Reflections on the meaning of life (On the example of the novel by A.A.

A novel in four parts

Part one

I

In Gorokhovaya Street, in one of the large houses, the population of which would have been the size of an entire county town, Ilya Ilyich Oblomov was lying in bed in his apartment in the morning. He was a man of about thirty-two or three years of age, of medium height, of pleasant appearance, with dark gray eyes, but with no definite idea, no concentration in his 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 glowed all over the face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown. Sometimes his eyes were darkened by an expression as if of weariness or boredom; but neither fatigue nor boredom could for a moment drive away from the face the gentleness that was the dominant and basic 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 of the head and hand. And a superficially observant, cold person, glancing casually at Oblomov, would say: “There must be a kind man, simplicity!” A deeper and more sympathetic person, peering into his face for a long time, would walk away in pleasant thought, with a smile. Ilya Ilyich's complexion was neither ruddy, nor swarthy, nor positively pale, but indifferent or seemed so, perhaps because Oblomov was somehow flabby beyond his years: from a lack of movement or air, or maybe that and another. In general, his body, judging by the dull, too white light of the neck, small plump hands, soft shoulders, seemed too pampered for a man. His movements, when he was even alarmed, were also restrained by softness and laziness, not devoid of a kind of grace. If a cloud of care came over the face from the soul, the look became foggy, wrinkles appeared on the forehead, a game of doubt, sadness, fright began; but seldom did this anxiety solidify in the form of a definite idea, still more rarely did it turn into an intention. All anxiety was resolved with a sigh and faded into apathy or drowsiness. How Oblomov's home costume went to his dead features and to his pampered body! He was wearing a dressing gown made of Persian material, a real oriental dressing gown, without the slightest hint of Europe, without tassels, without velvet, without a waist, very roomy, so that Oblomov could wrap himself in it twice. The sleeves, in the same Asian fashion, went from fingers to shoulder wider and wider. Although this dressing gown had lost its original freshness and in some places replaced its primitive, natural gloss with another, acquired, it still retained the brightness of oriental color and the strength of the fabric. The dressing gown had in the eyes of Oblomov a darkness of invaluable virtues: it is soft, flexible; the body does not feel it on itself; he, like an obedient slave, submits to the slightest movement of the body. Oblomov always went home without a tie and without a vest, because he loved space and freedom. His shoes were long, soft and wide; when, without looking, he lowered his legs from the bed to the floor, he would certainly hit them at once. Lying down with Ilya Ilyich was neither a necessity, like a sick person or a person who wants to sleep, nor an accident, like one who is tired, nor a pleasure, like a lazy person: this was his normal state. When he was at home - and he was almost always at home - he was always lying, and everyone was constantly in the same room where we found him, which served him as a bedroom, study and reception room. He had three more rooms, but he rarely looked in there, unless in the morning, and then not every day when a person swept his office, which was not done every day. In those rooms, the furniture was covered with covers, the curtains were lowered. The room where Ilya Ilyich lay seemed at first glance to be beautifully furnished. There was a bureau of mahogany, two sofas upholstered in silk, beautiful screens embroidered with birds and fruits unknown in nature. There were silk curtains, carpets, a few paintings, bronzes, porcelain, and many beautiful little things. But the experienced eye of a man of pure taste, with one cursory glance at everything that was there, would read only a desire to somehow maintain the decorum of inevitable decorum, if only to get rid of them. Oblomov, of course, only bothered about this when he cleaned his office. Refined taste would not be satisfied with these heavy, ungraceful mahogany chairs, wobbly bookcases. The back of one sofa sank down, the pasted wood lagged behind in places. Exactly the same character was worn by paintings, and vases, and trifles. The owner himself, however, looked at the decoration of his office so coldly and absent-mindedly, as if asking with his eyes: “Who dragged and instructed all this here?” From such a cold view of Oblomov on his property, and perhaps even from a colder view of the same object of his servant, Zakhar, the appearance of the office, if you look there more and more closely, struck by the neglect and carelessness that dominated it. On the walls, near the paintings, cobwebs saturated with dust were molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets for writing down some memoirs on them over the dust. Carpets were stained. There was a forgotten towel on the sofa; on the table, a rare morning, there was not a plate with a salt shaker and a gnawed bone that had not been removed from yesterday's dinner, and there were no bread crumbs lying around. If not for this plate, and not for a pipe just smoked leaning against the bed, or not for the owner himself lying on it, then one would think that no one lives here - everything was so dusty, faded and generally devoid of living traces of human presence. . On the bookcases, it is true, there were two or three open books, a newspaper was lying about, and an inkstand with feathers stood on the bureau; but the pages on which the books were unfolded were covered with dust and turned yellow; it is clear that they were abandoned long ago; the number of the newspaper was last year's, and if you dipped a pen in it, only a frightened fly would have escaped with a buzz. Ilya Ilyich woke up, contrary to his usual habit, very early, at eight o'clock. He is very concerned about something. On his face alternately appeared not the fear, not the melancholy and annoyance. It was evident that he was overcome by an internal struggle, and the mind had not yet come to the rescue. The fact is that on the eve of Oblomov received from the village, from his headman, a letter of unpleasant content. It is known what kind of troubles the headman can write about: crop failure, arrears, a decrease in income, etc. Although the headman wrote exactly the same letters to his master last year and in the third year, this last letter also had an effect as strong as any an unpleasant surprise. Is it easy? We had to think about the means to take some action. However, we must do justice to the care of Ilya Ilyich about his affairs. According to the first unpleasant letter from the headman, received several years ago, he already began to create in his mind a plan for various changes and improvements in the management of his estate. According to this plan, it was supposed to introduce various new economic, police and other measures. But the plan was far from being fully thought out, and the headman's unpleasant letters were repeated every year, prompting him to activity and, consequently, disturbing the peace. Oblomov was aware of the need to do something decisive before the end of the plan. As soon as he woke up, he immediately set out to get up, wash himself and, after drinking tea, think carefully, figure something out, write it down and generally do this business properly. For half an hour he lay still, tormented by this intention, but then he reasoned that he would still have time to do this even after tea, and tea can be drunk, as usual, in bed, especially since nothing prevents thinking while lying down. And so he did. After tea, he had already risen from his bed and almost got up; glancing at the shoes, he even began to lower one foot from the