The hero of the novel, Ilya Ilyich Oblomov, is a young man not deprived positive qualities. He is kind, smart, simple-minded. Its main drawback is the inertia and indecision absorbed with mother's milk. His character is a direct consequence of his upbringing. From childhood, not accustomed to work, the spoiled boy did not know the joy of activity. Ideal life, in his understanding, is a carefree period of time between sleep and eating. Having matured, he does not see the point in work; it only brings him a feeling of annoyance. Under a ridiculous pretext, he resigns from his position.
The tragedy of the hero is that he is deprived of the urgent need to earn a piece of bread. The family estate brings him little real income. It, in fact, is the subject of his daily meaningless dreams.
The hero's inactivity is even more pronounced in contrast with his active friend Stolz, a hereditary German. They say about these that the wolf’s legs feed him. His daily bread goes to him painstaking work. At the same time, he reaps not only the difficulties, but, at the same time, the delights of an action-packed life.
In the novel, the author asks himself the question of what “Oblomovism” is? Is this the tragedy of the children of hereditary landowners, instilled in them from childhood or an original Russian character trait? Is it possible to break out of a vicious circle through an effort of will or to end a life that is meaningless for society without doing anything? What is the meaning of existence for someone affected by pathological laziness? And only a thinking reader will understand that the author is concerned about the future of the state against the background of the collective image of his character.
Having written his novel about an inert landowner mediocre, I. A. Goncharov introduced the term “Oblomovism” into the Russian language, on behalf of its main character. It means peacefully passive idleness, meaningless, idle pastime. Fear of going beyond the comfortable state of half-asleep.
Option 2
Ilya Oblomov is the main character in the novel “Oblomov” by I.A. Goncharova.
Oblomov is thirty-two to thirty-three years old. He had average height, small hands, a plump body and dark gray eyes. In general, he had a pleasant appearance.
Ilya is a hereditary nobleman. As a child, I was an active and energetic child, but my parents stopped this. He was not burdened with any problems. They didn’t let him do anything on his own; the servants even put on his socks. Oblomov educated person on law and legal proceedings. Now he is a retired official. He served in St. Petersburg, but he got tired of it, and Ilya left. Oblomov never had affairs with women. They started, but ended immediately. He only had one close friend– the complete opposite of Ilya – Andrey Stolts. Main character a thoughtful and melancholic person. He often thinks about something while lying on the sofa. He doesn’t finish anything: he studied English and gave up, he studied mathematics and also gave up. Considers studying to be a waste of time. Its development has long stopped.
Now Oblomov has his own estate, but he is not involved in it. Sometimes Stolz takes over and resolves some issues. Ilya often and carefully thinks about how he could improve it, but it doesn’t come to practice.
He doesn't like to go out into the world. Only his friend Andrey manages to get him out into the public eye. Also, only because of him Oblomov can read a couple of books, but without interest, lazily.
The main character is very concerned about his health and is afraid of getting sick. However most He spends his time at home in a lying position. His old servant, Zakhar, does all the work for him. Oblomov often overeats. He knows that this is harmful to the body, but he has done this all his life and is used to it. Doctors often examine him and advise him to completely change his lifestyle in order to feel better. But Ilya only uses this as an excuse to do nothing, claiming that he is sick.
Oblomov has a very kind heart, able to help people. Later he will marry Agafya Pshenitsina and adopt her children, whom he will raise with his own money. She will not bring him anything new; she will only be an addition to his usual way of life. Sometimes Ilya thinks about himself like this, and his conscience torments him. He begins to envy other people who have an interesting and luxurious life. Everyone tries to blame someone for their lifestyle, but finds no one.
Essay about Oblomov
“He was a man about thirty-two or three years old, of average height, pleasant appearance, with dark gray eyes, but with the absence of any a certain idea, any concentration in the facial features.” Thus, with a description of Oblomov, I.A.’s novel begins. Goncharova.
At first glance, Oblomov is apathetic, lazy and indifferent. He long time can lie on the bed and think about something of his own or be in his dream world. Oblomov doesn’t even notice the cobwebs on the walls or the dust on the mirrors. However, this is only the first impression.
The first visitor is Volkov. Oblomov didn’t even get out of bed. Volkov is a young man of twenty-five years old, dressed in the latest fashion, combed and in good health. Oblomov’s first reaction to Volkov was: “Don’t come, don’t come: you’re coming from the cold!” Despite all Volkov’s attempts to invite Oblomov to dinner or to Ekateringof, Ilya Ilyich refuses and remains at home, seeing no point in traveling.
After Volkov leaves, Oblomov turns over on his back and talks about Volkov, but his thoughts are interrupted by another call. This time Sudbinsky came to him. This time Ilya Ilyich's reaction was similar. Sudbinsky invites Oblomov to dinner with the Murashins, but even here Oblomov refuses.
