriage - Stolz). Her internal connection with 06-Lomov is emphasized by the repetition of his name in the structure of the heroine's surname. “In the ideal version, conceived by fate, Olga was intended for Ilya Ilyich (“I know you were sent to me by God”). But the insurmountable circumstances parted them. The drama of human incarnation was revealed in a sad ending by the fate of a blessed meeting. The change in Olga's surname (Ilyinskaya → Stolz) reflects both the development of the plot of the novel and the development of the character of the heroine. Interestingly, in the text field of this character, words with the seme "pride" are regularly repeated, and it is in this field (compared to the characteristics of other heroes) that they dominate, cf .: Olga walked with her head tilted slightly forward, so gracefully, nobly resting on a thin, proud neck She looked at him calmly pride;...in front of him[Oblomov]... offended goddess of pride and anger; ...and him[to Stolz] for a long time, almost all his life, he had to ... considerable care to maintain at the same height his dignity as a man in the eyes of selfish, proud Olga...

The repetition of words with the seme "pride" brings together the characteristics of Olga and Stolz, see, for example: He ... suffered without timid humility, but more with vexation, with pride;[Stolz] was chastely proud;[He] was inwardly proud... whenever he happened to notice a curvature in his path. At the same time, Olga's "pride" is opposed to Oblomov's "meekness", "gentleness", his "pigeon tenderness". It is significant that the word pride appears in Oblomov's descriptions only once, and in connection with the love awakened in the hero for Olga, and serves as a kind of reflex of her text field: Pride played in him, life shone, its magical distance ...

Thus, Olga both correlates and contrasts different worlds heroes of the novel. Stable associations are evoked in the readers of the novel by her very name. "Missionary" (according to I. Annensky's subtle remark) Olga bears the name of the first Russian saint (Olga → German Helge - presumably "under the protection of a deity", "prophetic"). As P.A. Florensky, the name Olga ... reveals a number of character traits of those who wear it: “Olga ... stands firmly on the ground. In her integrity, Olga is without residue and straightforward in her own way ... Once, having directed her will to a certain goal, Olga will completely and without looking back to achieve this goal, sparing neither the environment and those around her, nor herself ... ".

Olga Ilyinskaya in the novel is opposed by Agafya Matveevna Pshenitsyna. The portraits of the heroines are already contrasting; compare:

The lips are thin and for the most part compressed: a sign of a thought constantly directed at something. The same presence of a speaking thought shone in the vigilant, always cheerful, nothing missing look of dark, gray-blue eyes. Eyebrows gave a special beauty to the eyes ... one line was higher than the other, from this a small fold lay above the eyebrow, in which something seemed to say, as if a thought was resting there (portrait of Ilinskaya). She had almost no eyebrows at all, and in their place were two slightly swollen, glossy stripes, with sparse blond hair. Her eyes were grayishly simple-hearted, as was her whole expression.... She listened dully and stupidly thought (portrait of Pshenitsyna).

Intertextual connections are also of a different nature, bringing the heroines closer to the literary or mythological characters mentioned in the work: Olga - Cordelia, "Pygmalion"; Agafya Matveevna - Militrisa Kirbityevna. If Olga's characteristics are dominated by words thought And proud (pride) then in the descriptions of Agafya Matveevna the words are regularly repeated innocence, kindness, shyness, finally, Love.

The heroines are also opposed by figurative means. The comparisons used for the figurative characterization of Agafya Matveevna are emphatically everyday (often reduced) in nature, cf .: - I don’t know how to thank you, ”said Oblomov, looking at her with the same pleasure with which in the morning looked at the hot cheesecake; - Here, God willing, we will live until Easter, so we will kiss,- she said, not surprised, not obeying, not shy, but standing straight and motionless, like a horse on which a yoke is put on.

The surname of the heroine at her first perception - Pshenitsyn - also, first of all, it reveals the everyday, natural, earthly principle; in her name Agafya - actualized in the context of the whole its inner form "good" (from other Greek "good", "kind"). Name Agafya also evokes associations with the ancient Greek word agape, denoting a special kind of active and selfless love. At the same time, in this name, apparently, “responded and mythological motif(Agathius is a saint who protects people from the eruption of Etna, that is, fire, hell) ". In the text of the novel, this motif of "protection from the flame" is reflected in a detailed author's comparison: Agafya Matveevna does not make any prodding, no demands. And he has[Oblomov] no self-loving desires, urges, aspirations for exploits are born ...; It is as if an invisible hand has planted him, like a precious plant, in the shade from the heat, under the roof from the rain, and takes care of him, cherishes.

Thus, in the name of the heroine, a number of meanings significant for the interpretation of the text are actualized: she is kind hostess(it is this word that is regularly repeated in her nomination series), selflessly loving woman, the protector from the burning flame of the hero, whose life is “extinguishment”. It is no coincidence that the patronymic of the heroine (Matveevna): firstly, it repeats the patronymic of the mother I.A. Goncharova, secondly, the etymology of the name Matvey (Matthew) - "God's gift" - again highlights the mythological subtext of the novel: Agafya Matveevna was sent to Oblomov, anti-Faust with his "timid, lazy soul", as a gift, as the embodiment of his dream of peace , about the continuation of "Oblomov's existence", about "serene silence": Oblomov himself was a complete and natural reflection and expression of that peace, contentment and serene silence. Peering, pondering his way of life and living in it more and more, he finally decided that he had nowhere else to go, nothing to look for, that the ideal of his life had come true. It is Agafya Matveevna, who became Oblomova in the finale of the novel, compared in the text either with an active, “well-arranged” machine, or with a pendulum, determines the possibility ideally quiet side of human existence. In her new surname the image of the circle through the text is updated again.