bed towards them, but immediately picked it up again. It struck half past ten, Ilya Ilyich started up. “What am I, really? he said aloud in annoyance. - You need to know your conscience: it's time to get down to business! Just let yourself go and... - Zakhar! he shouted. In the room, which was separated only by a short corridor from Ilya Ilyich's office, there was heard at first like the grumbling of a chained dog, then the sound of feet jumping off from somewhere. It was Zakhar who jumped off the couch, on which he usually spent his time, sitting immersed in a slumber. An elderly man entered the room, in a gray frock coat, with a hole under the arm, from which 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 with graying whiskers, of which each it would be three beards. Zakhar did not try to change not only the image given to him by God, but also his costume, in which he walked in the village. The dress was sewn for him according to the pattern he had taken out of the village. He also liked the gray frock coat and waistcoat because in this half-uniform he saw a faint recollection of the livery that he had once worn when seeing the late gentlemen to church or on a visit; and the livery in his memoirs was the only representative of the dignity of the Oblomov family. Nothing more reminded the old man of the lordly, wide and quiet life in the wilderness of the village. The old gentlemen have died, the family portraits have remained at home and, tea, are lying around somewhere in the attic; the legends about the ancient way of life and the importance of the surname are all dying out or live only in the memory of the few old people who remained in the village. Therefore, a gray frock coat was dear to Zakhar: in it, and even in some signs preserved in the face and manners of the master, reminiscent of his parents, and in his whims, to which, although he grumbled, both to himself and aloud, but which between he respected it inwardly, as a manifestation of the lord's will, the master's right, he saw faint hints of obsolete greatness. Without these whims, he somehow did not feel the master over him; without them, nothing revived his youth, the village that they left long ago, and the legends about this old house, the only chronicle kept by old servants, nannies, mothers and passed down from generation to generation. The Oblomovs' house was once rich and famous in its area, but then, God knows why, everything became poorer, smaller, and finally imperceptibly lost among the not old noble houses. Only the gray-haired servants of the house kept and passed on to each other the faithful memory of the past, cherishing it as a shrine. That is why Zakhar loved his gray coat so much. Perhaps he valued his sideburns because in his childhood he saw many old servants with this old, aristocratic decoration. Ilya Ilyich, immersed in thought, did not notice Zakhar for a long time. Zakhar stood in front of him silently. Finally he coughed. — What are you? asked Ilya Ilyich.- You called, didn't you? - Called? Why did I call - I do not remember! he answered, stretching. - Go to yourself for now, and I will remember. Zakhar left, and Ilya Ilyich continued to lie and think about the accursed letter. A quarter of an hour has passed. - Well, it's full to lie down! he said; - Zakhar! Again the same jump and grumbling stronger. Zakhar entered, and Oblomov again plunged into thought. Zakhar stood for about two minutes, unfavorably, looking a little sideways at the master, and finally went to the door. — Where are you? Oblomov suddenly asked. “You don’t say anything, so why stand here for nothing?” Zakhar croaked, for lack of another voice, which, according to him, he lost while hunting with dogs, when he rode with an old master and when a strong wind blew into his throat. He stood half-turned in the middle of the room and kept looking sideways at Oblomov. “Are your legs withered that you can’t stand up?” You see, I'm preoccupied - just wait! Haven't stayed there yet? Look for the letter I received yesterday from the headman. Where are you doing it? - What letter? I didn’t see any letter,” said Zakhar. - You took it from the postman: such a dirty one! “Where did they put him—why should I know? said Zakhar, patting the papers and various things that lay on the table with his hand. “You never know anything. There, in the basket, look! Or fell behind the sofa? Here, the back of the sofa has not yet been repaired; what would you call a carpenter to fix? After all, you broke it. You won't think of anything! “I didn’t break it,” Zakhar answered, “she broke herself; it will not be a century for her to be: someday she must break. Ilya Ilyich did not consider it necessary to prove the contrary. Did you find it? he asked only. “Here are some letters.- Not those. “Well, it’s not like that anymore,” Zakhar said. - All right, come on! said Ilya Ilyich impatiently. - I'll get up, I'll find it myself. Zakhar went to his room, but as soon as he put his hands on the couch in order to jump on it, a hasty cry was heard again: “Zakhar, Zakhar!” - Oh, my God! Zakhar grumbled, going back to the office. — What is this torment? If only death would come sooner! - What do you want? - he said, holding on to the door of the office with one hand and looking at Oblomov, as a sign of displeasure, so sideways that he had to see the master half-heartedly, and the master could only see one immense whisker, from which you just expect two to fly out - three birds. — Handkerchief, quickly! You yourself could guess: you do not see! Ilya Ilyich remarked sternly. Zakhar did not show any particular displeasure or surprise at this order and reproach from the master, probably finding both of them very natural on his part. - And who knows where the handkerchief is? he grumbled, walking around the room and feeling each chair, although it could be seen that there was nothing on the chairs. - You're losing everything! he remarked, opening the door to the drawing-room to see if anyone was there. - Where to? Search here! I haven't been there since the third day. Yes, rather! - said Ilya Ilyich. - Where is the scarf? I don't have a scarf! said Zakhar, spreading his arms and looking around in all corners. “Yes, there he is,” he suddenly wheezed angrily, “under you!” There the end sticks out. Lie on it yourself, and ask for a handkerchief! And without waiting for an answer, Zakhar went out. Oblomov felt a little embarrassed at his own mistake. He quickly found another reason to make Zakhar guilty. - What a cleanliness you have everywhere: dust, dirt, my God! There, there, look in the corners - you're not doing anything! “If I don’t do anything ...” Zakhar spoke in an offended voice, “I try, I don’t regret my life!” And I wash and sweep the dust almost every day ... He pointed to the middle of the floor and to the table on which Oblomov dined. “Out, out,” he said, “everything is swept up, tidied up, as if for a wedding ... What else? — And what is this? interrupted Ilya Ilyich, pointing to the walls and the ceiling. — And this? And this? - He pointed to the towel thrown from yesterday and to the forgotten plate with a slice of bread on the table. “Well, I’ll probably take that away,” Zakhar said condescendingly, taking the plate. - Only this! And the dust on the walls, and the cobwebs? .. - Oblomov said, pointing to the walls. “I clean this up for the holy week: then I clean the image and remove the cobwebs ... - And books, pictures sweep? .. - Books and pictures before Christmas: then Anisya and I will go through all the cabinets. Now when are you going to clean up? You are all at home. - I sometimes go to the theater and visit: if only ... — What a cleaning at night! Oblomov looked reproachfully at him, shook his head and sighed, while Zakhar looked indifferently out the window and sighed too. The master, it seems, thought: “Well, brother, you are even more Oblomov than I myself,” and Zakhar almost thought: “You're lying! you are only a master of speaking tricky and miserable words, but you don’t