The third guest was Penkin. “Still the same incorrigible, carefree sloth!” says Penkin. Oblomov and Penkin discuss the story, and Penkin asks Oblomov to read the story “The Love of a Bribe Taker for a Fallen Woman,” however brief retelling makes Ilya Ilyich angry. After all, the story ridicules vice, contempt for fallen man, to which Oblomov reacts ambiguously. He understands that any thief or fallen woman is first and foremost a person.
However, Oblomov’s essence is fully revealed through love. Love for Olga Ilyinskaya inspires him. He reads, develops for her sake, Oblomov blossoms, dreams of a happy future together. But realizing that he is not ready to change completely, realizing that he cannot give Olga what she needs, realizing that he is not created for her, he retreats. He understands that he will not be able to find the long-awaited happiness with Ilyinskaya. But after a while, he develops a relationship with Pshenitsina, which will be built on love and respect.
The attitude towards Oblomov cannot be unambiguous. The character of the hero is multifaceted. On the one hand, he is lazy and passive, but on the other, he is smart, he understands human psychology, he knows how to love and is capable of much for the sake of love. In conclusion, we can say that all the qualities of a Russian person are collected in one character.
Option 4
The main character of the novel of the same name "Oblomov" A.I. Goncharova is about thirty-two or thirty-three years old. He is a young man, not without a pleasant appearance, and a fairly educated man, a hereditary nobleman. Oblomov Ilya Ilyich is kind, quite smart and childishly simple-minded.
However, everything positive features overshadowed by one negative one - pathological laziness settled in his thoughts and over time took over Oblomov’s entire body. The body of the young nobleman has become flabby, has become loose and feminine - Ilya Ilyich does not bother himself with either mental or physical stress, preferring to lie on the sofa almost all the time and dream about how to do nothing more. “As if everything would happen by itself!” - this is his life credo.
Having inherited an estate that provides a small but stable income, Oblomov does not improve anything in it and does not strive to ensure that his affairs prosper. Out of laziness, Ilya Ilyich threw all his worries regarding the estate onto the manager, who mercilessly and shamelessly robs him. Oblomov's servant Zakhar performs minor daily chores. And Ilya Ilyich himself prefers to lie on the sofa all day and daydream - a kind of “sofa dreamer”.
His dreams take him very far - in his dreams he would improve a lot on his estate, becoming even richer, but his dreams are meaningless. He doesn't even try to implement them. Dreams collide with his inertia and infantilism and are broken daily, turning into unrealistic, foggy dreams that end up settling on the sofa, enveloping Oblomov.
Why is there an estate - Oblomov is too lazy to even go on a visit. When he is invited to go on a visit, he avoids visits under far-fetched pretexts, remaining lying on his dear sofa. Oblomov does not like to go out - it is lazy and uninteresting to him.
Realizing that he was not developing spiritually and could not give anything to his chosen one except maintenance, Oblomov even abandoned his love for Olga Ilyinskaya. At first, Ilya Ilyich tried to change for the sake of Olga, he began to read a lot in order to achieve spiritual development her level, dreamed of a happy future with the woman he loved. But he was not ready to change completely even with love - Oblomov was stopped by fear of irreversible changes and he gave up his dream. He was completely satisfied with his current life as a couch potato and even such strong passions as love and passion for a woman did not motivate him to get up from his favorite sofa.
Oblomov was made so inert and inactive by his own parents, who from childhood instilled in their son that all important things should be done for him by others. They suppressed any manifestation of the boy’s activity, and gradually Ilya turned into a desperate sloth. This is how not only Ilya Ilyich Oblomov lived in those days - many of his offspring lived this way noble family. Author created collective image sybarite noble origin of that time and called this phenomenon “Oblomovism”. The writer was worried about the fate of Russia and he was afraid that such “Oblomovs” would rule it.
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Source: novel "Oblomov"
Let us turn to the novel and see how the author gradually, with all its completeness, reveals the image of Oblomov. Goncharov introduces his hero into different situations in order to show to the maximum extent all the disadvantages and advantages of the Oblomov type. Ilya Ilyich is tested by both friendship and love, and, nevertheless, is he doomed to disappear?
To answer this question, let's analyze his life. The first time we meet Oblomov in his apartment on Gorokhovaya Street, but over the course of the novel we learn more and more about him, and therefore we can imagine a fairly clear picture of him. past life. Ilya Ilyich spent his childhood on the family estate - Oblomovka. Ilyusha was a playful boy. He, like all children, wanted movement, new experiences, but his parents protected him in every possible way from unnecessary worries, did not burden him with anything, but forbade him to show any freedom.
Sometimes the tender care of his parents bothered him. Whether he runs down the stairs or across the yard, suddenly ten desperate voices are heard after him: “Ah, ah! hold it, stop it! will fall and hurt himself! Stop, stop..."
It is not for nothing that Dobrolyubov writes: “From an early age he sees that all household work is performed by lackeys and maids, and daddy and mummy only give orders and scold for poor performance. Therefore, he will not kill himself over work, no matter what they tell him about the necessity and sanctity of work. And now he already has the first concept - that sitting with folded hands is more honorable than fussing about work...” Indeed, all decisions in the house were made without his participation, and Ilya’s fate was decided behind his back, so he had no idea about adult life, which I got into completely unprepared.
