Oblomovism is a state of mind characterized by personal stagnation and apathy. This word comes from the name of the main character of the famous novel by Goncharov. Throughout almost the entire story, Ilya Oblomov is in a similar state. And, despite the efforts of a friend, his life ends tragically.
Roman Goncharova
This work is a landmark in literature. The novel is dedicated to a condition characteristic of Russian society, which at first glance may seem nothing more than an extreme degree of laziness. However, the meaning of the word "Oblomovism" is deeper.
Critics called the work the pinnacle of creativity I. A. Goncharov. The problem is clearly expressed in the novel. The writer achieved in it the clarity of style and the completeness of the composition. Ilya Ilyich Oblomov is one of the brightest characters in Russian literature of the nineteenth century.
The image of the main character
Ilya Oblomov comes from a family of landowners. His way of life became a distorted reflection of house building norms. Oblomov's childhood and youth were spent on the estate, where life was extremely monotonous. But the hero absorbed the values of his parents, if you can, of course, call this word a way of life in which special attention is paid to sleep and long meals. And yet the personality of Ilya Ilyich was formed precisely in such an atmosphere, which predetermined his fate.
The author characterizes his hero as an apathetic, withdrawn and dreamy man of thirty-two years. Ilya Oblomov has a pleasant appearance, dark gray eyes, in which there is no idea whatsoever. His face is devoid of concentration. The characterization of Ilya Oblomov was given by Goncharov at the beginning of the novel. But in the course of the story, the hero discovers other traits: he is kind, honest, disinterested. But the main feature of this character, unique in literature, is the traditional Russian daydreaming.
dreams
Ilya Ilyich Oblomov above all loves to dream. His idea of happiness is somewhat utopian. As a child, Ilya was surrounded by care and love. Peace and harmony reigned in the parental home. A loving nanny told him every evening colorful stories about beautiful sorceresses and miracles that could make a person happy instantly, once and for all. And there is no need to make any effort. The story can come true. You just have to believe.
Ilya Oblomov so often recalls his native estate, reclining on his sofa in a greasy unchanging dressing gown, that the atmosphere of his native home begins to dream of him. And there is nothing sweeter than these dreams. However, from time to time something brings him back to the gray unsightly reality.
Oblomov and Stolz
As an antipode to the Russian dreamer from a landowner family, the author introduced the image of a person of German origin into the work. Stoltz is devoid of a penchant for idle thought. He is a business man. The meaning of his life is work. Promoting his ideas, Stolz criticizes the lifestyle of Ilya Oblomov.
These people have known each other since childhood. But when the son of the owner of Oblomovka, accustomed to the slow, unhurried rhythm of life, arrived in St. Petersburg, he could not adapt to life in a big city. The service in the office did not work out, and he did not find anything better than to lie down on the sofa for many months and indulge in dreams. Stolz, on the other hand, is a man of action. He is not characterized by careerism, laziness, negligence in relation to his work. But at the end of the novel, this hero nevertheless admits that his work does not have any lofty goals.
Olga Ilinskaya
This heroine managed to "lift" Oblomov off the couch. Having met and fallen in love with her, he began to get up early in the morning. There was no more chronic drowsiness on the face. Apathy left Oblomov. Ilya Ilyich began to feel embarrassed about his old dressing gown, hiding it away, out of sight.
Olga felt some sympathy for Oblomov, calling him a "heart of gold." Ilya Ilyich had an extremely developed imagination, as evidenced by his colorful sofa fantasies. This quality is good. Its owner is always an interesting conversationalist. So was Ilya Oblomov. In communication, he was quite pleasant, despite the fact that he did not know the latest gossip and news from St. Petersburg. But in active care for this man, Ilinskaya was seduced by something else, namely, the desire to assert herself. She was a young lady, although very active. And the ability to influence a person older than her, to change his way of life and thoughts, unusually inspired the girl.
Relations between Oblomov and Ilyinskaya could not have a future. He needed the quiet, calm care he received as a child. And her indecision frightened her.
Oblomov's tragedy
Oblomov grew up in greenhouse conditions. As a child, he may have shown childish playfulness, but excessive care from his parents and nanny prevented the manifestation of all kinds of activity. Ilyusha was protected from danger. And it turned out that although he grew up as a kind person, he was deprived of the ability to fight, to set a goal, and even more so to achieve it.
