History of creation
“Having carefully read what was written, I saw that all this had gone to the extreme, that I had taken up the subject in a wrong way, that one thing had to be changed, another should be released<…>I have a thing developed in my head slowly and heavily.
The novel "Oblomov" was first published in full only in 1859 in the first four issues of the journal "Domestic Notes". The beginning of work on the novel belongs to an earlier period. In 1849, one of the central chapters of Oblomov, Oblomov's Dream, was published, which the author himself called "the overture of the entire novel." The author asks the question: what is "Oblomovism" - the "golden age" or death, stagnation? In “Dream…” motifs of static and immobility, stagnation prevail, but at the same time, the author’s sympathy, good-natured humor, and not just satirical denial, are also felt. As Goncharov later claimed, in 1849 the plan for the novel Oblomov was ready and the draft version of its first part was completed. "Soon," Goncharov wrote, "after being printed in 1847 in Sovremennik" Ordinary history"- Oblomov's plan was already ready in my mind." In the summer of 1849, when Oblomov's Dream was ready, Goncharov made a trip to his homeland, to Simbirsk, whose life retained the imprint of patriarchal antiquity. In this small town, the writer saw many examples of that "dream", which became the inhabitants of the fictitious Oblomovka. Work on the novel was interrupted in connection with Goncharov's round-the-world trip on the frigate Pallada. Only in the summer of 1857, after the travel essays "Pallada Frigate" were published, Goncharov continued to work on "Oblomov". In the summer of 1857, he left for the Marienbad resort, where he completed three parts of the novel within a few weeks. In August of the same year, Goncharov began working on the last, fourth, part of the novel, the final chapters of which were written in 1858. However, While preparing the novel for publication, Goncharov rewrote Oblomov, supplementing it with new scenes, and making some cuts in 1858. Having completed work on the novel, Goncharov said: "I wrote my life and what I grow into it."
Goncharov admitted that the influence of Belinsky's ideas affected the design of Oblomov. The most important circumstance that influenced the idea of the work is Belinsky's speech on Goncharov's first novel - "An Ordinary Story". There are also autobiographical features in the image of Oblomov. By his own admission, Goncharov, he himself was a sybarite, he loved serene peace, giving birth to creativity.
Published in 1859, the novel was hailed as a major social event. The Pravda newspaper, in an article dedicated to the 125th anniversary of Goncharov's birth, wrote: "Oblomov appeared in an era of public excitement, a few years before the peasant reform, and was perceived as a call to fight against inertia and stagnation." Immediately after its publication, the novel became the subject of discussion in criticism and among writers.
Plot
The novel tells about the life of Ilya Ilyich Oblomov. Ilya Ilyich, together with his servant Zakhar, lives in St. Petersburg, on Gorokhovaya Street, practically without leaving his house and without even getting up from the sofa. He does not engage in any activity, does not go out, only indulges in thoughts about how to live, and dreams of a comfortable, serene life in his native Oblomovka. No problems - the decline of the economy, the threat of eviction from the apartment - can budge him.
His childhood friend Stolz, the complete opposite of the sluggish dreamy Ilya, makes the hero wake up for a while, plunge into life. Oblomov falls in love with Olga Ilyinskaya and subsequently, after much thought and retreat, proposes marriage to her.
However, succumbing to Tarantiev's intrigues, Oblomov moves into the apartment he hired on the Vyborg side, getting into the house of Agafya Matveevna Pshenitsyna. Gradually, the entire economy of Ilya Ilyich passes into the hands of Pshenitsyna, and he himself finally fades away in the "Oblomovism". There are rumors in St. Petersburg about the imminent wedding of Oblomov and Ilyinskaya, having learned about this, Ilya Ilyich is horrified: nothing else, in his opinion, has been decided. Ilyinskaya comes to his house and makes sure that nothing will awaken Oblomov from a slow immersion in the final sleep, and their relationship ends. At the same time, Oblomov's affairs are taken over by Pshenitsyna's brother Ivan Mukhoyarov, who confuses Ilya Ilyich in his machinations. At the same moment, Agafya Matveevna is repairing Oblomov's dressing gown, which, it would seem, no one can repair. From all this, Ilya Ilyich falls ill with a fever.
Actors and some quotes
- Oblomov, Ilya Ilyich- landowner, nobleman living in St. Petersburg. Leads a lazy lifestyle, doing nothing but reasoning.
". lazy, clean, "good-natured", smart, honest, romantic, sensitive, "pigeon" gentle, open, sensitive, potentially capable of much, indecisive, quickly "lights up" and quickly "extinguishes", timid, aloof, weak-willed, gullible, sometimes naive, not versed in business, physically and spiritually weak.
