"Oblomovism" - an innate or acquired phenomenon? (According to the novel by I. A

The novel by I.A. Goncharov “Oblomov” appeared when the feudal system more and more revealed its failure, and the struggle of the advanced layers of Russian society became more energetic and implacable.

In its genre, "Oblomov" is a socio-psychological novel, giving a broad generalization in the concept of "Oblomovism", depicting the destructive influence of the noble-landlord environment on the human personality.

The image of Oblomov is the greatest artistic generalization of world literature, embodying the typical character traits generated by Russian patriarchal landlord life. One of the merits of Goncharov is that he reveals the socio-historical reasons for the emergence of such a character as Oblomov. Therefore, in the novel, an important place is occupied by the image of those conditions and the environment in which the formation of his hero took place.

All these ideas remained only words. Oblomov is used to having others act for him. And therefore, his whole life is a gradual extinction in him of valuable human qualities. He himself is aware of this and says to Stolz: "... my life began with extinction ... From the first minute, when I was conscious of myself, I felt that I was already extinguishing." For even more emphasisGoncharov also shows those who fought for Oblomov and tried to bring him back to an effective existence. Stolz tried to bring Oblomov out of the state of dead rest, to include him in life, but nothing came of it, because Ilya Ilyich had grown too strong for peace. Even Olga Ilyinskaya cannot revive Oblomov and bring him back to life. Olga's love captured and lifted him, but not for long. Laziness, fear of the troubles and affairs associated with marriage, turn out to be stronger than love, push him to a break and forever plunge him into the half-asleep life of the Wheaten house, which he himself calls the pit.

The spiritual drama of Oblomov is all the stronger because he understands his spiritual fall. “He painfully felt that some good, bright beginning was buried in him, as in a grave, perhaps now dead, or it lies like gold in the bowels of a mountain ... But the treasure is deeply and heavily littered with rubbish, superficial rubbish." Oblomov understands the reasons for his spiritual death, and when Olga asked him: “Why did everything die? .. Who cursed you, Ilya? .. What ruined you? There is no name for this evil ... "-" There is, - he said almost inaudibly ... - Oblomovism!

Showing Oblomov's failure in life, Goncharov contrasts him with the intelligent and active Andrei Stolz, Olga Ilyinskaya with her independent, strong and determined nature.

But neither Stolz nor Olga could revive Oblomov to life. It is his name that is closely connected with the concept of "Oblomovism". N.A. Dobrolyubov in the article “What is Oblomovism?” gave a brilliant and still unsurpassed analysis of the novel. He notes that the social significance of the novel "Oblomov" lies in the fact that it shows Russian life, created the "modern Russian type" and in one word defined the characteristic phenomenon of the nobility-serf reality. “This word is Oblomovism; it serves as a key to unraveling many phenomena of Russian life. Dobrolyubov showed that the image of Oblomov is a socio-psychological type, embodying the features of a landowner of the pre-reform period. The state of nobility gives rise to moral slavery in him: “... 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 intertwined with the nobility of Oblomov, so they mutually penetrate each other and are conditioned by one another. The Oblomovs are all those whose words disagree with their deeds, who in words only want the best and are not able to translate their desire into action.

Dobrolyubov expanded the concept of "Oblomovism". This socio-psychological phenomenon does not disappear with the abolition of the feudal system. Its remnants - inertia, inertia, selfishness, parasitism, laziness, laxity, slovenliness - continue to live. Oblomovism is terrible because it destroys capable, talented people and turns them into something inert, into pitiful losers. The Oblomovs did not disappear at the end of the 20th century either. She is alive today.

The novel by I. A. Goncharov "Oblomov" is a socio-psychological novel depicting the destructive influence of the nobility and landlord environment on the human personality. "Oblomov" appeared when the feudal system more and more revealed its failure. Goncharov worked on this work for many years. The novel was published in 1859 in the journal Otechestvennye Zapiski and immediately attracted the attention of readers.

Goncharov, like few others, managed to touch the innermost strings of the "Russian soul" with the artist's pen. The writer created a character who embodies, oddly enough, the main features of the Russian national character, although not in the most attractive form, but at the same time evokes love and sympathy. Goncharov's merit lies in the fact that he revealed the socio-historical reasons for the emergence of such a character as Oblomov. That is why in the novel an important place is occupied by the image of those conditions and the environment in which the formation of his hero took place.

The writer with amazing depth reproduced the life of a provincial noble estate, the life of middle-class landowners, their psychology, mores, customs, views. In the chapter "Oblomov's Dream", the author draws immobility, lulling the peace and silence of a "peaceful corner". "The annual cycle is being performed there correctly and calmly"; "neither terrible storms nor destruction can be heard in that land"; "life, like a calm river, flowed past them" such phrases characterize the life of the hero and his environment.

By the age of 32, Ilya Ilyich Oblomov had turned into a "babaka", an apathetic and inert creature, whose life was limited to an apartment on Gorokhovaya Street, a dressing gown made of Persian fabric and lying on a sofa. Such a state kills positive human qualities in Oblomov, of which there are many in him. He is honest, humane, smart. The writer repeatedly emphasizes in it "pigeon meekness." Stolz recalls that once, about ten years ago, he had spiritual ideals. He read Rousseau, Schiller, Goethe, Byron, studied mathematics, studied English, thought about the fate of Russia, wanted to serve his homeland. Stolz reproaches Oblomov: “In the same corner lie your plans to“ serve ”as long as you have strength, because Russia needs hands and heads to develop inexhaustible sources.”