So, having arrived in the city, Ilya Ilyich tried to find an occupation to his liking. He tried to write, to serve as an official, but all this seemed empty to him, meaningless, because there he had to do business, which, due to his upbringing, he did not like, especially since Oblomov did not know the meaning of these activities and did not strive to understand, therefore he considered that this was not life, because it did not correspond to his ideals, which consisted of a peaceful, calm, carefree life, hearty food and serene sleep. This is precisely the way of life that Oblomov leads at the beginning of the novel. He did not pay much attention to his appearance: he was wearing a robe, which had special meaning for Ilya Ilyich. These were the clothes that he considered the best for himself: the robe is “soft, flexible; he, like an obedient slave, submits to the slightest movement of the body.” It seems to me that the robe is a key detail in Oblomov’s portrait, since it symbolizes this man’s lifestyle and, to some extent, reveals to us his character: lazy, calm, thoughtful. Ilya Ilyich is a homebody. In Oblomov there is neither the despoticism characteristic of serf owners, nor stinginess, nor any harsh negative qualities. This is a kind sloth, prone to daydreaming.
His portrait and the interior of the room tell us a lot about the character of the main character. Oblomov is a man of about thirty-two or three years old, “of average height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his facial features,” which indicates a lack of purpose in life. At first glance, it seemed that his room was beautifully decorated, but, looking closer, you notice a layer of dust on all things, unread books, the remains of meals, which suggests that the person living here is trying to create the appearance of decency of that time, but not a single thing was done doesn't follow through.
This was the impression of Ilya Ilyich only at the beginning of the novel, because, having met Olga, he was greatly transformed, former Oblomov remained only in memories, but the new one began to read a lot, write, work, set goals for himself and strive for them. It was as if he had awakened from a long hibernation and began to make up for lost time. This is what love does to a person! Moreover, Olga constantly encouraged Ilya to act. Finally, a full-blooded life began to play within him.
The love of Oblomov and Ilyinskaya continues until Ilya Ilyich has to face real life, until decisive action is required from him, until Olga realizes that she loves the future Oblomov. “I recently found out that I loved in you what I wanted to have in you, what Stolz showed me, what we invented with him. I loved the future Oblomov!” Neither friendship, nor even such pure, sincere love could make him give up his peaceful, calm, carefree life. Ilya Ilyich moved to the Vyborg region, which can be called the “new Oblomovka”, because there he returned to his previous way of life. The widow of Pshenitsyn is exactly the ideal wife that Oblomov imagined during his dreams; she does not force him to do anything, does not demand anything. And Ilya Ilyich begins to degrade again from such a life. But I think you can’t blame him for everything. “What ruined you? There is no name for this evil...” Olga exclaims when parting. “There is... Oblomovism!” - he whispered barely audibly.
Oblomov himself was well aware that the life he was leading would not bring anything to future generations, but there was no such driving vital force that could bring him out of a state of apathy towards everything around him. Ilya Ilyich “painfully felt that some good, bright beginning was buried in him, as in a grave... But the treasure was deeply and heavily littered with rubbish, alluvial debris. It was as if someone had stolen and buried in his own soul the treasures brought to him as a gift of peace and life.”
Oblomov is kind and hospitable: his doors are open to all friends and acquaintances. Even Tarantiev, who is rude and arrogant to Ilya Ilyich, often dines at his house.
And love for Olga reveals him best qualities: kindness, nobility, honesty and “dovey tenderness.”
Is Oblomov significantly different from most people? Of course, laziness, apathy and inertia, to one degree or another, are characteristic of many. The reasons for the emergence of such qualities may be different. Some people believe that their whole life is a continuous series of failures and disappointments, and therefore they do not strive to change it for the better. Others are afraid of difficulties, so they try to protect themselves from them as much as possible. However, people still have to face reality, learn its cruel sides, struggle with difficulties in order to celebrate success or suffer defeat as a result. This is precisely the meaning of human life.
If a person decides to protect himself from all possible and impossible difficulties, then his life gradually turns into something completely monstrous. This is exactly what happened to Oblomov. Reluctance to live according to the existing laws of life leads to gradual but very rapid degradation. At first, a person thinks that everything can still be changed, that very little time will pass and he will “resurrect”, throw off laziness and despondency like an old dress, and take up the things that have been waiting for him for a long time. But time passes, strength is depleted. And the person still remains in the same place.
Oblomov and “Oblomovism” in I. A. Goncharov’s novel “Oblomov”
Goncharov’s novel “Oblomov”, published in 1859 in the journal “Otechestvennye zapiski”, not only realistically reflected the type of Russian boibachism, but also revealed the reasons for this phenomenon on an epic scale, showed the state of Russia in the post-reform period, and also touched upon the problems raised by time, and the reasons for the departure of the nobility from the arena social development Russia.
