Year of writing Oblomov. The history of the creation of the novel "Oblomov" by Goncharov

The pinnacle of creativity of the talented Russian prose writer and critic of the 19th century Ivan Goncharov was the novel Oblomov, published in 1859 in the journal Domestic Notes. His epic scale of the artistic study of the life of the Russian nobility in the mid-nineteenth century allowed this work to occupy one of the central places in Russian literature.

Characteristics of the main character

The protagonist of the novel is Ilya Ilyich Oblomov, a young (32-33 years old) Russian nobleman, idly and carefree living on his estate. He has a pleasant appearance, the main feature of which is softness in all his features and the main expression of his soul.

His favorite activity is to lie listlessly on the couch and waste time in empty thoughts and dreamy reflections. Moreover, the complete absence of any actions is his conscious choice, because once he had a position in the department and was waiting for promotion on the career ladder. But then he got bored with it and left everything, making his ideal a carefree life filled with sleepy peace and tranquility, as in childhood.

(Old faithful servant Zakhar)

Oblomov is distinguished by sincerity, gentleness and kindness, he did not even lose such a valuable moral quality as conscience. He is far from evil or bad deeds, but at the same time it is impossible to confidently say that he is a positive hero. Goncharov painted the reader a terrible picture of Oblomov's spiritual desolation and his moral decay. The old and faithful servant Zakhar is a mirror reflection of the character of his young master. He is just as lazy and sloppy, devoted to the depths of his soul to his master and also shares with him the philosophy of his life.

One of the main storylines in the novel, which perfectly reveals the character of the protagonist, is Oblomov's love relationship with Olga Ilyinskaya. Romantic feelings for this young and sweet lady that suddenly flared up in Oblomov's heart arouse in him an interest in spiritual life, he begins to be interested in art and the mental demands of his time. Thus, there is a ray of hope that Oblomov can return to a normal human life. Love reveals in him new, previously unknown traits of his character, inspires and inspires a new life.

But in the end, the feeling of love for this pure and highly moral girl becomes a bright, but very short-term flash in the measured and monotonous life of the couch potato master. Illusions are dispelled very quickly, from the fact that they can be together, they are too unlike Olga, he can never become the one she wants to see next to her. There is a natural breakdown in relations. In the process of choosing between romantic dates and a serene sleepy state in which he lived most of his conscious life, Oblomov chooses the usual and favorite option for him to do nothing. And only in the house of Agafya Pshenitsina, surrounded by such usual care and an idle, carefree life, he finds his ideal refuge, where his life ends quietly and imperceptibly.

The image of the main character in the work

After its release, the novel received close attention from critics and readers alike. By the name of the protagonist of this work (at the initiative of the famous literary critic Dobrolyubov), the whole concept of "Oblomovism" appeared, which later acquired a wide historical significance. It is described as a real disease of modern Russian society, when young and full of strength people of noble birth are busy with reflection and apathy, they are afraid to change anything in their lives and prefer lazy and idle vegetative life instead of action and struggle for their happiness.

According to Dobrolyubov, the image of Oblomov is a symbol of serf society in Russia in the 19th century. The origins of his "disease" lie precisely in the serf system, in the technical backwardness of the economy, in the process of exploitation and humiliation of forced peasant slaves. Goncharov revealed to the readers the whole path of the formation of Oblomov's character and his complete moral degradation, which applies not only to one individual representative of the nobility, but to the entire nation as a whole. Oblomov's path, sadly, is the path of the majority of people who do not have a specific goal in life and are absolutely useless for society.

Even such noble and lofty feelings as friendship and love could not break this vicious circle of laziness and idleness, so one can only sympathize with Oblomov that he did not find the strength to cast off the shackles of sleep and live a new, full life.

Goncharov's novel "Oblomov" is one of the iconic works of Russian literature of the 19th century. It is part of a trilogy with two other books by the writer - "An Ordinary Story" and "Cliff". The history of the creation of the novel Oblomov by Goncharov began long before the concept of the work appeared - the author had the idea of ​​Oblomovism as an all-encompassing social phenomenon even before the appearance of the first novel of the trilogy - Ordinary History.

Chronology of the creation of the novel

Researchers consider the story “Dashing Pain” written in 1838 to be the prototype of “Oblomovism” in Goncharov’s early work. The work described a strange epidemic, the main symptom of which was "spleen", patients began to build castles in the air and amuse themselves with empty dreams. Manifestations of a similar "disease" are also observed in the main character of the novel Oblomov.