At the same time, the characteristics of Agafya Matveevna in the novel are not static. The text emphasizes the connection of his plot situations with the myth of Pygmalion and Galatea. This intertextual connection is manifested in the interpretation and development of the three images of the novel. Oblomov is initially compared with Galatea, while Olga is assigned the role of Pygmalion: ... But this is some kind of Galatea, with whom she herself had to be Pygmalion. Wed: He will live, act, bless life and hers. To bring a person back to life - how much glory to the doctor when he saves a hopelessly ill person! And to save a morally perishing mind, soul? .. However, in these respects, “extinguishment”, “extinction” becomes the lot of 06-Lomov. The role of Pygmalion passes to Stolz, reviving “pride? Olga and dreaming of creating a "new woman", dressed in its color and shining in its colours. Not Galatea, but Pygmalion turns out to be in the novel Ilya Ilyich Oblomov, who awakened the soul in Agafya Matveevna Pshenitsyna. At the end of the novel, it is in her descriptions that the key lexical units of the text appear, creating images of light and radiance: She realized that she had lost and shone her life, that God put her soul into her and took it out again; that the sun shone in it and faded forever ... Forever, really; but on the other hand, her life was forever comprehended: now she knew why she had lived and that she had not lived in vain. At the end of the novel, the previously opposed characteristics of Olga and Agafya Matveevna converge: in the descriptions of both heroines, such a detail as the thought in the face (look) is emphasized. Wed: Here she is[Agafya Matveevna], in a dark dress, in a black woolen scarf around her neck... with a concentrated expression, with hidden inner meaning in her eyes. This thought sat invisibly on her face...

The transformation of Agafya Matveevna actualizes another meaning of her surname, which, like the name of Oblomov, is ambivalent. "Wheat" in Christian symbolism is a sign of rebirth. The spirit of Oblomov himself could not be resurrected, but the soul of Agafya Matveevna, who became the mother of the son of Ilya Ilyich, was reborn: “Agafya ... turns out to be directly involved in the continuation of the Oblomov family (the immortality of the hero himself)”.

Andrey Oblomov, brought up in the house of Stolz and bearing his name, in the finale of the novel is connected with the plan of the future: the union of the names of two heroes opposed to each other serves as a sign of a possible synthesis of the best principles of both characters and the “philosophies” they represent. Thus, the proper name also acts as a sign highlighting the prospective plan in a literary text: Ilya Ilyich Oblomov is replaced by Andrey Ilyich Oblomov.

So, proper names play an important role in the structure of the text and figurative system reviewed novel. They not only determine the essential features of the characters' characters, but also reflect the main storylines works, establish connections between different images and situations. Proper names are associated with the spatio-temporal organization of the text. They "reveal" hidden meanings that are important for the interpretation of the text; serve as a key to its subtext, actualize the intertextual connections of the novel and highlight its different plans (mythological, philosophical, everyday life, etc.), emphasizing their interaction.

Questions and tasks

1. Read the drama by A.N. Ostrovsky "Dowry".

2. Determine the etymology of the names, patronymics and surnames of such characters in the play as Knurov, Vozhevatov, Paratov. Can these anthroponyms be considered meaningful proper names? What is the relationship between these names and the name main character drama - Larisa?

3. Analyze the nomination series of the main character of the play. Is its development connected with the development of the plot and the peculiarities of the composition of the drama?

4. Consider the proper names of other characters in the play. What role do they play in revealing the images of the characters, in interpreting the text as a whole? What oppositions can you single out in the onomastic space of the drama?

5. Show the role of proper names in the drama "Dowry" in creating the semantic multidimensionality of the text.

Integrated lesson of the Russian language and literature.

Proper names play an important role in the structure of the text and the figurative system of Goncharov's novel "Oblomov". They not only determine the essential features of the characters' characters, but also reflect the main storylines of the work, their significance is one of the features of the writer's style.

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Expressive possibilities and the role of proper names

in the text artwork(I.A. Goncharov "Oblomov")

Lesson objectives:

1. show the expressive possibilities of proper names in the text; their role in creating images of heroes literary work, the development of its main themes;

2.promote skill development research work with the text of a work of art, an explanatory dictionary;

3. improvement of spelling and punctuation skills.

During the classes:

We begin the work in the lesson with a syntactic warm-up:

“Many called him Ivan Ivanovich, others called him Ivan Vasilyich, others called him Ivan Mikhailovich. His last name was also called differently: some said that he was Ivanov, others called him Vasiliev or Andreev, others thought that he was Alekseev ... All this Alekseev, Vasiliev, Andreev, or whatever you want, is some kind of incomplete, faceless allusion to the human mass, dull echo, its indistinct reflection.

How many simple sentences in the 1st sentence? What are the main members of the sentence? What do parts 2 and 3 have in common?

Draw up a proposal.

How many rows of homogeneous members are in the 3rd sentence?

I.A. Goncharov belongs to those writers for whom the choice of the hero's name is fundamentally important. It is often one of the keywords of the text and usually contains symbolic meanings. In Goncharov's prose, proper names act as an important means of characterizing the characters, organize the literary text at its different levels, and serve as the key to the subtext of the work. These features of the writer's style can be seen in the example of the novel "Oblomov", which contains a number of riddles associated with the name of the characters.

The novel contrasts two groups of proper names:

1) widespread names and surnames with an erased internal form, which, by definition of the author himself, are only a “deaf echo” (we turn to text I);

2) "meaningful" names and surnames, the motivation of which is found in the text. The most transparent are the "speaking" names of officials.

What are they talking about?

Worn → the verb "wipe" in the meaning of "hush up the matter."

Vytyagushin → the verb "pull out" in the meaning of "rob".

Makhov → correlates with the idiom "give up everything".

Thus, these names of officials directly characterize their activities.

The same group includes the surname Tarantiev.

Find in " explanatory dictionary» Dahl single-root words.

(Tarant - speak smartly, sharply, quickly, hastily, chatter).

Taranta (reg.) - a lively and sharp talker.

“His movements were bold and sweeping; he spoke loudly, briskly, and always angrily; if you listen at some distance, it is as if three empty carts are driving over a bridge.

Tarantiev's name - Mikhei - discovers literary connections and refers to one of the heroes " dead souls» Gogol.

To whom exactly, who bears the same name?(to Sobakevich)

There is also a connection with the folklore character, who was very reminiscent of the same Sobakevich.(Bear).

In the novel "Oblomov", proper names are combined into a rather coherent system: its periphery is made up of "speaking" names, which are given, as a rule, to minor characters, while in the center are the names of the main characters. These names have multiple meanings.

The surname of the protagonist of the novel, placed in the title, has repeatedly attracted the attention of researchers.

We will also try to conduct a small study, with which words the surname Oblomov corresponds and how its meaning is revealed.

(Students independently name some words: fragment, bummer, break off; the list of words is supplemented with the help of V. Dahl's dictionary).

If the students no longer offer other options, then the work continues with the help of the teacher. The task of students is to clarify the meaning of words and expressions.