The problem of the influence of the environment on a person has already been raised in Russian literature, but the image of the lout gentleman was finally formed and acquired the features of a typical generalization only in Goncharov. It was the hero of the novel, Ilya Ilyich Oblomov, a Russian gentleman, who embodied the traits of idleness, laziness, apathy, lack of flight of thought and feeling - in a word, spiritual deadness, which ultimately led to physical death.
Drawing a portrait of Ilya Ilyich, Goncharov points out the features of flabbyness acquired at the age of thirty from a sedentary lifestyle, pampered hands unaccustomed to work, plump shoulders that have not experienced the hardships of life. The interior also emphasizes the indifference and laziness of the owner of the house. “Neglect and negligence” reigns everywhere. Showing Oblomov’s ordinary day, Goncharov describes in detail the details (a greasy robe, worn-out slippers), the constant calls of the servant Zakhar to search for a letter, the hero’s train of thoughts (get up or lie down) and notes the inexorable passage of time (Oblomov woke up “early, around eight in the morning,” when I thought that I needed to get up, it was already ten o’clock, but I still didn’t get around to getting up until eleven in the morning and received guests while lying in bed).
Zakhar, his master and servant, imitates his master in everything. Both Ilya Ilyich’s constant robe and the old frock coat with a hole under the arm are Zakhar’s attribute. For Oblomov, getting up from the sofa is an incredible difficulty; for Zakhar, getting up from the stove. Like the master, he always finds an excuse for his laziness. The bickering between one and the other is aimed at doing nothing, finding an excuse for doing something. Zakhar is waiting for the master to leave for the whole day so that in his absence he can “call the women” and do the cleaning, and Oblomov is waiting for the “plan to mature” in order to write a letter to the village.
Oblomov’s entire inner life passes in fruitless Manilov-like fantasies: either he imagines himself as Napoleon, or as a hero of his nanny’s fairy tales - in a word, he performs “feats of kindness and generosity.” Even the plan for reorganizing the estate takes on grandiose features in his mind: majordomo Zakhar, greenhouses with southern fruits. “Thought walks like a free bird.”
Oblomov is proud of his idleness. According to his concepts, peace and laziness, the lifestyle that he leads, his “ normal condition” - lying - there is one true image life that a Russian gentleman should lead. He angrily reprimands Zakhara, who carelessly compared him to others: “I have never pulled a stocking on my feet as I live, thank God!” However, proud of his lordly inadaptability and independence, Oblomov falls under the influence of someone else's will, starting from Zakhar and ending with Tarantiev and Ivan Matveevich. Thus, in portrait characteristics, external details, Oblomov’s lifestyle, Goncharov showed the typical features of a Russian gentleman-baibak: apathy, laziness, inactivity.
Goncharov gives readers an idea of the background of the hero from Ilya Ilyich’s dream, where he sees his childhood, native home, family. Here we see such a phenomenon as “Oblomovism”. Goncharov makes it clear that this is not the way of life of one person, but a state of society in which the bright beginning, initiative, humanity are suppressed (remember the sick wanderer in Oblomovka), any movement (bans on little Ilya playing with the village boys).
From the first lines of the dream, Goncharov emphasizes the serenity and peace of nature itself, which, as it were, determined the way of life of the people inhabiting Oblomovka. There are no storms, no shocks, no high mountains, no vast seas, just as there are no wars and strange diseases in the lives of Oblomovites, no matter how their consciousness is stirred by upward striving for dreams and thoughts. Just as the sky “huddles closer to the earth in order to hug it tighter and protect it from adversity,” so does parental love is aimed at freeing the child from labor and study. Just as the seasons pass one after another in an undisturbed order, so life in Oblomovka is measured by birthplaces, christenings, weddings, and funerals.
The silence and stillness of nature is in harmony with the sleepy lifestyle of the Oblomovites, and the writer focuses on this “invincible all-consuming sleep, similar to death.” On the one hand, the motive of the dream, the consonance with it of the deadness of thoughts and way of life, Goncharov will show in other episodes that reveal the essence of Oblomovism, on the other hand, the dream is like a dream, like an idyll of patriarchal life, a focus on physiological needs (food, sleep, procreation) , affection 284
people to one place, isolation from outside world, gentleness and warmth, greater than in an alien external business world, humanity, self-sufficiency are poeticized by Goncharov, like Rus' itself.
Thus, life position Oblomov was formed in this environment with its concepts and ideals, where people perceived work as “God’s punishment,” where three hundred Zakharovs would do everything necessary, where Ilyushenka had before her eyes the example of her father, whose whole activity consisted of observing who went where and what they carried. , where endowed with immense motherly love the boy acquired traits of softness, tenderness, and sensitivity (“a dove’s heart”), but lost his will and desire to work. “It all started with the inability to put on stockings, and ended with the inability to live.” Just as Oblomov’s followers once, when faced with the real outside world, gave up before the letter, so Oblomov will subsequently give in before the responsibility for his mistake (he confuses Astrakhan with Arkhangelsk) and resigns. Just as Ilya Ilyich’s father could not send a beer recipe to his friend, so Ilya Ilyich will not be able to either write a letter to the village manager or answer his friend Stolz.