care about dust and cobwebs. “Do you understand,” said Ilya Ilyich, “that moths start from dust?” I sometimes even see a bed bug on the wall! - I have fleas too! Zakhar replied indifferently. — Is it good? After all, this is bullshit! Oblomov noted. Zakhar grinned all over his face, so that the grin even covered his eyebrows and sideburns, which parted to the sides from this, and a red spot spread all over his face up to his forehead. - What is my fault that there are bugs in the world? he said with naive surprise. Did I make them up? “It’s from impurity,” Oblomov interrupted. - What are you all lying about! “And I did not invent the impurity. - You have mice running around at night - I can hear it. And I didn't invent mice. There are a lot of this creature, like mice, cats, bedbugs, everywhere. - How can others not have moths or bedbugs? Distrust was expressed on Zakhar's face, or, to put it better, calm confidence that this does not happen. “I have a lot of everything,” he said stubbornly, “you can’t see through every bug, you can’t fit into a crack in it. And he himself, it seems, thought: “Yes, and what kind of sleep is it without a bug?” “You sweep, pick rubbish from the corners, and there will be nothing,” Oblomov taught. - Take it away, and tomorrow it will be typed again, - said Zakhar. “It won’t be enough,” the master interrupted, “it shouldn’t. “It will be enough, I know,” the servant repeated. - And it will be typed, so sweep it again. — How is it? Every day touch all the corners? Zakhar asked. — What kind of life is this? Better go to your soul! - Why are others clean? Oblomov objected. “Look opposite, at the tuner: it’s nice to look, but there’s only one girl ... “Where will the Germans get rubbish,” Zakhar suddenly objected. “Look how they live!” The whole family has been eating bones for a whole week. The coat passes from the shoulders of the father to the son, and from the son again to the father. The dresses on the wife and daughters are short: they all tuck their legs under themselves like geese ... Where can they get rubbish? They don’t have it, like we do, so that in the closets a bunch of old, worn-out dresses lie over the years, or a whole corner of bread crusts accumulated over the winter ... They don’t even have a crust lying around in vain: they make crackers, and drink with beer! Zakhar even spat through his teeth, talking about such a stingy life. - Nothing to talk about! - Ilya Ilyich objected, you better clean it up. “Sometimes I would take it away, but you don’t give it yourself,” said Zakhar. — Went yours! You see, I'm in the way. “Of course you do; you are all sitting at home: how will you clean up in front of you? Go away for the day, and I'll clean it up. - Here's what I thought up - to leave! Come on, you're better off. - Yes, right! Zakhar insisted. - Well, if only today they left, Anisya and I would clean everything up. And then we can’t manage it together: we still need to hire women, wash everything. - E! what an idea - bab! Go to yourself, - said Ilya Ilyich. He was no longer glad that he called Zakhar to this conversation. He kept forgetting that if you touch this delicate object just a little, you will not end up with trouble. Oblomov would like it to be clean, but he would like it to be done somehow, imperceptibly, naturally; and Zakhar always started a lawsuit, as soon as they began to demand from him sweeping dust, washing floors, etc. In this case, he will begin to prove the need for a huge fuss in the house, knowing very well that the mere thought of this horrified his master. Zakhar left, and Oblomov plunged into thought. A few minutes later another half hour struck. — What is it? said Ilya Ilyich, almost with horror. - Eleven o'clock soon, but I haven't got up yet, haven't washed my face yet? Zahar, Zahar! - Oh, my God! Well! - was heard from the hall, and then a well-known jump. - Ready to wash? Oblomov asked. - Done a long time ago! Zakhar answered. Why don't you get up? Why don't you tell me it's ready? I would have gotten up a long time ago. Come on, I'm following you now. I have to study, I'll sit down to write. Zakhar left, but returned a minute later with a scribbled and oily notebook and scraps of paper. “Well, if you write, then, by the way, if you please, and check the accounts: you have to pay the money. - What accounts? What money? Ilya Ilyich asked with displeasure. - From the butcher, from the greengrocer, from the laundress, from the baker: everyone asks for money. - Only about money and care! grumbled Ilya Ilyich. “And why don’t you file the bills a little, but all of a sudden? - You all drove me away: tomorrow, yes tomorrow ... “Well, now, isn’t it possible until tomorrow?” — No! They are already very annoying: they don’t lend anymore. Today is the first number. — Ah! Oblomov said sadly. — New concern! Well, what are you standing? Put it on the table. I’ll get up now, wash myself and look around,” said Ilya Ilyich. "So, are you ready to shower?" - Done! Zakhar said.- Well, now... He began, groaning, to push himself up in bed to get up. “I forgot to tell you,” Zakhar began, “just now, while you were still resting, the janitor’s manager sent: he says that you definitely need to move out ... you need an apartment. — Well, what is it? If you need it, then, of course, we will go. What are you doing to me? This is the third time you've told me about this. - They come to me too. - Say we'll go. - They say: you have been promising for a month, they say, but you still don’t move out; we say we'll let the police know. - Let them know! Oblomov said decisively. “We will move ourselves, as soon as it gets warmer, in three weeks. — Where weeks through three! The manager says that in two weeks the workers will come: they will break everything ... “Move out, he says, tomorrow or the day after tomorrow ...” — Eee! too nimble! See what else! Would you like to order now? Don't you dare remind me of the apartment. I already forbade you once; and you again. Look! — What am I to do? Zakhar replied. — What to do? - that's how he gets rid of me! answered Ilya Ilyich. He's asking me! What do I care? You do not bother me, but there as you want, and dispose of it, only so as not to move. Can't try for the master! - But how, father, Ilya Ilyich, I will arrange? Zakhar began with a soft hiss. - The house is not mine: how can one not move from someone else's house, if they are driven? If my house were, so I would with my great pleasure ... Is there any way to persuade them? “We, they say, have been living for a long time, we pay regularly.” “I did,” Zakhar said.- Well, what are they? — What! They set up their own: “Move, they say, we need to redo the apartment.” They want to make one big apartment out of the doctor's office and this one, for the wedding of the master's son. - Oh, my God! - Oblomov said with annoyance. “After all, there are such asses that get married!” He rolled onto his back. “You should write, sir, to the landlord,” said Zakhar, “so maybe he wouldn’t touch you, but would order you to break down that apartment over there first.” Zakhar pointed with his hand somewhere to the right. - Well, as soon as I get up, I'll write ... You go to your room, and I'll think about it. You don’t know how to do anything,” he added, “I have to worry about this rubbish myself. Zakhar left, and Oblomov began to think. But he was at a loss as to what to think about: whether about the letter from the headman, whether about moving to a new apartment, whether to begin to settle scores? He was lost in the tide of worldly worries and kept lying, tossing and turning from side to side. From time to time only jerky exclamations were heard: “Oh, my God! It touches life, it reaches everywhere. It is not known how long he would have remained in this indecision, but the bell rang in the hall. “Someone has come!” - said Oblomov, wrapping himself in a dressing gown. “And I haven’t gotten up yet—shame and that’s all!” Who would it be so early? And he, lying down, looked with curiosity at the door.

