Positive and negative character traits of Oblomov, his inconsistency in Goncharov's novel. "Oblomov's Dream" - the world of a sleepy and poetic soul Why did Oblomov become "Oblomov". Childhood in Oblomovka

Goncharov's novel "Oblomov" was written during the transition of Russian society from outdated, house-building traditions and values to new, enlightening views and ideas. This process became the most difficult and difficult for representatives of the landlord social class, as it required an almost complete rejection of the usual way of life and was associated with the need to adapt to new, more dynamic and rapidly changing conditions. And if a part of society easily adapted to the renewed circumstances, then for others the transition process turned out to be very difficult, since it was essentially opposed to the usual way of life of their parents, grandfathers and great-grandfathers. Ilya Ilyich Oblomov is the representative of just such landlords, who failed to change along with the world, adapting to it. According to the plot of the work, the hero was born in a village far from the capital of Russia - Oblomovka, where he received a classic landowner, house-building upbringing, which formed many of Oblomov's main character traits - lack of will, apathy, lack of initiative, laziness, unwillingness to work and the expectation that someone will do everything for him. Excessive guardianship of parents, constant prohibitions, the peacefully lazy atmosphere of Oblomovka led to a deformation of the character of a curious and active boy, making him introverted, prone to escapism and unable to overcome even the most insignificant difficulties.

The inconsistency of Oblomov's character in the novel "Oblomov"

The negative side of Oblomov's character

In the novel, Ilya Ilyich does not decide anything on his own, hoping for outside help - Zakhar, who will bring him food or clothes, Stolz, who can solve problems in Oblomovka, Tarantiev, who, although he will deceive, will figure out the situation of interest to Oblomov, etc. The hero is not interested in real life, it causes him boredom and fatigue, while he finds true peace and satisfaction in the world of illusions invented by him. Spending all his days lying on the couch, Oblomov makes unrealizable plans for the arrangement of Oblomovka and his happy family life, in many ways similar to the calm, monotonous atmosphere of his childhood. All his dreams are directed to the past, even the future that he draws for himself are echoes of a distant past that can no longer be returned.

It would seem that a lazy, lumberjack hero living in an untidy apartment cannot arouse sympathy and disposition in the reader, especially against the background of an active, active, purposeful friend of Ilya Ilyich - Stolz. However, the true essence of Oblomov is revealed gradually, which allows you to see all the versatility and inner unrealized potential of the hero. Even as a child, surrounded by quiet nature, care and control of his parents, subtly feeling, dreamy Ilya was deprived of the most important thing - the knowledge of the world through its opposites - beauty and ugliness, victories and defeats, the need to do something and the joy gained by one's own work. From an early age, the hero had everything he needed - helpful courtyards carried out orders at the first call, and parents spoiled their son in every possible way. Once outside the parental nest, Oblomov, not ready for the real world, continues to expect that everyone around him will treat him as warmly and affably as in his native Oblomovka. However, his hopes were destroyed already in the first days in the service, where no one cared about him, and everyone was only for himself. Deprived of the will to live, the ability to fight for his place in the sun and perseverance, Oblomov, after an accidental mistake, leaves the service himself, fearing punishment from his superiors. The very first failure becomes the last for the hero - he no longer wants to move forward, hiding from the real, "cruel" world in his dreams.

The positive side of Oblomov's character

The person who could pull Oblomov out of this passive state, leading to the degradation of the personality, was Andrei Ivanovich Stolz. Perhaps, Stolz is the only character in the novel who thoroughly saw not only negative, but also positive features Oblomov: sincerity, kindness, the ability to feel and understand the problems of another person, inner peace and simplicity. It was to Ilya Ilyich that Stoltz came in difficult moments when he needed support and understanding. Pigeon tenderness, sensuality and sincerity of Oblomov are revealed during the relationship with Olga. Ilya Ilyich is the first to realize that he is not suitable for the active, purposeful Ilyinskaya, who does not want to devote herself to Oblomov's values - this betrays a subtle psychologist in him. Oblomov is ready to give up his own love, as he understands that he will not be able to give Olga the happiness she dreams of.