However, the very history of the novel "Oblomov" begins in 1849, when Goncharov published in the "Literary Collection with Illustrations" one of the central chapters of the work - "Oblomov's Dream" with the subtitle "Episode from an unfinished novel".

During the writing of the chapter, the writer stayed at home, in Simbirsk, where, in the patriarchal life that retained the imprint of antiquity, Goncharov drew many examples of the “Oblomov dream”, which he depicted first in a printed passage, and then in the novel. At the same time, the writer had already prepared a briefly outlined plan for the future work and a draft version of the entire first part.

In 1850, Goncharov created a final version of the first part and worked on a continuation of the work. The writer writes little, but thinks a lot about the novel. In October 1852, the history of Oblomov was interrupted for five whole years - Goncharov, in the position of secretary under Admiral E.V. Putyatin, set off on the frigate Pallada on a round-the-world trip. Work on the work is resumed only in June 1857, when, while in Marienbard, the writer finishes almost the entire novel in seven weeks. As Goncharov later said, during the trip, the novel had already fully developed in his imagination, and it just needed to be transferred to paper.

In the autumn of 1858, Goncharov completely finished work on the manuscript of Oblomov, adding many scenes and completely reworking some chapters. In 1859, the novel was published in four issues of the journal Otechestvennye Zapiski.

Prototypes of the heroes of the novel "Oblomov"

Oblomov

The creative history of the novel "Oblomov" originates in the life of the author himself - Ivan Goncharov. For the writer, according to him, it was important to portray the true reality, without leaving the "thinker's soil".

That is why Goncharov wrote off the central character - Ilya Ilyich Oblomov from himself. According to the memoirs of the writer's contemporaries, there is a lot in common between the author and the character of the novel - they both come from the Russian outback with a patriarchal outdated life, both are slow and at first glance lazy, while they have a lively mind, artistic imagination and a certain daydreaming, which cannot be said at first impression.

Olga

The prototype of the main female image - Olga Ilyinskaya, Goncharov also drew from his own life. According to researchers, the prototypes of the girl are the writer's acquaintances - Elizaveta Vasilievna Tolstaya and Ekaterina Pavlovna Maykova. Goncharov was in love with E. Tolstaya - both Olga for Oblomov, and Elizaveta Vasilievna was for him the ideal of a woman, cordiality, female intelligence and beauty. The correspondence between Goncharov and E. Tolstoy is a parallel with the events of the novel - even the theory of love of the creator and the hero of the book is the same. The author endowed Olga with all those beautiful features that he saw in Elizabeth Vasilyevna, transferring his own feelings and experiences to paper. As Olga in the novel was not destined to marry Oblomov, so E. Tolstoy was expected to marry his cousin A. I. Musin-Pushkin.

Maikova, the wife of V. N. Maikov, becomes the prototype of the married heroine - Olga Stolz. Ekaterina Pavlovna and Goncharov were bound by a strong and lasting friendship that began at one of the evenings of the literary salon of the Makovs. In the image of Maykova, the writer drew a completely different type of woman - constantly searching, striving forward, not satisfied with anything, for whom family life gradually became painful and cramped. However, as some researchers point out, after the last edition of the novel Oblomov, the image of Ilyinskaya looked more and more not like E. Tolstaya, but like Maykova.

Agafya

The second important female image of the novel - the image of Agafya Matveevna Pshenitsyna, was written off by Goncharov from the memories of the writer's mother - Avdotya Matveevna. According to researchers, the tragedy of the marriage between Agafya and Oblomov was a reflection of the life drama of Goncharov's godfather, N. Tregubov.

Stolz

The image of Stolz is not only a prefabricated character of the German type, a bearer of a different mentality and a different worldview. The description of the hero was based on the family history of Karl-Friedrich Rudolf, father of Elizaveta Goncharova, the wife of the writer's elder brother. This connection is also indicated by the fact that in draft editions the hero has two names - Andrei and Karl, and in lifetime editions in the scene of the character's first appearance, his name appears as Andrei Karlovich. However, there is a version that Stolz is also one of the personifications in the novel of one of the sides of the writer himself - his youthful aspirations and practicality.

conclusions

The history of the creation of "Oblomov" allows you to better understand the ideological meaning of the novel, its inner deep and special importance for the author. "Carrying" the idea of ​​the work for more than ten years, Goncharov created a brilliant work, which even today makes us think about the true meaning of life, love and the search for happiness.