The work of Ivan Alexandrovich Goncharov "Oblomov" was written many years ago, but the problems raised in it remain relevant today. Main character The novel has always aroused great interest in the reader. What is the meaning of Oblomov's life, who is he and was he really a lazy person?

The absurdity of the life of the protagonist of the work

From the very beginning of the work, Ilya Ilyich appears before the reader in a completely absurd situation. He spends every day in his room. Deprived of any impression. Nothing new happens in his life, there is nothing that would fill it with some kind of meaning. One day is like another. Absolutely not carried away and not interested in anything, this person, one might say, resembles a plant.

The only occupation of Ilya Ilyich is a comfortable and serene lying on the sofa. Since childhood, he was used to the fact that he was constantly taken care of. He never thought about how to ensure his own existence. Always lived on everything ready. There was no such incident that would disturb his serene state. It's just convenient for him to live.

Inaction does not make a person happy

And this constant lying on the couch is not caused by some incurable disease or psychological disorder. Not! The terrible thing is that this is the natural state of the main character of the novel. The meaning of Oblomov's life lies in the soft upholstery of the sofa and a comfortable Persian dressing gown. Every person from time to time tends to think about the purpose of their own existence. The time comes, and many, looking back, begin to argue: "What have I done useful, why do I live at all?"

Of course, not everyone can move mountains, do some heroic deed, but anyone can make their own life interesting and full of impressions. No one has ever been made happy by inaction. Perhaps only up to a certain point. But this does not apply to Ilya Ilyich. Oblomov, whose life story is described in the novel of the same name by Ivan Alexandrovich Goncharov, is not burdened by his inaction. Everything suits him.

Home of the main character

The character of Ilya Ilyich can already be judged from some lines in which the author describes the room where Oblomov lived. Of course, the decoration of the room did not look poor. She was beautifully furnished. And yet there was no coziness or comfort in it. The paintings that hung on the walls of the room were framed with spider web patterns. Mirrors, designed to reflect oneself in them, could be used instead of writing paper.

The whole room was covered in dust and dirt. Somewhere there was an accidentally thrown thing lying around, which will lie there until it is needed again. On the table - uncleaned dishes, crumbs and leftovers from yesterday's meal. All this does not cause a feeling of comfort. But Ilya Ilyich does not notice this. Cobwebs, dust, dirt and uncleaned dishes are natural companions of his daily reclining on the sofa.

Dreaminess in the character of Ilya, or Like in a village

Often, Ilya Ilyich reproaches his own servant, whose name is Zakhar, for the carelessness. But he seemed to have adjusted to the character of the owner, and perhaps he himself was initially not far from him, quite calmly reacting to the untidiness of the dwelling. According to his reasoning, there is no point in cleaning the room from dust, since it still accumulates there again. So what is the meaning of Oblomov's life? A man who can't even force his own servant to put things in order. He cannot even manage his own life, and the existence of those around him is generally beyond his control.

Of course, sometimes he dreams of doing something for his village. He is trying to come up with some plans, again - lying on the couch, in order to rebuild the village life. But this person is already so divorced from reality that all the dreams he built remain theirs. Plans are such that their implementation is almost impossible. All of them have some kind of monstrous scope that has nothing to do with reality. But the meaning of life in the work of "Oblomov" is not revealed only in the description of one character.

Hero opposite Oblomov

There is another hero in the work, who is trying to awaken Ilya Ilyich from his lazy state. Andrey Stolz is a person filled with seething energy and liveliness of mind. Whatever Andrei undertakes, he succeeds in everything, and he enjoys everything. He does not even think about why he does this or that thing. According to the character himself, he works for the sake of work.

What is the difference between the meaning of life of Oblomov and Stolz? Andrei never lies, like Ilya Ilyich, idle. He is always busy with something, he has a huge social circle with interesting people. Stolz never sits in one place. He is constantly on the road, meeting new places and people. Nevertheless, he does not forget about Ilya Ilyich.

Andrey's influence on the main character

Oblomov's monologue about the meaning of life, his judgments about it, are completely opposite to the opinion of Stolz, who becomes the only one who was able to lift Ilya from a soft sofa. Moreover, Andrei even tried to return his friend to an active life. To do this, he resorts to some kind of trick. Introduces him to Olga Ilyinskaya. Realizing that pleasant communication with beautiful woman, perhaps, will quickly awaken in Ilya Ilyich a taste for a life more diverse than existence in his room.

How does Oblomov change under the influence of Stolz? His life story is now connected with the beautiful Olga. It even awakens tender feelings for this woman. He is trying to change, to adapt to the world in which Ilyinskaya and Stolz live. But his long lying on the couch does not pass without a trace. The meaning of Oblomov's life, associated with his uncomfortable room, was very deeply rooted in him. Some time passes, and he begins to be burdened by relations with Olga. And, of course, their breakup became inevitable.

The meaning of life and death of Oblomov

The only dream of Ilya Ilyich is the desire to find peace. He does not need seething energy Everyday life. The world in which he is closed, with its small space, seems to him much more pleasant and comfortable. And the life that his friend Stolz leads does not attract him. It requires fuss and movement, and this is unusual for Oblomov's character. Finally, all the seething energy of Andrei, which constantly runs into Ilya's indifference, has dried up.

Ilya Ilyich finds his consolation in the house of a widow whose last name is Pshenitsyna. Having married her, Oblomov completely stopped worrying about life and gradually fell into moral hibernation. Now he is back in his favorite robe. Lying on the couch again. Oblomov leads him to a slow extinction. The last time Andrei visits his friend is already under the vigilant eye of Pshenitsyna. He sees how his friend sank, and makes one last attempt to pull him out of the pool. But it makes no sense.

Positive traits in the character of the protagonist

Revealing the meaning of Oblomov's life and death, it is necessary to mention that Ilya Ilyich is still not villain in this work. There are in his image and quite bright positive features. He is an extremely hospitable and hospitable host. Despite the constant lying on the couch, Ilya Ilyich is a very educated person, he appreciates art.

In relations with Olga, he does not show rudeness or intolerance, he is gallant and courteous. His very rich, but ruined by excessive care since childhood. At first, you might think that Ilya Ilyich is infinitely happy, but this is just an illusion. A dream that replaced the real state.

Oblomov, who turned into a tragedy, seems to be pleased with his position. And yet he understands the futility of his existence. Moments of awareness of his own inaction come to him. After all, Ilya Stolz forbade Olga to go to him, he did not want her to see the process of his decomposition. An educated person cannot fail to understand how empty and monotonous his life is. Only laziness does not allow changing it and making it bright and varied.

Ivan Aleksandrovich Goncharov was born in Simbirsk on June 18, 1812 into a merchant family. His father, Alexander Ivanovich (), a wealthy merchant, grain merchant and owner of a candle factory, died when Goncharov was 7 years old. After the death of his father, his mother, Avdotya Matveevna, and his godfather, a retired sailor, a representative of an old noble family, N.N. Tregubov, were engaged in raising their son. Favorite occupation of I.A. Goncharov in childhood was reading. Already at that time he got acquainted with the works of M.V. Lomonosov, D.I. Fonvizina, V.I. Zhukovsky, J. Racine and J.-J. Rousseau. True, most of all he liked books about travel and historical writings Ivan Aleksandrovich Goncharov was born in Simbirsk on June 18, 1812 into a merchant family. His father, Alexander Ivanovich (), a wealthy merchant, grain merchant and owner of a candle factory, died when Goncharov was 7 years old. After the death of his father, his mother, Avdotya Matveevna, and his godfather, a retired sailor, a representative of an old noble family, N.N. Tregubov, were engaged in raising their son. Favorite occupation of I.A. Goncharov in childhood was reading. Already at that time he got acquainted with the works of M.V. Lomonosov, D.I. Fonvizina, V.I. Zhukovsky, J. Racine and J.-J. Rousseau. True, most of all he liked travel books and historical writings.

