Oblomov literary direction. Literary and historical notes of a young technician

Goncharov's novel Oblomov was written in 1858, and in 1859 it was published in Otechestvennye Zapiski. However, the first part of the work - "Oblomov's Dream" was published back in 1849 in the "Literary Collection", becoming a landmark element of the plot and ideological construction of the novel. "Oblomov" is one of the works of Goncharov's novel trilogy, which also includes "An Ordinary Story" and "Cliff". In the book, the author touches on many acute social issues for his era - the formation of a new Russian society and the opposition of the original Russian mentality to European principles, as well as the "eternal" problems of the meaning of life, love and human happiness. A detailed analysis of Goncharov's "Oblomov" will allow us to reveal the author's idea more similarly and better understand the brilliant work of Russian literature of the 19th century.

Genre and literary direction

The novel "Oblomov" was written in the traditions of the literary direction of realism, as evidenced by the following features: the central conflict of the work, which develops between the main character and a society that does not share his lifestyle; realistic depiction of reality, reflecting many everyday historical facts; the presence of characters typical of that era - officials, entrepreneurs, philistines, servants, etc., who interact with each other, and in the process of narration, the development (or degradation) of the personality of the main characters is clearly traced.

The genre specificity of the work allows us to interpret it, first of all, as a social and everyday novel, revealing the problem of "Oblomovism" in the contemporary era of the author, its detrimental effect on the townspeople. In addition, the work should be considered as a philosophical one, touching on many important "eternal questions", and a psychological novel - Goncharov subtly reveals the inner world and character of each hero, analyzing in detail the reasons for their actions and their future fate.

Composition

The analysis of the novel "Oblomov" would not be complete without considering the compositional features of the work. The book consists of four parts. The first part and chapters 1-4 of the second are a description of one day of Oblomov's life, including events in the hero's apartment, his characterization by the author, as well as an important chapter for the whole plot - "Oblomov's Dream". This part of the work is an exposition of the book.

Chapters 5-11 and the third part represent the main action of the novel, describing the relationship between Oblomov and Olga. The culmination of the work is the parting of the beloved, leading to the fact that Ilya Ilyich again falls into the old state of "Oblomovism".

The fourth part is an epilogue of the novel, which tells about the later life of the characters. The denouement of the book is the death of Oblomov in a kind of "Oblomovka" created by him and Pshenitsyna.
The novel is divided into three conditional parts - 1) the hero strives for an illusory ideal, a distant "Oblomovka"; 2) Stolz and Olga bring Oblomov out of a state of laziness and apathy, forcing him to live and act; 3) Ilya Ilyich again returns to his previous state of degradation, having found "Oblomovka" at Pshenitsyna. Despite the fact that the love story of Olga and Oblomov became the main plot point, from a psychological point of view, the leitmotif of the novel is the image of the degradation of Ilya Ilyich's personality, its gradual disintegration up to actual death.

Character system

The central core of the characters is represented by two opposing male and female images - Oblomov and Stolz, as well as Ilinskaya and Pshenitsyna. Apathetic, calm, more interested in everyday life, home warmth and a rich table, Oblomov and Pshenitsyn act as carriers of outdated, archaic ideas of Russian philistinism. For both of them, "fragmentation" as a state of calm, detachment from the world and spiritual inactivity is the primary goal. This is opposed to the activity, activity, practicality of Stolz and Olga - they are the bearers of new, European ideas and norms, an updated Russian-European mentality.

Male characters

The analysis of Oblomov and Stolz as mirror characters suggests considering them as heroes of different time projections. So, Ilya Ilyich is a representative of the past tense, for him the present does not exist, and the ephemeral "Oblomovka of the Future" does not exist for him either. Oblomov lives only in the past, for him all the best was already a long time ago in childhood, that is, he strove back, not appreciating the experience and knowledge gained over the years. That is why the return to "Oblomovism" in Pshenitsyna's apartment was accompanied by a complete degradation of the hero's personality - he seemed to be returning to a deep, weak childhood, which he had been dreaming of for many years.