Will Goncharov confirm our observations?

Let's turn to the text of the novel.

“... (he) was glad that he was lying, carefree, like a newborn baby ...;

... I am a flabby, dilapidated, worn caftan ...;

He felt sad and hurt for his underdevelopment, the halt in the growth of moral forces, for the heaviness that interferes with everything;

From the first minute, when I became conscious of myself, I felt that I was already going out ... He ... fell asleep, as strong as a stone, sleep.

Find words and expressions in sentences that correspond to our observations.

Thus, the text regularly emphasizes the early "extinguishment" of the forces of the spirit and the lack of integrity in the character of the hero.

The multiplicity of motivations of the Oblomov surname is connected, as we see, with different meanings: this is, first of all, the underincarnation, manifested in the “breakup” of a possible, but unrealized life path (“He did not advance a single step in any field”), the lack of integrity, the circle , reflecting the features of the biographical time of the hero and the repetition of "the same thing that happened to grandfathers and fathers." The “sleepy kingdom” of Oblomovka can be graphically depicted as a circle “What is Oblomovka, if not forgotten by everyone, miraculously surviving “blissful corner” - a piece of Eden?” - writes Y. Lomits in the book "Goncharov".

The name and patronymic of the hero, united by repetition - Ilya Ilyich - are connected with the image of time through the novel. The passage of time in Pshenitsyna's house, as in Oblomovka, is compared with the slow gradualness with which the geological modifications of our planet take place: there the mountain is slowly crumbling, here for whole centuries the sea deposits silt or recedes from the coast and forms an increment of soil. This extended image extends to Oblomov's life in the last part of the novel:

But the mountain crumbled little by little, the sea receded from the shore or tide to him, and Oblomov gradually entered intoold normal own life".

Biographical time turns out to be reversible, and in the house of Pshenitsyna, Ilya Ilyich again returns to the world of childhood - the world of Oblomovka: the end of life repeats its beginning, the circle is closed:

“The present and the past merged and mixed…”

What is the meaning of the hero's last name especially stands out in the finale of the novel?

Circle. But at the same time, the meanings associated with the verb to break (break off) turn out to be significant. In the “forgotten corner, alien to movement, struggle and life”, Oblomov stops time, overcomes it, but the newfound ideal of peace, in turn, breaks off the wings of his soul, plunges him into sleep.

Compare : “You had wings, but you untied them;

... it has a mind no less than others, only it is buried, crushed by all sorts of rubbish and fell asleep in idleness.

The name of the hero - Ilya - indicates not only "eternal repetition" (Ilya Ilyich), but also has folklore and mythological roots.

What associations arise in this regard?(Ilya Muromets, Ilya the prophet).

The name connects Oblomov with the world of his ancestors, brings his image closer to the image of an epic hero and prophet. The name of Oblomov, it turns out, connects, it carries an indication of both long-term static (“immovable” peace) and the possibility of overcoming it, finding a saving fire, but this possibility remains unrealized in the fate of the hero. Confirm with the text of the novel:

“... in my life, after all (never) when (neither) any (neither) saving, (nor) destructive fire lit up ... Either I (did not) understand this life, or it (neither) where

(not) good, but I (neither) knew anything better, (didn’t) see, (nor) anyone (didn’t) point it out to me.

1. Open brackets, insert missing letters, put punctuation marks.

Oblomov's antipode is Andrey Ivanovich Stolz.

Both their names and their surnames turn out to be contrasting. This opposition is of a special nature: it is not the proper names themselves that are opposite, but the meanings generated by them.

“Childishness”, “underincarnation”, “roundness” of Oblomov is opposed to the “masculinity” of Stolz (Andrey from the ancient Greek “courageous, brave”), and the meekness, gentleness, “natural gold” of the heart of Ilya Ilyich - pride (StOIZ - “proud”) active man and rationalist. Stolz's pride has different manifestations in the novel: from self-confidence and awareness of one's own willpower to saving the strength of the soul. The German surname of the hero, opposed to the Russian surname Oblomov, introduces the opposition of two worlds into the text of the novel: “his” (Russian, patriarchal) and “alien”.

A special place in the system of images of the novel is occupied by Olga Ilyinskaya (after marriage - Stolz).

How does her name emphasize the inner connection with Oblomov?

Ilyinskaya - a repetition of the name Oblomov in the structure of the heroine's surname. According to E. Krasnoshchekova, “in the ideal version, conceived by fate, Olga was destined for Ilya Ilyich. But the insurmountable circumstances parted them. The drama of human incarnation was revealed in a sad ending by the fate of a blessed meeting.

What is the reason, what does the change in the surname of Olga Ilyinskaya → Stolz indicate?

This change reflects both the development of the plot of the novel and the development of the character of the heroine.

Stable associations are evoked by readers and her very name. "Missionary" (according to the subtle remark of I. Annensky) Olga bears the name of the first Russian saint (Olga → German Helge - "under the protection of a deity"; "sacred", "prophetic"). As P.A. Florensky, the name Olga reveals a number of character traits of those who wear it: “Olga ... stands firmly on the ground. In her integrity, Olga is non-stop and straightforward in her own way ... Once, having directed her will to a certain goal, Olga will completely and without looking back to achieve this goal, sparing neither those around her nor herself.

At the end of the novel, Oblomov's son Andrey Ilyich appears, who is brought up in Stolz's house and bears his name. It is his future.

Comment on this association of names of heroes opposed to each other.

The combination of names serves as a sign of the characters and the philosophies they represent.

Lesson summary . So, we are convinced that proper names play an important role in the structure of the text and the figurative system of the novel. They not only determine the essential features of the characters' characters, but also reflect the main storylines of the work; their significance is one of the features of the writer's style.

Homework:

Olga Ilyinskaya in the novel is opposed by Agafya Matveevna Pshenitsyna.

1. What can the name of the heroine tell about?

2. Find in the text of the novel there are portraits of Olga and Agafya Matveevna. Check contrasting details.

3. Wheat in Christian symbolism is a sign of rebirth. When and why does the transformation of Agafya Matveevna take place, the rebirth of her soul?

4. She realized that she lost and shone her life, that God put her soul into her life and took it out again, that the sun shone in her and faded forever ... Forever, really; but on the other hand, her life was forever comprehended: now she knew why she lived and that she did not live in vain.