The ideological confrontation between Andrei Ivanovich and Ilya Ilyich is one of the main semantic elements of Oblomov. The last meeting of the two friends mirrors their first meeting in the novel. Their dialogue develops in the following generalized form: Stolz's questions about health, Oblomov's complaints, Stolz's reproaches about the wrong way of life, calls for change. But the outcome of the conversation differs significantly: at the beginning of the novel, Ilya Ilyich succumbs to the persuasion of a friend and goes out into the world, but in the finale he remains in his familiar place.

The German Stolz is "incessantly on the move". His credo is an active life position, distrust of the "dream, the enigmatic, the mysterious." The character of Stolz is associated with a new, bourgeois-entrepreneurial reality and embodies the features of a businessman. Andrei Ivanovich is hardworking, intelligent, honest, noble, but he does not work for a lofty goal, but for personal success. To Oblomov's question: "What are you working for?" he finds nothing to say except: "For the labor itself, for nothing else." Stolz does not pull on a positive hero, because he is "weak, pale an idea peeps out of him too nakedly."

It is very important that we actually look at what is happening through the eyes of Stolz. But after all, this character does not represent the author's position at all, and he does not convince us of everything. In essence, Oblomov is a mystery even for the author himself.

The tragedy of Oblomov is not in the absence of general education and not in the desolation of his family estate. The break with Olga Ilyinskaya led to the loss of the content of his life. The best moments of the life of Ilya Ilyich were connected with Olga. This loss leads him to the house of Agafya Pshenitsyna. At the end of the novel, Oblomov "... was a complete and natural reflection of peace, contentment and serene silence."

Energetic Stolz tried to bring Oblomov out of a state of dead rest, to include him in life. Unfortunately, nothing came of this, because Ilya Ilyich had grown too strong to rest: "I have grown to this pit with a sore spot: try to tear it off - there will be death."

Oblomov understands his spiritual fall, the stronger his spiritual drama. “He painfully felt that some good, bright beginning was buried in him, as in a grave, perhaps now dead, or it lies like gold in the bowels of a mountain ... But the treasure is deeply and heavily littered with rubbish, superficial rubbish". Oblomov also understands the reasons for his spiritual death. When Olga asked him: "Why did everything die?.. Who cursed you, Ilya?.. What ruined you? There is no name for this evil..."

Perhaps, Goncharov managed to embody positive features in Olga Ilyinskaya. Olga nature is independent, strong, resolute. It is characterized by the desire for an active and meaningful life. Therefore, having fallen in love with Oblomov, she is imbued with a desire to revive him, to save him from spiritual and moral death. Realizing that Oblomov will not be able to throw off apathy and laziness, she irrevocably breaks with him. The farewell words that Olga addresses to Oblomov speak of her high demands on the one she loves: "You are meek, honest, Ilya; you are gentle ... dove, you hide your head under your wing and do not want anything more; you I’m ready to coo all my life under the roof ... yes, I’m not like that: that’s not enough for me ... ”It is interesting that Olga becomes Stolz’s wife. But, of course, this marriage does not bring her happiness.

The unconscious motives and aspirations that determine Oblomov's behavior are a kind of "abyss". In many ways, Oblomov's personality remains unsolved.

N. A. Dobrolyubov in the article "What is Oblomovism?" gave a brilliant and still unsurpassed analysis of the novel. He notes that the social significance of the novel "Oblomov" lies in the fact that it shows Russian life, created the "modern Russian type" and in one word defined the characteristic phenomenon of the nobility and serf reality: "This word is Oblomovism; it serves as a key to unraveling many phenomena of Russian life.

Dobrolyubov showed that the image of Oblomov is a socio-psychological type, embodying the features of a landowner of the pre-reform period. The state of nobility gives rise to moral slavery in him: "... the vile habit of obtaining satisfaction of his desires not from his own efforts, but from others developed in him apathetic immobility and plunged him into a miserable state of moral slavery. This slavery is intertwined with Oblomov's nobility, as they mutually penetrate into each other and one is conditioned by the other. The Oblomovs are all those whose words disagree with their deeds, who in words only want the best and are not able to translate their desire into action.

This is the genius of Goncharov, that in his wonderful work he raised one of the most important questions of Russian life. Answering this question means changing life radically for the better.

The story of how the good-natured sloth Oblomov lies and sleeps, and no matter how friendship or love can awaken and raise him, is not God knows what an important story. But it reflected Russian life; it presents us with a living, modern Russian type, minted with merciless rigor and correctness; it expressed a new word in our social development, pronounced clearly and firmly, without despair and without childish hopes, but with a full consciousness of the truth. This word is Oblomovism... NA Dobrolyubov. What is oblomovism?

“In Gorokhovaya Street, in one of the large houses, Ilya Ilyich Oblomov lay in bed in the morning, in his apartment.” Thus begins the novel by I. A. Goncharov, which bears the name of the protagonist - in fact, the story about this hero.