Whom you do not love, who is not good, you will not dip your bread in a salt shaker. I know everything, I understand everything - but there is no strength and will. It's hard to be smart and sincere at the same time, especially when it comes to feeling. Passion must be limited: strangle and drown in marriage.- Zakhar- Oblomov's servant, faithful to him since childhood.
- Stolz, Andrei Ivanovich- a childhood friend of Oblomov, half German, practical and active.
- Tarantiev, Mikhey Andreevich- an acquaintance of Oblomov, roguish and cunning.
- Ilinskaya, Olga Sergeevna- a noblewoman, Oblomov's beloved, then Stolz's wife.
- Anisya- Zakhar's wife.
- Pshenitsyna, Agafya Matveevna- the mistress of the apartment in which Oblomov lived, then his wife.
- Mukhoyarov, Philip Matveevich- Brother Pshenitsyna, official.
Second plan
- Volkov- a guest in Oblomov's apartment.
- Sudbinsky- guest. Official, head of department.
- Alekseev, Ivan Alekseevich- guest. "an impersonal allusion to the human mass!".
- Penkin- guest. Writer and publicist.
Criticism
- Nechaenko D. A. The myth of the dreaminess of Russian life in the artistic interpretation of I. A. Goncharov and I. S. Turgenev (“Oblomov” and “Nov”). // Nechaenko D. A. History of literary dreams of the XIX-XX centuries: Folklore, mythological and biblical archetypes in literary dreams of the XIX-beginning of the XX centuries. M.: Universitetskaya kniga, 2011. S.454-522. ISBN 978-5-91304-151-7
see also
Notes
Links
- Goncharov I. A. Oblomov. A novel in four parts // Complete collection of works and letters: In 20 volumes. St. Petersburg: Nauka, 1998. Vol. 4
- Otradin M. V. Prof., Ph.D. "Oblomov" in a series of novels by I. A. Goncharov.
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Synonyms:- Facing stone
- Fragment of an Empire (film)
See what "Oblomov" is in other dictionaries:
bummers- Cm … Synonym dictionary
OBLOMOV- the hero of the novel by I.A. Goncharov "Oblomov" (1848 1859). Literary sources of the image of O. Gogol Podkolesin and old-world landowners, Tentetnikov, Manilov. Literary predecessors of O. in the works of Goncharov: Tyazhalenko (“Dashing Pain”), Yegor ... literary heroes
OBLOMOV- The hero of the novel I.A. Goncharov "Oblomov". The novel was written between 1848 and 1859. Ilya Ilyich Oblomov was a landowner, a hereditary nobleman*, an educated man of 32–33 years old. In his youth he was an official, but, having served only 2 years and was burdened by the service, ... ... Linguistic Dictionary
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Ilya Ilyich Oblomov - main character novel of the same name Goncharova. This image is unique in that it fully denounces an uncharacteristic negative quality in the field of literature, but the state inherent in every person is laziness. Some people find the strength in themselves to overcome laziness and make laziness a periodic guest, for some, as in the case of Oblomov, laziness becomes a constant companion of life. Why is this happening, is there a way out of such a situation, and on whom does the result of such a confrontation depend? Goncharov gives answers to these questions, depicting all the consequences of such a life on the example of the nobleman Oblomov.
Oblomov is of noble origin
"A nobleman by birth." He has 300 serfs:
"Three hundred souls".
Ilya Ilyich is the owner of the family estate, in which he has not been for 12 years:
"twelfth year in St. Petersburg"
Ilya Ilyich Oblomov lives in St. Petersburg on:
"Pea street"
His age is not exactly known.
He is "a man of about thirty-two or three years old"
Oblomov has an attractive appearance, he evokes sympathy:
"medium height, good-looking"
He has gray eyes, but they are somehow empty:
"with dark gray eyes, but with the absence of any definite idea, any concentration in the features."
Oblomov leads a passive way of life, he is rarely outside the house, so his face seems colorless:
“Ilya Ilyich’s complexion was neither ruddy, nor swarthy, nor positively pale, but indifferent or seemed so, perhaps because Oblomov was somehow flabby beyond his years: from a lack of movement or air, or maybe both."
We invite you to familiarize yourself with summary novel by I. Goncharov, which talks about two sides of Russia in the 19th century.
Carelessness is Oblomov's constant state, his personal belongings also acquire this characteristic:
“From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.”
Sometimes his state of carelessness changed to boredom or fatigue:
“Sometimes his eyes were darkened by an expression as if tired or bored; but neither fatigue nor boredom could for a moment drive away the softness from the face, which was the dominant and basic expression, not only of the face, but of the whole soul.
Oblomov's favorite clothes are a dressing gown
“... From Persian material, 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 in it twice.”