The character and fate of Oblomov are closely connected - his lack of will, inability to fight for his happiness, along with spiritual kindness and gentleness, lead to tragic consequences - fear of difficulties and sorrows of reality, as well as the hero’s complete departure into a pacifying, calm, wonderful world of illusions.

National character in the novel "Oblomov"

The image of Oblomov in Goncharov's novel is a reflection of the national Russian character, its ambiguity and versatility. Ilya Ilyich is the same archetypal Emelya the Fool on the stove, about which the nanny told the hero in childhood. Like a character in a fairy tale, Oblomov believes in a miracle that should happen to him by itself: a benevolent firebird or a kind sorceress will appear who will take him to the wonderful world of honey and milk rivers. And the chosen one of the sorceress should not be a bright, hardworking, active hero, but always “quiet, harmless”, “some kind of lazy person whom everyone offends”.

Unquestioning faith in a miracle, in a fairy tale, in the possibility of the impossible - main feature not only Ilya Ilyich, but also any Russian person brought up on folk tales and legends. Falling on fertile ground, this belief becomes the basis of a person’s life, replacing reality with an illusion, as happened with Ilya Ilyich: “he had a fairy tale mixed with life, and sometimes he unconsciously feels sad, why a fairy tale is not life, and life is not a fairy tale.”

At the end of the novel, Oblomov, it would seem, finds that "Oblomov" happiness that he had long dreamed of - a calm, monotonous life without stress, a caring kind wife, an arranged life and a son. However, Ilya Ilyich does not return to the real world, he remains in his illusions, which become more important and significant for him than real happiness next to a woman who adores him. In fairy tales, the hero must pass three trials, after which he will expect the fulfillment of all desires, otherwise the hero will die. Ilya Ilyich does not pass a single test, first succumbing to failure in the service, and then to the need to change for Olga. Describing Oblomov's life, the author seems to be ironic about the hero's excessive faith in an unrealizable miracle, for which there is no need to fight.

Conclusion

At the same time, the simplicity and complexity of Oblomov's character, the ambiguity of the character himself, the analysis of his positive and negative sides, make it possible to see in Ilya Ilyich eternal image unrealized personality "out of his time" - "an extra person" who failed to find his own place in real life, and therefore gone into the world of illusions. However, the reason for this, as Goncharov emphasizes, is not in a fatal combination of circumstances or the difficult fate of the hero, but in the wrong upbringing of Oblomov, who is sensitive and gentle in character. Grown as a "houseplant", Ilya Ilyich turned out to be unadapted to a reality that was hard enough for his refined nature, replacing it with the world of his own dreams.

Artwork test

The presented lesson is intended for the 10th grade of a comprehensive school. This is the second lesson in the study of the novel by I.A. Goncharov "Oblomov". The first lesson was devoted to the study of the Flemish craftsmanship of I.A. Goncharova, subject world in the novel.

Lesson type: art lesson.

Type of lesson: a lesson in in-depth work on the text of the work.

Lesson form: lesson - conversation (with elements artistic reading, discussions).

The purpose of the lesson: analyze "Oblomov's Dream", revealing those aspects of Oblomov's life that influenced the formation of the dual nature of the hero (on the one hand, poetic consciousness, on the other, inactivity, apathy, laziness of life).

Tasks:

1. Cognitive:

Recall with students the function of sleep in work of art; give examples of previously studied works in which a dream was present.
To acquaint students with the compositional feature of using "Oblomov's Dream".
identify positive and negative traits the life of the Oblomovites, which influenced the character of Ilya Ilyich.

2. Developing:

The development of attention.
Development of thinking.
The development of the imagination.
The development of oral speech.

3. Educational:

Raising a love for literature lessons.
Raising interest in Russian traditions, features of the Russian national character.

Equipment: a portrait of I.A. Goncharov, a cassette with excerpts from the film by N. Mikhalkov “Six days in the life of Oblomov”.