By excluding any initiative from the boy’s life, society killed every living movement in him, but the soul of the child was preserved in Oblomov in all the tenderness, naivety, and sincerity that made him interesting to Goncharov. It was these qualities, which no one else around him had, that attracted Olga Ilyinskaya to Oblomov, an unusually smart, pure girl with an integral, deep nature. She was able to see what was hidden behind the shell of the clumsy hulk. For Olga it is not important appearance, she appreciates ordinary human qualities: intelligence, sincerity, naturalness, which, in turn, attracted the hero to her. In this, Oblomov and Olga are similar, but only in this.
Subjecting his hero to the test of love, Goncharov follows a tried and tested path in Russian literature, testing his personality for consistency. Olga is an ideal for Oblomov, as well as for Goncharov. Olga fell in love not with the real Oblomov, but with the future, as she wanted to see him. Oblomov understood this much earlier than Olga and tried to warn her and protect himself from future emotional unrest. The wedding was impossible from the start. Olga demanded activity - Oblomov strove for peace. For Olga, the ideal of life is in the pursuit of the development of the soul and intellect, for Oblomov, in a serene family circle with a series of lunches and dinners.
Ilya Ilyich finds this ideal of family, his native Oblomovism, in his marriage to Agafya Matveevna Pshenitsyna, a bourgeois woman, into whose house he moved from Gorokhovaya Street. In his description of the courtyard, Goncharov gives a multi-valued description of peace and quiet, noting that “except barking dog“It seemed like there wasn’t a single living soul.” The first thing Oblomov notices about Agafya is her thriftiness and thoroughness. She is talented in housekeeping, but otherwise knows nothing. Oblomov's feeling for Pshenitsyna was down-to-earth, for Olga - sublime. He dreams of Olga, looks at Agafya, something had to be done for the wedding with Olga, but the marriage with Agafya develops on its own, imperceptibly. Even Stolz had already given up hope of getting his friend out of this Oblomovism after seeing Ilya Ilyich’s “eternal” robe. If Olga “took off” the robe, then Agafya, having patched it up, “so that it would last longer,” put Oblomov in it again. The only thing Stolz can do is take care of Oblomov’s son. Thus, by handing over little Andryusha to Stolz to raise, Goncharov shows who the future belongs to.
Agafya, to whom, after Oblomov’s death, Stolz offered to live with his son, cannot overcome the inextricable connection with Oblomov’s environment. The significance of Oblomov’s image is unusually great. Goncharov contrasted it with the vanity and meaninglessness of the St. Petersburg life of the Volkovs, Sudbinskys, Penkins, who had forgotten about man and sought to satisfy their petty vanity or mercantile interests. This St. Petersburg “Oblomovism” is not accepted by Goncharov, through the mouth of Oblomov expressing protest against the condemnation of “fallen people.” Oblomov speaks about compassion for the “fallen”, getting up from the sofa in a fit of emotion. Seeing no meaning in the hectic life of St. Petersburg, in pursuit of illusory values, Oblomov’s idleness is a kind of protest against the advancing rationalism bourgeois era. During this era, Oblomov retained a pure childish soul, but “Oblomovism” - apathy, laziness and lack of will - led him to spiritual and physical death.
So, the significance of the work is that Goncharov showed a real picture of the state Russian society, in which the best inclinations of a person are suppressed by an inactive life. The image of Oblomov, who preserved the “pigeon soul” in the era of the replacement of the feudal system with the bourgeois one and embodied laziness and apathy, acquired a household meaning.
Introduction
Goncharov’s novel “Oblomov” is a landmark work of Russian literature of the 19th century, describing the phenomenon of “Oblomovism” characteristic of Russian society. A bright representative in the book of this social trend is Ilya Oblomov - a native of a family of landowners, whose family life was a reflection of the norms and rules of Domostroy. Developing in such an atmosphere, the hero gradually absorbed the values and priorities of his parents, which significantly influenced the formation of his personality. a brief description of Oblomov in the novel “Oblomov” is given by the author at the beginning of the work - this is an apathetic, introverted, dreamy man who prefers to live his life in dreams and illusions, imagining and experiencing fictional pictures so vividly that sometimes he can sincerely rejoice or cry from those scenes that are born in his mind. Oblomov’s inner softness and sensuality seemed to be reflected in his appearance: all his movements, even in moments of alarm, were restrained by external softness, grace and delicacy, excessive for a man. The hero was flabby beyond his years, had soft shoulders and small plump hands, and a sedentary and inactive lifestyle was visible in his sleepy gaze, which lacked any concentration or any basic idea.