1. The writer's mother Avdotya Matveevna Goncharova () Portrait by an unknown artist, early 19th century. 2. The house where I.A. was born Goncharov (before perestroika), photo by G. Stepanov, 1890

Study and service Primary education I.A. Goncharov received houses. In 1822, he entered the Moscow Commercial School, but in 1830, without finishing it, he left. From 1831 to 1834 I.A. Goncharov studied at the verbal faculty of Moscow University. His first literary experiments date back to this time. After graduating from the university, I.A. Goncharov lived for some time in Simbirsk and served in the governor's office. In 1835 he moved to St. Petersburg and got a job at the Ministry of Finance as an interpreter. Primary education I.A. Goncharov received houses. In 1822, he entered the Moscow Commercial School, but in 1830, without finishing it, he left. From 1831 to 1834 I.A. Goncharov studied at the verbal faculty of Moscow University. His first literary experiments date back to this time. After graduating from the university, I.A. Goncharov lived for some time in Simbirsk and served in the governor's office. In 1835 he moved to St. Petersburg and got a job at the Ministry of Finance as an interpreter.

From 1856 to 1867, with a short break, I.A. Goncharov worked in the Censorship Committee: at first he was a censor, then he became a member of the Council for Book Printing and a member of the Main Directorate for Press. From 1856 to 1867, with a short break, I.A. Goncharov worked in the Censorship Committee: at first he was a censor, then he became a member of the Council for Book Printing and a member of the Main Directorate for Press.

In St. Petersburg, I.A. Goncharov became close to the literary and artistic circle of the painter N. A. Maikov. He taught Russian literature and Latin to his sons, the future famous critic Valerian and poet Apollon Maikov. In 1838 and 1839, Goncharov's romantic poems and his first novels, "Dashing Pain" and "Happy Mistake", appeared in the handwritten almanacs of N. Maikov's circle. In the same Maykovsky circle, Goncharov wrote two more essays - domestic, comic content: () and Pepinierka (1842). None of these works was published by the writer. In 1842, he wrote an essay "Ivan Savich Podzhabrin", published only six years later. In St. Petersburg, I.A. Goncharov became close to the literary and artistic circle of the painter N. A. Maikov. He taught Russian literature and Latin to his sons, the future famous critic Valerian and poet Apollon Maikov. In 1838 and 1839, Goncharov's romantic poems and his first novels, "Dashing Pain" and "Happy Mistake", appeared in the handwritten almanacs of N. Maikov's circle. In the same Maykovsky circle, Goncharov wrote two more essays - domestic, comic content: () and Pepinierka (1842). None of these works was published by the writer. In 1842, he wrote an essay "Ivan Savich Podzhabrin", published only six years later.

Journey In the autumn of 1852, I.A. Goncharov sets off on a journey on the Russian warship Pallada as secretary to the head of the expedition, Admiral E.V. Putyatin. For two and a half years he visits England, South Africa, China, Japan. In February 1855, I.A. Goncharov returns to St. Petersburg through Siberia and the Volga region. In the autumn of 1852, I.A. Goncharov sets off on a journey on the Russian warship Pallada as secretary to the head of the expedition, Admiral E.V. Putyatin. For two and a half years he visits England, South Africa, China, Japan. In February 1855, I.A. Goncharov returns to St. Petersburg through Siberia and the Volga region.

Upon returning from his travels, Goncharov entered the service of the St. Petersburg Censorship Committee and again turned to the unfinished novel. "In 1857, the writer says, I went abroad to Marienbad and there I wrote almost all three last volumes of Oblomov within 7 weeks. The novel was published in the first four books of the Otechestvennye Zapiski magazine for 1859 (Domestic notes; otd. ed. SPb., 1859) and was a great success. Upon returning from the trip, Goncharov entered the service of the St. Petersburg Censorship Committee and again turned to the unfinished novel. "In 1857, the writer says, I went abroad to Marienbad and there he wrote almost all three last volumes of "Oblomov" within 7 weeks. The novel was published in the first four books of the Otechestvennye zapiski magazine for 1859 (Otechestvennye zapiski, St. Petersburg, 1859) and was a great success.

Last years life In the years I.A. Goncharov acted as a talented critic. The articles "A Million of Torments", "Notes on Belinsky's Personality", "Literary Evening" and others reflected his reflections on the relationship between the author and the public, the reader's perception of books. The writer died on September 15, 1891 in St. Petersburg.

In 1849, a chapter of Oblomov's Dream appeared in the Literary Collection with illustrations (with the subtitle Episode from an unfinished novel). This episode, according to Dostoevsky, was read with admiration by all of Russia. But further work on the novel went slowly, with long interruptions. “Things are worked out in the head slowly and heavily,” Goncharov wrote to Kraevsky. The first part of "Oblomov" was roughly finished by 1850. In 1849, a chapter of Oblomov's Dream appeared in the Literary Collection with illustrations (with the subtitle Episode from an unfinished novel). This episode, according to Dostoevsky, was read with admiration by all of Russia. But further work on the novel went slowly, with long interruptions. “Things are worked out in the head slowly and heavily,” Goncharov wrote to Kraevsky. The first part of "Oblomov" was roughly finished by 1850.

Roman "Oblomov" Goncharov recalled: "Success exceeded my expectations. And Turgenev once remarked to me briefly: As long as at least one Russian remains, Oblomov will be remembered. One of his contemporaries, critic A. M. Skabichevsky, testifies: “It was necessary to live at that time in order to understand what a sensation this novel aroused in the public and what an amazing impression it made on the whole society. It fell like a bomb into an intelligent environment just during the strongest public excitement, three years before the liberation of the peasants, when a crusade against sleep, inertia and stagnation was preached in all literature," Goncharov recalled: "success exceeded my expectations. And Turgenev once remarked to me briefly: As long as at least one Russian remains, Oblomov will be remembered. One of his contemporaries, critic A. M. Skabichevsky, testifies: “It was necessary to live at that time in order to understand what a sensation this novel aroused in the public and what an amazing impression it made on the whole society. It fell like a bomb into an intelligent environment just at the time of the strongest public excitement, three years before the liberation of the peasants, when a crusade against sleep, inertia and stagnation was preached in all literature"

Oblomov and "Oblomovism" The title of the novel "Oblomov" is the name of the protagonist Ilya Ilyich Oblomov, which indicates that the image of Oblomov is central in the book. Goncharov sets the task of giving a voluminous, expressive portrait of the main character, showing him in various situations, in comparison with other characters, in friendship and love. The name of the novel "Oblomov" is the surname of the protagonist Ilya Ilyich Oblomov, which indicates that the image of Oblomov is central in the book. Goncharov sets the task of giving a voluminous, expressive portrait of the main character, showing him in various situations, in comparison with other characters, in friendship and love.