His dressing gown was significantly worn, but this does not bother Oblomov: “it has lost its original freshness and in some places replaced its primitive, natural gloss with another, acquired, but still retained the brightness of oriental paint and the strength of the fabric.”
Ilya Ilyich took a fancy to the dressing gown, because it is as “soft” as its owner:
“The dressing gown had in the eyes of Oblomov a darkness of invaluable virtues: it 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's favorite pastime is lying on the couch, he has no good reason for this - he does it out of laziness:
“Ilya Ilyich’s lying down was neither a necessity, like a sick person or a person who wants to sleep, nor an accident, like someone who is tired, nor a pleasure, like a lazy person: this was his normal state.”
In the office of Ilya Ilyich there are a lot of things that their owner does not need - they were purchased and delivered, because it was accepted that way:
“He looked at the decoration of his office so coldly and absent-mindedly, as if asking with his eyes: “Who dragged and instructed all this here?”
In the house rented by Oblomov, there is no order - dust, debris are evenly distributed over all objects: “On the walls, near the paintings, a cobweb saturated with dust was molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets for writing down some memoirs on them over the dust. The carpets were stained."
The days of Ilya Ilyich always follow the same scenario - he does not get up for a long time, lying on the sofa and intends to get up all morning, redoing a bunch of things, but constantly delays his intention:
“He decided to get up, wash himself and, after drinking tea, think carefully, figure something out ... For half an hour he lay still, tormented by this intention, but then he decided that he would still have time to do this even after tea, and tea can be drunk, as usual, in bed, especially since nothing prevents you from thinking and lying down.
Some time later, the Oblomovs were rich and wealthy, but then things got worse, why this happened, the Oblomovs themselves do not know:
“he became poorer, became smaller, and finally imperceptibly got lost between not old noble houses.”
Oblomov often likes to call his servant Zakhar, almost always these are empty requests, sometimes Ilya Ilyich himself does not know why he called Zakhar:
“Why did I call it - I don’t remember! Go to yourself for now, and I will remember.
From time to time, apathy subsides from Oblomov, he reprimands Zakhara for the mess and garbage in the house, but the matter does not move beyond reprimands - everything remains in its place: “... moth starts from dust? I sometimes even see a bed bug on the wall!”
Ilya Ilyich does not like change, the need to move makes him terribly upset, he tries to delay this moment as much as possible, ignoring the request of the owner of the property to expedite the move:
“For a month, they say, they promised, but you still don’t leave ... we’ll let the police know.”
Fear of changing your life
He himself is aware of such intolerance to change.
"...I can't stand any change."
Oblomov does not tolerate cold:
"Don't come, don't come: you're out of the cold!"
Dinner parties and large gatherings seem to Ilya Ilyich a boring and stupid occupation:
“My God! Here is boredom - it must be hellish!
Oblomov does not like to work:
"work from eight o'clock to twelve, from twelve to five, and at home also - oh, oh."
Characteristics of Penkin about Oblomov:
"... an incorrigible, carefree sloth!"
Oblomov believes that work should not be too tiring: “Write at night ... when to sleep”
Oblomov's acquaintances are surprised by his inactivity. Taraniev says this about the laziness of Ilya Ilyich:
"It's almost twelve o'clock, and he's lying around"
Tarantiev deceives Oblomov and often takes money from him: "... snatched a banknote from Oblomov's hands and deftly put it in his pocket."
A few years ago, Oblomov tried to enter the service and became a collegiate secretary. The work was difficult for him.
"... running around, fuss began, everyone was embarrassed, everyone knocked each other down."
In view of his laziness and absent-mindedness, the service became hell for Oblomov, he hardly served for two years and left the service, considering this type of activity unsuitable for him:
“Ilya Ilyich suffered from fear and longing in the service, even with a kind, condescending boss.”
Ilya Ilyich often makes mistakes in his work, once he mixed up the addresses and sent the necessary documents not to Astrakhan but to Arkhangelsk. When the mistake was revealed, Oblomov worried for a long time, because he was aware of the irresponsibility of his act:
“although he and everyone else knew that the boss would confine himself to a remark; but his own conscience was much stricter than reprimand.
The only person who can stir up this sloth is his childhood friend Andrey Stolz:
"The youthful fever of Stolz infected Oblomov, and he burned with a thirst for work."
Studying was difficult for Oblomov - his parents often made him concessions and left him at home, at a time when the educational process was not completed. Oblomov never tried to correct this state of affairs, the level of his education suits Ilya Ilyich:
“... he had a whole abyss between science and life, which he did not try to cross. His life was on its own, and science on its own.