In the service, he was unpleasantly surprised. The bureaucratic world had nothing to do with Oblomov's paradise. Here it was every man for himself. And infantility and inability to exist in real life led to the fact that the slightest obstacle was perceived by Oblomov as a disaster. The service became unpleasant and difficult for him. He left her and went to his beautiful world of dreams and dreams.
The life of Ilya Oblomov is a consequence of unrealized potential and the gradual degradation of the individual.
Goncharov's hero in real life
The image of Ilya Oblomov is collective. There are many people in Russia who are unable to adapt and adapt to changing social and economic conditions. And especially many Oblomovs appear when the former way of life collapses. It becomes easier for such people to live in a non-existent world, remembering the old days, rather than change themselves.
"Oblomov" Goncharova I.A.
In 1859, the novel by I.A. Goncharov "" was published in the journal "Domestic Notes". In terms of the distinctness of the problems and conclusions, the integrity and clarity of style, the compositional completeness and harmony, the novel is the pinnacle of the writer's work.
The protagonist of the novel, Ilya Ilyich Oblomov, is sincere, gentle, he has not lost a precious moral quality - conscience. Already on the first page of this work, the author considered it necessary to draw the reader's attention to the main feature of his hero: "The soul shone so openly and clearly in his eyes, in his smile, in every movement of his head, his hands." The novel is devoted to the history of this living soul, in which, using the example of life, from birth to death, of one of the many representatives of the Russian nobility, the author closely examines modern society in the moral, psychological, philosophical and social aspects of its existence. More than once, praise will be heard that in Oblomov "more than any mind: an honest, faithful heart!" Moreover, it turns out that the meeting with Oblomov gave "life lessons" to Olga Ilyinskaya, that Stolz returned to him in order "in a lazy conversation to take away and calm an anxious or tired soul ...", that, finally, the very existence of Ilya Ilyich revealed the spiritual the wealth of Agafya Matveevna Pshenitsyna: "... her life also made sense forever: now she knew why she lived and that she did not live in vain."
But the tragic sound and content of the novel is determined by the fact that the hero himself, crushed by the yoke of the all-Russian "Oblomovism", "quietly and gradually fit into the simple and wide coffin of the rest of his existence, made with his own hands, like desert elders who, turning away from life, dig their own grave."
Through the unhurried course of the narrative, the reader is awakened to the realization of the causes and essence of the tragedy. A wide narrative exposition paints a picture of the spiritual desolation of the hero. Oblomov does not forget about his position as a landowner and cannot free himself from class arrogance in any way.
Oblomov's doing nothing is not at all innocent. Of course, Ilya Ilyich lying on the sofa is more attractive than the annoying nonentities flashing in front of Oblomov. But Dobrolyubov remarked: “Yes, while he lies alone, it’s still nothing; and when Tarantiev, Zaterty, Ivan Matveevich comes - brr! such disgusting muck begins near Oblomov. He is eaten, drunk, soldered ... ruined in the name of peasants ... He endures everything silently. As if warning of possible enthusiasm about the positive qualities of Oblomov, Dobrolyubov concludes: “No, you can’t flatter the living like that, but we are still alive, we are still Oblomovs. Oblomovism never left us.”
Oblomov is opposed in the novel by Andrey Stoltz. Initially, he was conceived by the writer as a positive hero. The author dreamed that over time, many "Stoltsev will appear under Russian names." He tried to combine in Stolz German diligence, prudence and punctuality with Russian daydreaming and softness, with philosophical reflections on the high destiny of man. But it didn't work out. Stolz is not a positive hero of the novel. His activities sometimes resemble the worthless bustle of Petrov and Sudbinsky from Oblomov's St. Petersburg entourage. His practicality is far from lofty ideals. In Stolz, the mind prevails over the heart. Unlike Oblomov, he is an energetic, active person. But as the novel develops, the reader becomes convinced that Stolz has no broad ideals, that his practice is aimed at personal well-being and bourgeois comfort.
