The prehistory of the creation of the novel “Oblomov. Roman I.A. Goncharova "Oblomov". History of creation How long was the novel Oblolov created

Goncharov's novel "Oblomov" is a significant work of Russian classical. This is the book that you come to the true understanding of in adulthood, gradually understanding its meaning and the characters of the characters. The main character of the work is the young landowner Ilya Ilyich Oblomov. Some call Oblomov a thoughtful poet, others a philosopher, others just a lazybones. However, there is no single view of the image of Oblomov, which would fully and holistically characterize him as a person. Any reader who knows how to think and think will form his own individual opinion about him.

The history of the creation of the novel "Oblomov"

Ivan Goncharov created Oblomov under the influence of special impressions and thoughts. The novel did not appear suddenly, not suddenly, but became a response to the author's own views. The history of the creation of the novel "Oblomov", no doubt, leaves a significant imprint on the general atmosphere of the work, against which the course of the story takes place. The idea was born gradually, as the bricks of a large house are put together. Shortly before Oblomov, Goncharov wrote the story Dashing Pain, which served as the basis for the creation of the novel.

The creation of the novel "Oblomov" coincides with the socio-political crisis in Russia. For that time, the image of an apathetic landowner who cannot independently be responsible for his own life and make responsible decisions turned out to be very relevant. The main idea of ​​the work was formed under the influence of the views of the critic Belinsky, who was strongly impressed by Goncharov's first novel, An Ordinary Story. Belinsky noted that in Russian literature the image of a “superfluous person” has already arisen, who cannot adapt to the reality around him, is useless for society. This person is a freethinker, a finely feeling dreamer, poet and philosopher. Romanticism in his nature is associated with extreme inactivity, laziness and apathy. Thus, the history of the novel "Oblomov" is connected with and reflects the life of the nobility in the second half of the 19th century.

The ideological and compositional component

The novel consists of four parts, each of which fully reveals the state of the protagonist and reflects the changes taking place in his soul: a weak-willed, lazy existence; transformation of the heart, spiritual, moral struggle and, finally, dying. Physical death is the result to which Ilya Ilyich comes. The history of the creation of the novel "Oblomov" emphasizes the impossibility of the hero to go beyond his indecision and unwillingness to do any kind of activity.

The situation in Oblomov's house

As soon as you entered the room where Ilya Ilyich was lying on the sofa, you could find in the interior, in terms of the arrangement of things, an incredible resemblance to the owner himself: everywhere you could see dust, plates not cleaned after dinner. The role of Oblomov in the novel "Oblomov" is characteristic, defining. She shows an example of an existence that leads to spiritual death.

Oblomov is not adapted to life, his whole appearance and habits express the desire to hide, to hide from the oppressive reality: his shoes were wide and stood next to the sofa, so that "he always immediately fell into them"; the dressing gown was so wide and free that "even Oblomov could wrap himself in it twice." The servant Zakhar is like his master: getting up from the couch once again is a feat for him, cleaning the rooms is unimaginable anxiety and fuss. Zakhar is immersed in his thoughts, knows the "master" from infancy, which is why he sometimes allows himself to argue with him.

What is the main character?

The characterization of Oblomov in the novel "Oblomov" is shown to the reader literally from the first pages. Ilya Ilyich is a sensitive nature, apathetic, emotional, but opposed to any activity. Movement was a difficult task for him, he did not want and did not seek to change anything in his life. His lying down was a normal, familiar state, and in order to get Oblomov off the couch, an out of the ordinary event had to happen. The need to fill out business papers tired him, the thought of having to move out of the apartment disturbed and made him sad. However, instead of straining his will, his mind and doing what is required of him, he continues to do nothing.

"Why am I like this?"

The characterization of Oblomov in the novel "Oblomov" reflects the main idea of ​​the work - the collapse of the hero's moral ideals and gradual dying. shows the reader the origins of the weak-willed character of Ilya Ilyich. In a dream, the hero sees himself small, his native village Oblomovka, where he was born and raised. As a child, they tried in every possible way to protect him from real life: they did not allow him to leave the house in the cold and frost, climb fences, he studied only on those days when there were no holidays, and they happened so often that "it was not worth even going." Food was a cult, holidays were loved here and large tables were laid.

Oblomov absorbed the beliefs of his native village, became a part of the existence that its inhabitants led. "Oblomovism" is a consequence of such a worldview: to go with the flow, only occasionally waking up from an anxious, restless sleep. The role of Oblomov in the novel "Oblomov" is great and significant: to identify the problem of spiritual oblivion of the personality, its dissolution in everyday details and unwillingness to live.

Oblomov and Stolz

The closest and only friend of Ilya Ilyich throughout his life was and remained Andrei Ivanovich Stolz. Despite the difference in characters, they had a strong friendship since childhood. Stolz is active, energetic, constantly in business, on the road. He cannot sit in one place for a minute: movement is the essence of his nature. He achieved a lot in life thanks to the external efforts made, but deep poetic experiences are inaccessible to him. Stolz prefers not to dream, but to act.

Oblomov is apathetic, he lacks the energy even to finish reading the book he has begun (often it has been lying on the table for several weeks). Poets excited his imagination, movements of thoughts and feelings awakened in his soul, but he never went beyond these thoughts and feelings. Absorption in thought was his nature, but he did nothing to develop it further. With their opposite characters, these two people complemented each other, made up a single harmonious whole.

love test

The protagonists of the novel have a significant influence on the state of Ilya Ilyich. Oblomov was inspired by a great feeling for Olga Ilyinskaya, made him leave his cozy world for a while and go out into an external life filled with colors and sounds. Despite the fact that Olga often laughed at Oblomov, considered him too lazy and apathetic, this man was dear and close to her.

Their beautiful and painfully touching love story shocks, gives rise to a feeling of regret, indelible bitterness in the soul. Oblomov considers himself unworthy of love, which is why he writes a painful and at the same time exciting letter to Olga. It can be assumed that he anticipates their imminent break, but this circumstance rather indicates the unwillingness of Ilya Ilyich to accept feelings towards himself, doubts that he is worthy of the young lady's love. The hero is afraid of being rejected and for a long time does not dare to propose to Olga. In the letter, he writes that her love is a preparation for a future feeling, but not love itself. As a result, the hero turns out to be right: later Olga confesses to him that she loved the “future Oblomov” in him, cherished the possibility of a new love in him.

Why didn't love for Olga Ilyinskaya save Oblomov?

With the appearance of Olga and Oblomov, it seems that he got up from the sofa, but only for a while, in order to be able to express to the young lady his admiration for her beauty and youth. His feelings are sincere and strong, but they lack dynamics and determination.