Artwork test

In 1838, Goncharov wrote a humorous story called "Dashing Pain", which dealt with a strange epidemic that originated in Western Europe and ended up in St. Petersburg: empty dreams, castles in the air, "spleen". This "dashing pain" is a prototype of "Oblomovism".

The novel Oblomov was first published in full in 1859 in the first four issues of the Otechestvennye Zapiski magazine. 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 way of life retained the imprint of patriarchal antiquity. In this small town, the writer saw many examples of the “dream” that the inhabitants of Oblomovka, which he imagined, 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. “It will seem unnatural,” Goncharov wrote to one of his friends, “how did a person finish in a month what he could not finish in a year? To this I will answer that if there were no years, nothing would be written in a month. The fact of the matter is that the whole novel was carried out to the smallest scenes and details, and all that remained was to write it down. Goncharov also recalled this in the article “An Extraordinary Story”: “In my head, the whole novel had already been finalized - and I transferred it to paper, as if under dictation ...” However, while preparing the novel for publication, Goncharov in 1858 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 I grow into it."

Goncharov admitted that the influence of Belinsky's ideas affected the design of Oblomov. The most important circumstance that influenced the idea of ​​​​the work is Belinsky's speech on Goncharov's first novel - "An Ordinary Story". In his article “A Look at Russian Literature of 1847”, Belinsky analyzed in detail the image of a noble romantic, an “extra person” who claims an honorable place in life, and emphasized the inactivity of such a romantic in all spheres of life, his laziness and apathy. Demanding the merciless exposure of such a hero, Belinsky also pointed to the possibility of a novel ending other than in Ordinary History. When creating the image of Oblomov, Goncharov took advantage of a number of characteristic features outlined by Belinsky in the analysis of "Ordinary History".

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. In the travel diary "Frigate" Pallada "" Goncharov admitted that during the trip he spent most of his time in the cabin, lying on the sofa, not to mention the difficulty with which he decided to circumnavigate the world. In the friendly circle of the Maykovs, who treated the writer with great love, Goncharov was given a meaningful nickname - “Prince de Laziness”.

The appearance of the novel "Oblomov" coincided with the time of the most acute crisis of serfdom. The image of an apathetic, incapable of activity landowner, who grew up and educated in the patriarchal atmosphere of a manor's estate, where the gentlemen lived serenely thanks to the labor of serfs, was very relevant for contemporaries. ON THE. Dobrolyubov in his article “What is Oblomovism?” (1859) praised the novel and this phenomenon. In the person of Ilya Ilyich Oblomov, it is shown how the environment and upbringing disfigure the beautiful nature of a person, giving rise to laziness, apathy, lack of will.

The path of Oblomov is a typical path of the provincial Russian nobles of the 1840s, who came to the capital and found themselves outside the circle of public life. Service in the department with the indispensable expectation of promotion, from year to year the monotony of complaints, petitions, establishing relationships with head clerks - this turned out to be beyond Oblomov's strength. He preferred colorless lying on the couch, devoid of hopes and aspirations, to promotion through the ranks. One of the reasons for the "dashing pain", according to the author, is the imperfection of society. This thought of the author is also conveyed to the hero: “Either I did not understand this life, or it is no good.” This phrase by Oblomov brings to mind the well-known images of "superfluous people" in Russian literature (Onegin, Pechorin, Bazarov, etc.).

Goncharov wrote about his hero: “I had one artistic ideal: this is an image of an honest and kind, sympathetic nature, an idealist in the highest degree, struggling all his life, looking for the truth, meeting lies at every step, deceived and falling into apathy and impotence.” In Oblomov, that daydreaming is dormant that burst out in Alexander Aduev, the hero of Ordinary History. In his soul, Oblomov is also a lyricist, a person who knows how to feel deeply - his perception of music, immersion in the captivating sounds of the aria "Casta diva" indicate that not only "pigeon meekness", but also passions are available to him. Each meeting with a childhood friend Andrei Stolz, the complete opposite of Oblomov, brings the latter out of a sleepy state, but not for long: the determination to do something, to somehow arrange his life takes possession of him for a short time, while Stolz is next to him. However, Stolz does not have enough time to put Oblomov on a different path. But in any society, at all times, there are people like Tarantiev, who are always ready to help for selfish purposes. They determine the direction along which the life of Ilya Ilyich flows.