I do not know of another work where the hero's one day is told in such detail as here - throughout the entire first part. The main occupation of the hero during the day is lying in bed. The author immediately puts a dot on the “and”, telling us: “Ilya Ilyich’s lying down was neither a necessity, like a sick person or like a person who wants to sleep, nor an accident, like someone who is tired, nor pleasure, like a lazy person. : that was his normal state."

We see in front of us a young, healthy man, whom you cannot take out either for a merry walk or for a visit, for whom the service is so burdensome that he abandoned it. Moving to another apartment seems to him an insoluble problem, any business, movement recedes before the need to take off his bathrobe, get dressed, decide something. Just as his apartment is covered with cobwebs, mired in dust, he himself freezes in a web of doing nothing, life is replaced by existence, half-asleep, the absence of all desires and motives, except for the one and only, to be left alone. “You are too lazy to live!” - his childhood friend Stolz will tell him. Even dreams of family life come down to breakfast together, sweet conversations and preparations for lunch and dinner. And memories of childhood are reminiscent of a fairy tale about a kingdom plunged into a dream, and even they come to the hero in a dream. Somewhere out there, in distant childhood, among the eternal breakfast-lunch-dinner, conversations about food and rest before and after meals, he may have wanted to run, he was drawn to something, but the strict prohibitions of his mother and nanny, hothouse life did their job. Education passed by - "He had a whole abyss between science and life, which he did not try to cross." “His head represented a complex archive of dead deeds, faces, eras, figures, religions, unrelated, political, economic, mathematical or other truths, tasks, positions, etc. It was a library, consisting of some scattered volumes on all parts of knowledge.

Oblomov left the service not only because he did not want to spend any effort on his career - he simply did not find a place for himself in society, did not feel like a part of all these Alekseevs, Tarantievs, Stoltsevs. He "discovered that the horizon of his activity and life lies in himself." Of course, it is easy to delve into oneself without thinking about a career and daily bread when there is Oblomovka, even with a thief-headman and an ever-decreasing income, but it exists! Not occupying himself with business concerns, he liked to go into dreams, performing one feat after another in his dreams and not paying attention to the fact that Zakhar, the same sleepyhead as he, put on different stockings and touched his handkerchief somewhere . “Barin” is an accurate and capacious answer to the question of what Oblomov is. "Oblomovism" - this is how Stoltz will characterize his way of life, or rather, his worldview. And not only Oblomov is like that, he himself claims: "Our name is legion." It's contagious, like an epidemic. This is convenient and pleasing to the government, because such people do not rebel.

Thinking about his life, the hero comes to the conclusion: "For twelve years, the light was locked in me, which was looking for a way out, but only burned its prison, did not break free and died out." But this fire was! After all, eyes lit up in a dream of a feat! After all, there was something of his own, not borrowed from others in his judgment of people! (By the way, the very word “other” in relation to him, the need to be like everyone else, to do what is customary, only because it is customary, offends him!)

Oblomov, fearing to be insincere, will not be able to say the on-duty compliment to the girl he likes, which many would calmly say. But he also does not want to be a burden to her, an obstacle on her life path and will write a sincere letter explaining his act. In his place, someone else would have tried to change his lifestyle or - most likely - would have promised his beloved to change, and there, as God willing, he, thinking and caring more about her, told the truth. “He painfully felt that some good, bright beginning was buried in him, as in a grave, perhaps now already dead, or it lies like gold in the bowels of a mountain, and it is high time for this gold to be a walking coin. But the treasure is deeply and heavily littered with rubbish, alluvial rubbish. It was as if someone had stolen and buried in his own soul the treasures brought to him by the world and life. Oblomov has a truly “honest, faithful heart”, it will not lie, will not betray a person who trusts him, but it is silent when they offend and rob him. You can’t “hide your head under your wing and want nothing more” all your life. It is impossible to condemn society and not try to resist at least some of its members. You can't rely all your life on the guaranteed daily bread from the estate (by the way, without thinking at all about those who produce it!) And on Zakhar for every trifling occasion. You have to go through life yourself, and it is not at all necessary to apply to it or be like Stolz.

The feeling of being superfluous in society, unlike others, gave rise in Russia to the Onegins and Pechorins, not only philosophizing, but also trying to change something in their lives, to risk something, at least so that it would not be boring. Even with the brightest head and honest heart, not wishing harm to other people, you can live only for yourself. And the egoist, even if he himself suffers from this, withdraws into himself, creates a kind of cocoon, a wall that separates him from the outside world. The dirt of worldly fuss, lies, and a misunderstanding of life's values ​​can stick to this wall. It is this sticky layering that makes the wall stronger, making it impossible to go beyond it. And then the fire that burned inside a person devours itself - and the light goes out. The shell remains - the grave.

The novel by I. A. Goncharov "Oblomov" was published in 1859, at a time when the issue of abolishing serfdom was extremely acute in the country, when Russian society was already fully aware of the perniciousness of the existing order. A deep knowledge of life and the accuracy of the social analysis of characters allowed the writer to find a surprisingly correct definition of the way of Russian life of that time - Oblomovism.