For Stolz, there is no past and present, he is directed only to the future. Unlike Oblomov, who is aware of the goal and outcome of his life - the achievement of the distant "paradise" Oblomovka, Andrei Ivanovich does not see the goal, for him it becomes a means to achieve goals - constant work. Many researchers compare Stolz with an automated, masterfully tuned mechanism, devoid of the inner spirituality that he finds when communicating with Oblomov. Andrei Ivanovich acts in the novel as a character-practitioner who has no time to think, while he needs to create and build something new, including himself. However, if Oblomov was fixated on the past and was afraid to look into the future, then Stolz did not have time to stop, look back and understand where and where he was going. Perhaps it is precisely because of the lack of precise landmarks at the end of the novel that Stolz himself falls into the "traps of fragmentation" finding peace in his own estate.

Both male characters are far from the ideal of Goncharov, who wanted to show that remembering one's past and honoring one's roots is just as important as constant personal development, learning something new and continuous movement. Only such a harmonious personality, living in the present tense, combining the poetry and good nature of the Russian mentality with the activity and industriousness of the European one, is worthy, according to the author, to become the basis for a new Russian society. Perhaps Andrei, the son of Oblomov, could become such a person.

female characters

If, when depicting male characters, it was important for the author to understand their orientation and meaning of life, then female images are connected, first of all, with questions of love and family happiness. Agafya and Olga not only have different origins, upbringing and education, but also have a different character. The meek, weak-willed, quiet and economic Pshenitsyna perceives her husband as a more important and significant person, her love borders on the adoration and deification of her husband, which is normal within the framework of the old, archaic traditions of house building. For Olga, her beloved is, first of all, a person equal to her, a friend and teacher. Ilinskaya sees all the shortcomings of Oblomov and tries to change her lover to the very end - despite the fact that Olga is depicted as an emotional, creative nature, the girl approaches any issue practically and logically. The romance of Olga and Oblomov was doomed from the very beginning - in order to complement each other, someone would have to change, but none of them wanted to give up their usual views and the characters continued to unconsciously confront each other.

Symbolism of Oblomovka

Oblomovka appears before the reader as a kind of fabulous, unattainable place where not only Oblomov aspires, but also Stolz, who constantly settles the affairs of a friend there and tries at the end of the work to take to himself the last thing left of that old Oblomovka - Zakhara. However, if for Andrey Ivanovich the village is devoid of its mythical qualities and attracts rather on an intuitive, unclear level for the hero, connecting Stolz with the traditions of his ancestors, then for Ilya Ilyich it becomes the center of his entire illusory universe in which a man exists. Oblomov is a symbol of everything old, dilapidated, leaving, for which Oblomov is trying to grab on, which leads to the degradation of the hero - he himself becomes decrepit and dies.

In the dream of Ilya Ilyich, Oblomovka is closely connected with rituals, fairy tales, legends, which makes it itself part of the ancient myth of the village-paradise. Oblomov, associating himself with the heroes of fairy tales told by the nanny, seems to fall into this ancient, existing parallel to the real world. However, the hero does not realize where dreams end and illusions begin, replacing the meaning of life. The distant, unattainable Oblomovka never gets closer to the hero - it only seems to him that he found it at Pshenitsyna, while he slowly turned into a “plant”, ceasing to think and live a full life, completely immersing himself in the world of his own dreams.

Issues

Goncharov in the work "Oblomov" touched upon many historical, social and philosophical issues, many of which do not lose their relevance to this day. The central problem of the work is the problem of "Oblomovism" as a historical and social phenomenon among Russian philistines who do not want to adopt new social principles and change. Goncharov shows how "Oblomovism" becomes not only a problem for society, but also for the person himself, who is gradually degrading, fencing off his own memories, illusions and dreams from the real world.
Of particular importance for understanding the Russian national mentality is the depiction of classical Russian characters in the novel - both on the example of the main characters (landowner, businessman, young bride, wife), and secondary ones (servants, swindlers, officials, writers, etc.), and also revealing the Russian national character in opposition to the European mentality on the example of the interaction between Oblomov and Stolz.