Life of Oblomov
As if a continuation of the soft, apathetic, lazy Oblomov, the novel describes the hero’s life. At first glance, his room was beautifully decorated: “There was a mahogany bureau, two sofas upholstered in silk, beautiful screens with embroidered birds and fruits unprecedented in nature. There were silk curtains, carpets, several paintings, bronze, porcelain and many beautiful little things.” However, if you looked closely, you could see cobwebs, dusty mirrors and long-opened and forgotten books, stains on the carpets, uncleaned household items, bread crumbs and even a forgotten plate with a gnawed bone. All this made the hero’s room unkempt, abandoned, and gave the impression that no one had been living here for a long time: the owners had long since left the home without having time to clean it up. To some extent, this was true: Oblomov did not live in the real world for a long time, replacing it with an illusory world. This is especially clearly visible in the episode when his acquaintances come to the hero, but Ilya Ilyich does not even bother to extend his hand to them to greet them, much less get out of bed to meet the visitors. Bed in in this case(like the robe) is a borderline between the world of dreams and reality, that is, having gotten out of bed, Oblomov would, to some extent, agree to live in the real dimension, but the hero did not want this.
The influence of “Oblomovism” on Oblomov’s personality
The origins of Oblomov’s all-encompassing escapism, his irresistible desire to escape from reality, lie in the “Oblomov” upbringing of the hero, which the reader learns about from the description of Ilya Ilyich’s dream. The character’s native estate, Oblomovka, was located far from the central part of Russia, located in a picturesque, peaceful area, where there were never strong storms or hurricanes, and the climate was calm and mild. Life in the village flowed smoothly, and time was measured not in seconds and minutes, but in holidays and rituals - births, weddings or funerals. The monotonous, quiet nature was also reflected in the character of the inhabitants of Oblomovka - the most important value for them was rest, laziness and the opportunity to eat to their fill. Work was seen as a punishment, and people tried in every possible way to avoid it, delay the moment of work, or force someone else to do it.
It is noteworthy that the characterization of the hero Oblomov in childhood differs significantly from the image that appears before readers at the beginning of the novel. Little Ilya was an active child, interested in many things and open to the world, with a wonderful imagination. He liked to walk and explore surrounding nature, however, the rules of “Oblomov’s” life did not imply his freedom, so gradually his parents re-educated him in their own image and likeness, raising him like a “greenhouse plant,” protecting him from the adversities of the outside world, the need to work and learn new things. Even the fact that they sent Ilya to study was more a tribute to fashion than a real necessity, because for any slightest reason they themselves left their son at home. As a result, the hero grew up as if closed from society, unwilling to work and relying in everything on the fact that if any difficulties arose he could shout “Zakhar” and the servant would come and do everything for him.
The reasons for Oblomov’s desire to escape reality
The description of Oblomov, the hero of Goncharov’s novel, gives a vivid idea of Ilya Ilyich as a man who has firmly isolated himself from real world and internally unwilling to change. The reasons for this lie in Oblomov’s childhood. Little Ilya loved to listen to fairy tales and legends about great heroes and heroes that his nanny told him, and then imagine himself as one of these characters - a person in whose life at one moment a miracle would happen that would change the current state of affairs and make the hero a cut above others. However, fairy tales are significantly different from life, where miracles do not happen on their own, and to achieve success in society and career you need to constantly work, overcome failures and persistently move forward.
The hothouse upbringing, where Oblomov was taught that someone else would do all the work for him, combined with the dreamy, sensual nature of the hero, led to Ilya Ilyich’s inability to fight difficulties. This feature of Oblomov manifested itself even at the moment of his first failure in the service - the hero, fearing punishment (although, perhaps, no one would have punished him, and the matter would have been decided by a banal warning), he quits his job and no longer wants to face a world where everyone for myself. An alternative to harsh reality for the hero is the world of his dreams, where he imagines a wonderful future in Oblomovka, his wife and children, a peaceful calm that reminds him of his own childhood. However, all these dreams remain just dreams; in reality, Ilya Ilyich puts off in every possible way the issues of arranging his native village, which, without the participation of a reasonable owner, is gradually being destroyed.
Why didn’t Oblomov find himself in real life?
The only person who could pull Oblomov out of his constant half-asleep idleness was the hero’s childhood friend, Andrei Ivanovich Stolts. He was the complete opposite of Ilya Ilyich both in appearance and in character. Always active, striving forward, able to achieve any goals, Andrei Ivanovich still valued his friendship with Oblomov, since in communicating with him he found that warmth and understanding that he really lacked in those around him.
Stolz was most fully aware of the destructive influence of “Oblomovism” on Ilya Ilyich, therefore, until the last moment, he tried with all his might to pull him into real life. One time Andrei Ivanovich almost succeeded when he introduced Oblomov to Ilyinskaya. But Olga, in her desire to change the personality of Ilya Ilyich, was driven solely by her own egoism, and not by an altruistic desire to help her loved one. At the moment of parting, the girl tells Oblomov that she could not bring him back to life, because he was already dead. On the one hand, this is true, the hero is too deeply mired in “Oblomovism,” and in order to change his attitude towards life, superhuman efforts and patience were required. On the other hand, Ilyinskaya, active and purposeful by nature, did not understand that Ilya Ilyich needed time to transform, and he could not change himself and his life in one jerk. The break with Olga became an even greater failure for Oblomov than a mistake in the service, so he finally plunges into the network of “Oblomovism”, leaves the real world, not wanting to experience any more mental pain.