The action of Oblomov covers, at intervals, the period from 1819 (when Ilyusha was 7 years old) to 1856. The actual action of the novel takes eight years, including its "prehistory" and "posthistory" - thirty-seven years. Until then, no Russian novel had covered such a wide stretch of time. The whole life of a person has passed before us. And along with it, the processes of a large historical period, a whole era of Russian life, were revealed in Oblomov. (3)

Goncharov explored and revealed in artistic images the origin of Oblomovism, its development and destructive influence on the human personality. It was this sociological “monographic character” that singled out “Oblomov” from a number of works close to him on the subject of “Childhood” and “Adolescence” by Tolstoy, “Family Chronicle” by Aksakov - and to some extent brought Oblomov closer to such works by Shchedrin as “Poshekhonskaya antiquity” and especially "Lord Golovlev". (27)

In this novel, a vast, universal psychological problem is solved, which could arise only in purely Russian, national phenomena, possible only in our way of life, under those historical circumstances that shaped the national character, under those conditions under the influence of which it developed and is partly developing until still our young generation. The author touches upon the vital issues and shortcomings of society in order to show the full picture of life as it is, and a person with his feelings, thoughts and passions. Complete objectivity, calm, dispassionate creativity, the absence of narrow temporal goals and lyrical impulses that violate the clarity and distinctness of the epic narrative - these are the hallmarks of Goncharov's talent. His thought, carried out in the novel, belongs to all ages and peoples, but is of particular importance for Russian society. The author decided to trace the deadly, destructive influence that mental apathy has on a person, lulling to sleep, which gradually takes possession of all the forces of the soul, embracing and fettering all the best, human, rational movements and feelings. This apathy is a universal phenomenon, it is expressed in the most diverse forms and is generated by the most diverse causes; but everywhere in it the terrible question plays the main role: “Why live? why work?" - a question to which a person often cannot find a satisfactory answer. This unresolved question, this unsatisfied doubt, exhausts one's strength, destroys one's activity. A person gives up and gives up work, not finding a goal for him. One with indignation and bile will throw away the work, the other will put it aside quietly and lazily. One will rush out of his inaction, be indignant at himself and at people, look for something with which to fill the inner emptiness, his apathy will take on a shade of gloomy despair and will be interspersed with feverish impulses for disorderly activity, but it will remain apathy, because that will take away from him the strength to act, feel and live. For another, indifference to life will be expressed in a softer, colorless form, animal instincts will quietly float to the surface of the soul, higher aspirations will freeze without pain, a person will sink into an easy chair and fall asleep, enjoying his senseless peace. Instead of life, vegetation will begin, and stagnant water will form in the human soul, which will not be touched by any disturbance of the external world, which will not be disturbed by any internal upheaval. In the first case, it is forced apathy. At the same time, we are witnessing a struggle against it, an excess of forces that were begging for action and slowly dying out in fruitless attempts. This is Byronism, the disease of strong men. In the second case, we are dealing with submissive apathy, peaceful, smiling, without the desire to get out of inactivity. This is Oblomovism, as Goncharov himself called it, a disease whose development is facilitated both by Slavic nature and the whole life of our society. It is this kind of apathy, its development that Goncharov described in the novel, showed with incredible accuracy, tracing it from its origins to its completion. (one)

On this idea, the whole plan of the novel is built so deliberately. There is not a single accident, not a single introductory person, not a single superfluous detail. Everything is strictly natural and, meanwhile, quite meaningful, imbued with the idea, there are almost no events and actions. The content of the novel can be told in two or three lines, just as the life of any person who has not experienced strong shocks can be told in a few words. The interest of such a novel, the interest of such a life, lies not in the intricate chain of events, but in observing the inner world of a person. This world is always interesting, always attracts attention, and is especially accessible for study in quiet moments, when the person who is the object of our observation is left to himself, does not depend on external events, is not placed in an artificial position resulting from a random coincidence of circumstances. In such calm moments of life, a person concentrates, collects his thoughts and looks into his inner world. It is then that an invisible, dull internal struggle takes place, a thought matures and develops, or a turn to the past takes place, an assessment of one's own actions, one's own personality. Such mysterious moments, especially dear to the artist, are especially interesting to the enlightened observer. In Goncharov's novel, the inner life of the characters is open before the reader's eyes. (3)

Ilya Ilyich Oblomov, the hero of the novel, personifies the mental apathy to which Goncharov gave the name of Oblomovism. The word Oblomovism will not die in our literature: it is composed so successfully and characterizes one of the essential vices of our Russian life so palpably that, in all probability, from literature it will penetrate into the language and enter into general use (1).