An important place in the novel is occupied by questions of the meaning of the hero's life, his personal happiness, his place in society and the world in general. Oblomov is a typical “superfluous person”, for whom the world striving for the future was inaccessible and far away, while the ephemeral, essentially existing only in dreams, ideal Oblomovka was something close and more real than even Oblomov’s feelings for Olga. Goncharov did not depict an all-encompassing, true love between the characters - in each of the cases it was based on other, prevailing feelings - on dreams and illusions between Olga and Oblomov; on friendship between Olga and Stolz; on respect from Oblomov and adoration from Agafya.

Theme and idea

In the novel "Oblomov", Goncharov, considering the historical theme of changing society in the 19th century through the prism of such a social phenomenon as "Oblomovism", reveals its destructive effect not only for the new society, but also for the personality of each individual, tracing the influence of "Oblomovism" on the fate Ilya Ilyich. At the end of the work, the author does not lead the reader to a single thought, who was more right - Stolz or Oblomov, however, an analysis of the work "Oblomov" by Goncharov shows that a harmonious personality, like a worthy society, is possible only with full acceptance of one's past, drawing from it spiritual fundamentals, with a constant striving forward and continuous work on oneself.

Conclusion

Goncharov in the novel "Oblomov" first introduced the concept of "Oblomovism", which remains a household word today to refer to apathetic, stuck in illusions and dreams of the past, lazy people. In the work, the author touches upon a number of social and philosophical issues that are important and relevant in any era, allowing the modern reader to take a fresh look at his own life.

Artwork test

Test based on the novel by I.A. Goncharov "Oblomov"

1. What literary direction does Goncharov's novel "Oblomov" belong to:

a) classicism

b) sentimentalism

c) romanticism

d) realism.

2. Determine the genre of the novel "Oblomov"

a) epic novel

b) novel-utopia

c) historical novel

d) socio-psychological novel.

3. What is the main problem of the novel

a) the "little man" problem

b) the problem of "an extra person"

c) the problem of unrequited love

d) the problem of the fate of the Russian intelligentsia.

4. How many chapters does the novel consist of

a)3

b) 4.

at 5

d) 6

5. How old is Oblomov in the first chapter of the novel

a) 18-20

b) 25-26

c) 30-32

d) 32-33

6. What street did Oblomov live on

a) on Podyacheskaya

b) on Nevsky Prospekt

c) on the Fontanka

d) on Gorokhovaya street.

7. What books did Oblomov like more

a) scientific

b) adventure

c) romance novels.

D) poetry.

8. To which city did Oblomov send a letter by mistake

a) to Astrakhan

b) to Anadyr

c) to Arkhangelsk

d) to Amsterdam.

9. What artistic detail is a means of characterizing the hero

a) an empty table

b) bathrobe

c) cane

d) cobwebs on the walls.

10. Traditions of which Russian writer Goncharov continues when creating the image of Oblomov

a) A.S. Pushkin

b) M.E. Saltykova - Shchedrin

c) N.V. Gogol

d) A.S. Griboedov.

11. Which of the heroes of the novel is the antipode of Oblomov

a) Zakhar

b) Stolz

c) Olga Ilinskaya

d) Mikhey Tarantiev.

12. Who was Stolz Oblomov

a) neighbor

b) relative

c) colleague

d) a childhood friend.

13. What class did Stolz belong to

a) to the merchant

b) to the nobility

c) to the petty-bourgeois

d) to raznochintsy.

14. What was the name of Stolz

a) Andrei Ivanovich

b) Ivan Bogdanovich

c) Mikhey Andreevich

d) Ilya Ilyich.