Place punctuation marks, explain their setting.

Find keywords in the text that create images of light and radiance.

Materials for the lesson.

I. “Many called him Ivan Ivanych, others Ivan Vasilyevich, and others Ivan Mikhailovich. His last name was also called differently, some said that he was Ivanov, others called him Vasiliev or Andreev, others thought that he was Alekseev ... All this Alekseev Vasiliev Andreev, or whatever you want, there is some kind of incomplete faceless hint at the human mass, a deaf echo, its obscure reflection.

II. “(he) was glad that he was lying, carefree as a newborn baby ...;

... I am a flabby, dilapidated, worn caftan; He felt sad and hurt for his underdevelopment, the halt in the growth of moral forces, for the heaviness that interferes with everything;

And envy gnawed at him that others lived so fully and broadly, while for him it was as if a heavy stone had been thrown on the narrow and miserable path of his existence;

From the first minute, when I became conscious of myself, I felt that I was already going out”;

He ... fell asleep as strong as a stone sleep.

III. “In my life, after all (n-) when (n-) lit up (n-) some (n-) saving (n-) destructive fire ... Either I (n-) understood this life or it (n-) where (n -) it’s good, but better I (n-) what (n-) knew (n-) saw (n-) who (n-) pointed it out to me.

In the novel "Oblomov" the skill of Goncharov the prose writer manifested itself with full force. Gorky, who called Goncharov "one of the giants of Russian literature", noted his special, plastic language. Goncharov's poetic language, his talent for imaginative reproduction of life, the art of creating typical characters, compositional completeness and the enormous artistic power of the picture of Oblomovism presented in the novel and the image of Ilya Ilyich - all this contributed to the fact that the novel "Oblomov" took its rightful place among the masterpieces of world classics.

Of great importance in the work is the portrait characteristics of the characters, with the help of which the reader gets acquainted with the characters and forms an idea about them and the traits of their characters. Main character novel - Ilya Ilyich Oblomov - a man of thirty-two to thirty-three years old, of medium height, pleasant appearance, with dark gray eyes in which there is no idea, with a pale complexion, puffy hands and a pampered body. Already by this portrait characteristic, we can get an idea about the lifestyle and spiritual qualities of the hero: the details of his portrait speak of a lazy, motionless lifestyle, of his habit of aimless pastime. However, Goncharov emphasizes that Ilya Ilyich is a pleasant person, soft, kind and sincere. portrait characteristic as if preparing the reader for the collapse of life that inevitably awaited Oblomov.

In the portrait of Oblomov's antipode, Andrei Stolz, the author used different colors. Stolz is the same age as Oblomov, he is already over thirty. He is in motion, all made up of bones and muscles. Getting acquainted with the portrait characteristics of this hero, we understand that Stolz is a strong, energetic, purposeful person who is alien to daydreaming. But this almost ideal personality resembles a mechanism, not a living person, and this repels the reader.

The portrait of Olga Ilyinskaya is dominated by other features. She “was not a beauty in the strict sense of the word: there was neither whiteness in her, nor bright coloring of her cheeks and lips, and her eyes did not burn with rays. inner fire, there were no pearls in the mouth and corals on the lips, there were no miniature hands with fingers in the form of grapes. Somewhat tall growth strictly corresponded to the size of the head and the oval and dimensions of the face, all this, in turn, was in harmony with the shoulders, the shoulders with the camp ... The nose formed a slightly noticeable graceful line. Lips thin and compressed - a sign of a searching, aspiring thought. This portrait testifies that we have before us a proud, intelligent, slightly conceited woman.

In the portrait of Agafya Matveevna Pshenitsyna, such features as gentleness, kindness and lack of will appear. She is about thirty years old. She had almost no eyebrows, her eyes were "grayish-obedient", like the whole facial expression. The arms are white but stiff, with knots of blue veins protruding. Oblomov accepts her for who she is and gives her a well-aimed assessment: "What she is ... simple." It was this woman who was next to Ilya Ilyich until his last minute, his last breath, gave birth to his son.

Equally important for the characterization of the character is the description of the interior. In this Goncharov is a talented successor to the traditions of Gogol. Thanks to the abundance of household details in the first part of the novel, the reader can get an idea of ​​the character’s features: “How Oblomov’s home suit went to his dead features ... He was wearing a dressing gown made of Persian fabric, a real oriental dressing gown ... He wore shoes long, soft and wide, when, without looking, he lowered his legs from bed to the floor, he would certainly hit them right away ... ”Describing in detail the objects surrounding Oblomov in Everyday life, Goncharov draws attention to the hero's indifference to these things. But Oblomov, indifferent to everyday life, remains his prisoner throughout the novel.

The image of a bathrobe is deeply symbolic, repeatedly appearing in the novel and indicating a certain state of Oblomov. At the beginning of the story, a comfortable robe is an integral part of the hero's personality. During the period of Ilya Ilyich's falling in love, he disappears, and returns to the shoulders of the owner on the evening when the hero broke with Olga.

The branch of lilac, plucked by Olga during her walk with Oblomov, is also symbolic. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end. Another important detail is the drawing of bridges on the Neva. The bridges were opened at a time when in the soul of Oblomov, who lived on the Vyborg side, there was a turning point towards the widow Pshenitsyna, when he fully realized the consequences of life with Olga, was frightened of this life and again began to sink into apathy. The thread connecting Olga and Oblomov broke, and it cannot be forced to grow together, therefore, when the bridges were built, the connection between Olga and Oblomov was not restored. The snow falling in flakes is also symbolic, which marks the end of the hero's love and at the same time the sunset of his life.

It is no coincidence that the author describes in such detail the house in the Crimea, in which Olga and Stolz settled. The decoration of the house "beared the stamp of the thoughts and personal taste of the owners", there were many engravings, statues, books, which speaks of the education, high culture of Olga and Andrey.

An integral part of the artistic images created by Goncharov and the ideological content of the work as a whole are the proper names of the characters. The names of the characters in the novel "Oblomov" carry a great semantic load. The protagonist of the novel, according to the original Russian tradition, received his surname from the family estate of Oblomovka, the name of which goes back to the word “fragment”: a fragment of the old way of life, patriarchal Rus'. Reflecting on Russian life and its typical representatives of his time, Goncharov was one of the first to notice a failure of internal national traits, fraught with a break, or a bummer. Ivan Alexandrovich foresaw the terrible state into which in the 19th century Russian society and which by the 20th century had become a mass phenomenon. Sloth, the lack of a definite goal in life, burning and the desire to work has become a distinctive national trait. There is another explanation for the origin of the protagonist's surname: in folk tales, the concept of "sleep-block" is often found, which enchants a person, as if crushing him with a gravestone, dooming him to a slow, gradual extinction.