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.

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 prominent representative of this social trend in the book is Ilya Oblomov, who comes from a family of landowners, whose family structure was a reflection of the norms and rules of Domostroy. Developing in such an atmosphere, the hero gradually absorbed the values ​​and priorities of his parents, which greatly influenced the formation of his personality. A brief description of Oblomov in the novel "Oblomov" is given by the author at the beginning of the work - he is an apathetic, introverted, dreamy man who prefers to live life in dreams and illusions, presenting and experiencing fictitious pictures so vividly that sometimes he can sincerely rejoice or cry from those scenes that 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 anxiety, were restrained by external softness, grace and effeminacy, excessive for a man. The hero was flabby beyond his years, had soft shoulders and small plump hands, and a sedentary and inactive lifestyle was read in his sleepy look, in which there was no concentration or any main idea.

Life of Oblomov

As if a continuation of the soft, apathetic, lazy Oblomov, the novel describes the life of the hero. At first glance, his room was beautifully decorated: “There was a mahogany bureau, two sofas upholstered in silk fabric, beautiful screens embroidered with birds and fruits unprecedented in nature. There were silk curtains, carpets, several paintings, bronze, porcelain and many beautiful little things. However, if you look better, you can see cobwebs, dusty mirrors and long-open and forgotten books, stains on carpets, untidy household items, bread crumbs, and even a forgotten plate with a gnawed bone. All this made the hero's room unkempt, abandoned, gave the impression that no one had lived here for a long time: the owners left the house long ago, not having time to clean up. To some extent, this was true: Oblomov had not lived in the real world for a long time, replacing it with an illusory world. This is especially evident in the episode when his acquaintances come to the hero, but Ilya Ilyich does not even bother to extend his hand to them to greet them, and, even more so, to get out of bed to meet the visitors. The bed in this case (like the bathrobe) is the boundary link between the world of dreams and reality, that is, getting out of bed, Oblomov would to some extent agree to live in the real dimension, but the hero did not want to.

The influence of "Oblomovism" on the personality of Oblomov

The origins of Oblomov's all-encompassing escapism, his irresistible desire to escape from reality, lie in the "Oblomov" upbringing of the hero, about which the reader learns from the description of Ilya Ilyich's dream. The character's native estate, Oblomovka, was located far from the central part of Russia, located in a picturesque, peaceful area where there were never strong storms or hurricanes, and the climate was calm and mild. Life in the village flowed measuredly, and time was measured not in seconds and minutes, but in holidays and rituals - births, weddings or funerals. The monotonous quiet nature was also reflected in the character of the inhabitants of Oblomovka - the most important value for them was rest, laziness and the opportunity to eat to their fill. Labor was seen as a punishment, and people did their best to avoid it, delay the moment of work or force someone else to do it.

It is noteworthy that the characterization of the hero Oblomov in childhood differs significantly from the image that appears before readers at the beginning of the novel. Little Ilya was an active, interested in many things and open to the world child with a wonderful imagination. He liked to walk and get to know the surrounding nature, but the rules of the "Oblomov" life did not imply his freedom, so gradually his parents re-educated him in their own image and likeness, growing him like a "greenhouse plant", protecting him from the hardships of the outside world, the need to work and learn new things. Even the fact that they sent Ilya to study was more a tribute to fashion than a real necessity, because for any slightest reason they themselves left their son at home. As a result, the hero grew up, as if closed from society, unwilling to work and relying in everything on the fact that with the emergence of any difficulties it would be possible to shout “Zakhar” and the servant would come and do everything for him.

Reasons for Oblomov's desire to escape reality

The description of Oblomov, the hero of Goncharov's novel, gives a vivid idea of ​​Ilya Ilyich, as a person who is firmly fenced off from the real world and internally does not want to change. The reasons for this lie in Oblomov's childhood. Little Ilya was very fond of listening to fairy tales and legends about great heroes and heroes that his nanny told him, and then imagine himself as one of these characters - a person in whose life a miracle will happen at one moment that will change the current state of things and make the hero head and shoulders above others. However, fairy tales are significantly different from life, where miracles do not happen by themselves, and in order to achieve success in society and career, you need to constantly work, overcome falls and persistently move forward.