The main plot situation in the novel is the relationship between Oblomov and Olga Ilyinskaya. Here Goncharov follows the path that had become traditional in Russian literature by that time: checking the values of a person through his intimate feelings, his passions. At one time, Chernyshevsky wrote about how the moral weakness of a person who turned out to be unable to respond to a strong feeling of love reveals his social inconsistency. Oblomov does not oppose this conclusion, but reinforces it even more. Olga Ilyinskaya is characterized by the harmony of the mind, heart, will, active goodness. The impossibility for Oblomov to understand and accept this high moral standard of life turns into an inexorable sentence to him as a person. In the novel, Ilya Ilyich’s suddenly flared up feeling of love, fortunately mutual, is poeticized in such a way that hope may arise: Oblomov will be reborn as a person in full. The inner life of the hero began to move. Love discovered in him the properties of spontaneity, which then resulted in a strong spiritual impulse, in passion.
Together with a feeling for Olga, Oblomov awakens an active interest in spiritual life, in art, in the mental demands of the time. But Ilya Ilyich is far from the naturalness of Olga, free from many worldly considerations, extraneous and hostile to love feelings. Oblomov's feeling of love for Olga was a short-term flash. Illusions on this score are quickly dispelled by Oblomov. The gap between them is natural: their natures are too dissimilar. More expensive than romantic dates were for Oblomov the thirst for a serene, sleepy state. "A man sleeps serenely" - this is how Ilya Ilyich sees the ideal of existence.
The life of Ilya Ilyich in the house of Pshenitsyna turned out to be short, abnormal, unhealthy. Oblomov began to walk quickly towards his eternal sleep - death. So Goncharov pronounced the verdict on Oblomov's ideal.
After its publication, the novel became the subject of active critical attention. In the article “What is Oblomovism?” N.A. Dobrolyubov wrote that Ilya Ilyich Oblomov is “our indigenous folk type”, symbolizing laziness, inaction and stagnation of the entire feudal system of relations. He is the last in a series of "superfluous people" - Onegins, Pechorins, Beltovs and Rudins. In Oblomov, the typical “superfluous person” complex is brought to a paradox, to its logical end, followed by the disintegration and death of a person. Goncharov, according to Dobrolyubov, reveals more deeply than all his predecessors the roots of Oblomov's inaction.
“It is clear that Oblomov is not a dull, apathetic nature. But the vile habit of obtaining 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. This slavery is so intertwined with the nobility of Oblomov, they mutually penetrate each other and are conditioned by one another that it seems that there is not the slightest possibility of drawing some kind of border between them ... He is the slave of his serf Zakhar, and it is difficult to decide which of them is more subject to the authority of the other. At least - what Zakhar does not want, that Ilya Ilyich cannot force him to do, and what Zakhar wants, he will do against the will of the master, and the master will submit ... "
Therefore, the servant Zakhar, in a certain sense, is a “master” over his master: Oblomov’s complete dependence on him makes it possible for Zakhar to sleep peacefully on his couch. The ideal of the existence of Ilya Ilyich - "idleness and peace" - is also Zakhar's dream. They are both children of Oblomovka.
L.N. Tolstoy wrote: “Oblomov” is a capital thing, which has not been for a long, long time ... But what is more pleasant ... is that Oblomov has success not accidental, not with a bang, but healthy, capital and timeless in real audience." In this novel there was something eternal, having a high spiritual and universal meaning. It is no coincidence that he immediately aroused in readers the need to talk about such concepts as nationality, nationality, about the problems of good and evil in their confrontation, about traditions and origins, about “mind” and “heart”.
I.S. Turgenev was right when he said: “... as long as at least one Russian remains, Oblomov will be remembered until then.”
Getting to know the hero Oblomov and his domestic environment. The most famous Goncharov novel begins with the words: “In Gorokhovaya Street, in one of the large houses, the population of which would be the whole county town, Ilya Ilyich Oblomov was lying in bed in his apartment in the morning.”
Goncharov uses here the stepwise narrowing of images. First we get to St. Petersburg, one of the main aristocratic streets of the capital, then to a large populated house, finally to the apartment and bedroom of the protagonist, Oblomov. Before us is one of the many thousands of the population of a huge city already then. The tone of the narration is set - unhurried, epic-smooth. It partly resembles the beginning of a Russian fairy tale: “In a certain kingdom ... once upon a time...” sick<...>, not by chance, like one who is tired, nor by pleasure, like a lazy person: this was his normal state. When he was at home - and he was almost always at home - he was still lying ... ".