Design: a portrait of I.A. Goncharov is attached to the board, the first part of the topic and questions that students will answer during the lesson are recorded.

During the classes:

I. Introductory stage:

Teacher's word: Today we have to get acquainted with a very significant chapter in the context of the novel, which is called "Oblomov's Dream". In addition, we will find out the compositional feature of its use, identify the features of the life of the Oblomovites, which influenced the formation of the character of Ilya Ilyich.

Conversation (about the tradition of using sleep in literature):

Note: Y - teacher's question; y is the student's answer.

U: Let's remember in what works we studied earlier there was a dream?

at: A.S. Pushkin "Eugene Onegin" - Tatyana's dream.

with: A.S. Pushkin " Captain's daughter"- the dream of Petrusha Grinev.

at: "Ballads" by V. Zhukovsky.

*U - teacher's question; y is the student's answer.

W: Yes, you are absolutely right. And what, in your opinion, is the function of sleep in these works, why do the authors use them?

y: Through a dream, the features of the inner world of the character are revealed, the thoughts, fears of the characters are reflected here, in a distorted form, the future can also be represented in dreams.

U: And let's think about what is the peculiarity of the compositional use of sleep in the novel Oblomov?

u: The dream represents Oblomov's childhood, but Goncharov does not begin the novel with a description of childhood, but transfers it to chapter 9. Thus, the hero is first presented to us, and then only his personality is revealed.

II. Analysis of the work:

Teacher's word: And now let's move on to the consideration of "Sleep". Now we will hear the description of Oblomovka, which opens the "Dream". Let's try to find in it meaningful words, epithets (definitions that give the expression imagery and emotionality), with which the author conveys his attitude to this place.

Artistic reading of the passage by the student:

"Where are we? To what blessed corner of the earth did Oblomov's dream take us? What a wonderful land! No, really, there is the sea, no high mountains, rocks and abysses, no dense forests - there is nothing grandiose, wild and gloomy ...

The sky there, it seems, presses closer to the earth, but not in order to throw stronger arrows, but only to hug her tighter, with love: it spreads so low overhead, like a parent’s reliable roof, to protect, it seems, the chosen one corner from any misfortune.

The sun shines brightly and hotly there for about half a year and then does not move away from there suddenly, as if unwillingly, as if turning back to look once or twice at a favorite place and give it in the fall, in the midst of bad weather, a clear, warm day.

The mountains there seem to be only models of those terrible mountains erected somewhere, which terrify the imagination. This is a series of gentle hills, from which it is customary to ride, frolic, on your back or, sitting on them, look in thought at the setting sun.

The river runs merrily, frolicking and playing; it either spills into a wide pond, or aspires with a quick thread, or subsides, as if in thought, and crawls a little over the pebbles, releasing frisky streams from itself on the sides, under the murmur of which it sweetly slumbers.

The whole corner of fifteen or twenty versts around presented a series of picturesque sketches, cheerful, smiling landscapes. Sandy and sloping banks of a bright river, a small bush creeping up from the hill to the water, a twisted ravine with a stream at the bottom and Birch Grove- everything seemed to be deliberately tidied up one to one and masterfully drawn.

Exhausted by worries or not at all familiar with them, the heart asks to hide in this corner forgotten by everyone and live in happiness unknown to anyone. Everything promises there a calm, long-term life to the yellowness of the hair and an imperceptible, sleep-like death.

The student highlights epithets and significant words, the rest complement him: a blessed corner; wonderful edge; favorite place; picturesque sketches; cheerful, smiling landscapes, everything is quiet and sleepy, etc.

U: Make a conclusion about what this place was in Oblomov's life.

Y: This is an ideal place, a paradise for Oblomov.

Teacher's word: And now let's turn to real life in Oblomovka. And let's see if everything in it is really as perfect as it is presented in the description.