Conclusion
Author's description of Ilya Ilyich Oblomov, despite the fact that the hero is central character, ambiguous. Goncharov reveals both his positive traits (kindness, tenderness, sensuality, ability to worry and sympathize) and negative ones (laziness, apathy, reluctance to decide anything on his own, refusal to self-development), portraying to the reader a multifaceted personality that can evoke sympathy , and disgust. At the same time, Ilya Ilyich is undoubtedly one of the most accurate depictions of a truly Russian person, his nature and character traits. This particular ambiguity and versatility of Oblomov’s image allows even modern readers discover something important for yourself in the novel, setting yourself the same eternal questions, which Goncharov touched upon in the novel.
Work test
In St. Petersburg, on Gorokhovaya Street, on the same morning as always, Ilya Ilyich Oblomov is lying in bed - a young man of about thirty-two, not burdening himself with any special activities. His lying down is a certain way of life, a kind of protest against established conventions, which is why Ilya Ilyich so ardently, philosophically and meaningfully objects to all attempts to get him off the couch. His servant, Zakhar, is the same, showing neither surprise nor displeasure - he is used to living the same way as his master: how he lives...
This morning, visitors come to Oblomov one after another: on the first of May, the whole St. Petersburg society gathers in Yekateringhof, so the friends are trying to push Ilya Ilyich away, to stir him up, forcing him to take part in the social holiday festivities. But neither Volkov, nor Sudbinsky, nor Penkin succeeds. With each of them, Oblomov tries to discuss his concerns - a letter from the headman from Oblomovka and the threatening move to another apartment; but no one cares about Ilya Ilyich’s worries.
But Mikhei Andreevich Tarantiev, Oblomov’s fellow countryman, “a man of a quick and cunning mind,” is ready to deal with the problems of the lazy master. Knowing that after the death of his parents, Oblomov remained the only heir of three hundred and fifty souls, Tarantyev is not at all opposed to settling down with a very tasty morsel, especially since he quite rightly suspects: the headman of Oblomov steals and lies much more than is required within reasonable limits. And Oblomov is waiting for his childhood friend, Andrei Stolts, who, in his opinion, is the only one who can help him understand his economic difficulties.
At first, when he arrived in St. Petersburg, Oblomov somehow tried to integrate into the life of the capital, but gradually he realized the futility of his efforts: no one needed him, and no one was close to him. So Ilya Ilyich lay down on his sofa... And so his unusually devoted servant Zakhar, who was in no way behind his master, lay down on his couch. He intuitively feels who can truly help his master, and who, like Mikhei Andreevich, only pretends to be Oblomov’s friend. But from a detailed showdown with mutual grievances, only a dream into which the master plunges, while Zakhar goes to gossip and relieve his soul with the neighboring servants, can save him.
Oblomov sees in a sweet dream his past, long-gone life in his native Oblomovka, where there is nothing wild, grandiose, where everything breathes calm and serene sleep. Here they only eat, sleep, discuss the news that comes to this region very late; life flows smoothly, flowing from autumn to winter, from spring to summer, to again complete its eternal circles. Here fairy tales are almost indistinguishable from real life, and dreams are a continuation of reality. Everything is peaceful, quiet, calm in this blessed land - no passions, no worries disturb the inhabitants of sleepy Oblomovka, among whom Ilya Ilyich spent his childhood. This dream could have lasted, it seems, for an eternity, if it had not been interrupted by the appearance of Oblomov’s long-awaited friend, Andrei Ivanovich Stolts, whose arrival Zakhar joyfully announces to his master...
Part two
Andrei Stolts grew up in the village of Verkhlevo, which was once part of Oblomovka; here now his father serves as manager. Stolz developed into a personality, in many ways unusual, thanks to the double upbringing received from a strong-willed, strong, cold-blooded German father and a Russian mother, a sensitive woman who lost herself in the storms of life at the piano. The same age as Oblomov, he is the complete opposite of his friend: “he is constantly on the move: if society needs to send an agent to Belgium or England, they send him; need to write some project or adapt new idea to the point - they choose him. Meanwhile, he goes out into the world and reads; when he succeeds, God knows.”
The first thing Stolz starts with is pulling Oblomov out of bed and taking him to visit different houses. This is how it begins new life Ilya Ilyich.
Stolz seems to pour some of his ebullient energy into Oblomov, now Oblomov gets up in the morning and begins to write, read, take an interest in what is happening around him, and his acquaintances cannot be surprised: “Imagine, Oblomov has moved!” But Oblomov didn’t just move - his whole soul was shaken to the core: Ilya Ilyich fell in love. Stolz brought him into the Ilyinskys’ house, and in Oblomov a man awakens, endowed by nature with extraordinary strong feelings, - listening to Olga sing, Ilya Ilyich experiences a real shock, he finally woke up completely. But for Olga and Stolz, who have planned a kind of experiment on the eternally dormant Ilya Ilyich, this is not enough - it is necessary to awaken him to rational activity.