Instead of solving pressing issues related to the apartment and preparations for the wedding, Oblomov continues to close himself off from life. During the day he sleeps or reads books, rarely visits his fiancee, shifts the responsibility for his happiness to strangers: he asks others to take care of the apartment, to settle matters with dues in Oblomovka.

Why is this book relevant today?

The history of the creation of the novel "Oblomov" is closely connected with the historical events of the 50-60s and is an excellent monument of the noble society of the 19th century. Modern readers of the book may be interested in questions that are of an eternal nature. This is the choice of life direction, love line, philosophical views and thoughts. The heroes of the novel "Oblomov" are different, but they are all living people with individual character traits. Each of them has its own advantages and disadvantages, its own beliefs, views on the world. For example, Andrei Stolz is quite ambitious, demanding of himself and others, Olga Ilyinskaya is a romantic person who is not alien to poetry and music, Zakhar is absent-minded and lazy.

The reader is led to understand the simple truth by the characteristics of the novel. Oblomov was killed not by a blow, from which his earthly existence was interrupted, but by an inactive, apathetic attitude towards life, to himself. happiness.

The novel "Oblomov" is an integral part of Goncharov's trilogy, which also includes "Cliff" and "Ordinary History". It was first published in 1859 in the journal Otechestvennye Zapiski, but the author published a fragment of the novel Oblomov's Dream 10 years earlier, back in 1849. According to the author, a draft of the whole novel was already ready at that time. A trip to his native Simbirsk with its old patriarchal way of life inspired him in many ways to publish the novel. However, I had to take a break in creative activity in connection with a trip around the world.

Analysis of the work

Introduction. The history of the creation of the novel. Main idea.

Much earlier, in 1838, Goncharov published the humorous story "Dashing Pain", where he condemningly describes such a pernicious phenomenon that flourishes in the West as a tendency to excessive daydreaming and blues. It was then that the author first raised the issue of Oblomovism, which he subsequently fully and multifacetedly revealed in the novel.

Later, the author admitted that Belinsky's speech on the topic of his "Ordinary History" made him think about the creation of "Oblomov". In his analysis, Belinsky helped him outline a clear image of the protagonist, his character and individual traits. In addition, the hero-Oblomov, in some way, Goncharov's recognition of his mistakes. After all, he was once also an adherent of a serene and meaningless pastime. Goncharov talked more than once about how hard it was sometimes for him to do some everyday things, not to mention how difficult it was for him to decide to go around the world. Friends even nicknamed him "Prince De Laziness".

The ideological content of the novel is extremely deep: the author raises deep social problems that were relevant to many of his contemporaries. For example, the dominance of European ideals and canons among the nobility and the vegetation of native Russian values. Eternal questions of love, duty, decency, human relationships and life values.

General characteristics of the work. Genre, plot and composition.

According to genre features, the novel "Oblomov" can be easily identified as a typical work of realism. There are all the signs typical for the works of this genre: the central conflict of interests and positions of the protagonist and the society opposing him, a lot of details in the description of situations and interiors, authenticity from the point of view of historical and everyday aspects. So, for example, Goncharov very clearly draws the social division of the strata of society inherent in that time: petty bourgeois, serfs, officials, nobles. During the course of the story, some characters get their development, for example, Olga. Oblomov, on the contrary, is degrading, breaking down under the pressure of the surrounding reality.

A phenomenon typical of that time, described on the pages, later called "Oblomovism", allows us to interpret the novel as social and everyday. The extreme degree of laziness and moral licentiousness, the stagnation and decay of the individual - all this had an extremely detrimental effect on the philistines of the 19th century. And "Oblomovshchina" became a household name, in a general sense, reflecting the way of life of the then Russia.

In terms of composition, the novel can be divided into 4 separate blocks or parts. At the beginning, the author makes us understand what the main character is like, to follow the smooth, not dynamic and lazy course of his boring life. This is followed by the culmination of the novel - Oblomov falls in love with Olga, comes out of "hibernation", strives to live, enjoy every day and receive personal development. However, their relationship is not destined to continue and the couple is going through a tragic break. Oblomov's short-term insight turns into further degradation and disintegration of the personality. Oblomov again falls into despondency and depression, plunging into his feelings and a joyless existence. The denouement is the epilogue, which describes the further life of the hero: Ilya Ilyich marries a woman who is homely and does not sparkle with intellect and emotions. Spends the last days in peace, indulging in laziness and gluttony. The finale is the death of Oblomov.

Images of the main characters

In opposition to Oblomov, there is a description of Andrei Ivanovich Stolz. These are two antipodes: Stolz's view is directed clearly forward, he is sure that without development there is no future for him as an individual and for society as a whole. Such people move the planet forward, the only joy available to him is constant work. He enjoys achieving goals, he has no time to build ephemeral castles in the air and vegetate like Oblomov in the world of ethereal fantasies. At the same time, Goncharov does not try to make one of his heroes bad and the other good. On the contrary, he repeatedly emphasizes that neither one nor the other male image is ideal. Each of them has both positive features and disadvantages. This is another feature that allows us to classify the novel as a realistic genre.

Just like men, women in this novel are also opposed to each other. Pshenitsyna Agafya Matveevna - Oblomov's wife is presented as a narrow-minded, but extremely kind and accommodating nature. She literally idolizes her husband, trying to make his life as comfortable as possible. The poor thing does not understand that by doing so she is digging his grave herself. She is a typical representative of the old system, when a woman is literally a slave of her husband, who does not have the right to her own opinion, and is a hostage to everyday problems.

Olga Ilinskaya

Olga is a progressive young girl. It seems to her that she will be able to change Oblomov, guide him on the true path, and she almost succeeds. She is incredibly strong in spirit, emotional and talented. In a man, she wants to see, first of all, a spiritual mentor, a strong whole personality, at least equal to her in her mindset and beliefs. This is where the conflict of interest with Oblomov occurs. Unfortunately, he cannot and does not want to meet her high demands and goes into the shadows. Unable to forgive such cowardice, Olga breaks with him and thereby saves herself from Oblomovshchina.

Conclusion

The novel raises a rather serious problem from the point of view of the historical development of Russian society, namely "Oblomovism" or the gradual degradation of certain sections of the Russian public. The old foundations that people are not ready to change and improve their society and way of life, the philosophical issues of development, the theme of love and the weakness of the human spirit - all this rightfully allows us to recognize Goncharov's novel as a brilliant work of the 19th century.