In order to recall the key aspects of the life of the Oblomovites, we will watch excerpts from N. Mikhalkov's film "Six Days in the Life of Oblomov". I ask you to divide into two teams, the task of one team will be to find positive moments in Oblomov's life, and the other - negative, negative moments. And in order to make it easier for you to highlight aspects, I suggest you pay attention to 3 areas:

Picture of the world.
Philosophy of life.
Child education.

And then, using examples from the film and supplementing them with examples from the text, we will answer the question: “Can we really call Oblomovka paradise and why?”

Viewing episodes from the movie:

Ilyusha's curiosity.
Mismanagement of the Oblomovites.
A comprehensive sleep like death.
Repetitive, fruitless evenings. A unifying beginning in laughter.
Prayer.

A discussion between two groups of students. The results of the discussion are drawn up in notebooks and on the board in the form of the following table.

"+" Oblomov life	"-" Oblomov life
Picture of the world
1. The unity of people with nature, nature is anthropomorphic, a person has no fear of it. 2. The unity of people with each other, the love of parents for Ilyusha.	1. Oblomovka's isolation from the outside world, even the Oblomovites' fear of it (the story of the ravine, the gallery; there is no calendar in Oblomovka; fear of writing).
Philosophy of life.
1. Measured, quiet life, where, as in nature, there are no cataclysms. Death, which comes imperceptibly, is also perceived as a natural process. 2. There is no place for evil in Oblomovka, the biggest evil is "stealing peas in the gardens."	1. Report of the student "Oblomov's daily routine." It shows that life is a mechanical repetition of food and sleep (equal to death), empty evenings and fruitless conversations. 2. Details that violate the measured life of the Oblomovites (the staggering porch, the hut of Onisim Suslov, the collapsed gallery). All this shows the inability of the Oblomovites to work, their attitude to work as a punishment, their hope in everything for “maybe”.
Child education
1. Mother's love. 2. Formation of a poetic spirituality in a child with the help of fairy tales, folklore.	1. Excessive love, leading to a fence from one's own activities. 2. Fairy tales give rise to fruitless dreams that a miracle can happen in life without difficulty, and this leads to the complete passivity of the hero. 3. Oblomov's upbringing "in Oblomov's way"

Teacher's word: So, we have reflected in our table the opposite sides of Oblomovka's life. And most often, the hero of the novel himself was evaluated, only taking into account one side that influenced his life. Here are two statements by critics, what side did they take in Oblomov?

N. Dobrolyubov: “In Goncharov's book, we see a living modern Russian type, minted with merciless rigor and correctness. What are the features of Oblomov's character? In complete inertia, which comes from apathy towards everything that is happening in the world ... "

A.V. Druzhinin: “The sleepy Oblomov, a native of the sleepy and yet poetic Oblomovka, is free from moral illnesses ... He is not infected with worldly debauchery. A child by nature and by the conditions of his development, Ilya Ilyich in many ways left behind the purity and simplicity of a child, which put the dreamy eccentric above the prejudices of his age.

W: Which of these researchers do you think is right?

Students come to the conclusion that both of these sides are in Oblomov's personality and neither one nor the other can be excluded or absolutized.

III. Lesson Summary:

The class comes up with a topic for the lesson that would reflect the bidirectional nature of Oblomov's essence. (For example, "Oblomov's dream is the world of a sleepy and poetic soul.")

The inconsistency of Oblomov's character in the novel "Oblomov"

The negative side of Oblomov's character

The positive side of Oblomov's character

The person who could pull Oblomov out of this passive state, leading to the degradation of the personality, was Andrei Ivanovich Stolz. Perhaps Stolz is the only character in the novel who thoroughly saw not only negative, but also positive features of Oblomov: sincerity, kindness, the ability to feel and understand the problems of another person, inner peace and simplicity. It was to Ilya Ilyich that Stoltz came in difficult moments when he needed support and understanding. Pigeon tenderness, sensuality and sincerity of Oblomov are revealed during the relationship with Olga. Ilya Ilyich is the first to realize that he is not suitable for the active, purposeful Ilyinskaya, who does not want to devote herself to Oblomov's values - this betrays a subtle psychologist in him. Oblomov is ready to give up his own love, as he understands that he will not be able to give Olga the happiness she dreams of.