Hothouse education, where Oblomov was taught that someone else would do all the work for him, combined with the dreamy, sensual nature of the hero, led to the inability of Ilya Ilyich to deal with difficulties. This feature of Oblomov manifested itself even at the moment of the first failure in the service - the hero, fearing punishment (although, perhaps, no one would have punished him, and the matter would have been decided by a banal warning), he quits his job and no longer wants to face a world where everyone for himself. An alternative to hard reality for the hero is the world of his dreams, where he imagines a wonderful future in Oblomovka, a wife and children, a peaceful calm that reminds him of his own childhood. However, all these dreams remain only dreams, in reality, Ilya Ilyich puts off in every possible way the issues of arranging his native village, which, without the participation of a reasonable owner, is gradually being destroyed.

Why didn't Oblomov find himself in real life?

The only person who could pull Oblomov out of his constant half-asleep idleness was the hero’s childhood friend, Andrei Ivanovich Stolz. He was the exact opposite of Ilya Ilyich, both in appearance and in character. Always active, striving forward, able to achieve any goals, Andrei Ivanovich nevertheless valued his friendship with Oblomov, since in communicating with him he found the warmth and understanding that he really lacked in his environment.

Stolz was most fully aware of the destructive influence of the "Oblomovism" on Ilya Ilyich, therefore, until the last moment, he tried with all his might to pull him into real life. Once Andrei Ivanovich almost succeeded when he introduced Oblomov to Ilyinskaya. But Olga, in her desire to change the personality of Ilya Ilyich, was driven solely by her own egoism, and not by an altruistic desire to help a loved one. At the moment of parting, the girl tells Oblomov that she could not bring him back to life, because he was already dead. On the one hand, this is true, the hero is too firmly mired in Oblomovism, and in order to change his attitude to life, inhuman efforts and patience were required. On the other hand, active, purposeful by nature, Ilyinskaya did not understand that Ilya Ilyich needed time to transform, and he could not change himself and his life in one jerk. The break with Olga became an even greater failure for Oblomov than a mistake in the service, so he finally plunges into the networks of "Oblomovism", leaves the real world, not wanting to experience mental pain anymore.

Conclusion

The author's characterization of Ilya Ilyich Oblomov, despite the fact that the hero is the central character, is ambiguous. Goncharov exposes both his positive features (kindness, tenderness, sensuality, the ability to experience and sympathize), and negative ones (laziness, apathy, unwillingness to decide anything on his own, refusal to self-development), depicting a multifaceted personality in front of the reader, which can cause both sympathy and disgust. At the same time, Ilya Ilyich is undoubtedly one of the most accurate images of a truly Russian person, his nature and character traits. This particular ambiguity and versatility of Oblomov's image allow even modern readers to discover something important for themselves in the novel, putting before themselves those eternal questions that Goncharov raised in the novel.

Artwork test

History of creation

“Having carefully read what was written, I saw that all this had gone to the extreme, that I had taken up the subject in a wrong way, that one thing had to be changed, another should be released<…>I have a thing developed in my head slowly and heavily.

The novel "Oblomov" was first published in full only in 1859 in the first four issues of the journal "Domestic Notes". The beginning of work on the novel belongs to an earlier period. In 1849, one of the central chapters of Oblomov, Oblomov's Dream, was published, which the author himself called "the overture of the entire novel." The author asks the question: what is "Oblomovism" - the "golden age" or death, stagnation? In “Dream…” motifs of static and immobility, stagnation prevail, but at the same time, the author’s sympathy, good-natured humor, and not just satirical denial, are also felt. As Goncharov later claimed, in 1849 the plan for the novel Oblomov was ready and the draft version of its first part was completed. "Soon," Goncharov wrote, "after 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 became. 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 I grow into it."

Goncharov admitted that the influence of Belinsky's ideas affected the design of Oblomov. The most important circumstance that influenced the idea of ​​​​the work is Belinsky's speech on Goncharov's first novel - "An Ordinary Story". There are also autobiographical features in the image of Oblomov. By his own admission, Goncharov, he himself was a sybarite, he loved serene peace, giving birth to creativity.

Published in 1859, the novel was hailed as a major social event. The Pravda newspaper, in an article dedicated to the 125th anniversary of Goncharov's birth, wrote: "Oblomov appeared in an era of public excitement, a few years before the peasant reform, and was perceived as a call to fight against inertia and stagnation." Immediately after its publication, the novel became the subject of discussion in criticism and among writers.