Defining the idea of ​​the novel, Goncharov wrote: “I tried to show in Oblomov how and why our people turn prematurely into ... jelly”, to show “the embodiment of sleep, stagnation, motionless, dead life, crawling from day to day in one face and in its setting. Defining the idea of ​​the novel, Goncharov wrote: “I tried to show in Oblomov how and why our people turn prematurely into ... jelly”, to show “the embodiment of sleep, stagnation, motionless, dead life, crawling from day to day in one face and in its setting.

In the first part of the novel, we see the protagonist, immersed in sleep and apathy, for whom lying on the sofa is his “normal state”, and until the very end of the first part, the hero continues to lie on the sofa. Oblomov's robe becomes a symbol of laziness, sleep, contemplation, "a real oriental robe, without the slightest hint of Europe" (compare with Stolz's European costume) "How Oblomov's home costume went to his dead features and pampered body!" In the first part of the novel, we see the protagonist, immersed in sleep and apathy, for whom lying on the sofa is his “normal state”, and until the very end of the first part, the hero continues to lie on the sofa. Oblomov's robe becomes a symbol of laziness, sleep, contemplation, "a real oriental robe, without the slightest hint of Europe" (compare with Stolz's European costume) "How Oblomov's home costume went to his dead features and pampered body!"

Oblomov’s room also says a lot about its owner: it’s a kind of “sleepy kingdom”, everything here is desolated, covered in dust: “If it weren’t for this plate, and not for a pipe just smoked against the bed, or not for the owner himself, lying on it, then one would think that no one lives here, everything was so dusty, faded and generally devoid of living traces of human presence. One by one, visitors come to Oblomov and try to “pull” him somewhere: for a walk, for a visit ... Goncharov brings out five characters, each of whom is opposed to Oblomov. Oblomov’s room also says a lot about its owner: this is a kind of “sleepy kingdom”, everything here is desolate, covered in dust: “If it were not for this plate, and not for the recently smoked pipe leaning against the bed, or not for the owner himself lying on it, then one would think that no one lives here, everything is so dusty, faded and generally devoid of living traces of human presence. One after another, visitors come to Oblomov and try to “pull” him somewhere: for a walk, for a visit ... Goncharov displays five characters, each of which is opposed to Oblomov

Although all the characters in the novel encourage Oblomov to do some kind of activity, their life seems boring, empty and fussy to the hero. And really, what is the life of these characters filled with? What can they offer in return for the calm, contemplative life of Oblomov? Here Volkov talks about his “activities”: “Thank God, I have such a service that I don’t need to be in office. Only twice a week I will sit and dine with the general, and then you will go on visits where you have not been for a long time; well, there ... a new actress, now in Russian, then in the French theater. There will be an opera, I am subscribing ... ". Listening to his visitors, Oblomov is only glad that "he does not have such empty desires and thoughts", that he is not "bogged down", arranging his career, like Sudbinsky, that he is not forced, like the writer Penkin, "to waste his thought, his soul on trifles, change beliefs, trade in the mind and imagination, "but can lie," retaining its human dignity and your peace." Although all the characters in the novel encourage Oblomov to do some kind of activity, their life seems boring, empty and fussy to the hero. And really, what is the life of these characters filled with? What can they offer in return for the calm, contemplative life of Oblomov? Here Volkov talks about his “activities”: “Thank God, I have such a service that I don’t need to be in office. Only twice a week I will sit and dine with the general, and then you will go on visits where you have not been for a long time; well, there ... a new actress, now in Russian, then in the French theater. There will be an opera, I am subscribing ... ". Listening to his visitors, Oblomov is only glad that "he does not have such empty desires and thoughts", that he is not "bogged down", arranging his career, like Sudbinsky, that he is not forced, like the writer Penkin, "to waste his thought, his soul to trifles, to change beliefs, to trade in the mind and imagination, "but can lie," retaining his human dignity and his peace.

Oblomov's Dream: The chapter "Oblomov's Dream" shows the origins of the hero's character. As a child, Ilyusha Oblomov was a lively and inquisitive child. However, the way of life on the Oblomov estate (in the first place is food and sleep), as well as the lordly upbringing (the boy was not allowed to do anything on his own), made him "seeking manifestations of strength" turn inward and droop. The chapter "Oblomov's Dream" shows the origins of the character of the hero. As a child, Ilyusha Oblomov was a lively and inquisitive child. However, the way of life on the Oblomov estate (in the first place is food and sleep), as well as the lordly upbringing (the boy was not allowed to do anything on his own), made him "seeking manifestations of strength" turn inward and droop

Oblomov and Olga Ilyinskaya (Test by Love) At first, Olga seems to manage to bring Oblomov out of his usual sleep, “vigority wakes up” in him, “a fever of life, strength, and activity appears.” For some time, Oblomov is simply unrecognizable: “He gets up at seven o’clock, reads, carries books somewhere. On the face of no sleep, no fatigue, no boredom. Even colors appeared on him, a sparkle in his eyes, something like courage, or at least self-confidence. At first, Olga seemed to manage to bring Oblomov out of his usual sleep, “vigority wakes up” in him, “a fever of life, strength, and activity appears.” For some time, Oblomov is simply unrecognizable: “He gets up at seven o’clock, reads, carries books somewhere. On the face of no sleep, no fatigue, no boredom. Even colors appeared on him, a sparkle in his eyes, something like courage, or at least self-confidence.

In the last, decisive explanation with Olga (Part III, Chapter XI), Oblomov responded to Olga's remark - “Who cursed you, Ilya? What did you do? You are kind, smart, gentle, noble... and... you are dying! What ruined you? - he himself answers: “Oblomovism!” And when Oblomov comes home after saying goodbye to Olga, Zakhar, as he used to, gives him a dressing gown. In the last, decisive explanation with Olga (Part III, Chapter XI), Oblomov responded to Olga's remark - “Who cursed you, Ilya? What did you do? You are kind, smart, gentle, noble... and... you are dying! What ruined you? - he himself answers: “Oblomovism!” And when Oblomov comes home after saying goodbye to Olga, Zakhar, as he used to, gives him a dressing gown.

By the end of his life, Oblomov finally calms down, discarding all aspirations and impulses, submitting to his nature, and when once again Stolz tries to wrest him from the “dirty life” and “the suffocating atmosphere of stupidity, rudeness”, Oblomov asks to forget him forever “with the thought of face, with full consciousness of reason and will. “Calmly and resolutely,” he reports that Agafya Matveevna is his wife, and Andrei is his son. By the end of his life, Oblomov finally calms down, discarding all aspirations and impulses, submitting to his nature, and when once again Stolz tries to wrest him from the “dirty life” and “the suffocating atmosphere of stupidity, rudeness”, Oblomov asks to forget him forever “with the thought of face, with full consciousness of reason and will. “Calmly and resolutely,” he reports that Agafya Matveevna is his wife, and Andrei is his son.