National character in the novel "Oblomov"

Unquestioning faith in a miracle, in a fairy tale, in the possibility of the impossible is the main feature not only of Ilya Ilyich, but also of any Russian person brought up on folk tales and legends. Falling on fertile ground, this belief becomes the basis of a person’s life, replacing reality with an illusion, as happened with Ilya Ilyich: “he had a fairy tale mixed with life, and sometimes he unconsciously feels sad, why a fairy tale is not life, and life is not a fairy tale.”

Conclusion

At the same time, the simplicity and complexity of Oblomov's character, the ambiguity of the character himself, the analysis of his positive and negative sides, make it possible to see in Ilya Ilyich the eternal image of an unrealized personality "out of his time" - an "extra person" who failed to find his own place in real life, and therefore left into the world of illusions. However, the reason for this, as Goncharov emphasizes, is not in a fatal combination of circumstances or the difficult fate of the hero, but in the wrong upbringing of Oblomov, who is sensitive and gentle in character. Grown as a "houseplant", Ilya Ilyich turned out to be unadapted to a reality that was hard enough for his refined nature, replacing it with the world of his own dreams.

Artwork test

The protagonist of the novel is Ilya Ilyich Oblomov, a landowner who, however, lives permanently in St. Petersburg. The character of Oblomov is sustained perfectly throughout the novel. It is not as simple as it might seem at first glance. The main character traits of Oblomov are an almost painful weakness of the will, expressed in laziness and apathy, then - the absence of living interests and desires, the fear of life, the fear of any change in general.

But, along with these negative features, there are also large positive ones in him: a wonderful spiritual purity and sensitivity, good nature, cordiality and tenderness; Oblomov has a "crystal soul", in the words of Stolz; these features attract to him the sympathy of everyone who comes into close contact with him: Stolz, Olga, Zakhar, Agafya Matveevna, even his former colleagues who visit him in the first part of the novel. Moreover, by nature, Oblomov is far from stupid, but his mental abilities are dormant, suppressed by laziness; there is in him both a desire for good and a consciousness of the need to do something for the common good (for example, for his peasants), but all these good inclinations are completely paralyzed in him by apathy and lack of will. All these traits of Oblomov's character appear brightly and prominently in the novel, despite the fact that there is little action in it; in this case, this is not a shortcoming of the work, since it fully corresponds to the apathetic, inactive nature of the protagonist. The brightness of the characteristic is achieved mainly through the accumulation of small but characteristic details that vividly depict the habits and inclinations of the depicted person; so, according to one description of Oblomov's apartment and its furnishings on the first pages of the novel, one can get a fairly accurate idea of the personality of the owner himself. This method of characterization is one of the favorite artistic techniques Goncharova; that is why in his works there is such a mass of small details of life, furnishings, etc.

In the first part of the novel, Goncharov introduces us to Oblomov's lifestyle, his habits, and also talks about his past, about how his character developed. During this whole part, describing one "morning" of Oblomov, he hardly leaves his bed; in general, lying on a bed or on a sofa, in a soft bathrobe, was, according to Goncharov, his "normal state." Every activity bored him; Oblomov once tried to serve, but not for long, because he could not get used to the requirements of the service, to strict accuracy and diligence; hectic office life, writing papers, the purpose of which was sometimes unknown to him, the fear of making mistakes - all this weighed on Oblomov, and, having once sent an office paper instead of Astrakhan to Arkhangelsk, he preferred to retire. Since then, he has lived at home, almost never going anywhere: neither to society, nor to the theater, almost without leaving his beloved deceased dressing gown. His time passed in a lazy "crawling from day to day", in idle doing nothing or in no less idle dreams of high-profile feats, of glory. This game of imagination occupied and delighted him, in the absence of other, more serious mental interests. Like any serious work that requires attention and concentration, reading tired him; therefore, he read almost nothing, did not follow life in the newspapers, being content with those rumors that rare guests brought to him; the unfinished book, unfolded in the middle, turned yellow and covered with dust, and instead of ink, only flies were found in the inkwell. Every extra step, every effort of will was beyond his power; even concern for himself, for his own well-being weighed on him, and he willingly left it to another, for example, Zakhar, or he relied on "maybe", on the fact that "somehow everything will work out." When he had to make some serious decision, he complained that "life touches everywhere." His ideal was calm, peaceful life, without worries and without any changes, so that "today" is like "yesterday" and "tomorrow" is like "today". Everything that confused the monotonous course of his existence, every care, every change frightened and depressed him. The letter from the headman, demanding his orders, and the need to move out of the apartment seemed to him real "misfortunes", in his own words, and he was calmed only by the fact that somehow all this would work out.