"Oblomovism" from a social phenomenon gradually flows into the character of the person himself, dragging him to the bottom of laziness and moral decay. Dreams and illusions are gradually replacing the real world, where there is simply no place for such a person. From this follows another problematic topic raised by the author, namely the question of the “Superfluous Man”, which is Oblomov. He is stuck in the past and sometimes his dreams even prevail over really important things, for example, love for Olga.

The success of the novel was largely due to the deep crisis of the feudal system that coincided in time. The image of a jaded landowner, incapable of independent living, was very sharply perceived by the public. Many recognized themselves in Oblomov, and Goncharov's contemporaries, for example, the writer Dobrolyubov, quickly picked up the theme of "Oblomovism" and continued to develop it on the pages of his scientific works. Thus, the novel became an event not only in the field of literature, but the most important socio-political and historical event.

The author tries to reach out to the reader, to make him look at his own life, and perhaps rethink something. Only by correctly interpreting the fiery message of Goncharov, you can change your life and then, you can avoid the sad ending of Oblomov.

I finally comprehended the poetry of laziness, and this is the only poetry to which I will be faithful to the grave.
I.A. Goncharov

Oblomov is Goncharov's most famous and significant work, the first psychological monograph in Russian literature. Work on the novel lasted more than 10 years. In 1849, a chapter from the future novel was published in Sovremennik - "Oblomov's Dream". In 1850 the first part was written. Only in 1857 did the writer return to work on Oblomov, while in Marienbad, where the remaining three parts of the novel were written within seven weeks. IN 1859 year the novel was published in Otechestvennye Zapiski making a profound impression on his contemporaries. Russian publicist P.A. Kropotkin wrote at the beginning of the 20th century: "The impression that this novel made in Russia defies description." The word "Oblomovism" immediately entered the active lexicon, since, according to the critic D.I. Pisarev, "tangibly characterizes one of the essential vices of our Russian life."

With his novel Goncharov closed the theme of "extra person" in Russian literature , showing in the image of Oblomov a hero in which the “extra person” complex was brought to a paradox and absurdity: if the former “extra people” spiritually felt that they had fallen out of modernity, then Oblomov physically falls out of real life, having managed to substantiate his passivity and apathy ideologically. It is no coincidence that in the first four chapters Oblomov's visitors are presented, who seem to lead an active lifestyle. However, this is an illusion, and their existence is no less useless and aimless than the existence of Oblomov himself. Sudbinsky is an official to the marrow of his bones. Volkov is a rake who lives between balls and a theater with pretty actresses. Penkin is a parody of contemporary writers Goncharov. Tarantiev is an extortionist and a rude man. Alekseev is so faceless that even Zakhar does not respect him. The life aspirations of these heroes cannot captivate Oblomov and are not worth getting off the couch.

A still from the film A Few Days in the Life of Oblomov (1979, dir. Nikita Mikhalkov). In the role of Oblomov - Oleg Tabakov

The fate of Oblomov is shown as a series of failures and disappointments. Any attempt by Oblomov to enter into an active relationship with life ends in failure. His trouble is that he lives in a changed time and cannot, like his parents, calmly grow old in serene Oblomovka. Following the tradition of Pushkin, Lermontov, Herzen, Turgenev, the writer leads the hero through love test, forcing Oblomov to make a temporary ascent and survive a new fall - already final.

The dreamy and romantic Olga Ilyinskaya, captivated by Oblomov's spiritual grace, sets out to pull him out of his dressing gown, to revive him to an active life. But hope turns out to be illusory, and Oblomov himself understands this before Olga. The epilogue of the love drama is the marriage to Agafya Matveevna Pshenitsyna, with whom Oblomov not only found the desired peace, but also "quietly and gradually fit into the simple and wide coffin of his existence ...".

Oblomov is opposed in the novel by Andrey Ivanovich Stolz - "a model of energy, knowledge, work," according to Goncharov. Stolz is prudent and successful, but at the same time sincerely wants to help his childhood friend. The author also tests the impeccably active Stolz with love. His largely unexpected marriage to Olga Ilyinskaya leads to the fact that the heroine, like Lizaveta Adueva from Ordinary History, begins to feel longing.

Already the first researchers of the novel came to the conclusion that in Oblomov the author showed a typical, fundamental feature of the Russian national character. Indeed, Oblomov has many predecessors in Russian literature: Mitrofan from Fonvizin's comedy "Undergrowth", Lentul from Krylov's comedy "The Lazy Man", Pushkin's Dmitry Larin, Gogol's old-world landowners, Gogol's Manilov. The drama and peculiarity of Oblomov's fate was explained by the change of eras, the changed order of things. It is no coincidence that in the finale of the novel the hero's literal falling out of time is conveyed through a comparison: "... he died without pain, without torment, as if a clock that had been forgotten to start had stopped."

First published in 1859. The novel is part of a trilogy with the works "Ordinary History" and "Cliff", being its second part.

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 one can feel the author’s sympathy, good-natured humor, and not just satirical denial.

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 the publication in 1847 in Sovremennik of 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 the “dream” that the inhabitants of the fictional Oblomovka slept with.

Work on the novel was interrupted due to Goncharov's round-the-world voyage 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 resort of Marienbad, where he completed three parts of the novel within a few weeks. In August of the same year, Goncharov began to work on the last, fourth, part of the novel, the final chapters of which were written in 1858.

However, while preparing the novel for publication, in 1858 Goncharov rewrote Oblomov, supplementing it with new scenes, and made some cuts. Having completed work on the novel, Goncharov said: "I wrote my life and what grew to 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 the landowner 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 cozy, serene life in his native Oblomovka estate. No problems - the decline of the economy, the threat of eviction from the apartment - can budge him.

His childhood friend, Andrei Stolz from the Russified Germans, the complete opposite of the sluggish dreamy Ilya, makes the hero wake up for a while and plunge into life. Oblomov falls in love with the talented and progressive-minded Olga Ilyinskaya and subsequently, after much thought and retreat, proposes to her.

However, succumbing to the intrigues of the vile Tarantiev, Oblomov moves to the apartment he rented on the Vyborg side (at that time a distant rural outskirts of the city), 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 into inactivity and lack of will. There are rumors in St. Petersburg about the imminent wedding of Oblomov and Ilyinskaya, but, having learned about this, Ilya Ilyich himself is horrified: nothing else, in his opinion, has been decided. Ilyinskaya comes to his house and is convinced that nothing will awaken Oblomov from the 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 (unlike his sister, a dishonorable and cruel person), who entangles Ilya Ilyich in his machinations. Good-natured Agafya Matveevna repairs Oblomov's dressing gown, which, it would seem, no one can repair. In frustrated feelings, Ilya Ilyich falls ill with a fever. From becoming a completely robbed victim of fraud, he is saved by his best friend Stolz.