Check yourself Why do you think, having learned that Oblomov is married to Agafya Matveevna, Stolz retreats from him, feeling that “the abyss has opened”, “a stone wall has been erected”? Why do you think, after learning that Oblomov is married to Agafya Matveevna, Stolz retreats from him, feeling that “the abyss has opened”, “a stone wall has been erected”? because Oblomov married a simple, uneducated woman, entered into an unequal marriage with a commoner, because Oblomov married a simple, uneducated woman, entered into an unequal marriage with a commoner, because Stolz understands that now Oblomov cannot be changed or budged, he is forever bound and will never get out "from the swamp, into the open, where there is a healthy, normal life" because Stolz understands: now Oblomov can no longer be changed or moved, he is forever bound and will never get out "from swamps, to the open space, where there is a healthy, normal life "

Causes of degradation: It cannot be said that Oblomov is satisfied with his "semi-animal" existence. He dreams of resurrecting and starting new life, however, the dream remains a dream, despite the efforts of a close friend and beloved woman. The reasons for the degradation of Oblomov lie not only in his character, but also in the Russian society of that time. Representatives of this society - Sudbinsky, Volkov, Penkin - create in the novel an atmosphere of "false" activity, which is aimed solely at satisfying conceited and selfish thoughts. Under such conditions, an educated, intelligent young man it is difficult to prove oneself without abandoning one's ideals - therefore Oblomov chooses frank inaction and "sleep". It cannot be said that Oblomov is satisfied with his "semi-animal" existence. He dreams of resurrecting and starting a new life, but the dream remains a dream, despite the efforts of a close friend and beloved woman. The reasons for the degradation of Oblomov lie not only in his character, but also in the Russian society of that time. Representatives of this society - Sudbinsky, Volkov, Penkin - create in the novel an atmosphere of "false" activity, which is aimed solely at satisfying conceited and selfish thoughts. In such conditions, it is difficult for an educated, intelligent young man to prove himself without giving up his ideals - therefore, Oblomov chooses frank inaction and "sleep".

Oblomov's death Once Oblomov says to Stolz: Somehow Oblomov says to Stolz: "I would lay down and fall asleep ... forever ...". And "I would lay down and fall asleep ... forever ...". And death comes to him quietly and death comes to him quietly and peacefully, he "rests on the death bed, peacefully, he" rests on the death bed as on a bed of sleep. like a bed of sleep." D. S. Merezhkovsky in the article “Eternal Companions. Goncharov" (1890) wrote: "The degree of optimism of the writer is best determined by his attitude to death ... Oblomov died instantly, from apoplexy; no one saw how he imperceptibly passed into another world ... Here is a calm look at death, as it was in ancient times, among simple and healthy people. Death is only the evening of life, when the light shadows of Elysium fly over the eyes and close them for eternal sleep ... "D. S. Merezhkovsky in the article" Eternal Companions. Goncharov" (1890) wrote: "The degree of optimism of the writer is best determined by his attitude to death ... Oblomov died instantly, from apoplexy; no one saw how he imperceptibly passed into another world ... Here is a calm look at death, as it was in ancient times, among simple and healthy people. Death is only the evening of life, when the light shadows of Elysium fly over the eyes and close them for eternal sleep ... "

The end of Oblomovka Oblomov is dying, and Oblomovka "has outlived its time." The patriarchal way of traditional Russian life is collapsing, a new era is coming to replace it, bringing many changes, a life in which there is no place for Oblomov. And Stolz decides not to inform Oblomov about what is happening in Oblomovka: “There is nothing to tell you that your Oblomovka is no longer in the wilderness, that it was her turn, that the rays of the sun fell on her! I won’t tell you that in four years it will be a road station, that your men will go to work on the embankment, and then your bread will roll along the cast-iron to the pier ... And there ... schools, diploma, and then ... ". But Oblomov's son, Andrei, is already growing up in other conditions, he is brought up by Stolz, who promises: "I will take your Andrei where you could not go ... and with him we will carry out our youthful dreams." Oblomov dies, and Oblomovka "has outlived its life." The patriarchal way of traditional Russian life is collapsing, a new era is coming to replace it, bringing many changes, a life in which there is no place for Oblomov. And Stolz decides not to inform Oblomov about what is happening in Oblomovka: “There is nothing to tell you that your Oblomovka is no longer in the wilderness, that it was her turn, that the rays of the sun fell on her! I won’t tell you that in four years it will be a road station, that your men will go to work on the embankment, and then your bread will roll along the cast-iron to the pier ... And there ... schools, diploma, and then ... ". But Oblomov's son, Andrei, is already growing up in other conditions, he is brought up by Stolz, who promises: "I will take your Andrei where you could not go ... and with him we will carry out our youthful dreams."

L.N. Tolstoy wrote in 1859 to A. Druzhinin: Oblomov is the most important thing, which has not been for a long, long time. Tell Goncharov that I am delighted with Oblomov and re-read it again. But what will be more pleasant for him is that Oblomov has success not accidental, not with a bang, but healthy, capital and timeless in a real audience. L.N. Tolstoy wrote in 1859 to A. Druzhinin: Oblomov is the most important thing, which has not been for a long, long time. Tell Goncharov that I am delighted with Oblomov and re-read it again. But what will be more pleasant for him is that Oblomov has success not accidental, not with a bang, but healthy, capital and timeless in a real audience.

Many contemporaries of I.A. Goncharov, willingly identified him with 0 Blomov, especially since, as A.F. Koni writes in Memoirs of Writers, “his overweight figure, slow walk and calm, slightly apathetic gaze of beautiful blue-gray eyes gave this some occasion". The reason for this assumption was partly given by Goncharov himself. M.M. Stasyulevich in his article “Ivan Alekseevich Goncharov” (1891) wrote: “It is usually said that in his own nature there was a lot of Oblomovism, which is why Oblomov succeeded in this way, but this could only seem to those who did not know him daily life or was carried away by the fact that Goncharov really willingly supported in others the idea of ​​his personal resemblance to his own offspring. So, for example, in a letter to Yu. D. Efremova (August 20, Simbirsk) I.A. Goncharov wrote: "Here I finally comprehended the poetry of laziness, and this is the only poetry to which I will be faithful to the grave, unless poverty forces me to take up a crowbar and a shovel." Many contemporaries of I.A. Goncharov, willingly identified him with 0 Blomov, especially since, as A.F. Koni writes in Memoirs of Writers, “his overweight figure, slow walk and calm, slightly apathetic gaze of beautiful blue-gray eyes gave this some occasion". The reason for this assumption was partly given by Goncharov himself. M.M. Stasyulevich in his article “Ivan Alekseevich Goncharov” (1891) wrote: “It is usually said that in his own nature there was a lot of Oblomovism, which is why Oblomov succeeded in this way, but this could only seem to those who did not know him daily life or was carried away by the fact that Goncharov really willingly supported in others the idea of ​​his personal resemblance to his own offspring. So, for example, in a letter to Yu. D. Efremova (August 20, Simbirsk) I.A. Goncharov wrote: "Here I finally comprehended the poetry of laziness, and this is the only poetry to which I will be faithful to the grave, unless poverty forces me to take up a crowbar and a shovel."