From constant idleness and immobility, Oblomov begins to experience various deviations in the functioning of his body systems:
“The stomach almost does not cook, heaviness in the pit of the stomach, heartburn tortured, breathing is difficult.”
He does not like to read either books or newspapers - his detachment from life suits Oblomov. This business is too tiring for the lazy Oblomov:
“The pages on which the books were unfolded were covered with dust and turned yellow; it is clear that they were abandoned long ago; the number of the newspaper was last year's.
Parents dreamed of the day when their son would gain a position in society, receive a significant increase, but at the same time they did not understand that an uneducated person would never achieve this, they seriously thought that this could happen by chance or some kind of fraud:
“They also dreamed of an embroidered uniform for him, imagined him as an adviser in the chamber, and his mother even as a governor; but they would like to achieve all this somehow cheaper, with various tricks.
Zakhar's attempts to stir up the owner do not lead to anything good. Oblomov fights off the servant:
“Oblomov suddenly, unexpectedly jumped to his feet and rushed at Zakhar. Zakhar rushed from him with all his legs, but at the third step Oblomov sobered up completely from sleep and began to stretch, yawning: “Give ... kvass”
Stolz and Oblomov are connected with childhood memories - Andrei cannot see how his friend's days pass aimlessly:
“Everyone is busy, but you don’t need anything.”
Stolz manages to activate Ilya Ilyich. He pulls Oblomov into the light, where Ilya Ilyich at first feels out of place, but over time, this feeling passes. Stolz encourages a friend to go abroad together. The friend agrees. Oblomov enthusiastically takes up the preparation:
“Ilya Ilyich already had his passport ready, he even ordered a travel coat for himself, bought a cap.”
Oblomov's love for Olga
Ilya Ilyich's falling in love became the reason for the refusal of the trip - a new feeling does not allow Oblomov to leave the object of his adoration even for a short time:
"Oblomov did not leave either a month or three." Oblomov's move is finally carried out.
Ilya Ilyich does not experience stress at the same time - his thoughts are occupied by Olga Ilyinskaya:
"Tarantiev moved his whole house to his godfather, in a lane, on the Vyborg side."
Oblomov fell in love for the first time. He is ashamed of his feelings, does not know what to do and how he should behave towards his beloved:
“Oh my God, how pretty she is! There are such things in the world! he thought, looking at her with almost frightened eyes.
Oblomov is a sensual, impulsive person, succumbing to emotions, he confesses his love to Olga:
“I feel… not music… but… love.”
Oblomov is not known for his courage - in difficult situations, he flees. This seems to him better than saying or doing something out of place: “without looking back, he ran out of the rooms.”
Ilya Ilyich is a conscientious person, he worries that his actions or words could provoke unpleasant experiences in those people who are dear to him:
“I was tormented by the fact that he frightened, insulted her”
Oblomov very emotional person he's not used to hiding his feelings
"... I'm not ashamed of my heart."
The emerging Love for Olga became the cause of not only his physical, but also mental activity. He begins to actively read books, because his beloved likes to listen to retellings of books, visits the theater and opera. He behaves like a true romantic - he takes walks in nature, gives Olga flowers:
“He is with Olga from morning to evening; he reads with her, sends flowers, walks on the lake, in the mountains.
Inactivity, fear of change played a cruel joke with Oblomov. The uncertainty that arose between Oblomov and Ilyinskaya became painful for the girl. Olga is afraid that Oblomov will not keep his word and not marry her, because he always has a lot of excuses to postpone the wedding. Oblomov cannot even dare to ask for the girl's hand. This leads to a break in the relationship:
“I loved the future Oblomov! You are meek, honest, Ilya; you are gentle ... dove; you hide your head under your wing - and you want nothing more; you are ready to coo all your life under the roof.
Oblomov returns to his usual life. Passivity and the absence of any activity other than lying on the couch and eating food are bad for his health - Oblomov gets an apoplexy:
“They bled and then announced that it was an apoplexy and that he needed to lead a different way of life.”
Despite everything, Oblomov does not change his habits. Ilya Ilyich perceives the arrival of Stolz with enthusiasm, but no longer succumbs to his persuasion to change his life. He is happy: he fell in love with the mistress of the house, who does not require anything from him and takes care of him like a child:
"Do not make vain attempts, do not persuade me: I will stay here."
The fact that Pshenitsyna (Oblomov's new love) is not a noblewoman does not allow her to admit to true reasons refusal to leave St. Petersburg: “Leave me completely ... forget ...”
Stolz is periodically interested in the fate of Oblomov. On his last visit to a friend, Andrei learns horrifying news - Oblomov lives with Pshenitsyna as with his wife, they have a joint child. Oblomov realizes that he will not live long and asks a friend to take care of his son:
“... this child is my son! His name is Andrei, in memory of you.