A year later, Pshenitsyna falls in love with Ilya Ilyich. Subsequently, they have a son, Andrei, named after Stolz. Also, a woman who is honest and capable of selfless love exposes her brother's intentions and renounces him. At the same time, Ilyinskaya, disappointed in her first love, marries Stolz; after some time he visits Oblomov. Sick and broken early by a stroke due to a sedentary lifestyle, anticipating an imminent death, Ilya Ilyich asks his friend not to leave his son. Two years later, Oblomov dies of a second stroke. His son was begged for upbringing by Andrey and Olga Stolz. Pshenitsyna focused all her feelings on her son. And the faithful servant Zakhar - an old man who outlived his young master - took to drink with grief and began to beg.

Actors and some quotes

Main characters

• Ilya Ilyich Oblomov- landowner, nobleman living in St. Petersburg. Leads a lazy lifestyle, doing nothing but thinking and dreaming in bed and eating fatty foods. Therefore, being at a rather young age (30-33 years), he has a fat, swollen body and a painful appearance. Despite all this, Ilya is far from stupid. His name and patronymic are a hint of the monotony of his lifestyle.

Life is poetry. 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 Trofimovich- Oblomov's servant, faithful to him since childhood. Clumsy, steals on trifles, but incredibly devoted to his master.
• Stolz, Andrei Ivanovich- a childhood friend of Oblomov, the closest person to him; half German, practical and active. The complete opposite of Ilya. The practicality of Stolz is so great that he calculates his every action, up to movements, but Stolz is not a spiritual (highly moral) person.

This is not life, this is some kind of ... Oblomovism(part 2, chapter 4). Labor is the image, content, element and purpose of life. At least mine.

• Tarantiev, Mikhey Andreevich- an acquaintance of Oblomov, roguish and cunning.
• Ilinskaya, Olga Sergeevna- noblewoman; Oblomov's beloved for some time, then Stolz's wife.
• Anisya- Zakhar's wife.
• Pshenitsyna, Agafya Matveevna- the mistress of the apartment in which Oblomov moved to live, who then became his wife.
• Mukhoyarov, Ivan Matveevich- Brother Pshenitsyna, official.

Heroes of the second plan

• Volkov- a guest in Oblomov's apartment. Lives a secular life.
• Sudbinsky- guest. Official, head of department.
• Penkin- guest. Writer and publicist.
• Alekseev, Ivan Alekseevich- a guest in Oblomov's apartment, "a faceless allusion to the human mass."
• Maria Mikhailovna- Olga Ilyinskaya's aunt.
• Sonechka- friend of Olga Ilyinskaya.
• Baron von Langwagen- a friend of the Ilyinskys.
• Andrey- the son of Oblomov and Pshenitsina.
• Kate- Olga Ilyinskaya's maid.
• Vania- the son of Pshenitsyna.
• Masha- Pshenitsyna's daughter.
• Akulina- a cook in the house of Pshenitsyna.

Criticism

A more versatile novel is considered in the article “Oblomov”. A novel by I. A. Goncharov ”by another famous critic Alexander Vasilyevich Druzhinin.

• 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 19th-20th centuries: Folklore, mythological and biblical archetypes in literary dreams of the 19th-early 20th centuries. M.: Universitetskaya kniga, 2011. S.454-522. ISBN 978-5-91304-151-7

see also

Write a review on the article "Oblomov"