But if there were no other features in Oblomov's character, except for laziness, apathy, weak will, mental hibernation, then he, of course, could not interest the reader in himself, and Olga would not be interested in him, could not serve as the hero of a whole extensive novel. To do this, it is necessary that these negative sides of his character be balanced by no less important positive ones that can arouse our sympathy. And Goncharov, indeed, from the very first chapters shows these personality traits of Oblomov. In order to more clearly set off its positive, sympathetic sides, Goncharov introduced several episodic persons who appear in the novel only once and then disappear without a trace from its pages. This is Volkov, an empty secular man, a dandy who seeks only pleasures in life, alien to any serious interests, leading a noisy and mobile life, but nevertheless completely devoid of inner content; then Sudbinsky, a careerist official, completely immersed in the petty interests of the service world and paperwork, and “for the rest of the world he is blind and deaf,” as Oblomov puts it; Penkin, a petty writer of a satirical, accusatory direction: he boasts that in his essays he brings weaknesses and vices to general ridicule, seeing in this the true vocation of literature: but his self-satisfied words evoke a rebuff from Oblomov, who finds in the works new school only slavish fidelity to nature, but too little soul, little love for the subject of the image, little true “humanity”. In the stories that Penkin admires, there are no, according to Oblomov, "invisible tears", but only visible, coarse laughter; depicting fallen people, the authors "forget the person." “You want to write with one head! - he exclaims, - do you think that a heart is not needed for thought? No, it is fertilized by love. Reach out your hand to a fallen man to lift him up, or weep bitterly over him if he perishes, and do not scoff. Love him, remember yourself in him ... then I will read you and bow my head before you ... ”From these words of Oblomov it is clear that his view of the vocation of literature and his demands from the writer is much more serious and lofty than that of a professional writer Penkin, who, in his words, "wasted his thought, his soul on trifles, trades in mind and imagination." Finally, Goncharov also brings out a certain Alekseev, “a man of indefinite years, with an indefinite physiognomy”, who has nothing of his own: neither his own tastes, nor his desires, nor sympathies: Goncharov introduced this Alekseev, obviously in order to show by comparison that Oblomov, despite all his spinelessness, is by no means impersonal, that he has his own definite moral physiognomy.

Thus, comparison with these episodic persons shows that Oblomov was mentally and morally superior to the people around him, that he understood the insignificance and illusory nature of those interests that they were fond of. But Oblomov not only could, but also knew how “in his clear, conscious moments” to be critical of the surrounding society and to himself, admit his own shortcomings and suffer heavily from this consciousness. Then memories of the years of his youth awakened in his memory, when he, together with Stolz, was at the university, studied science, translated serious scientific works, was fond of poetry: Schiller, Goethe, Byron, dreamed of future activities, of fruitful work for the common good. Obviously, at this time, Oblomov was also influenced by the idealistic hobbies that dominated the Russian youth of the 30s and 40s. But this influence was fragile, because Oblomov's apathetic nature was unusual for a long passion, as systematic hard work was unusual. At the university, Oblomov was content to assimilate the passively prepared conclusions of science without thinking them through on his own, without defining their mutual relationship, without bringing them into a coherent connection and system. Therefore, “his head represented a complex archive of dead deeds, faces, eras, figures, unrelated political, economic, mathematical and other truths, tasks, positions, etc. It was like a library consisting of some scattered volumes in different parts knowledge. The teaching had a strange effect on Ilya Ilyich: for him, between science and life, lay a whole abyss, which he did not try to cross. "He had life on its own, and science on its own." Knowledge divorced from life, of course, could not be fruitful. Oblomov felt that he, as an educated person, needed to do something, he was aware of his duty, for example, to the people, to his peasants, he wanted to arrange their fate, improve their situation, but everything was limited only to many years of thinking over a plan for economic transformations, and the real management of the economy and the peasants remained in the hands of the illiterate headman; and the conceived plan could hardly have been of practical importance in view of the fact that Oblomov, as he himself admits, did not have a clear idea of \u200b\u200bthe village life, did not know "what is corvée, what is rural labor, what does a poor peasant mean, what is a rich one."