Oblomov's death
Oblomov dies as quietly as he lived - no one heard how Oblomov died, he was found dead on the couch, the cause of his death was a new apoplexy:
"The head moved a little from the pillow and the hand was convulsively pressed to the heart."
The image of Oblomov is not without positive qualities, but his laziness, apathy and fear of change reduce all aspirations and positive to nothing. His personality evokes feelings of regret in other characters in the novel. His friends are trying to help him get out of the swamp of laziness, but to no avail.
Oblomovism gained complete power over Ilya and became the cause of his death.
OBLOMOV
(Roman. 1859)
Oblomov Ilya Ilyich - the protagonist of the novel, a young man "about thirty-two - three years old, of medium height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in facial features ... softness was the dominant and basic expression, not only the face, but the whole soul; and the soul shone so openly and clearly in the eyes, in the smile, in every movement of the head and hand. This is how the reader finds the hero at the beginning of the novel, in St. Petersburg, on Gorokhovaya Street, where he lives with his servant Zakhar.
The main idea of the novel, about which N. A. Dobrolyubov wrote, is connected with the image of O.: “... God knows what an important story. But Russian life is reflected in it, it presents us with a living, modern Russian type, minted with merciless rigor and correctness, a new word in our social development is reflected in it, pronounced clearly and firmly, without despair and without childish hopes, but with full consciousness truth. This word is Oblomovism, we see something more than just the successful creation of a strong talent; we find in it ... a sign of the times.”
N. A. Dobrolyubov was the first to classify O. as “ extra people”, leading his family tree from Onegin, Pechorin, Beltov. Each of these heroes in his own way fully and vividly characterized a certain decade of Russian life. O. is a symbol of the 1850s, the "post-Belt" times in Russian life and Russian literature. In the personality of O., in his tendency to inactive observation of the vices of the era inherited by him, we clearly distinguish fundamentally new type, introduced by Goncharov into literary and public use. This type personifies philosophical doing nothing, conscious alienation from environment, which is rejected by the soul and mind of a young provincial who got from sleepy Oblomovka to the capital.
Life: good life! What is there to look for? interests of the mind, heart? - O. explains his worldview to his childhood friend Andrey Stolz. - You look where the center around which it all rotates: it is not there, there is nothing deep, touching the living. All these are dead, sleeping people, worse than me, these members of the council and society! What drives them in life? After all, they do not lie down, but scurry about every day, like flies, back and forth, but what's the point? Nature pointed out the goal to man.
Nature, according to O., indicated a single goal: life, as it has flowed for centuries in Oblomovka, where they were afraid of news, traditions were strictly observed, books and newspapers were not recognized at all. From "Oblomov's Dream", called by the author an "overture" and published much earlier than the novel, as well as from individual strokes scattered throughout the text, the reader will learn quite fully about the hero's childhood and youth, spent among people who understood life "nothing but an ideal peace and inactivity, disturbed at times by various unpleasant accidents ... they endured labor as a punishment imposed on our forefathers, but they could not love, and where there was a case, they always got rid of it, finding it possible and due.
Goncharov portrayed the tragedy of the Russian character, devoid of romantic features and not colored by demonic gloominess, but nevertheless found itself on the sidelines of life - through his own fault and through the fault of society, in which there was no place for drowsmen. Having no predecessors, this type has remained unique.
In the image of O. there are also autobiographical features. In the travel diary "Frigate" Pallada "Goncharov admits that during the trip he most willingly lay in a cabin, not to mention the difficulty with which he decided to circumnavigate the world. In the friendly circle of the Maykovs, who dearly loved the writer, Goncharov found a meaningful nickname - “Prince de Laziness”.
Path O.; - a typical path of the provincial Russian nobles of the 1840s, who came to the capital and found themselves out of work. Service in the department with the indispensable expectation of promotion, from year to year the monotony of complaints, petitions, establishing relationships with head clerks - this turned out to be beyond the strength of O., who preferred to move up the stairs of "career" and "fortune" lying on the couch, no hopes and dreams not dyed.
In O. dormant is that daydreaming that burst forth in Alexander Aduev, the hero of Goncharov's Ordinary History. In the soul of O. is also a lyricist, a man; who knows how to feel deeply - his perception of music, immersion in the captivating sounds of the aria "Casta diva" indicate that not only "pigeon meekness", but also passions are available to him.
Each meeting with a childhood friend Andrei Stolz, the complete opposite of O., can stir him up, but not for long: the determination to do something, to somehow arrange his life takes possession of him for a short time, while Stolz is next to him. And Stolz lacks neither the time nor the persistence to "lead" O. from act to act - there are others who, for selfish purposes, are ready not to leave Ilya Ilyich. They ultimately determine the course along which his life flows.