Notes

Links

An excerpt characterizing Oblomov

“I saw it myself,” said the batman with a self-confident grin. - It’s time for me to know the sovereign: it seems how many times in Petersburg I saw it like that. Pale, pale, sitting in a carriage. As soon as he let the four blacks, my fathers, he thundered past us: it seems time to know both the royal horses and Ilya Ivanovich; it seems that the coachman does not travel with another, like with Tsar Ilya.
Rostov let his horse go and wanted to go on. A wounded officer walking by turned to him.
- Whom do you need? the officer asked. - Commander-in-Chief? So he was killed with a cannonball, he was killed in the chest with our regiment.
“Not killed, wounded,” another officer corrected.
- Yes, who? Kutuzov? Rostov asked.
- Not Kutuzov, but how do you put it, - well, yes, everything is the same, not many are left alive. Go over there, over there, to that village, all the authorities have gathered there, - this officer said, pointing to the village of Gostieradek, and passed by.
Rostov rode at a pace, not knowing why and to whom he would now go. The sovereign is wounded, the battle is lost. It was impossible not to believe it now. Rostov was driving in the direction indicated to him and along which the tower and the church could be seen in the distance. Where was he in a hurry? What was he to say now to the sovereign or Kutuzov, even if they were alive and not wounded?
“Go along this road, your honor, and they’ll kill you right here,” the soldier shouted to him. - They'll kill you!
- ABOUT! what are you saying! said the other. – Where will he go? It's closer here.
Rostov thought about it and went exactly in the direction where he was told that they would kill him.
“Now it doesn’t matter: if the sovereign is wounded, can I really take care of myself?” he thought. He drove into the space where most of the people who fled from Pracen died. The French had not yet occupied this place, and the Russians, those who were alive or wounded, had long since left it. On the field, like shocks on a good arable land, there were ten people, fifteen killed, wounded on every tithe of the place. The wounded crawled down in twos, threes together, and unpleasant, sometimes feigned, as it seemed to Rostov, their cries and groans were heard. Rostov trotted his horse so as not to see all these suffering people, and he became afraid. He was afraid not for his life, but for the courage he needed and which, he knew, would not withstand the sight of these unfortunates.
The French, who had stopped shooting at this field, littered with the dead and wounded, because there was no longer anyone alive on it, saw the adjutant riding on it, pointed a gun at him and threw several cores. The feeling of these whistling, terrible sounds and the surrounding dead merged for Rostov into one impression of horror and self-pity. He remembered his mother's last letter. “What would she feel,” he thought, “if she could see me here now, on this field and with guns aimed at me.”
In the village of Gostieradeke there were, although confused, but in greater order, Russian troops marching away from the battlefield. French cannonballs were no longer reaching here, and the sounds of firing seemed far away. Here everyone already clearly saw and said that the battle was lost. To whom Rostov turned, no one could tell him where the sovereign was, or where Kutuzov was. Some said that the rumor about the wound of the sovereign was true, others said that it was not, and explained this false rumor that spread by the fact that, indeed, in the sovereign’s carriage, the pale and frightened Chief Marshal Count Tolstoy galloped back from the battlefield, who left with others in the emperor’s retinue on the battlefield. One officer told Rostov that behind the village, to the left, he saw someone from the higher authorities, and Rostov went there, no longer hoping to find anyone, but only to clear his conscience before himself. Having traveled about three versts and passing the last Russian troops, near a garden dug in by a ditch, Rostov saw two horsemen standing opposite the ditch. One, with a white sultan on his hat, seemed familiar to Rostov for some reason; another, an unfamiliar rider, on a beautiful red horse (this horse seemed familiar to Rostov) rode up to the ditch, pushed the horse with his spurs and, releasing the reins, easily jumped over the ditch of the garden. Only the earth crumbled from the embankment from the hind hooves of the horse. Turning his horse sharply, he again jumped back over the ditch and respectfully addressed the rider with the white sultan, apparently suggesting that he do the same. The horseman, whose figure seemed familiar to Rostov and for some reason involuntarily attracted his attention, made a negative gesture with his head and hand, and by this gesture Rostov instantly recognized his mourned, adored sovereign.
"But it couldn't be him, alone in the middle of this empty field," thought Rostov. At this time, Alexander turned his head, and Rostov saw his favorite features so vividly engraved in his memory. The sovereign was pale, his cheeks were sunken and his eyes were sunken; but all the more charm, meekness was in his features. Rostov was happy, convinced that the rumor about the wound of the sovereign was unfair. He was happy to see him. He knew that he could, even had to directly address him and convey what he was ordered to convey from Dolgorukov.
But just as a young man in love trembles and trembles, not daring to say what he dreams of at night, and looks around frightened, looking for help or an opportunity to delay and escape when the desired minute has come, and he is standing alone with her, so Rostov now, having reached that What he wanted more than anything in the world, did not know how to approach the sovereign, and he had thousands of reasons why it was inconvenient, indecent and impossible.
"How! I seem to be glad of the opportunity to take advantage of the fact that he is alone and in despondency. An unknown face may seem unpleasant and hard to him at this moment of sadness; then, what can I say to him now, when just looking at him my heart stops and my mouth dries up? Not a single one of those innumerable speeches that he, addressing the sovereign, composed in his imagination, now occurred to him. Those speeches were for the most part kept under completely different conditions, those were spoken for the most part at the moment of victories and triumphs, and mainly on the deathbed from the wounds received, while the sovereign thanked him for his heroic deeds, and he, dying, expressed his love confirmed in deeds. my.
“Then, what am I going to ask the sovereign about his orders to the right flank, when it is now 4 o'clock in the evening, and the battle is lost? No, I definitely shouldn't drive up to him. Should not disturb his reverie. It’s better to die a thousand times than to get a bad look, a bad opinion from him, ”decided Rostov and drove away with sadness and despair in his heart, constantly looking back at the sovereign, who was still in the same position of indecision.
While Rostov was making these considerations and sadly driving away from the sovereign, Captain von Toll accidentally ran into the same place and, seeing the sovereign, drove straight up to him, offered him his services and helped him cross the ditch on foot. The sovereign, wanting to rest and feeling unwell, sat down under an apple tree, and Toll stopped beside him. Rostov from afar, with envy and remorse, saw von Tol say something to the sovereign for a long time and with fervor, as the sovereign, apparently crying, closed his eyes with his hand and shook hands with Tolya.
"And it could be me in his place?" Rostov thought to himself, and, barely holding back tears of regret for the fate of the sovereign, he drove on in complete despair, not knowing where and why he was now going.
His despair was all the greater because he felt that his own weakness was the cause of his grief.
He could ... not only could, but he had to drive up to the sovereign. And this was the only opportunity to show the sovereign his devotion. And he didn't use it... "What have I done?" he thought. And he turned his horse and galloped back to the place where he had seen the emperor; but there was no one behind the ditch. Only wagons and carriages were driving. From one furman, Rostov learned that the Kutuzovsky headquarters was located nearby in the village where the carts were going. Rostov followed them.
Ahead of him was the bereytor Kutuzova, leading horses in blankets. Behind the bereytor was a wagon, and behind the wagon was an old yard man, in a cap, a sheepskin coat, and with crooked legs.
- Titus, oh Titus! - said the berator.
- What? the old man replied absentmindedly.
- Titus! Start threshing.
- Oh, fool, ugh! - Angrily spitting, said the old man. Several minutes of silent movement passed, and the same joke was repeated again.
At five o'clock in the evening the battle was lost on all points. More than a hundred guns were already in the hands of the French.
Przhebyshevsky and his corps laid down their weapons. The other columns, having lost about half their men, retreated in disorganized, mixed crowds.
The remnants of the troops of Langeron and Dokhturov, mixed up, crowded around the ponds on the dams and banks near the village of Augusta.
At 6 o'clock, only at the Augusta dam, the hot cannonade of some Frenchmen could still be heard, who had built numerous batteries on the descent of the Pracen Heights and were beating at our retreating troops.
In the rearguard, Dokhturov and others, gathering battalions, fired back from the French cavalry pursuing ours. It was starting to get dark. On the narrow dam of Augusta, on which for so many years an old miller with fishing rods sat peacefully in a cap, while his grandson, rolling up his shirt sleeves, sorted through a silver quivering fish in a watering can; on this dam, over which for so many years the Moravians peacefully passed on their twin wagons loaded with wheat, in shaggy hats and blue jackets, and, dusty with flour, with white wagons left along the same dam - on this narrow dam now between wagons and cannons, people disfigured by the fear of death crowded under the horses and between the wheels, crushing each other, dying, stepping over the dying and killing each other, just to be accurate after walking a few steps. also killed.
Every ten seconds, pumping air, a cannonball slapped or a grenade exploded in the middle of this dense crowd, killing and spattering with blood those who stood close. Dolokhov, wounded in the hand, on foot with a dozen soldiers of his company (he was already an officer) and his regimental commander, on horseback, were the remnants of the entire regiment. Drawn by the crowd, they squeezed into the entrance to the dam and, squeezed from all sides, stopped because a horse fell in front under a cannon, and the crowd pulled it out. One shot killed someone behind them, the other hit in front and spattered Dolokhov's blood. The crowd advanced desperately, shrank, moved a few paces, and stopped again.
Walk these hundred steps, and, probably, saved; stand another two minutes, and probably died, everyone thought. Dolokhov, who was standing in the middle of the crowd, rushed to the edge of the dam, knocking down two soldiers, and fled to the slippery ice that covered the pond.