Analyzing contemporary life, Goncharov searched among the Alekseevs, Petrovs, Mikhailovs and other persons for Oblomov's antipode. As a result of these searches, a hero arose with German surname Stolz(translated from German - "proud, full of self-esteem, aware of his superiority").

Ilya Ilyich all his conscious life strove for an existence that would be both full of content and flow quietly, day after day, drop by drop, in the mute contemplation of nature and the quiet, barely creeping phenomena of family peacefully busy life. He found such an existence in Pshenitsyna's house. “She was very white and full in the face, so that the blush could not seem to break through her cheeks (like a “wheat bun”). The name of this heroine is Agafya- translated from Greek means good, good. Agafya Matveevna is a type of a modest and meek housewife, an example of female kindness and tenderness, whose vital interests were limited only to family concerns. Oblomov's maid Anisya(translated from Greek - “fulfillment, benefit, completion”) is close in spirit to Agafya Matveevna, and therefore they quickly became friends and became inseparable.

But if Agafya Matveevna loved Oblomov thoughtlessly and wholeheartedly, then Olga Ilyinskaya literally "fought" for him. For the sake of his awakening, she was ready to sacrifice her life. Olga loved Ilya for his own sake (hence the surname Ilinskaya).

Surname "friend" Oblomov, Tarantiev, carries a hint of the word ram. In Mikhey Andreevich's relations with people, such qualities as rudeness, arrogance, assertiveness and unscrupulousness are revealed. Isai Fomich worn out, to whom Oblomov gave a power of attorney to manage the estate, turned out to be a fraudster, grated roll. In collusion with Tarantiev and brother Pshenitsyna, he skillfully robbed Oblomov and zater their traces.

Speaking of artistic features novel, you can not get around and landscape sketches: for Olga, walks in the garden, a lilac branch, flowering fields - all this is associated with love, feelings. Oblomov also realizes that he is connected with nature, although he does not understand why Olga constantly pulls him for a walk, enjoys surrounding nature, spring, happiness. The landscape creates the psychological background of the whole story.

To reveal the feelings and thoughts of the characters, the author uses such a technique as an internal monologue. This technique is most clearly revealed in the description of Oblomov's feelings for Olga Ilyinskaya. The author constantly shows the thoughts, remarks, internal reasoning of the characters.

Throughout the novel, Goncharov subtly jokes, sneers at his characters. This irony is especially noticeable in the dialogues between Oblomov and Zakhar. This is how the scene of putting the robe on the shoulders of the owner is described. “Ilya Ilyich hardly noticed how Zakhar undressed him, pulled off his boots and threw a dressing gown over him.

What is this? - he asked only, looking at the dressing gown.

The hostess brought it today: they washed and repaired the dressing gown, - said Zakhar.

Oblomov both sat down and remained in the chair.

The main compositional device of the novel is antithesis. The author contrasts the images (Oblomov - Stolz, Olga Ilyinskaya - Agafya Pshenitsyna), feelings (Olga's love, selfish, proud, and Agafya Matveevna's love, selfless, all-forgiving), lifestyle, portrait characteristics, character traits, events and concepts, details (branch lilac, symbolizing hope for a bright future, and a bathrobe as a quagmire of laziness and apathy). Antithesis makes it possible to more clearly identify the individual traits of the characters' characters, to see and understand two disparate poles (for example, Oblomov's two colliding states - violent temporary activity and laziness, apathy), and also helps to penetrate the hero's inner world, to show the contrast that is present not only in the outer but also in the spiritual world.

The beginning of the work is built on the collision of the vain world of St. Petersburg and the isolated inner peace Oblomov. All visitors (Volkov, Sudbinsky, Alekseev, Penkin, Tarantiev) who visit Oblomov are prominent representatives a society that lives according to the laws of falsehood. The protagonist seeks to isolate himself from them, from the dirt that his acquaintances bring in the form of invitations and news: “Don't come, don't come! You're out of the cold!"

At the reception of the antithesis, the whole system of images in the novel is built: Oblomov - Stolz, Olga - Agafya Matveevna. The portrait characteristics of the heroes are also given in opposition. So, Oblomov - plump, full, "with the absence of any definite idea, any concentration in facial features"; Stolz, on the other hand, is all bones and muscles, "he is constantly in motion." Two perfect different types character, and it's hard to believe that there can be something in common between them. And yet it is so. Andrey, despite the categorical rejection of Ilya's lifestyle, managed to discern in him features that are difficult to maintain in a stormy stream of life: naivety, gullibility and openness. Olga Ilyinskaya fell in love with him for kind heart, "pigeon tenderness and inner purity." Oblomov is not only inactive, lazy and apathetic, he is open to the world, but some invisible film prevents him from merging with it, walking the same path with Stolz, and living an active, full life.

Two key female images of the novel - Olga Ilyinskaya and Agafya Matveevna Pshenitsyna - are also given in opposition. These two women represent two life paths, which are provided to Oblomov as a choice. Olga is a strong, proud and purposeful person, while Agafya Matveevna is kind, simple and economic. It would be worth Ilya to take one step towards Olga, and he could plunge into the dream that was depicted in "Dream ...". But communication with Ilyinskaya was the last test for Oblomov's personality. His nature is not able to merge with the cruel outside world. He refuses the eternal search for happiness and chooses the second path - he plunges into apathy and finds peace in the cozy house of Agafya Matveevna.

Anthroponyms in the novels of I.A. Goncharova

"Oblomov", "Cliff" and " ordinary story»

Fedotov Andrey, student of the 10th grade of the gymnasium

№ 295 St. Petersburg, scientific. hands Belokurova S.P.