Plot

The novel tells about the life of Ilya Ilyich Oblomov. Ilya Ilyich, together with his servant Zakhar, lives in St. Petersburg, on Gorokhovaya Street, practically without leaving his house and without even getting up from the sofa. He does not engage in any activity, does not go out, only indulges in thoughts about how to live, and dreams of a comfortable, serene life in his native Oblomovka. No problems - the decline of the economy, the threat of eviction from the apartment - can budge him.

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

However, succumbing to Tarantiev's intrigues, Oblomov moves into the apartment he hired on the Vyborg side, getting into the house of Agafya Matveevna Pshenitsyna. Gradually, the entire economy of Ilya Ilyich passes into the hands of Pshenitsyna, and he himself finally fades away in the "Oblomovism". There are rumors in St. Petersburg about the imminent wedding of Oblomov and Ilyinskaya, having learned about this, Ilya Ilyich is horrified: nothing else, in his opinion, has been decided. Ilyinskaya comes to his house and makes sure that nothing will awaken Oblomov from a slow immersion in the final sleep, and their relationship ends. At the same time, Oblomov's affairs are taken over by Pshenitsyna's brother Ivan Mukhoyarov, who confuses Ilya Ilyich in his machinations. At the same moment, Agafya Matveevna is repairing Oblomov's dressing gown, which, it would seem, no one can repair. From all this, Ilya Ilyich falls ill with a fever.

Actors and some quotes

• Oblomov, Ilya Ilyich- landowner, nobleman living in St. Petersburg. Leads a lazy lifestyle, doing nothing but reasoning.

". lazy, clean, "good-natured", smart, honest, romantic, sensitive, "pigeon" gentle, open, sensitive, potentially capable of much, indecisive, quickly "lights up" and quickly "extinguishes", timid, aloof, weak-willed, gullible, sometimes naive, not versed in business, physically and spiritually weak.

• Zakhar- Oblomov's servant, faithful to him since childhood.
• Stolz, Andrei Ivanovich- a childhood friend of Oblomov, half German, practical and active.

• Tarantiev, Mikhey Andreevich- an acquaintance of Oblomov, roguish and cunning.
• Ilinskaya, Olga Sergeevna- a noblewoman, Oblomov's beloved, then Stolz's wife.
• Anisya- Zakhar's wife.
• Pshenitsyna, Agafya Matveevna- the mistress of the apartment in which Oblomov lived, then his wife.
• Mukhoyarov, Philip Matveevich- Brother Pshenitsyna, official.

Second plan

• Volkov- a guest in Oblomov's apartment.
• Sudbinsky- guest. Official, head of department.
• Alekseev, Ivan Alekseevich- guest. "an impersonal allusion to the human mass!".
• Penkin- guest. Writer and publicist.

Criticism

• Nechaenko D. A. The myth of the dreaminess of Russian life in the artistic interpretation of I. A. Goncharov and I. S. Turgenev (“Oblomov” and “Nov”). // Nechaenko D. A. History of literary dreams of the XIX-XX centuries: Folklore, mythological and biblical archetypes in literary dreams of the XIX-beginning of the XX centuries. M.: Universitetskaya kniga, 2011. S.454-522. ISBN 978-5-91304-151-7

see also

Notes

Links

• Goncharov I. A. Oblomov. A novel in four parts // Complete collection of works and letters: In 20 volumes. St. Petersburg: Nauka, 1998. Vol. 4
• Otradin M. V. Prof., Ph.D. "Oblomov" in a series of novels by I. A. Goncharov.

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• Facing stone
• Fragment of an Empire (film)

See what "Oblomov" is in other dictionaries:

bummers- Cm … Synonym dictionary

OBLOMOV- the hero of the novel by I.A. Goncharov "Oblomov" (1848 1859). Literary sources of the image of O. Gogol Podkolesin and old-world landowners, Tentetnikov, Manilov. Literary predecessors of O. in the works of Goncharov: Tyazhalenko (“Dashing Pain”), Yegor ... literary heroes

OBLOMOV- The hero of the novel I.A. Goncharov "Oblomov". The novel was written between 1848 and 1859. Ilya Ilyich Oblomov was a landowner, a hereditary nobleman*, an educated man of 32–33 years old. In his youth he was an official, but, having served only 2 years and was burdened by the service, ... ... Linguistic Dictionary