Often referred to as a mystery writer, Ivan Alexandrovich Goncharov, extravagant and inaccessible to many contemporaries, went to his zenith for almost twelve years. "Oblomov" was printed in parts, crumpled, added and changed "slowly and heavily," as the author wrote, whose creative hand, however, approached the creation of the novel responsibly and scrupulously. The novel was published in 1859 in the St. Petersburg journal Otechestvennye Zapiski and was met with obvious interest from both literary and philistine circles.

The history of writing the novel prancing in parallel with the tarantass of the events of that time, namely with the Gloomy Seven Years of 1848-1855, when not only Russian literature, but the entire Russian society was silent. It was an era of increased censorship, which was the reaction of the authorities to the activity of the liberal-minded intelligentsia. A wave of democratic upheavals took place across Europe, so politicians in Russia decided to secure the regime with repressive measures against the press. There was no news, and writers were faced with the caustic and helpless problem of having nothing to write about. What, perhaps, they wanted, the censors ruthlessly pulled out. It is this situation that is the result of that hypnosis and that lethargy that wraps the whole work, like Oblomov's favorite dressing gown. The best people of the country in such a suffocating atmosphere felt unnecessary, and the values ​​​​encouraged from above felt petty and unworthy of a nobleman.

“I wrote my life and what grew to it,” Goncharov briefly commented on the history of the novel after finishing touches on his creation. These words are an honest recognition and confirmation of the autobiographical nature of the greatest collection of eternal questions and answers to them.

Composition

The composition of the novel is circular. Four parts, four seasons, four states of Oblomov, four stages in the life of each of us. The action in the book is a cycle: sleep turns into awakening, awakening into sleep.

• Exposure. In the first part of the novel, there is almost no action, except perhaps only in Oblomov's head. Ilya Ilyich lies, he receives visitors, he shouts at Zakhar, and Zakhar shouts at him. Characters of different colors appear here, but basically they are all the same ... Like Volkov, for example, to whom the hero sympathizes and rejoices for himself that he does not fragment and does not crumble into ten places in one day, does not loom around, but retains his human dignity in his chambers . The next “out of the cold”, Sudbinsky, Ilya Ilyich also sincerely regrets and concludes that his unfortunate friend is bogged down in the service, and that now much will not move in him for a century ... There was a journalist Penkin, and colorless Alekseev, and heavy-browed Tarantiev, and all he was equally sorry, sympathized with everyone, retorted with everyone, recited ideas and thought ... An important part is the chapter "Oblomov's Dream", in which the root of "Oblomovism" is exposed. The composition is equal to the idea: Goncharov describes and shows the reasons for the formation of laziness, apathy, infantilism, and in the end, a dead soul. It is the first part that is the exposition of the novel, since here the reader is presented with all the conditions in which the personality of the hero was formed.
• Tie. The first part is also the starting point for the subsequent degradation of the personality of Ilya Ilyich, because even the leaps of passion for Olga and devoted love for Stolz in the second part of the novel do not make the hero a better person, but only gradually squeeze Oblomov out of Oblomov. Here the hero meets Ilyinskaya, which in the third part develops into a climax.
• Climax. The third part, first of all, is fateful and significant for the protagonist himself, since here all his dreams suddenly become real: he performs feats, he makes a marriage proposal to Olga, he decides to love without fear, he decides to take risks, to duel with himself... Only people like Oblomov don't wear holsters, don't swordsman, don't sweat during battle, they doze off and only imagine how heroically beautiful it is. Oblomov can’t do everything - he cannot fulfill Olga’s request and go to his village, since this village is a fiction. The hero breaks up with the woman of his dreams, choosing to preserve his own way of life, rather than striving for the best and eternal struggle with himself. At the same time, his financial affairs are hopelessly deteriorating, and he is forced to leave a comfortable apartment and prefer a budget option.
• Interchange. The fourth and final part, "Vyborg Oblomovism", consists of marriage to Agafya Pshenitsyna and the subsequent death of the protagonist. It is also possible that it was marriage that contributed to Oblomov’s stupefaction and imminent death, because, as he himself put it: “There are such donkeys that get married!”.

It can be summarized that the plot itself is extremely simple, despite the fact that it is stretched over six hundred pages. A lazy, kind middle-aged man (Oblomov) is deceived by his vulture friends (by the way, they are vultures each in their own area), but a kind loving friend (Stolz) comes to the rescue, who saves him, but takes away the object of his love (Olga), and therefore and the main nourishment of his rich spiritual life.

Features of the composition lie in parallel storylines at different levels of perception.

• There is only one main storyline here and it is love, romantic ... The relationship between Olga Ilyinskaya and her main beau is shown in a new, bold, passionate, psychologically detailed way. That is why the novel claims to be a love story, being a kind of model and manual for building relationships between a man and a woman.
• The secondary storyline is based on the principle of opposing two destinies: Oblomov and Stolz, and the intersection of these very destinies at the point of love for one passion. But in this case, Olga is not a turning point, no, the look falls only on strong male friendship, on a pat on the back, on wide smiles and on mutual envy (I want to live the way the other lives).

What is the novel about?

This novel is, first of all, about a vice of social significance. Often the reader can notice the similarity of Oblomov not only with his creator, but also with the majority of people who live and have ever lived. Which of the readers, as they got closer to Oblomov, did not recognize themselves lying on the sofa and reflecting on the meaning of life, on the futility of being, on the power of love, on happiness? Which reader has not crushed his heart with the question: “To be or not to be?”?

Ultimately, the writer's property is such that, trying to expose another human flaw, he falls in love with it in the process and gives the reader a flaw with such an appetizing aroma that the reader eagerly wants to feast on it. After all, Oblomov is lazy, untidy, infantile, but the public loves him only because the hero has a soul and is not ashamed to reveal this soul to us. “Do you think that a thought does not need a heart? No, it is fertilized by love" - ​​this is one of the most important postulates of the work, laying the essence of the novel "Oblomov".

The sofa itself and Oblomov, lying on it, keep the world in balance. His philosophy, promiscuity, confusion, throwing run the lever of movement and the axis of the globe. In the novel, in this case, not only the justification of inaction takes place, but also the desecration of action. The vanity of the vanities of Tarantiev or Sudbinsky does not bring any sense, Stolz is successfully making a career, but what one is unknown ... Goncharov dares to slightly ridicule work, that is, work in the service, to which he hated, which, therefore, was not surprising to notice in the character of the protagonist . “But how upset he was when he saw that there must be at least an earthquake in order not to come to the service of a healthy official, and earthquakes, as a sin, do not happen in St. Petersburg; a flood, of course, could also serve as a barrier, but even that rarely happens. - the writer conveys all the senselessness of state activity, which Oblomov thought about and waved his hand in the end, referring to Hypertrophia cordis cum dilatatione ejus ventriculi sinistri. So what is Oblomov talking about? This is a novel about the fact that if you are lying on the couch, you are probably more right than those who walk somewhere or sit somewhere every day. Oblomovism is a diagnosis of humanity, where any activity can lead either to the loss of one's own soul, or to the stupid crumbling of time.