Introduction

aim present work is the study of proper names (anthroponyms) in I.A. Goncharov's novels "Ordinary History", "Oblomov", "Cliff", since the analysis and identification of the features and patterns of naming characters allow, as a rule, to more fully reveal the author's intention, to identify the features of the author's style. In the work “The role of names and surnames in the novels of A.I. Goncharov "Oblomov", "Ordinary story" and "Cliff"" the meanings of the names were investigated, the connections of the hero's name with his character functions, as well as the interconnections of the heroes with each other, were revealed. The result of the study was the compilation of the dictionary "Goncharovsky onomasticon" for the novels "Ordinary History", "Oblomov" and "Cliff". In the science of language, there is a special section, a whole area of ​​linguistic research devoted to names, titles, denominations - onomastics. Onomastics has a number of sections that are traditionally distinguished according to the categories of proper names. The proper names of people are investigated by ANTHROPONYMICS. ANTHROPONYMS - proper names people (individual and group): personal names, patronymics (patronyms), surnames, generic names, nicknames, nicknames, pseudonyms, cryptonyms (hidden names). In fiction, the names of the characters are involved in the construction artistic image. The name and surname of the character, as a rule, is deeply thought out by the author and is often used by him to characterize the hero. Character names are divided into three types: meaningful, speaking And semantically neutral.Meaningful usually called such names that fully characterize the hero. N.V. Gogol, for example, in the comedy The Inspector General, gives his characters meaningful surnames: this is Lyapkin-Tyapkin, who never got anything worthwhile and everything fell out of his hands, and Derzhimorda, a quarterly, who was appointed not to let petitioners through to Khlestakov. To the second type of naming - speaking- include those names and surnames, the meanings of which are not so transparent, but quite easily found either in the phonetic appearance of the name and surname of the hero. In the poem " Dead Souls» abound speaking surnames: Chichikov - the repetition of the syllable "chi", as it were, makes the reader understand that the naming of the hero resembles either a monkey nickname, or the sound of a rattle. TO semantically neutral includes all other names and surnames. As for such works as "Ordinary History", "Oblomov" and "Cliff" by I.A. Goncharov, here are mainly presented to the reader meaningful And speaking names and surnames, and the latter should be deciphered. Since the works of I. A. Goncharov are not historical chronicles, the naming of the heroes is determined only by the will of the writer.

II. Names of characters and their role in the "Ordinary Story"

Ordinary History, the first novel in Goncharov's famous trilogy, was published in 1847. This work is smaller than others in terms of volume and simpler in composition - there are practically no additional storylines in it, so there are few characters. This facilitates the analysis of anthroponyms. Let's take a look at the names of the main characters. Alexander Fedorovich Aduev . Alexander in Greek means ‘courageous fighter, defender of people’, and Fedor means ‘God’s gift’. Thus, if we combine the name and patronymic of Aduev Jr., it turns out that the combination of the name and patronymic of Alexander Fedorovich is not accidental: it suggests that its bearer must have a gift sent from above: to help people and protect them. The representative of the capital-Petersburg life in the novel is Uncle Alexander Petr Ivanovich Aduev , a successful official and at the same time a breeder 1 - a pragmatic, skeptical person. Probably, the explanation for this can be found in his name, which is translated from Greek as ‘ stone' 2 . Let's pay attention to what phonetic associations the surname Adueva evokes. . Hell, hellish, hellish- words with the root "hell" remind, on the one hand, of the underworld, on the other hand, of the first man Adam (recall that the hero first went the way that his nephew will repeat after him, that he is a "breeder-pioneer"). The sound of the surname is firm, energetic - phonetically consonant not only with "hell", but also with the command "Atu!" - sending the dog forward, setting it on the beast. Senior Aduev repeatedly speaks about the need for action, active work, and career advancement. In terms of character naming, it would probably look like this: Alexander (courageous fighter, defender of people) - romantic and idealist, faces Peter (stone) - a septic tank and a pragmatist. And... the wave crashes against the rock. Consider the names of the main female images: Hope - one of the most popular names in Rus' (in Russia). Obviously, the naming of the heroine is by no means accidental - the author connects hopes for the future, for its development with this female type, since the formation of this type has not yet been completed, everything is still ahead of him. For the hero of the novel, Alexander Nadenka is literally his “hope for love”, for the embodiment of all his ideas about an eternal, heavenly feeling. But the affair with Nadenka Lyubetskaya is doomed. Love to Julia Tafaeva, who gave Alexander hope for the resurrection of the soul, gradually, over time, turns under the pen of Goncharov almost into a farce. The name Julia is considered a divine name, and in Greek means ‘ first beard fluff thus, the reader can understand that its carrier is a person who is very weak by nature. Lizaveta - translated from the Hebrew language means ‘ oath, I swear to god. Lisa - the third beloved of Alexander Aduev - the namesake of the wife of Peter Ivanovich Lizaveta Alexandrovna. The heroines are united by their position as victims of the interests of their beloved: the heroes are not able to give Liza and Lizaveta Alexandrovna the main thing they want - love. Both heroines are ready for sacrifice, for the fulfillment of the "oath", but they turn out to be hostages of callous and insensitive men. In the novel "Ordinary History" there is not only a conflict of ideas, but also a conflict of names. Names, colliding with each other, let us understand the characteristics of the characters of the characters, help to deepen understanding author's intention.

