Abstract: The article raises the question of the logic of Goncharov`s creativity development, about the main idea that he developed by the end of 1830s – early 1840s and subsequently developed in his novel of his trilogy. It is connected with the problem of preserving the religious consciousness of modern man in the conditions of a sharp change in history and the exit of mankind from the “infant faith” and mythopoetic consciousness against the background of the rapid progress of science. The origins and causes of Goncharov's deep interest in the development of science and technology, especially in the discoveries of astronomy, are considered. The subject of Goncharov's artistic research was formed as a student – in the study of Dante's “divine Comedy”. The most visible signs of Goncharov's creative orientation to the “Divine Comedy” are the names of the main characters, ascending from “Hell” (Aduev) to Paradise (Raiskiy). The logic of the development of the novel`s trilogy shows that all three novels were considered as three parts of one whole at one time. The historical optimism of the novelist is based on the idea that scientific and technological progress are not in conflict with God's Providence for humanity, but contribute to its realization. The idea of a “beauty” as a self-sufficient and inherent in the human nature by God`s power is dominant here.
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