Main characters and their characteristics

It should be noted that the surnames of the speakers are typical for the novel. For example, they are worn by all minor characters. Tarantiev comes from the word "tarantula", journalist Penkin - from the word "foam", which hints at the surface and cheapness of his occupation. With their help, the author completes the description of the characters: the name of Stolz is translated from German as “proud”, Olga is Ilyinskaya because it belongs to Ilya, and Pshenitsyna is a hint at the vileness of her petty-bourgeois lifestyle. However, all this, in fact, does not fully characterize the heroes, this is done by Goncharov himself, describing the actions and thoughts of each of them, revealing their potential or lack thereof.

1. Oblomov- the main character, which is not surprising, but the hero is not the only one. It is through the prism of the life of Ilya Ilyich that a different life is visible, only here, what is interesting, Oblomovskaya seems to readers more entertaining and original, despite the fact that he does not have the characteristics of a leader and is even unsympathetic. Oblomov, a lazy and overweight middle-aged man, can confidently become the face of melancholy, depression and melancholy propaganda, but this man is so unhypocritical and pure in soul that his gloomy and stale flair is almost invisible. He is kind, subtle in love matters, sincere with people. He asks himself: “When will we live?” - and does not live, but only dreams and waits for the right moment for the utopian life that comes into his dreams and slumbers. He also asks the great Hamlet question: “To be or not to be,” when he decides to get up from the sofa or confess his feelings to Olga. He, just like Cervantes' Don Quixote, wants to accomplish a feat, but does not, and therefore blames his Sancho Panza - Zakhar for this. Oblomov is naive, like a child, and so sweet to the reader that an overwhelming feeling arises to protect Ilya Ilyich and quickly send him to an ideal village, where he can, holding his wife by the waist, walk with her and look at the cook in the process of cooking. We have discussed this in detail in our essay.
2. The opposite of Oblomov is Stolz. The person from whom the narration and the story of "Oblomovism" is conducted. He is German by father and Russian by mother, therefore a man who has inherited the virtues of both cultures. Andrei Ivanovich from childhood read both Herder and Krylov, he was well versed in "hard-working money-making, vulgar order and boring correctness of life." For Stolz, the philosophic nature of Oblomov is equal to antiquity and the past fashion for thought. He travels, works, builds, reads avidly and envies the free soul of a friend, because he himself does not dare to claim a free soul, or maybe he is simply afraid. We have discussed this in detail in our essay.
3. The turning point in Oblomov's life can be called in one name - Olga Ilyinskaya. She is interesting, she is special, she is smart, she is educated, she sings amazingly and she falls in love with Oblomov. Unfortunately, her love is like a list of certain tasks, and the beloved for her is nothing more than a project. Having learned from Stolz the peculiarities of the thinking of her future betrothed, the girl is eager to make a “man” out of Oblomov and considers his boundless and quivering love for her to be her leash. In part, Olga is cruel, proud and dependent on public opinion, but to say that her love is not real means to spit on all the ups and downs in gender relations, no, rather, her love is special, but genuine. also became a topic for our essay.
4. Agafya Pshenitsyna is a 30-year-old woman, the mistress of the house where Oblomov moved. The heroine is an economic, simple and kind person who found in Ilya Ilyich the love of her life, but did not seek to change him. It is characterized by silence, calmness, a certain limited outlook. Agafya does not think about something high, beyond the scope of everyday life, but she is caring, hardworking and capable of self-sacrifice for the sake of her beloved. More detailed in the essay.

Subject

Dmitry Bykov says:

Heroes of Goncharov do not shoot duels, like Onegin, Pechorin or Bazarov, do not participate, like Prince Bolkonsky, in historical battles and writing Russian laws, do not commit crimes and transgression over the commandment "Thou shalt not kill" as in Dostoevsky's novels. Everything they do fits into the framework of everyday life, but this is only one facet

Indeed, one facet of Russian life cannot encompass the whole novel: the novel is divided into social relations, friendships, and love relationships ... It is the latter theme that is the main one and is highly appreciated by critics.

1. Love Theme embodied in Oblomov's relationship with two women: Olga and Agafya. So Goncharov depicts several varieties of the same feeling. Ilyinskaya's emotions are saturated with narcissism: in them she sees herself, and only then her chosen one, although she loves him with all her heart. However, she values ​​her brainchild, her project, that is, the non-existent Oblomov. Ilya's relationship with Agafya is different: the woman fully supported his desire for peace and laziness, idolized him and lived by taking care of him and their son Andryusha. The tenant gave her a new life, a family, a long-awaited happiness. Her love is adoration to the point of blindness, because indulging her husband's whims led him to an early death. The main theme of the work is described in more detail in the essay "".
2. Friendship Theme. Stolz and Oblomov, although they survived falling in love with the same woman, did not unleash a conflict and did not betray friendship. They always complemented each other, talked about the most important and intimate in the lives of both. This relationship has been ingrained in their hearts since childhood. The boys were different, but got along well with each other. Andrei found peace and good-heartedness visiting a friend, and Ilya gladly accepted his help in everyday affairs. You can read more about this in the essay "Friendship of Oblomov and Stolz".
3. Finding the meaning of life. All heroes are looking for their own way, looking for the answer to the eternal question about the destiny of man. Ilya found it in reflection and finding spiritual harmony, in dreams and the very process of existence. Stolz found himself in the eternal movement forward. Detailed in the essay.

Problems

The main problem of Oblomov is the lack of motivation to move. The whole society of that time really wants, but cannot wake up and get out of that terrible depressing state. Many people have become and are still becoming Oblomov victims. A living hell is to live life as a dead man and not see any purpose. It was this human pain that Goncharov wanted to show, resorting to the concept of conflict for help: here there is a conflict between a person and society, and between a man and a woman, and between friendship and love, and between loneliness and an idle life in society, and between work and hedonism and between walking and lying down and so on and so forth.