III. The role of the names of heroes in the novel by I.A. Goncharov "Oblomov"

Continuing the study of names and surnames in the texts of I.A. Goncharov, let's turn to Goncharov's main work - the novel "Oblomov". "Oblomov" - the second novel of the trilogy, the most famous a wide range readers from creative heritage I.A. Goncharov, was completed in 1857. According to the testimony of both contemporaries and descendants, the novel was a significant phenomenon in Russian literature and public life, because almost all aspects of a person’s life are affected in it, you can find answers to many questions in it to this day, and not least thanks to the image of the title character Ilya Ilyich Oblomov . One of the meanings of this Hebrew origin naming is ‘ My God is Yahweh, ‘god help'. The patronymic repeats the name, Goncharov’s hero is not only Ilya, but also the son of Ilya, “Ilya in the square” is a worthy successor to tribal traditions (this will be discussed in detail in the work). The motive of the past is supported by the fact that the name of Goncharov's hero involuntarily reminds the reader of epic hero Ilya Muromets. In addition, at the time of the main events of the novel, Oblomov is 33 years old - the time of the main feat, the main achievement of a man in most of the fundamental legends of world culture, both Christian and folklore. Oblomov evokes associations with the word bummer, which in the literary language means action on the verb break off: 1. Breaking, to separate the ends, extreme parts of something; break off around the edge. 2. trans. Prost. To force someone to behave in a certain way, subjugating his will, breaking stubbornness. // Hard to persuade, convince, force to agree with something 3 . Let's move on to the interpretation of the name and surname Andrei Ivanovich Stolz . As for the surname, it comes from Germanstolz– ‘proud’. The very name of this hero - the antipode of Ilya Ilyich - is in contrast to the name Oblomov. Russian name Andrey in Greek means ‘ courageous, courageous. The meaning of the name Stolz continues and strengthens the opposition of two heroes: meek and soft Elijah- stubborn, unyielding Andrew. No wonder the main order Russian Empire was and still is an order Andrew the First-Called. Let us also recall that it is Andrei, in honor of an old friend of Stolz, that Oblomov calls his son. It should also dwell on the patronymic of Stolz. At first glance, it's clean Russian patronymic- Ivanovich. But, remember that his father is German, and, therefore, his real name is Johann . As for the name Ivan itself, this name has long been considered a typical, characteristic Russian name, beloved by our people. But it is not native Russian. Thousands of years ago, among the Jews of Asia Minor, the name Yehohanan. Gradually the Greeks remade Yehohanan V Ioannes. In German, this name sounds like Johann. Thus, Stolz in naming is more likely not “half German”, but two-thirds, which is of great importance: it emphasizes the predominance of the “Western”, that is, the active principle in this hero, as opposed to the “Eastern”, that is, the contemplative principle in Oblomov. Let's turn to female images novel. The role of the Beautiful Lady, inspiring Ilya Ilyich Oblomov to exploits in the name of love, is assigned in the novel Olga Sergeevna Ilinskaya . What is this heroine in terms of her naming? Name Olga- presumably from the Scandinavian - means "holy, prophetic, bright, carrying light." Surname of beloved Oblomov - Ilinskaya- it is by no means accidental that in its very form it represents a possessive adjective formed from the name Ilya. According to the plan of fate, Olga Ilyinskaya is destined for Ilya Oblomov - but the insurmountability of circumstances divorced them. It is curious that in the description of this heroine the words proud And pride, reminiscent of another character in the novel, whom she would later marry, turning from Olga Ilinskaya to Olga Stolz.

IV. Anthroponyms in the novel "The Precipice"

The novel "Cliff" was created by I.A. Goncharov is about 20 years old. It was started almost simultaneously with Oblomov, but saw the light only in 1869. The main characters of the novel are Boris Raysky, Vera and Mark Volokhov. More precisely, as the author himself defines it, “in The Cliff ... the three faces that occupied me the most were Babushka, Raisky, and Vera” 4 . On behalf of good, a bright, positive hero acts Boris Pavlovich Raisky. The surname is unambiguously derived from the word "paradise". Faith occupies a central position between two male antipodes in the novel. Vera in her own way continues the development of the image of Olga Ilyinskaya. Raisky is infatuated with his cousin, but Vera cannot stop her choice on him, realizing that this is not the hero who can lead her forward and become the chosen one. Boris - the name of one of the heavenly princes-serpent fighters. The serpent with which he fights for Faith - Mark Volokhov . Volokhov, though devoid of faith, is different inner strength, uncommonness. The false prophecy of the hero also emphasizes that the surname Volokhov goes back, perhaps, not only to the word "wolf", but also to the name of the pagan god Veles 5. This is one of the oldest Slavic gods, who was also considered the patron saint of hunters (remember the gun Volokhov shot from). A confirmation of the component of the already mentioned meaning of "serpents" in the naming of the hero is the scene of Volokhov's acquaintance with Vera. Mark steals apples (let us recall that Raisky speaks of the feeling of Vera as a “boa constrictor”, and that in the meaning of his name Boris there is a “snake fighting” theme). One of the main characters of the novel is grandmother Tatyana Markovna Berezhkova - Very interesting character. At first glance, it seems that the surname comes from the word "protect" - the grandmother protects the way of the estate, traditions, peace of pupils, nephew. But on the last pages of the novel, it turns out that even the grandmother keeps a terrible secret. And her surname can also be erected to the "shore" with its terrible cliff.

V. Conclusion

It becomes obvious that thoughtful reading fiction impossible without the study of proper names that exist in a particular work. The study of proper names in the novels of the writer made it possible to make the following conclusions: 1. Works of I.A. Goncharov are saturated with "meaningful" and "speaking" proper names, and the most significant in the system of means of artistic expression of the work are the names of the main characters. 2. In the text of works, naming performs various functions: they serve to deepening the characteristics of the hero(Oblomov, Petr Aduev, Agafya Matveevna Pshenitsyna), to reveal it inner peace(Oblomov, Stolz), create emotional-evaluative characteristic character ( minor characters in Oblomov), serve to create contrast(Oblomov - Stolz) or, conversely, the designations worldview continuity heroes (Pyotr Ivanovich Aduev and Alexander Aduev, Oblomov and Zakhar), etc. 3. Compared to Ordinary History, more an early work writer, in "Oblomov" and "Cliff" one can note a large semantic load of proper names.

1 In the 1940s, there were practically no entrepreneurs from the nobility in Russia. Usually merchants were engaged in this activity.

2 On the interpretation of patronymics Ivanovich see page 14.

3 Dictionary of the Russian language in 4 vols. T.P - M., 1986.

4 Goncharov I.A. Intentions, tasks and ideas of the novel "Cliff". Inc. Op. in 8 vols. – M.: Pravda, 1952.

5 Veles (Velekh) is a Slavic god. The patron of livestock and wealth, the embodiment of gold, the guardian of merchants, cattle breeders, hunters and tillers ... All lower spirits obey him. The name Veles, according to many researchers, comes from the word "hairy" - hairy, which clearly indicates the connection of the deity with the cattle, of which he is the patron.