15. Who introduced Oblomov to Olga Ilyinskaya

a) Volkov

b) Sudbinsky

c) Stolz

d) They met by chance.

16. Which flower became a symbol of Oblomov's love for Olga Ilyinskaya

a) a rose

b) snowdrop

c) lily of the valley

d) lilac.

17. Why Oblomov and Olga Ilyinskaya broke up

a) Olga married Stolz

b) Aunt forbade Olga to communicate with Oblomov

c) Oblomov wanted to postpone the wedding for a year

d) Oblomov went to Pshenitsyna.

18. Which of the heroes of the novel is closest to the author's ideal

a) Oblomov

b) Stolz

c) Olga Ilinskaya

d) Agafya Matveevna Pshenitsyna.

19. Who ruined Oblomov

a) the headman from Oblomovka

b) Penkin

c) Stolz

d) Tarantiev and Mukhoyarov.

20. Where Oblomov found peace

a) in his native Oblomovka, surrounded by faithful servants

b) in the family of Stolz and Olga

c) next to Zakhar and Anisya

d) on the Vyborg side next to Pshenitsyna and her children.

21. Who wrote the critical article "What is Oblomovism?"

a) I.A. Goncharov.

b) V.G. Belinsky

c) N.A. Dobrolyubov

d) D.I. Pisarev.

22. Which actor played the role of Oblomov in N. Mikhalkov's film "A Few Days in the Life of Oblomov"

a) Nikita Mikhalkov

b) Andrei Mironov

c) Oleg Tabakov

d) Sergei Zhigunov.

23. Recognize the hero by the portrait

a) “... an elderly man in a gray frock coat, with a hole under his arm, from where a piece of shirt stuck out, in a gray waistcoat, with copper buttons, with a skull bare as a knee, and with immensely wide and thick blond sideburns, from which each became three beards."

b) “He is all made up of bones, muscles and nerves, like a blooded English horse. He is thin; he has almost no cheeks at all, that is, there is bone and muscle, but no sign of fatty roundness; the complexion is even, swarthy and no blush; eyes, although a little greenish, but expressive.

c) “... a man of about thirty-two - three years old, of medium height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in facial features. The thought walked like a free bird across the face, fluttered in the eyes, settled on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glimmered all over the face.

d) “... a man of about forty, belonging to a large breed, tall, voluminous, in the shoulders and throughout the body, with large features, with a large head, with a strong, short neck, with large protruding eyes, thick-lipped. A cursory glance at this man gave rise to the idea of ​​​​something rough and unkempt.

e) She was thirty years old. She was very white and full in the face, so that the blush could not seem to break through her cheeks. She had almost no eyebrows at all, and in their places were two slightly swollen, glossy stripes with sparse blond hair. The eyes are grayish-ingenuous, like the whole expression of the face; the arms are white, but hard, with large knots of blue veins protruding."

f) “... in the strict sense, there was no beauty, that is, there was neither whiteness in her, nor the bright color of her cheeks and lips, and her eyes did not burn with rays of inner fire; there were no corals on the lips, no pearls in the mouth, no miniature hands, like those of a five-year-old child, with fingers in the form of grapes.

But if she were turned into a statue, she would be a statue of grace and harmony.

Answers: 1-d; 2-d; 3-b; 4-b; 5-d; 6-d; 7-d; 8-c; 9-b; 10-in; 11-b; 12-d; 13-d; 14-a; 15-c; 16-g; 17-in; 18-in; 19-g; 20-g; 21-in; 22-in; 23 a) - sugar; b) - Stolz; c) - Oblomov; d) - Tarantiev; e) - Agafya Pshenitsyna; f) - Olga Ilyinskaya.