To understand the essence of Oblomovism, describing the life of Ilya Ilyich, Goncharov first skillfully describes everything that surrounded the main character, his place of life, his parents, who symbolically act as guides in the novel. (9.24)

Oblomovka was depicted by Goncharov with amazing completeness and versatility. He showed the isolation, isolation of this social environment: "their interests were focused on themselves, they did not intersect and did not come into contact with anyone." Oblomovka appeared before us in its silence and "in unperturbed calm", so characteristic of this patriarchal outback. The inhabitants of Oblomovka were characterized by the undivided power of tradition: “The norm of life was ready and taught to them by their parents, and they accepted it, also ready from grandfather, and grandfather from great-grandfather, with a covenant to observe its value and inviolability.” Patriarchal Oblomovka is the realm of laziness. People live here whose soul "peacefully, without interference, was buried in a soft body" (10)

When analyzing the chapter "Oblomov's Dream", Goncharov's position in relation to the "ideal of calmness and inaction", how the existence of the inhabitants of Oblomovka is conceived by the protagonist of the novel, is clearly clarified. Not without reason, in the description of Oblomovka, the images of sleep and death are not only endlessly repeated, but also equated to each other, because peace and silence serve as characteristics of both "twins", as Tyutchev F.I. called these states of the human soul:

“everything promises there a quiet long-term life to the yellowness of the hair and an imperceptible, sleep-like death”

“Everything is quiet and sleepy in the village…. In vain will you start calling loudly: dead silence will be the answer.

“Dead silence reigned in the house. It's time for everyone's afternoon nap."

“In Oblomovka everyone rests so soundly and calmly”

Moreover, symbolic designations of life and death often collide in the context:

“everything promises there a quiet long-term life”

"life is like a calm river"

"three main acts of life - motherlands, weddings and funerals"

"sleep, eternal silence of sluggish life"

The concepts of life, death, sleep, peace, peace, silence - in essence, do not have independent characteristics, for Oblomovists, these states themselves are no different. “Sleepy Oblomovka is an afterlife, it is the absolute peace of a person ...”.

Oblomovism, according to Goncharov himself, corrupted not only the landlord class, but also a certain part of the Russian peasants, who were torn away from productive labor. The servants of the Oblomovs inevitably became a kind of bobak - this was precisely the life path of Zakhar. Zakhar is the same inert person as Oblomov, but if in the first this feature is dramatic, then here it became only comical: Zakhar's consciousness did not suffer from inertia at all. Everything that Oblomov is clothed in the poetic attire of a “dream” appeared at Zakhar in all its prosaic nakedness

However, a comprehensive display of Oblomovka was not a goal, but a means. In the center of his attention was the fate of the boy brought up by this well-fed and inert environment. Goncharov's novel amazes us with the depth of penetration into the spiritual world of Ilyusha Oblomov. With the art of a true psychologist, Goncharov posed the problem of the destructive effect of the reactionary environment on a living and inquisitive child, in whom, however, she brought up anemia, an inability to live and act.

Oblomovka broke the will of the person she raised. Oblomov admits this, telling Stolz: “I know everything, I understand everything, but there is no strength and will. Give me your will and mind and lead me (10).

The main task of the author in the novel is to show how a person gradually dies in a person, how unadapted to life a landowner is, not used to doing anything. The main qualities of the kind, sweet Ilya Ilyich Oblomov are his inertia, apathy, and aversion to any activity. Faithful to the traditions of realism, I. A. Goncharov shows that these qualities were the result of Oblomov's upbringing, they are born of the confidence that any desire will be fulfilled and no effort is needed for this. Oblomov is a nobleman, he does not have to work for a piece of bread - hundreds of serfs Zakharov work for him on the estate and fully ensure his existence.

This means that he can lie on the couch all day long, not because he was tired, but because "that was his normal state." He almost merged with his soft, comfortable dressing gown and long, wide shoes, which he masterfully hit the first time, as soon as he hung his legs off the sofa. (27)

In his youth, Oblomov "was full of all sorts of aspirations, hopes, expected a lot from fate and himself, everything was preparing for some kind of field, for some kind of role." (10) But time passed, and Ilya Ilyich was getting ready, preparing to start a new life, but did not advance a single step towards any goal. In Moscow, he received a good education, but his head "was like a library, consisting of some knowledge scattered in parts." Entering the service, which had previously seemed to him in the form of some kind of family occupation, he did not even imagine that life would immediately be divided into two halves for him, one of which would consist of work and boredom, which were synonymous for him, and the other - out of peace and peaceful joy. He realized that “there must be at least an earthquake so that a healthy person does not come to the service,” and therefore he soon resigned, then stopped going out into the world and completely closed himself in the room. If Oblomov recognizes some kind of work, then only the work of the soul, since dozens of generations of his ancestors “endured labor as a punishment imposed on our forefathers, but they could not love, and where there was a case, they always got rid of it, finding it possible and proper."

There were moments in Oblomov’s life when he thought about the reasons that prompted him to lead such a life, when he asked himself the question: “Why am I like this?” In the climactic chapter of the novel The Dream of Oblomov, the writer answers this question. (1, 17)

He creates a picture of a provincial landowner's life and shows how lazy hibernation is gradually becoming a normal state of a person.

The chapter "Oblomov's Dream" has an independent meaning. In the preface to the novel, literary critic V. I. Kuleshov writes: “Goncharov decided to insert the previously published “Oblomov’s Dream” in its entirety, giving it a kind of symbolic meaning in the overall composition. As part of the novel "Oblomov", this early essay began to play the role of a preliminary story, an important message about the hero's childhood ... The reader receives important information, thanks to which upbringing the hero of the novel became a couch potato. Since lazy hibernation became "the hero's lifestyle and more than once he had dreams, dreams that transferred him to a world of dreams, imaginary kingdoms," Oblomov's Dream " turned out to be natural for him. His unique presence with a special title in the composition of the novel acquired a certain symbolic meaning, gave the reader the opportunity to realize where and in what exactly this life “broke off”. But that's not all that includes a great episode.