The room fully corresponds to its owner: “a cobweb was molded in the form of festoons”, “the carpets were stained”. But the robe enjoys the tender love of the owner: "a real oriental robe<…>, without a waist, very roomy, so that Oblomov could wrap himself in it twice. Subsequently, we will witness the metamorphosis of the dressing gown, which will go along with the owner through the whole story. "This<…>details-symbols, gravitating towards singularities, replacing a number of details, usually repeated in the narrative, marking milestones in the plot or a change in the minds of the characters ... "
Oblomov periodically calls out: "Zakhar!" There is a “grunt”, “the sound of feet jumping down from somewhere”, and a second character appears before the reader, a servant, “in a gray frock coat, with a hole under his arm.”<…>, With<…>sideburns, of which each would become three beards. Zakhar for Oblomov is both a “devoted servant” at home, a keeper of family memories, and a friend, and a nanny. The communication between the lackey and the master turns into a string of funny everyday scenes:
Did you call?
Called? Why did I call - I do not remember! - he answered Oblomov) stretching. - Go to yourself for now, and I will remember.
- <…>Look for the letter I received yesterday from the headman. Where are you doing it?
Which letter? I didn’t see any letter,” said Zakhar.
You took it from the postman: so dirty!
Handkerchief, quick! You yourself could guess: you do not see! Ilya Ilyich remarked sternly<…>.
And who knows where the handkerchief is? - he grumbled ( Zakhar) <…>feeling each chair, although even so it was possible to see that nothing lay on the chairs.
- <…>Yes, there he is, he suddenly croaked angrily, - under you!<…>Lie on it yourself, and ask for a handkerchief!
Servant Zakhar in a more frank, rude, undisguised form reveals to us the negative features of Oblomov - and hatred of work, and a thirst for peace and idleness, and a tendency to exaggerate the severity of their worries. Just as Oblomov is tirelessly working on a plan, Zakhar intends to carry out a general cleaning. However, Zakhar should not be considered a double of Ilya Ilyich, a simple lazy simpleton. This means to become like a “superficially observant” person who “having looked<…>on Oblomov, he would say: “The kind man must be, simplicity!” The author warns that "a deeper person", having observed Oblomov, "gazing at his face for a long time, would have walked away in pleasant thought, with a smile." And the hero’s face is really remarkable in its childish clear simplicity: “... Neither fatigue nor boredom could<…>drive from the face the softness that was dominant<…>expression not only of the face, but of the whole soul; and the soul shone so openly and clearly in the eyes, in the smile, in every movement ... "
It seems that Ilya Ilyich lives in his own special little world, but outsiders continually invade this world; a lot of people care about him. The secular varmint Volkov, the zealous official Sudbinsky, the fashionable writer Penkin, the businessman Tarantyev and simply "a man of indefinite years, with an indefinite physiognomy" are knocking at the door. What attracts Petersburgers to this neglected apartment? The very softness and warmth of the owner's soul. Even the scoundrel Tarantiev knows that he will find "a warm, quiet shelter" in this house. The extent to which ordinary human feelings are in short supply among the capital's inhabitants is evident from the same dialogue with the guests. It is worth Oblomov to hint about his own affairs, to complain about “two misfortunes” - the visitors seem to be blown away by the wind: “Pardon, there is no time<…>, next time!"; “No, no, I'd better call again one of these days”; “However, I have to go to the printing house!” Advice, prompted by worldly dexterity, is given by one Tarantiev. And even then not out of the kindness of his soul, but from his own species, which we will soon learn about.
In turn, the owner is ready to listen to everyone; each visitor dedicates him to his most cherished dreams: who is successfully dragging, who has made a career and is going to get married, who has published a fresh newspaper. However, Oblomov is not only kind, but smart and insightful. At the end of the visit, Ilya Ilyich sums up the vital aspirations of each guest. So, Sudbinsky - the head of the department - is concerned about the issues of “erecting<…>dog kennels to save state property from plunder. And Oblomov bitterly reflects on the Sudbinsky-man: “Stuck, dear friend, stuck up to his ears.<...>And blind, and deaf, and mute to everything else in the world.<…>And he will live his life, and much, much will not move in it. Ilya Ilyich's reflections are also sad because they are full of generalizations. The country is ruled by the Sudbinskys: “But he will become a people, in time he will turn things over and pick up ranks.”