The meeting with Olga Ilyinskaya temporarily changed O. beyond recognition: under the influence of a strong feeling, incredible transformations take place with him - a greasy dressing gown is abandoned, O. gets out of bed as soon as he wakes up, reads books, looks through newspapers, is energetic and active, and having moved to the dacha near Olga, several times a day goes to meet her. “... A fever of life, strength, activity appeared in him, and the shadow disappeared ... and sympathy again beat with a strong and clear key. But all these worries did not yet leave the magic circle of love; his activity was negative: he does not sleep, reads, sometimes thinks of writing and a plan (improvement of the estate. - Ed.), He walks a lot, travels a lot. The further direction, the very thought of life, the deed, remains in the intentions.
Love, which carries the need for action, self-improvement, in the case of O. is doomed. He needs a different feeling that would connect today's reality with long-standing childhood impressions of life in his native Oblomovka, where they fence themselves off from an existence filled with anxieties and worries by any means, where the meaning of life fits into the thought of eating, sleeping, receiving guests and experiencing fairy tales as actual events. Any other feeling seems to be violence against nature.
Without realizing this to the end, O. understands what one cannot strive for precisely because of a certain warehouse of one's nature. In a letter to Olga, written almost on the verge of a decision to marry, he speaks of the fear of future pain, writes bitterly and piercingly: “What will happen when I get attached ... when seeing each other will become not a luxury of life, but a necessity when love cries out in heart? How to break away then? Can you survive this pain? It will be bad for me."
Agafya Matveevna Pshenitsyna, the landlady of the apartment that his fellow countryman Tarantiev found for O., is the ideal of Oblomovism in the broadest sense of this concept. She is just as “natural” as O. One can say about Pshenitsyna in the same words that Olga says about O. Stolz: “... An honest, faithful heart! This is his natural gold; he carried it unscathed through life. He fell from the shocks, cooled off, fell asleep, finally, killed, disappointed, having lost the strength to live, but did not lose his honesty and loyalty. Not a single false note was emitted by his heart, not dirt stuck to him ... This is a crystal, transparent soul; such people are few, they are rare; these are pearls in the crowd!
The features that brought O. closer to Pshenitsyna are indicated here exactly. Ilya Ilyich most of all needs a feeling of care, warmth, demanding nothing in return, and therefore he became attached to his mistress, as to a dream come true of returning to the blessed times of a happy, well-fed and serene childhood. With Agafya Matveevna, as with Olga, thoughts about the need to do something, somehow change life around and in oneself, are not connected. O. explains his ideal to Stolz simply, comparing Ilyinskaya with Agafya Matveevna: “... she will sing “Casta diva”, but she doesn’t know how to make vodka like that! And he won’t make such a pie with chickens and mushrooms!” And therefore, realizing firmly and clearly that he has nowhere else to strive, he asks Stolz: “What do you want to do with me? With the world where you drag me, I fell apart forever; you will not save, you will not make two torn halves. I have grown to this pit with a sore spot: try to tear it off - there will be death.
In the house of Pshenitsyna, the reader sees O. more and more perceiving “his real life, as a continuation of the same Oblomov existence, only with a different color of the area and partly of time. And here, as in Oblomovka, he managed to cheaply get rid of life, bargain with it and insure himself unperturbed peace.
Five years after this meeting with Stolz, "who again pronounced his cruel sentence:" Oblomovism! - and leaving O. alone, Ilya Ilyich "died, apparently, without pain, without torment, as if the clock had stopped, which they forgot to start." The son of O., born Agafya Matveevna and named after his friend Andrei, is taken to be raised by the Stoltsy.
“He was a man of about thirty-two or three years of age, of medium height, of pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his features. The thought walked like a free bird across the face, fluttered in the eyes, settled on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even color of carelessness glimmered all over the face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown. Meet. Before you is the hero of the novel of the same name by I. A. Goncharov Ilya Ilyich
Oblomov.
More than a century has passed since the writing of the novel by I. A. Goncharov, many opinions have arisen and changed to the opposite. For some, Oblomov is a disgusting couch potato, a completely weak-willed person, the personification of laziness, for others - a person incapable of any action, for others - Ilya Muromets from a Russian fairy tale, who also lay on the stove for 33 years. And what is he really like? How does the author see it? It is impossible to answer this question unambiguously. And therein lies the value of the present. classical work. I want to understand my opinion on this matter.
Ilya Ilyich Oblomov lies on the sofa in an old dressing gown. Lying on the couch is a natural state for him, and not a pleasure, like a lazy person, and not a necessity, like an unhealthy person. It is no coincidence that the age of the hero was chosen - thirty-two - thirty-three years. First life stage passed, a line is drawn under it, the next, more important stage of life begins. How did Oblomov approach this milestone?