Such long and clear dreams, from a medical point of view, do not exist, and Goncharov did not have the task of describing a real dream. Here a dream is a dream, it is conditional, also logically built.

In the IX chapter of the novel called "Oblomov's Dream" an idyll of childhood is shown. Childhood is a special page of Russian classical literature, heartfelt, poetic; S. T. Aksakov, L. N. Tolstoy, A. N. Tolstoy, V. V. Nabokov described the joys and sorrows of a child who knows the world, nature, and himself. We can say that the theme of childhood is nostalgic, especially for Nabokov, for whom childhood is also the lost homeland that he carries within himself.

In a dream, Oblomov is transferred to the estate of his parents Oblomovka, "to a blessed corner of the earth", where there is no "sea, no high mountains, rocks, abysses, no dense forests - there is nothing grandiose, wild and gloomy." Before us appears an idyllic picture, a series of beautiful landscapes. “Rightly and calmly the yearly cycle is completed there. A deep silence lies in the fields. Silence and tranquility of life also reign in the morals of people in that region, ”writes Goncharov. Oblomov sees himself as a little boy, seeking to look into the unknown, ask more questions and get answers to them. But only concern for food becomes the first and main concern of life in Oblomovka. And the rest of the time is occupied by "some kind of all-consuming, invincible dream," which Goncharov makes a symbol that characterizes people like Oblomov, and which he calls "a true likeness of death." From childhood, Ilya was accustomed to the fact that he should not do anything, that for any work there is “Vaska, Vanka, Zakharka”, and at some point he himself realized that it was “much calmer” this way. That is why all the “seekers of manifestations of strength” in Ilyusha “turned inward and drooped, fading away.” Such a life deprived the hero of the novel of any initiative and gradually turned him into a slave of his position, his habits, and even a slave of his servant Zakhar.

Ilyusha Oblomov has everything that is characteristic of a normal child: liveliness, curiosity. “He passionately wants to run up to the hanging gallery that went around the whole house ...” “With joyful amazement, as if for the first time, he looked around and ran around his parent’s house ...” “His childish mind observes all the phenomena taking place before him; they sink deep into his soul, then grow and mature with him.” And the nanny? Be sure to have a nanny who tells fairy tales. And here are the significant words: "... his fairy tale is mixed with life, and sometimes he unconsciously feels sad, why a fairy tale is not life, and life is not a fairy tale." Here, in childhood, everything that will remain with him until his death is already laid.

An idyll of local life, peace, sweet sleep, frozen life, the dream of the whole Oblomovka... How was life understood in Oblomovka? “Good people understood it only as the ideal of peace and inactivity, broken from time to time by various troubles, such as: illnesses, losses, quarrels and, by the way, work. They endured labor as a punishment imposed on our forefathers, but they could not love ... ”And death here was, as it were, an imperceptible transition from a state of sleep to eternal sleep. But there is in this idyll and endless charm.

"The annual circle was made there correctly and calmly." Nature itself, soft, calm, where there are no mountains, but there are hills, smoothly turning into a plain, embodies "deep silence and peace." "Silence and imperturbable calm reign in the morals of people." In all this, both joy and ... death. No matter how much charm and poetry these paintings contain, they are about frozen time.

I would like to live in this frozen time for the adult Ilya Ilyich Oblomov. He sighs heavily when his "life gets out."

Oblomov's dream plays an important compositional role in the novel. Beginning with Chapter II, Goncharov brings visitors to Oblomov's apartment. Volkov, a narcissistic dandy who needs to get into "ten places." “Ten places in one day - unfortunate! - thought Oblomov. - And this is life! .. Where is the man here? What does it break up and crumble into?” And Oblomov rejoices, “rolling over on his back, that he does not have such empty desires and thoughts, that he does not loom around, but lies here, maintaining his human dignity and his peace.” The next visitor is Sudbinsky, a former colleague of Oblomov who has made a career. “He got stuck, dear friend, he got stuck up to his ears ... And he will go out into the people, in time he will turn over affairs and pick up ranks ... And how little a person needs here: his mind, will, feelings ...” Next comes the writer Penkin. Oblomov’s conclusion after Penkin’s departure: “Yes, write everything, waste your thought, your soul on trifles ... trade your mind and imagination ... not know peace ... When to stop and rest? Unhappy!" A man without properties comes, no one even knows his last name for sure: either Ivanov, or Vasilyev, or Alekseev, who is also fussing, everyone is calling Oblomov somewhere. Finally, Ilya Ilyich's countryman, Tarantiev, appears, a personality no less vain than others. He is a master of speech, he makes a lot of noise, but he is not enough for business.

A doctor is visiting, who gives practical advice to Oblomov: move more, walk "eight hours a day." After all, Ilya Ilyich had already begun early obesity.