Ilya Ilyich accepts everyone equally softly and outwardly apathetic, except for a character with a speaking surname Penkin. This is a dexterous scribbler, ready to "remove foam" from any topic of interest to the public - from "beautiful April days" to "composition against fires." (So M.E. Saltykov-Shchedrin called in his satire a fashionable newspaper “The newest foam skimmer”). His last opus comes out under the piquant title "The love of a bribe taker for a fallen woman" and is an illustration of the lowest grade of fiction: "Everything<…>ranks of fallen women dismantled<…>with amazing, vital fidelity…” Penkin examines the stumbled members of society like insects through a microscope. He sees it as a task to pronounce a harsh sentence. Unexpectedly for himself (and for us), the cynical journalist meets with a sharp rebuff from Oblomov. The hero delivers a penetrating speech full of mercy and wisdom. “Spew out of the civilian environment! Oblomov suddenly spoke with inspiration, standing in front of Penkin<…>. He is a corrupted man, but he is still a man, that is, you yourself.<…>And how will you spew out of the circle of humanity, out of the bosom of nature, out of the mercy of God? he almost shouted with blazing eyes. Let's pay attention to the author's remarks - "suddenly ignited", "he spoke with inspiration, standing in front of Penkin." Ilya Ilyich got up from the sofa! True, the author stipulates that within a minute, ashamed of his vehemence, Oblomov "yawned and slowly lay down." But the reader has already understood: the hero can get up from the couch, he has something to offer people. The same practical newspaperman remarks: “You have a lot of tact, Ilya Ilyich, you should write!”
In essence, the exposition already gives a preliminary answer to the question why Oblomov did not become a successful official, like Sudbinsky, or a secular gambler, like Volkov, or, finally, a clever businessman, following the example of Tarantiev. Goncharov confronts his hero with the typical figures of the educated class of St. Petersburg. “The environment did not “stuck”, the environment rejected” people like Oblomov. Ilya Ilyich turns out to be unconditionally superior to any of them spiritually, as Human.
In conversations with the servant Zakhar Oblomov, he tries to defend his right to live like this: “I have never pulled a stocking over my legs, how I live, thank God! .. I was brought up tenderly,<...>I never endured cold or hunger, I did not know the need, I did not earn bread for myself ... ”Oblomov’s definition of“ nobility ”combines two different meanings. The first is the opportunity to live without labor, while "the other ... will not work, so he will not eat." The second, paradoxical as it may seem, is the concept of noble honor, which has taken on such a bizarre form: “Another” bows, “another” asks, humiliates himself ... And I?”
Convincing those around him of the reasonableness and correctness of his existence, Oblomov cannot always believe in it himself: “He had to admit that another would have had time to write all the letters<...>, the other would have moved to a new apartment, and would have fulfilled the plan, and would have gone to the village. "After all, I could do all this<…>, he thought<…>. You just have to want it!”
At the end of the first part of the novel, Ilya Ilyich awakens from his spiritual sleep. “One of the clear conscious moments in Oblomov's life has come. How scared he got<…>when in my head<…>randomly, timidly rushed about, like birds awakened by a sudden ray of sun in a dormant ruin, various life questions. The author dives into the very depths of the character's soul. In ordinary times, they are hidden from themselves, muffled by laziness, lulled by reasoning: “He felt sad and hurt for his underdevelopment, a stop in the growth of moral forces<…>; and envy gnawed at him that others lived so fully and broadly, while for him it was as if a heavy stone had been thrown on the narrow and miserable path of his existence. "Now or Never!" he concluded…”
Ilya Ilyich Oblomov is a young nobleman, 33 years old, of short stature. At first glance, he made a rather positive impression, but upon closer examination, one could notice the complete absence of thought in his face.
Life style
He led a measured, apathetic life. He spent most of his time lying on the couch in his greasy dressing gown in a room with overhanging cobwebs and dusty mirrors.
An ambiguous character appears before readers. On the one hand, enslaved by laziness, indifference and apathy, and on the other hand, it stands out favorably against the background of its false and hypocritical friends. Here we already see his decency, kindness of soul, purity of thoughts and honesty.