• The problem of love. This feeling can change a person for the better, this transformation is not an end in itself. For Goncharov's heroine, this was not obvious, and she put all the strength of her love into the re-education of Ilya Ilyich, not seeing how painful it was for him. Remaking her lover, Olga did not notice that she was squeezing out of him not only bad character traits, but also good ones. In fear of losing himself, Oblomov could not save his beloved girl. He faced the problem of a moral choice: either remain himself, but alone, or play another person all his life, but for the good of his wife. He chose his individuality, and in this decision you can see selfishness or honesty - to each his own.
• Friendship issue. Stolz and Oblomov passed the test of one love for two, but could not snatch a single minute from family life to maintain camaraderie. Time (and not a quarrel) separated them, the routine of days tore the former strong friendly ties. From separation, they both lost: Ilya Ilyich finally launched himself, and his friend was mired in petty worries and troubles.
• The problem of education. Ilya Ilyich became a victim of a sleepy atmosphere in Oblomovka, where servants did everything for him. The boy's vivacity was dulled by endless feasts and slumbers, the dull stupor of the wilderness left its mark on his addictions. becomes clearer in the episode "Oblomov's Dream", which we analyzed in a separate article.

Idea

Goncharov's task is to show and tell what "Oblomovism" is, opening its wings and pointing out both its positive and negative sides and enabling the reader to choose and decide what is paramount for him - Oblomovism or real life with with all its injustice, materiality and activity. The main idea in the novel "Oblomov" is a description of the global phenomenon of modern life, which has become part of the Russian mentality. Now the name of Ilya Ilyich has become a household name and denotes not so much a quality as a whole portrait of the person in question.

Since no one forced the nobles to work, and the serfs did everything for them, phenomenal laziness flourished in Rus', engulfing the upper class. The backbone of the country was rotten from idleness, in no way contributing to its development. This phenomenon could not but arouse concern among the creative intelligentsia, therefore, in the image of Ilya Ilyich, we see not only a rich inner world, but also inaction that is disastrous for Russia. However, the meaning of the kingdom of laziness in the novel "Oblomov" has a political connotation. No wonder we mentioned that the book was written during a period of stricter censorship. It has a hidden, but, nevertheless, the main idea that the authoritarian regime of government is to blame for this general idleness. In it, a person does not find any use for himself, stumbling only on restrictions and fear of punishment. The absurdity of subservience reigns around, people do not serve, but are served, therefore a self-respecting hero ignores the vicious system and, as a sign of silent protest, does not play an official who still does not decide anything and cannot change. The country under the gendarmerie's boot is doomed to regress, both at the level of the state machine, and at the level of spirituality and morality.

How did the novel end?

The life of the hero was cut short by obesity of the heart. He lost Olga, he lost himself, he even lost his talent - the ability to think. Living with Pshenitsyna did not do him any good: he was mired in a kulebyak, in a tripe pie, which swallowed and sucked poor Ilya Ilyich. Fat ate his soul. His soul was eaten by Pshenitsyna's repaired dressing gown, the sofa, from which he swiftly slid down into the abyss of innards, into the abyss of offal. This is the finale of the novel Oblomov - a gloomy, uncompromising verdict on Oblomovism.

What does it teach?

The novel is cheeky. Oblomov holds the reader's attention and places this very attention on the whole part of the novel in a dusty room where the main character does not get out of bed and shouts: "Zakhar, Zakhar!". Well, isn't that nonsense?! And the reader doesn’t leave… and can even lie down next to him, and even wrap himself in an “oriental robe, without the slightest hint of Europe”, and not even decide anything about the “two misfortunes”, but think about them all… Goncharov’s psychedelic novel loves to lull reader and pushes him to fend off the fine line between reality and dream.

Oblomov is not just a character, it is a lifestyle, it is a culture, it is any contemporary, it is every third inhabitant of Russia, every third inhabitant of the whole world.

Goncharov wrote a novel about the universal worldly laziness to live in order to overcome it himself and help people cope with this disease, but it turned out that he justified this laziness only because he lovingly described every step, every weighty idea of ​​the bearer of this laziness. It is not surprising, because Oblomov's "crystal soul" still lives in the memories of his friend Stolz, his beloved Olga, his wife Pshenitsyna, and, finally, in the tearful eyes of Zakhar, who continues to go to the grave of his master. Thus, Goncharov's conclusion- to find the golden mean between the "crystal world" and the real world, finding a calling in creativity, love, development.

Criticism

Readers of the 21st century rarely read a novel, and if they do, they do not read it to the end. It is easy for some fans of Russian classics to agree that the novel is somewhat boring, but boring on purpose, forcing. However, this does not frighten reviewers, and many critics were happy to disassemble and still analyze the novel by psychological bones.

One popular example is the work of Nikolai Aleksandrovich Dobrolyubov. In his article “What is Oblomovism?” the critic gave an excellent description of each of the characters. The reviewer sees the reasons for laziness and inability to arrange Oblomov's life in education and in the initial conditions where the personality was formed, or rather was not.

He writes that Oblomov is “not a stupid, apathetic nature, without aspirations and feelings, but a person who is also looking for something in his life, thinking about something. But the vile habit of getting the satisfaction of his desires not from his own efforts, but from others, developed in him an apathetic immobility and plunged him into a miserable state of moral slavery.

Vissarion Grigoryevich Belinsky saw the origins of apathy in the influence of the whole society, since he believed that a person was originally a blank canvas created by nature, therefore, some development or degradation of a particular person is on the scales that belong directly to society.

Dmitry Ivanovich Pisarev, for example, looked at the word "Oblomovism" as an eternal and necessary organ for the body of literature. "Oblomovism" according to him is a vice of Russian life.

The sleepy, routine atmosphere of a rural, provincial life added to what the labors of parents and nannies did not have time to do. The greenhouse plant, which in childhood had not become acquainted not only with the excitement of real life, but even with childish sorrows and joys, smelled of a stream of fresh, lively air. Ilya Ilyich began to study and developed so much that he understood what life is, what the duties of a person are. He understood this intellectually, but could not sympathize with the accepted ideas about duty, about work and activity. The fatal question: why live and work? - the question that usually arises after numerous disappointments and deceived hopes, directly, by itself, without any preparation, presented itself in all its clarity to the mind of Ilya Ilyich, - the critic wrote in his well-known article.

Alexander Vasilievich Druzhinin looked at Oblomovism and its main representative in more detail. The critic singled out 2 main aspects of the novel - external and internal. One lies in the life and practice of the daily routine, while the other occupies the area of ​​​​the heart and head of any person, which does not cease to collect crowds of destructive thoughts and feelings about the rationality of the existing reality. If you believe the critics, then Oblomov became dead because he preferred to die, and not live in eternal incomprehensible fuss, betrayal, self-interest, monetary imprisonment and absolute indifference to beauty. However, Druzhinin did not consider "Oblomovism" an indicator of attenuation or decay, he saw sincerity and conscience in it, and believed that Goncharov himself was responsible for this positive assessment of "Oblomovism".

Interesting? Save it on your wall!