Not accepting all this empty activity (chasing a career, money, secular entertainment), Oblomov exposes himself to a "secret confession" and comes to the conclusion that "some secret enemy laid a heavy hand on him at the beginning of the journey ...". His reflections ended with the fact that "sleep stopped the slow and lazy flow of his thoughts."

"Oblomov's Dream" explains why the path of his visitors is unacceptable for Ilya Ilyich. A dream separates these visits from the arrival of Stolz, who played a huge role in Oblomov's life.

With difficulty, at the beginning of the fifth, Oblomov comes out of sleep, and then, like a fresh wind from the will, Stolz bursts in. He has nothing to do with the previous visitors. Stolz is honest, smart, active. He sincerely wants to bring Oblomov out of hibernation. But it turned out that Stolz, a childhood friend, also does not know the true purpose of life, and his activity is largely mechanical. Oblomov, in essence, realizing that Stolz sincerely wants to help him, is unable to join life, go his own way, and Stolz's activities are not for him. However, the arrival of Stolz brought Oblomov out of immobility, as if giving him a chance. Oblomov seemed to come to life when he fell in love with Olga. But even here he saved.

Oblomov's days are ending on Vasilyevsky Island near Pshenitsyna. This is also a kind of Oblomovka, but without a sense of the poetry of childhood, nature, and the expectation of a miracle. Almost imperceptibly, our hero passes into his eternal sleep.

What is the reason that Oblomov's possibilities were not realized, internal forces were left without use? Of course, it is rooted in Oblomovka. "Oblomov's Dream" explains why he did not want and could not follow either the path of the early visitors or the path of Stolz: Ilya Ilyich had neither a definite goal nor the energy to achieve it. Thus, Oblomov's dream is, as it were, the focal point of the novel.

In his article “What is Oblomovism?” N. A. Dobrolyubov wrote “Oblomov is not a stupid apathetic figure without aspirations and feelings, but a person who is also looking for something in life, thinking about something.” (17) He is endowed with many positive qualities, and he is not stupid. There is a sad truth in his judgments - also a consequence of Russian life. What are all these Sudbinskys, Volkins, Penkovs striving for? Indeed, is it worth getting up from the couch for the sake of the petty fuss that his former comrades are busy with?

In the extremely simple plot of Oblomov, which did not shine with any external effects, Dobrolyubov saw a deep social content. He wrote: “Apparently, Goncharov chose not a vast sphere for his own. The story of how the good-natured man lies and sleeps the kind-hearted sloth Oblomov, and no matter how friendship or love can awaken and raise him, God knows what an important story. But it reflects Russian life, it presents us with a living, modern Russian type, minted with merciless rigor and truthfulness; it expressed a new word in our social development, pronounced clearly and firmly, without despair and without childish hopes, but with a full consciousness of the truth. This word - "Oblomovism", serves as a key to unraveling many phenomena of Russian life, and it gives Goncharov's novel much more social significance than all our accusatory stories have. In the type of Oblomov and in all this "Oblomovism" we see something more than just the successful creation of a strong talent; we find in it a work of Russian life, a sign of the times.” (17)

Turning to the image of Oblomov, Dobrolyubov shrewdly saw the source of his life drama, partly in Oblomov's outward position, and partly "in the image of his mental and moral development." Dobrolyubov saw in Oblomov an image of those “supposedly talented natures” that they had previously admired, “before they covered themselves with different mantles, adorned themselves with different hairstyles, and attracted them with different talents. But now Oblomov appears before us, unmasked as he is, silent, reduced from a beautiful pedestal to a soft sofa, covered instead of a mantle only by a spacious dressing gown. The question is what is he doing? What is the meaning and purpose of his life? - delivered directly and clearly, not clogged with any side questions. (27)

Oblomov was ruined by serfdom, lordly education and the whole system of Russian landlord life, which slowly but surely turned this person out of life, turned him into a "warehouse littered with all sorts of rubbish." (eighteen)

Andrey Ivanovich Stoltz is the antipode of Obolomov. He was introduced into the novel to emphasize the character of Oblomov, to show their difference from each other, without him the picture of Oblomovism would not be complete, therefore we will not bypass Stolz.

Andrey Ivanovich Stolz is such a person, which there were still very few in that society. He was not spoiled by home education, from a young age he began to enjoy reasonable freedom, learned life early and was able to bring sound theoretical knowledge into practical activity.

The development of convictions, firmness of will, a critical view of people and life, as well as faith in truth and goodness, respect for everything beautiful and sublime - these are the main features of Stolz's character.

It was after analyzing the two heroes of the novel that we saw a striking difference.

In conclusion of this part of the diploma, I would like to sum up what Oblomovism is, what is its place in the work of Goncharov and the life of a Russian person.

Let us turn to the words of Gorky, who wrote that the generalizing power of the image created by Goncharov is enormous “... in the person of Oblomov we have before us the most truthful image of the nobility” (16). The Oblomovites are not only the petty provincial nobility, they are all the then Russian nobility, which was going through a process of deep, social and moral crisis. Oblomov is the widest image in its range, embracing the entire noble-landlord class, a synthesis of the most essential features of his psyche and, above all, deep inertia, convinced bailing. In the fate of Oblomov, the process of degradation, the degeneration of the feudal system with its characteristic features of savagery and stagnation, was shown with exhaustive completeness. Oblomov is the personification of the entire landlord way of life on the eve of the 60s.