Such ignorance real life, with a vague desire to do something useful, brings Oblomov closer to the idealists of the 40s, and especially to the "superfluous people", as they are depicted by Turgenev.

Like " extra people”, Oblomov was sometimes imbued with the consciousness of his impotence, his inability to live and act, in a moment of such consciousness “he felt sad and hurt for his underdevelopment, a stop in the growth of moral forces, for heaviness that interfered with everything; and envy gnawed at him that others lived so fully and extensively, while it was as if he had thrown a heavy stone on the narrow and miserable path of his existence ... And meanwhile, he painfully felt that in him, as in a grave, some that good, bright beginning, perhaps now already dead, or it lies like gold in the bowels of the mountains, and it would be high time for this gold to be a current coin. The consciousness that he did not live as he should wandered vaguely in his soul, he suffered from this consciousness, sometimes wept bitter tears of impotence, but could not decide on any change in life, and soon calmed down again, which was also facilitated by his apathetic nature, incapable of a strong uplift of spirit. When Zakhar inadvertently decided to compare him with "others", Oblomov was severely offended by this, and not only because he felt offended in his lordly vanity, but also because in the depths of his soul he realized that this comparison with "others" tended far from in his favor.

When Stolz asks Zakhar what Oblomov is, he replies that he is a "master". This is a naive, but quite accurate definition. Oblomov, indeed, is a representative of the old serf nobility, a "master", that is, a man who "has Zakhar and three hundred more Zakharovs," as Goncharov himself puts it about him. Using the example of Oblomov, Goncharov thus showed how serfdom had a detrimental effect on the nobility itself, preventing the development of energy, perseverance, self-activity, and habits of work. In the past, mandatory public service maintained in the service class these qualities necessary for life, which began to gradually fade away since the obligatory service was abolished. The best people among the nobility the injustice of such an order of things created by serfdom has long been recognized; the government, starting with Catherine II, wondered about its abolition, literature, in the person of Goncharov, showed its perniciousness for the nobility itself.

“It began with the inability to put on stockings, and ended with the inability to live,” Stolz aptly put it about Oblomov. Oblomov himself is aware of his inability to live and act, his unsuitability, the result of which is a vague but painful fear of life. This consciousness is the tragic trait in Oblomov's character, which sharply separates him from the former "Oblomovites". Those were whole natures, with a strong, albeit unsophisticated worldview, alien to any doubt, any internal split. In contrast to them, it is precisely this duality that exists in the character of Oblomov; it was introduced into it by the influence of Stolz and the education he received. It was already psychologically impossible for Oblomov to lead the same calm and self-satisfied existence that his fathers and grandfathers led, because in the depths of his soul he still felt that he did not live the way he should and how “others” like Stolz live. Oblomov already has a consciousness of the need to do something, to be useful, to live not for himself alone; he also has a consciousness of his duty to the peasants, whose labor he uses; he is developing a "plan" for a new arrangement of village life, where the interests of the peasants are also taken into account, although Oblomov does not at all think about the possibility and desirability of the complete abolition of serfdom. Until the end of this “plan”, he does not consider it possible to move to Oblomovka, but, of course, nothing comes of his work, because he lacks neither knowledge of rural life, nor perseverance, nor diligence, nor real conviction in the expediency of the “plan” itself. ". Oblomov grieves grievously at times, torments himself in the consciousness of his unfitness, but is not able to change his character. His will is paralyzed, every action, every decisive step frightens him: he is afraid of life, as in Oblomovka they were afraid of a ravine, about which there were various unkind rumors.