The surname Oblomov evokes associations with the word bummer, which in the literary language means action on the verb break off(1. Breaking, separate the ends, the extreme parts of something; break off around, along the edge. 2. trans. Simple. Force someone to behave in a certain way, subjugating his will, breaking stubbornness. etc. // With difficulty to persuade, convince, force to agree with smth.; persuade.) [ Dictionary of the Russian language in 4 vols. T. P - M., 1986. S.542-543], and in modern jargon - "failure, collapse of plans"; "heavy state of mind, depression; negative emotions, experiences"; "apathy, unwillingness to do something." [ Mokienko V.M., Nikitina T.G. Big Dictionary Russian jargon. - SPb., 2001. S.389-390]. In addition, the figurative meaning of the word also plays an important role. chip: "the remnant of something that previously existed, disappeared" (cf. in "My genealogy" by A.S. Pushkin: "Children of decrepit fragments" ...; in F.I. Tyutchev in the poem of 1835 "Like a bird, with an early dawn ... ": "Fragments of old generations, / You who have outlived your age! / Like your complaints, your penalties / Wrong reproach righteous! !.."; E. A. Baratynsky - "Prejudice! It is a fragment of the Old truth. The temple fell; / And the ruins of his descendant / did not guess the language. / Our arrogant age drives in it, / Without recognizing his face, / Our modern truth / A decrepit father…" (1841)). In addition, Oblomov's surname can be associated with the folk poetic metaphor "dream-oblomon", which enchants a person, as if crushing him with a gravestone, dooming him to a slow, gradual dying [ Ornatskaya T.I. Is Ilya Ilyich Oblomov a "chip"? (On the history of the interpretation of the hero's surname) / Russian Literature. 1991. No. 4. pp.229-230]. Perhaps the convergence of the surname with an outdated adjective obly"round". "In this case, the hero's surname is interpreted as a contaminated, hybrid formation, combining the semantics of the words obly and break: the circle, symbolizing the lack of development, static, immutable order, appears to be torn, partially "broken"" [ Nikolina N.A. Philological analysis of the text. - M., 2003. S.200].
The name Ilya Ilyich is a rare name for a literary hero, by no means a "romantic" name. One of the meanings of this Hebrew name is "God's help". The patronymic repeats the name, Goncharov's hero is not only Ilya, but also the son of Ilya, "Ilya in the square" - a worthy successor to tribal traditions. According to one of the researchers, "the name<…>self-closed, because the inactive and fruitless way of existence of the ancestors of O<бломова>finds the end in it" [ Galkin A.B. Oblomov / Encyclopedia of literary heroes. - M., 1997. S.289]. The name and patronymic reflect the image of time through the novel: "The present and the past have merged and mixed up."
The name of Goncharov's hero involuntarily reminds the reader of the epic hero Ilya Muromets. Yu. Aikhenvald drew attention to this: "Ilya Muromets, who is in Ilya Ilyich, is described more in the period when he sits in his seat than when he performs feats of the spirit" [ Aikhenwald Yu. Silhouettes of Russian writers. Issue. 1. - M., 1906. S. 147]. It is "about the prowess of Ilya Muromets" that the nanny tells little Ilyusha Oblomov, putting "the Iliad of Russian life into children's memory and imagination." It seems that the consonance of proper names Ilya-Iliad is just as not accidental, for it helps to draw a parallel between the story of "man's struggle with himself" described by Goncharov and Homer's narrative of the long-term war of the ancients.
"He was a man of about thirty-two or three years old," says Ilya Ilyich Oblomov at the very beginning of the novel. Recall that this is a symbolic number, the age of Christ - the time when a person is at the peak of his physical and spiritual capabilities. It was "thirty years and three years" that Ilya Muromets sat in his seat, after which the "passing Kaliki" heal him, endowing him with physical strength, and bless him for wanderings and exploits. Like the epic "Kalikas we cross-ferment" various visitors come to Oblomov, and then the "eternal traveler" Andrey Stolz makes Ilya Ilyich, who is lying, "like a lump of dough", rise from the sofa and carries "to the court" - not Grand Duke Vladimir, but Olga Ilyinskaya - where the hero in love has to "perform feats" in honor of the lady of the heart: not to lie down after dinner, go to the theater, read and retell books.
The hero's place of residence was originally Gorokhovaya Street, one of the central streets in St. Petersburg, where people of the "middle classes" lived. Its first two quarters belonged to the aristocratic Admiralty part of the city, built up with mansions of the nobility. As you move away from the center, the appearance of Gorokhovaya is changing: the buildings standing on it are still "differ in enormity, but splendor and elegance in the buildings are less often noticed" [ Geiro L.S. Notes // I.A. Goncharov. Oblomov. "Literary monuments". - L., 1987. S.650]. The name Gorokhovaya evokes an unexpected association with the phraseologism "under Tsar Pea", associated with a Russian folk tale, the text of which surprisingly resembles the description of Oblomovka: "In that old time, when the world of God was filled with goblin, witches and mermaids, when jelly, and fried partridges flew across the fields, at that time there lived a king named Peas "[ Afanasiev A.N. Russian folk tales. T.1. - M.-L., 1936]. The expression "under Tsar Pea" is also mentioned by Goncharov in the novel "Ordinary History": Aduev Jr. dreams of living in the capital according to the same laws as in the provinces, guided by archaic ideas, thinks like "under Tsar Pea". (Compare the words of Stolz addressed to Ilya Ilyich Oblomov: "You argue like an ancient one."). Later he moved to Vyborgskaya. Vyborg side (deaf outskirts, philistine district, almost a province. Goncharov's close friend A.F. Koni definitely spoke of the "long Simbirskaya street<ныне - ул. Комсомола>, of a completely provincial type, very well described by Goncharov in "Oblomov"") [ Geiro L.S. Notes // I.A. Goncharov. Oblomov. "Literary Monuments". - L., 1987. S.679].
Let's try to remember how those literary heroes, whom Dobrolyubov included in the "Oblomov family" first appear before the reader: Onegin - "flying in the dust on postal"; Pechorin - "Once in the autumn a transport with provisions came: there was an officer in the transport, a young man of about twenty-five. He came to me in full form and announced that he was ordered to stay with me in the fortress"; Rudin - "There was a knock of the crew. A small tarantass drove into the yard. "It is obvious that these author's remarks set the idea of ​​movement, movement in space, dynamics and development in time. Whereas Oblomov is reported in the very first lines of the novel that he was "lying in bed in the morning." Peace and immobility - this is how the credo of Goncharov's hero is defined.In fact, Ilya Ilyich fears all kinds of changes and movements: even the upcoming move from his house on Gorokhovaya Street plunges him into a panic, and Oblomov speaks of the possibility of travel exclusively in a sarcastic tone ("Who travels in America and Egypt! The English: that's the way they are arranged by the Lord God; and they have nowhere to live at home.