Meanwhile, Zakhar found his happiness - having married Anisya, a simple and kind woman, he suddenly realized that dust, dirt, and cockroaches should be fought, and not put up with. Behind a short time Anisya puts Ilya Ilyich's house in order, extending her power not only to the kitchen, as initially expected, but throughout the entire house.
But this general awakening did not last long: the very first obstacle, moving from the dacha to the city, gradually turned into that swamp that slowly but steadily sucks in Ilya Ilyich Oblomov, who is not adapted to making decisions, to taking the initiative. Long life in a dream it can’t end right away...
Olga, feeling her power over Oblomov, is unable to understand too much about him.
Part three
Having succumbed to Tarantiev’s intrigues at the moment when Stolz left St. Petersburg again, Oblomov moved to an apartment rented to him by Mikhei Andreevich, on the Vyborg side.
Unable to deal with life, unable to get rid of debts, unable to manage his estate and expose the swindlers around him, Oblomov ends up in the house of Agafya Matveevna Pshenitsyna, whose brother, Ivan Matveevich Mukhoyarov, is friends with Mikhei Andreevich, not inferior to him, but rather superior the latter with cunning and cunning. In Agafya Matveevna’s house, in front of Oblomov, at first imperceptibly, and then more and more clearly, the atmosphere of his native Oblomovka unfolds, what Ilya Ilyich treasures most in his soul.
Gradually, Oblomov’s entire household passes into the hands of Pshenitsyna. A simple, ingenuous woman, she begins to manage Oblomov’s house, cooking for him delicious dishes, establishing life, and again the soul of Ilya Ilyich plunges into a sweet sleep. Although occasionally the peace and serenity of this dream explodes with meetings with Olga Ilyinskaya, who is gradually becoming disillusioned with her chosen one. Rumors about the wedding of Oblomov and Olga Ilyinskaya are already scurrying between the servants of the two houses - having learned about this, Ilya Ilyich is horrified: nothing has been decided yet, in his opinion, and people are already moving from house to house conversations about what is most likely , that won't happen. “That’s all Andrei: he instilled love, like smallpox, into both of us. And what kind of life is this, all the excitement and anxiety! When will there be peaceful happiness, peace?” - Oblomov reflects, realizing that everything that is happening to him is nothing more than the last convulsions of a living soul, ready for the final, already continuous sleep.
Days pass by days, and now Olga, unable to bear it, comes to Ilya Ilyich on the Vyborg side. He comes to make sure that nothing will awaken Oblomov from his slow descent into final sleep. Meanwhile, Ivan Matveyevich Mukhoyarov is taking over Oblomov’s estate affairs, entangling Ilya Ilyich so thoroughly and deeply in his clever machinations that the owner of blessed Oblomovka is unlikely to be able to get out of them. And at this moment Agafya Matveevna is also repairing Oblomov’s robe, which, it seemed, no one could fix. This becomes the last straw in the throes of Ilya Ilyich’s resistance - he falls ill with fever.
Part four
A year after Oblomov’s illness, life flowed along its measured course: the seasons changed, Agafya Matveevna prepared delicious dishes for the holidays, baked pies for Oblomov, brewed coffee for him with her own hands, celebrated Elijah’s Day with enthusiasm... And suddenly Agafya Matveevna realized that she had fallen in love master She became so devoted to him that at the moment when Andrei Stolts, who came to St. Petersburg on the Vyborg side, exposed Mukhoyarov’s dark deeds, Pshenitsyna renounced her brother, whom she had so revered and even feared until recently.
Having experienced disappointment in her first love, Olga Ilyinskaya gradually gets used to Stolz, realizing that her attitude towards him is much more than just friendship. And Olga agrees to Stolz’s proposal...
And a few years later, Stolz appears again on Vyborg side. He finds Ilya Ilyich, who has become “a complete and natural reflection and expression of ‹…› peace, contentment and serene silence. Looking and reflecting on his life and becoming more and more comfortable in it, he finally decided that he had nowhere else to go, nothing to look for...” Oblomov found his quiet happiness with Agafya Matveevna, who bore him a son, Andryusha. Stolz's arrival does not bother Oblomov: he asks his old friend just not to leave Andryusha...
And five years later, when Oblomov was no longer there, Agafya Matveevna’s house fell into disrepair, and the wife of the bankrupt Mukhoyarov, Irina Panteleevna, began to play the first role in it. Andryusha was asked to be raised by the Stoltsy. Living in the memory of the late Oblomov, Agafya Matveevna focused all her feelings on her son: “she realized that she had lost and her life shone, that God put his soul into her life and took it out again; that the sun shone in it and darkened forever...” And high memory forever connected her with Andrei and Olga Stolts - “the memory of the soul of the deceased, pure as crystal.”
And faithful Zakhar is there, on the Vyborg side, where he lived with his master, now asking for alms...
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