Apathy and lifelessness. What prospects were given to him by birth! .. And what? “I didn’t finish my studies”, “I didn’t find my calling”, “I didn’t serve” ... Such a morality, Oblomov’s psychology was created by Oblomovka. He does not need to take care of daily bread, he is a gentleman, a Russian gentleman. He finds an excuse for himself in the fact that no kind of activity brings satisfaction to his soul, but he cannot (or does not want to) understand that his immoral lying on the couch is provided by the people who work for him.
With all this, Oblomov is dissatisfied with himself, he is tormented by bouts of despair and remorse. And Stolz encourages him to become the ideologist of Oblomov's utopia in order to justify and explain his way of life. And the hero does it very well, he draws Stolz the ideal of a serene being, world peace.
In the second part of the novel, Oblomov appears before us as a completely different person: subtly feeling, soft, kind, capable of great love, tenderness. It was the meeting with Olga that made him so. But after all, love requires action from a person, constant spiritual growth and development. Love does not accept "sleep", static and immobility. Love is flight. And the fear of responsibility, the inability to make independent decisions defeat the beautiful and lofty feeling, and love turns out to be powerless to change the character of Ilya Ilyich.
And as a result, after a short take-off, a period of activity, after so many hopes, Oblomov returns to his former indifference to life. Olga Ilyinskaya, a subtle and deep nature, never stopping in her development, was able to foresee the doom of a lofty feeling that had no prospect of growth. And now, instead of a beloved woman and conversations about literature and music with friends - Agafya Matveevna, a piece of cake and a sofa.
But, excuse me, who is Oblomov anyway? What is my opinion on this matter? The man who became Olga's first love, Stolz's only friend, the man who makes Agafya Matveevna happy. Oblomov lives in the world around him, finding no use for himself, his deep moral principles remain unclaimed, he dreams of a different society, but his dream is unrealizable. After all, he lives in the real world, and the real world made him incapable of fighting, weak and weak-willed, and this problem continues to live in today's reality.
Introduction
Goncharov's novel "Oblomov" is a landmark work of Russian literature of the 19th century, describing the phenomenon of "Oblomovism" characteristic of Russian society. bright representative in the book of this social trend is Ilya Oblomov - a native of a family of landowners, whose family way of life was a reflection of the norms and rules of Domostroy. Developing in such an atmosphere, the hero gradually absorbed the values and priorities of his parents, which greatly influenced the formation of his personality. a brief description of Oblomov in the novel "Oblomov" is given by the author at the beginning of the work - this is an apathetic, introverted, dreamy man who prefers to live life in dreams and illusions, presenting and experiencing fictitious pictures so vividly that sometimes he can sincerely rejoice or cry from those scenes that born in his mind. Oblomov's inner softness and sensuality seemed to be reflected in his appearance: all his movements, even in moments of anxiety, were restrained by external softness, grace and effeminacy, excessive for a man. The hero was flabby beyond his years, had soft shoulders and small plump hands, and a sedentary and inactive lifestyle was read in his sleepy look, in which there was no concentration or any main idea.
Life of Oblomov
As if a continuation of the soft, apathetic, lazy Oblomov, the novel describes the life of the hero. At first glance, his room was beautifully decorated: “There was a mahogany bureau, two sofas upholstered in silk fabric, beautiful screens embroidered with birds and fruits unprecedented in nature. There were silk curtains, carpets, several paintings, bronze, porcelain and many beautiful little things. However, if you look better, you can see cobwebs, dusty mirrors and long-open and forgotten books, stains on carpets, untidy household items, bread crumbs, and even a forgotten plate with a gnawed bone. All this made the hero's room unkempt, abandoned, gave the impression that no one had lived here for a long time: the owners left the house long ago, not having time to clean up. To some extent, this was true: Oblomov had not lived in the real world for a long time, replacing it with an illusory world. This is especially evident in the episode when his acquaintances come to the hero, but Ilya Ilyich does not even bother to extend his hand to them to greet them, and, even more so, to get out of bed to meet the visitors. The bed in this case (like the bathrobe) is the boundary link between the world of dreams and reality, that is, getting out of bed, Oblomov would to some extent agree to live in the real dimension, but the hero did not want to.