In order to more fully reveal the image of Oblomov, Goncharov confronts him with other significant characters in the novel - Stolz and Olga Ilyinskaya.
Environment
Andrei Stoltz is a childhood friend of the protagonist - the complete opposite of Oblomov, his antipode. He cannot sit idle, his head is full of plans and ideas, he appreciates the boiling of life around, loves to be in the center of events. This difference is due to the difference in the upbringing of the characters.
Oblomov was the only child in the family, everyone cherished and cherished him. Any desire of little Ilya was immediately fulfilled, his whims were indulged, protected from the slightest danger and any activity. The village of Oblomov became, according to Dobrolyubov, the birthplace of such a thing as "Oblomovism". Such an attitude instilled in him an apathetic attitude towards life and made him a moral cripple, afraid of change and the uncertainty of the future.
Stolz, on the other hand, was brought up by one father, grew up as an independent and purposeful child. Ilya's good attitude towards him suggests that Stolz is able to influence him, revive him to true life and destroy the "Oblomovism" that reigns in the soul of the protagonist. Andrey set himself such a goal, considering it his duty to "save" his friend.
re-education
Andrei Stoltz forces Ilya Ilyich to go out, attend dinner parties, where one day the hero meets a young and energetic girl, Olga Ilyinskaya. She cannot be called a beauty in the full sense of the word, her beauty is simple and elegant. The most valuable thing about her was her views on life - freedom of thought, spontaneity, the absence of lies in words and deeds. Oblomov immediately fell in love with her freedom-loving voice, her soul, her character.
Olga, together with Stolz, come up with a plan of action, following which Oblomov must be an active, active person. She takes on the role of a ray of light, showing the way to the lost Oblomov. And Ilya Ilyich really began to transform, and with him Olga grew prettier and grew spiritually. In the end, the girl fell in love with her ward, which made it impossible to further fulfill the plan and thereby doomed their love union to death.
The fact is that both Olga and Ilya make impossible demands on each other. Olga expects to see in Oblomov a transformed person, at least remotely reminiscent of Andrei Stolz, but at the same time retaining the best qualities of Ilya - honesty, kindness, truthfulness. Ilya, on the other hand, expects from Olga absolute love for herself for who she is. But Olga loves an invented ideal that has little in common with the real Oblomov. To the girl’s question: “Who cursed you?” - Ilya replies bitterly: "Oblomovism." Thus, "Oblomovism" defeats the best qualities of the hero completely.
Oblomov's tragedy
It seems to me that the main tragedy of Oblomov is not “Oblomovism” as such, but his lack of desire to fight against it. Ilya Ilyich set himself many tasks - to travel, to reform the management of the estate, to get married, to rent another apartment. But they were not destined to come true, because neither Olga's love nor Stolz's friendship could awaken him from eternal slumber.
Already in "Ordinary History", the first major work of I.A. Goncharov, he became interested in the type that subsequently immortalized his name. Already there we see indications of the enormous social danger posed by the very special conditions of life of the intelligent Russian society of the beginning and middle of the 19th century, which have developed under the influence of serfdom.
This danger lies in "Oblomovism", and dreamy romanticism, familiar to us from its bearer Aduev, is only one of the elements of this latter. An exhaustive image of Oblomovism was given by Goncharov in the form of Ilya Ilyich Oblomov, whose characterization we now turn to.
Ilya Ilyich Oblomov belongs to the number of people who cannot but be recognized as attractive.
From the first pages of the novel, he appears before us as a smart man and at the same time with a good heart. His mind is reflected in the insight with which he understands people. For example, he excellently guessed the numerous visitors who visited him on the morning of the day on which the novel begins. How correctly does he assess both the frivolous pastime of Volkov’s secular veil, flitting from one salon to another, and the troublesome life of the careerist official Sudbinsky, who only thinks about how to enlist the favor of his superiors, without which it is unthinkable to receive any increase in salary, or to achieve a profitable business trips, let alone promotion. And in this Sudbinsky sees the only goal of his official activity.
He also correctly assesses Oblomov and people close to him. He bows before Stolz and idolizes Olga Ilyinskaya. But, fully understanding their virtues, he does not turn a blind eye to their shortcomings.