"Oblomov" is a realistic social novel. This work clearly reflected the leading features of realism: the objectivity and reliability of the depiction of reality, the creation of typical concrete historical characters embodying the features of a particular social environment.
The patriarchal-local way of life had a decisive influence on the character and lifestyle of Oblomov. This influence was expressed in a lazy and empty existence, which for Ilya Ilyich was a semblance of life. His helplessness, futile attempts to revive under the influence of Olga and Stolz, his marriage to Pshenitsyna and death itself are defined in the novel as “Oblomovism”. The very character of Oblomov is larger and larger.
Goncharov believed that the type "is composed of long and many repetitions or layers of phenomena and persons." That is why the unhurried description of everyday life, the objective recreation of everyday life are the characteristic features of the realistic writing of I. A. Goncharov.
The author's position in relation to the image of Oblomov is contradictory. Showing the emptiness and inertia of the already obsolete patriarchal-landowner environment, the writer at the same time contrasts the moral integrity of Oblomov and the “Oblomovites” with the soullessness of the noble bureaucratic society in the person of Alekseev, Tarantiev, Mukhoyarov, Zatertoy and others.
Goncharov pushes the boundaries of the social novel, revealing the features of Oblomov not only in the era, environment, but also in the depths of the Russian national character. The main advantage of the writer can be considered the disclosure of personality against the background of the historical development of the nation.
Goncharov tried to find the connecting threads of the disparate phenomena of Russian life. This tradition will continue in the works of L. Tolstoy, F. Dostoevsky.

Essay on literature on the topic: Genre of the novel “Oblomov”

Other writings:

1. Few of the heroes of Russian literature have been interpreted in such a contradictory way as Oblomov. The point of view of N. A. Dobrolyubov is widely known (the article “What is Oblomovism?”), according to which Oblomov was interpreted sharply negatively - as a direct product and embodiment of the entire serf system. Read More ......
2. A realist writer, Goncharov believed that an artist should be interested in stable forms in life, that the work of a true writer is the creation of stable types that are composed of “long and many repetitions or moods of phenomena and persons.” These principles determined the basis of the novel Oblomov. Dobrolyubov gave Read More ......
3. In the novel Oblomov, Goncharov reflected a part of contemporary reality, showed the types and images characteristic of that time, explored the origins and essence of contradictions in Russian society in the mid-19th century. The author used a number of artistic techniques that contributed to a more complete disclosure of images, themes and ideas Read More ......
4. The novel "Oblomov" was written by Ivan Alexandrovich Goncharov in the middle of the 19th century. In it, the author touches on the topical issue of his time - serfdom. People see that it has outlived itself. A reorganization of society must take place, because serfdom will no longer be able to give Read More ......
5. In the summer of 1857, Goncharov left for treatment at the waters in Marienbad. The recent personal drama, dissatisfaction with the work of the censor, suspiciousness led Goncharov to a state of extreme depression. And suddenly: “on the 25th or 26th, accidentally unfolded Oblomov, flared up and on July 31 I Read More ......
6. In the center of Goncharov's novel "Oblomov" is a complex and contradictory image of the landowner Ilya Ilyich Oblomov. In the first part of the novel, the seemingly most obvious features of his personality are depicted: laziness, lack of will, contemplation. Gogol's traditions stand out vividly in the image of the hero, the author focuses on the details Read More ......
7. Goncharov called the novel "Oblomov" a "novel-monograph". He had in mind his intention to write the life story of one person, to present a deep psychological study of one biography: “I had one artistic ideal: this is an image of an honest and kind sympathetic nature, in the highest degree Read More ......
8. In accordance with the ideological and thematic content, a system of images of the novel is built, in the center of which is the main character - Oblomov. He received extremely controversial interpretations and assessments in criticism. Dobrolyubov's critical assessment of Oblomov, who saw in him a symbol of the collapse of the entire serf system, a reflection of the Read More ......

The novel "Oblomov" is an integral part of Goncharov's trilogy, which also includes "Cliff" and "Ordinary History". It was published for the first time in 1859 in the journal Otechestvennye Zapiski, however, 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 contrast 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.

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 culmination.
• 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 fencing, 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, 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, family, 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 labor 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 complemented 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".