The influence of "Oblomovism" on the personality of Oblomov
The origins of Oblomov's all-encompassing escapism, his irresistible desire to escape from reality, lie in the "Oblomov" upbringing of the hero, about which the reader learns from the description of Ilya Ilyich's dream. The character's native estate, Oblomovka, was located far from the central part of Russia, located in a picturesque, peaceful area where there were never strong storms or hurricanes, and the climate was calm and mild. Life in the village flowed measuredly, and time was measured not in seconds and minutes, but in holidays and rituals - births, weddings or funerals. The monotonous quiet nature was also reflected in the character of the inhabitants of Oblomovka - the most important value for them was rest, laziness and the opportunity to eat to their fill. Labor was seen as a punishment, and people did their best to avoid it, delay the moment of work or force someone else to do it.
It is noteworthy that the characterization of the hero Oblomov in childhood differs significantly from the image that appears before readers at the beginning of the novel. Little Ilya was an active, interested in many things and open to the world child with a wonderful imagination. He liked to walk and get to know the surrounding nature, but the rules of the "Oblomov" life did not imply his freedom, so gradually his parents re-educated him in their own image and likeness, growing him like a "greenhouse plant", protecting him from the hardships of the outside world, the need to work and learn new things. Even the fact that they sent Ilya to study was more a tribute to fashion than a real necessity, because for any slightest reason they themselves left their son at home. As a result, the hero grew up, as if closed from society, unwilling to work and relying in everything on the fact that with the emergence of any difficulties it would be possible to shout “Zakhar” and the servant would come and do everything for him.
Reasons for Oblomov's desire to escape reality
The description of Oblomov, the hero of Goncharov's novel, gives a vivid idea of Ilya Ilyich, as a person who is firmly fenced off from the real world and internally does not want to change. The reasons for this lie in Oblomov's childhood. Little Ilya was very fond of listening to fairy tales and legends about great heroes and heroes that his nanny told him, and then imagine himself as one of these characters - a person in whose life a miracle will happen at one moment that will change the current state of things and make the hero head and shoulders above others. However, fairy tales are significantly different from life, where miracles do not happen by themselves, and in order to achieve success in society and career, you need to constantly work, overcome falls and persistently move forward.
Hothouse education, where Oblomov was taught that someone else would do all the work for him, combined with the dreamy, sensual nature of the hero, led to the inability of Ilya Ilyich to deal with difficulties. This feature of Oblomov manifested itself even at the moment of the first failure in the service - the hero, fearing punishment (although, perhaps, no one would have punished him, and the matter would have been decided by a banal warning), he quits his job and no longer wants to face a world where everyone for himself. An alternative to hard reality for the hero is the world of his dreams, where he imagines a wonderful future in Oblomovka, a wife and children, a peaceful calm that reminds him of his own childhood. However, all these dreams remain only dreams, in reality, Ilya Ilyich puts off in every possible way the issues of arranging his native village, which, without the participation of a reasonable owner, is gradually being destroyed.
Why didn't Oblomov find himself in real life?
The only person who could pull Oblomov out of his constant half-asleep idleness was the hero’s childhood friend, Andrei Ivanovich Stolz. He was the exact opposite of Ilya Ilyich, both in appearance and in character. Always active, striving forward, able to achieve any goals, Andrei Ivanovich nevertheless valued his friendship with Oblomov, since in communicating with him he found the warmth and understanding that he really lacked in his environment.
Stolz was most fully aware of the destructive influence of "Oblomovism" on Ilya Ilyich, therefore, until the last moment, he tried with all his might to pull him into real life. Once Andrei Ivanovich almost succeeded when he introduced Oblomov to Ilyinskaya. But Olga, in her desire to change the personality of Ilya Ilyich, was driven solely by her own egoism, and not by an altruistic desire to help a loved one. At the moment of parting, the girl tells Oblomov that she could not bring him back to life, because he was already dead. On the one hand, this is true, the hero is too firmly mired in Oblomovism, and in order to change his attitude to life, inhuman efforts and patience were required. On the other hand, active, purposeful by nature, Ilyinskaya did not understand that Ilya Ilyich needed time to transform, and he could not change himself and his life in one jerk. The break with Olga became an even greater failure for Oblomov than a mistake in the service, so he finally plunges into the networks of "Oblomovism", leaves the real world, not wanting to experience mental pain anymore.
Conclusion
The author's characterization of Ilya Ilyich Oblomov, despite the fact that the hero is the central character, is ambiguous. Goncharov exposes both his positive features (kindness, tenderness, sensuality, the ability to experience and sympathize), and negative ones (laziness, apathy, unwillingness to decide anything on his own, refusal to self-development), depicting a multifaceted personality in front of the reader, which can cause both sympathy and disgust. At the same time, Ilya Ilyich is undoubtedly one of the most accurate images of a truly Russian person, his nature and character traits. This particular ambiguity and versatility of Oblomov's image allow even modern readers to discover something important for themselves in the novel, putting before themselves those eternal questions that Goncharov raised in the novel.
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