But Oblomov's mind is purely natural: neither in childhood, nor subsequently, no one did anything for his development and education. On the contrary, the lack of a systematically received education in childhood, the lack of living spiritual food in adulthood, plunges him into a more and more drowsy state.
At the same time, complete ignorance of practical life is revealed in Oblomov. As a result, he is more than afraid of what can bring any change in his once established way of life. The requirement of the manager to clean the apartment plunges him into horror, he cannot calmly think about the upcoming chores. This circumstance is much more difficult for Oblomov than receiving a letter from the headman, in which he informs that the income will be "like two thousand in change." And this is only because the headman's letter does not require immediate action.
Oblomov is characterized by rare kindness and humanism. These qualities are fully manifested in Oblomov's conversation with the writer Penkin, who sees the main advantage of literature in "seething anger - bilious persecution of vice", in laughter of contempt for a fallen man. Ilya Ilyich objects to him and speaks of humanity, of the need to create not only with the head, but with the whole heart.
These properties of Oblomov, combined with his amazing spiritual purity, which makes him incapable of any pretense, any cunning, combined with his indulgence towards others, for example, Tarantiev, and, at the same time, with a conscious attitude towards his own shortcomings , inspire love for him in almost everyone with whom his fate confronts. Simple people, like Zakhar and Agafya Matveevna, are attached to him with all their being. And people of his circle, such as, for example, Olga Ilyinskaya and Stolz, cannot speak of him except with a feeling of deep sympathy, and sometimes even spiritual tenderness.
And, despite his high moral qualities, this man turned out to be completely useless for the cause. Already from the first chapter we learn that lying down was the “normal state” of Ilya Ilyich, who, dressed in his Persian robe, putting on soft and wide shoes, spends whole days in lazy doing nothing. From the most cursory description of Oblomov's pastime, it can be seen that one of the main features of his psychological make-up is weakness of will and laziness, apathy and panic fear of life.
What made of Oblomov a man who, with unconscious, but surprising persistence, avoided everything that could require labor, and, with no less persistence, gravitated towards what he pictured as carefree lying on his side?
The answer to this question is the description of Oblomov's childhood and the environment from which he came out - a chapter called "Oblomov's Dream".
First of all, there are some reasons to consider Oblomov as one of the typical representatives of the 40s of the XIX century. Idealism brings him closer to this era, with a complete inability to move on to practical activity, a pronounced tendency to reflection and introspection, and a passionate desire for personal happiness.
However, there are features in Oblomov that distinguish him from the best, for example, Turgenev's heroes. These include the inertia of thought and the apathy of the mind of Ilya Ilyich, which prevented him from becoming a fully educated person and developing a harmonious philosophical worldview for himself.
Another understanding of the Oblomov type is that he is predominantly a representative of the Russian pre-reform nobility. And for himself, and for those around Oblomov, first of all, "master". Considering Oblomov from this point of view alone, one must not lose sight of the fact that his lordship is inextricably linked with "Oblomovism". Moreover, lordship is the immediate cause of the latter. In Oblomov and in his psychology, in his fate, the process of spontaneous extinction of feudal Rus', the process of its “natural death” is presented.
Finally, it is possible to consider Oblomov as a national type, to which Goncharov himself was inclined.
But, speaking about the presence of negative features of Oblomov in the character of a Russian person, it should be remembered that such features are not the only ones inherent in Russians. An example of this are the heroes of other literary works - Lisa Kalitina from the "Nest of the Nobles", who has a selfless character, Elena from "On the Eve", striving to do active good, Solomin from "Novi" - these people, also being Russian, are absolutely not similar to Oblomov.
Oblomov's characteristics plan
Introduction.
Main part. Characteristics of Oblomov
1) Mind
a) Relationships with friends
b) Evaluation of loved ones
c) Lack of education
d) Ignorance of practical life
e) Lack of perspective
2) Heart
a) kindness
b) Humanity
c) spiritual purity
d) Sincerity
e) "Honest, faithful heart"
3) Will
a) apathy
b) Willlessness
The moral death of Oblomov. "Oblomov's Dream", as her explanation.
Conclusion. Oblomov as a social and national type.
a) Oblomov as a representative of the 40s of the 19th century
- Similarities.
— Traits of difference.
b) Oblomov, as a representative of the pre-reform nobility.
c) Oblomov as a national type.