The novel by I. A. Goncharov "Oblomov" was published in 1859, at a time when the issue of abolishing serfdom was extremely acute in the country, when Russian society was already fully aware of the perniciousness of the existing order. A deep knowledge of life and the accuracy of the social analysis of characters allowed the writer to find a surprisingly correct definition of the way of Russian life of that time - “Oblomovism”.
The main task of the author in the novel is to show how a person gradually dies in a person, how unadapted to life a landowner is, not used to doing anything. The main qualities of the kind, sweet Ilya Ilyich Oblomov are his inertia, apathy, and aversion to any activity. Faithful to the traditions of realism, I. A. Goncharov shows that these qualities were the result of Oblomov's upbringing, they are born of the confidence that any desire will be fulfilled and no effort is needed for this. Oblomov is a nobleman, he does not have to work for a piece of bread - hundreds of serfs Zakharov work for him on the estate and fully ensure his existence. This means that he can lie on the couch all day long, not because he was tired, but because "that was his normal state." He almost merged with his soft, comfortable dressing gown and long, wide shoes, which he masterfully hit the first time, as soon as he hung his legs off the sofa.
In his youth, Oblomov "was full of all sorts of aspirations, hopes, expected a lot from fate and himself, everything was preparing for some kind of field, for some kind of role." But time passed, and Ilya Ilyich kept getting ready, preparing to start a new life, but did not advance a single step towards any goal. In Moscow, he received a good education, but his head "was like a library, consisting of some knowledge scattered in parts." Entering the service, which had previously seemed to him in the form of some kind of family occupation, he did not even imagine that life would immediately be divided into two halves for him, one of which would consist of work and boredom, which were synonymous for him, and the other - out of peace and peaceful joy. He realized that “there must be at least an earthquake so that a healthy person does not come to the service,” and therefore he soon resigned, then stopped going out into the world and completely closed himself in the room. If Oblomov recognizes some kind of work, then only the work of the soul, since dozens of generations of his ancestors “endured labor as a punishment imposed on our forefathers, but they could not love, and where there was a case, they always got rid of it, finding it possible and proper."
There were moments in Oblomov’s life when he thought about the reasons that prompted him to lead such a life, when he asked himself the question: “Why am I like this?” In the climactic chapter of the novel The Dream of Oblomov, the writer answers this question. He creates a picture of a provincial landowner's life and shows how lazy hibernation is gradually becoming a normal state of a person.
In a dream, Oblomov is transferred to the estate of his parents Oblomovka, "to a blessed corner of the earth", where there is no "sea, no high mountains, rocks, abysses, no dense forests - there is nothing grandiose, wild and gloomy." Before us appears an idyllic picture, a series of beautiful landscapes. “Rightly and calmly the yearly cycle is completed there. A deep silence lies in the fields. Silence and tranquility of life also reign in the morals of people in that region, ”writes I. A. Goncharov. Oblomov sees himself as a little boy, seeking to look into the unknown, ask more questions and get answers to them. But only concern for food becomes the first and main concern of life in Oblomovka. And the rest of the time takes "some
an all-consuming, invincible dream", which I. A. Goncharov makes a symbol that characterizes people like Oblomov, and which he calls "the true likeness of death." From childhood, Ilya was accustomed to the fact that he should not do anything, that for any work there is “Vaska, Vanka, Zakharka”, and at some point he himself realized that it was “much calmer” this way. That is why all the “seekers of manifestations of strength” in Ilyusha “turned inward and drooped, fading away.” Such a life deprived the hero of the novel of any initiative and gradually turned him into a slave of his position, his habits, and even a slave of his servant Zakhar.
In his article “What is Oblomovism?” N. A. Dobrolyubov wrote: “Oblomov is not a stupid apathetic figure without aspirations and feelings, but a person who is also looking for something in life, thinking about something.” He is endowed with many positive qualities, and not stupid. There is a sad truth in his judgments - also a consequence of Russian life. What are all these Sudbinskys, Volkins, Penkovs striving for? Indeed, is it worth getting up from the couch for the sake of the petty fuss that his former comrades are busy with?
In the spirit of the tradition created by Russian writers, I. A. Goncharov subjects his hero to the greatest test - the test of love. A feeling for Olga Ilyinskaya, a girl of great spiritual strength, could resurrect Oblomov. But I. A. Goncharov is a realist, and he cannot show the happy ending of the novel. “Why did everything die? Who cursed you, Ilya? What ruined you? - bitterly tries to understand Olga. And the writer gives an answer to these questions, quite accurately defining the name of this evil - Oblomovism. And not only Ilya Ilyich became its victim. "Our name is legion!" he says to Stolz. Indeed, almost all the heroes of the novel became its victims: Zakhar, Agafya Pshenitsyna, Stolz, and Olga.
The greatest merit of I. A. Goncharov lies in the fact that he surprisingly accurately portrayed the disease that struck Russian society in the middle of the 19th century, which N. A. Dobrolyubov described as “the inability to actively want something,” and pointed out the social causes of this phenomenon.