Oblomov's character

Roman I.A. Goncharov "Oblomov" was published in 1859. It took almost 10 years to create it. This is one of the most outstanding novels classical literature our time. So famous people spoke about the novel literary critics of that era. Goncharov was able to convey realistically objectively and reliable facts of the reality of the layers of the social environment of the historical period. It must be assumed that his most successful achievement was the creation of the image of Oblomov.

He was a young man of 32-33 years old, of medium height, with a pleasant face and an intelligent look, but without any definite depth of meaning. As the author noted, the thought walked across the face like a free bird, fluttered in the eyes, fell on half-open lips, hid in the folds of the forehead, then completely disappeared and a careless young man appeared before us. Sometimes boredom or fatigue could be read on his face, but all the same, there was a softness of character in him, the warmth of his soul. Oblomov's whole life is accompanied by three attributes of bourgeois well-being - a sofa, a dressing gown and shoes. At home, Oblomov wore an oriental soft capacious dressing gown. He spent all his free time lying down. Laziness was an integral feature of his character. The cleaning of the house was done superficially, giving the appearance of cobwebs hanging in the corners, although at first glance one might think that it was a well-cleaned room. There were two more rooms in the house, but he did not go there at all. If there was an uncleaned dinner plate with crumbs everywhere, an unsmoked pipe, one would think that the apartment is empty, no one lives in it. He always marveled at his energetic friends. How can you spend your life like that, spraying on dozens of things at once. His financial condition wanted to be the best. Lying on the sofa, Ilya Ilyich always thought of how to fix it.

The image of Oblomov is a complex contradictory, even tragic hero. His character predetermines an ordinary, uninteresting fate, devoid of the energy of life, its bright events. Goncharov draws the main attention to the established system of that era, which influenced his hero. This influence was expressed in the empty and meaningless existence of Oblomov. Helpless attempts at rebirth under the influence of Olga, Stolz, marriage to Pshenitsyna, and even death itself are defined in the novel as Oblomovism.

The very character of the hero, according to the writer's intention, is much larger and deeper. Oblomov's dream is the key to the whole novel. The hero moves to another era, to other people. A lot of light, a joyful childhood, gardens, sunny rivers, but first you have to go through obstacles, an endless sea with raging waves, groans. Behind him are rocks with abysses, a crimson sky with a red glow. After an exciting landscape, we find ourselves in a small corner where people live happily, where they want to be born and die, it cannot be otherwise, they think so. Goncharov describes these inhabitants: “Everything in the village is quiet and sleepy: the silent huts are wide open; not a soul is visible; only flies fly in clouds and buzz in stuffiness. There we meet young Oblomov. As a child, Oblomov could not dress himself; servants always helped him. As an adult, he also resorts to their help. Ilyusha grows up in an atmosphere of love, peace and excessive care. Oblomovka is a corner where calmness and imperturbable silence reign. This is a dream within a dream. Everything around seemed to freeze, and nothing can wake up these people who live uselessly in a distant village without any connection with the rest of the world. Ilyusha grew up on fairy tales and legends that his nanny told him. Developing daydreaming, the fairy tale tied Ilyusha more to the house, causing inactivity.

In Oblomov's dream, the hero's childhood and upbringing are described. All this helps to know the character of Oblomov. The life of the Oblomovs is passivity and apathy. Childhood is his ideal. There in Oblomovka, Ilyusha felt warm, reliable and very protected. This ideal doomed him to an aimless further existence.

The key to the character of Ilya Ilyich in his childhood, from where direct threads stretch to the adult hero. The character of the hero is an objective result of the conditions of birth and upbringing.

Oblomov Roman laziness character