In "Frigate Pallade" Goncharov exclaims: "It is evident that it is destined for me to be the laziest and to infect with laziness everything that comes into contact with me." Let us also recall the epilogue of Oblomov: "Two gentlemen were walking along the wooden sidewalks on the Vyborg side. One of them was Stolz, the other was his friend, a writer, plump, with an apathetic face, thoughtful, as if sleepy eyes." And it turns out that the writer talking with Stolz is none other than the author of the novel himself. But people who knew I.A. Goncharov, never supported this myth. So, M.M. Stasyulevich wrote: “he was a very active and hardworking person, least of all like Oblomov,” A.F. Koni: “There was not a trace of Oblomov’s main properties of thoughtful laziness and lazy idleness in Ivan Alexandrovich. Throughout the mature period of his life, he was a great worker. In "Frigate Pallade" Goncharov exclaims: "It is evident that it is destined for me to be the laziest and to infect with laziness everything that comes into contact with me." Let us also recall the epilogue of Oblomov: "Two gentlemen were walking along the wooden sidewalks on the Vyborg side. One of them was Stolz, the other was his friend, a writer, plump, with an apathetic face, thoughtful, as if sleepy eyes." And it turns out that the writer talking with Stolz is none other than the author of the novel himself. But people who knew I.A. Goncharov, never supported this myth. So, M.M. Stasyulevich wrote: “he was a very active and hardworking person, least of all like Oblomov,” A.F. Koni: “There was not a trace of Oblomov’s main properties of thoughtful laziness and lazy idleness in Ivan Alexandrovich. Throughout the mature period of his life, he was a great worker.

Criticism about the novel and its hero The image of Oblomov in the novel caused heated debate, critics contemporaries of I.A. Goncharov put forward many different interpretations and assessments of this image. Consider the most famous articles: In the article by N.A. Dobrolyubov “What is Oblomovism” (1859), the novel is rated as “a sign of the times”, and Oblomov is called “indigenous”, “our folk” type, “symbolizing laziness, inaction and stagnation of the entire system of relations”, a symbol of the inertia of feudal Russia. Dobrolyubov speaks harshly about Oblomov, not wanting to see anything positive and worthy in him: “The vile habit of obtaining the satisfaction of one’s desires not from one’s own efforts, but from others, developed in him apathetic immobility and plunged him into a miserable state of moral slavery.” According to the critic, "Oblomovism" is "the creation of education and surrounding circumstances", and it necessarily leaves on a person "an indelible stamp of idleness, parasites and complete uselessness in the world." The image of Oblomov in the novel caused heated debate, critics contemporaries of I.A. Goncharov put forward many different interpretations and assessments of this image. Consider the most famous articles: In the article by N.A. Dobrolyubov “What is Oblomovism” (1859), the novel is rated as “a sign of the times”, and Oblomov is called “indigenous”, “our folk” type, “symbolizing laziness, inaction and stagnation of the entire system of relations”, a symbol of the inertia of feudal Russia. Dobrolyubov speaks harshly about Oblomov, not wanting to see anything positive and worthy in him: “The vile habit of obtaining the satisfaction of one’s desires not from one’s own efforts, but from others, developed in him apathetic immobility and plunged him into a miserable state of moral slavery.” According to the critic, "Oblomovism" is "the creation of education and surrounding circumstances", and it necessarily leaves on a person "an indelible stamp of idleness, parasites and complete uselessness in the world."

Criticism about the novel and its hero A.V. Druzhinin in the article “Oblomov. Roman I.A. Goncharov" (1859) gives a completely different assessment of Oblomov, arguing that "Oblomov is kind to all of us and worth boundless love ... His creator himself is boundlessly devoted to Oblomov ...". Druzhinin sees in Oblomov, first of all, a “tender, loving nature”, with a “pure, childishly affectionate Russian soul”: “A child by nature and by the conditions of his development, Ilya Ilyich largely left behind him the purity and simplicity of a child, precious qualities in an adult qualities which in themselves, in the midst of the greatest practical confusion, often reveal to us the realm of truth and at times place the inexperienced, dreamy eccentric both above the prejudices of his age and above the whole crowd of businessmen who surround him. A.V. Druzhinin in the article “Oblomov. Roman I.A. Goncharov" (1859) gives a completely different assessment of Oblomov, arguing that "Oblomov is kind to all of us and worth boundless love ... His creator himself is boundlessly devoted to Oblomov ...". Druzhinin sees in Oblomov, first of all, a “tender, loving nature”, with a “pure, childishly affectionate Russian soul”: “A child by nature and by the conditions of his development, Ilya Ilyich largely left behind him the purity and simplicity of a child, precious qualities in an adult qualities which in themselves, in the midst of the greatest practical confusion, often reveal to us the realm of truth and at times place the inexperienced, dreamy eccentric both above the prejudices of his age and above the whole crowd of businessmen who surround him.

Criticism about the novel and its hero D. I. Pisarev, author of the article “The novel by I. A. Goncharov Oblomov” (1859), believes that Oblomov personifies “mental apathy”, which is “one of the essential vices of our Russian life” , a disease that "fetters all the best, human, reasonable movements and feelings." About his attitude towards Oblomov, Pisarev writes: “It is impossible to sympathize with such individuals, because they burden both themselves and society; it is absolutely impossible to despise them either: there is too much truly human in them, and they themselves suffer too much from the imperfections of their nature. Such personalities, in our opinion, should be looked upon as pitiful but inevitable phenomena of the transitional epoch; they stand at the boundary of two lives: old Russian and European, and cannot step decisively from one to the other.” D. I. Pisarev, author of the article “The novel by I. A. Goncharov Oblomov” (1859), believes that Oblomov personifies “mental apathy”, which is “one of the essential vices of our Russian life”, a disease that “fetters all the best, human, reasonable movements and feelings. About his attitude towards Oblomov, Pisarev writes: “It is impossible to sympathize with such individuals, because they burden both themselves and society; it is absolutely impossible to despise them either: there is too much truly human in them, and they themselves suffer too much from the imperfections of their nature. Such personalities, in our opinion, should be looked upon as pitiful but inevitable phenomena of the transitional epoch; they stand at the boundary of two lives: old Russian and European, and cannot step decisively from one to the other.”

Criticism about the novel and its hero I.F. Annensky, in his article “Goncharov and his Oblomov” (1892), refuses to define Oblomov as a “positive” or “negative” type, and writes: “I read Oblomov many times, and the more I read into him, the more I liked Oblomov himself. The author, in my opinion, portrayed a person he likes, and this is the basis of the impression. Then, the more you read into Oblomov, the less it irritates and outrages in him the love of the sofa and the dressing gown. Annensky notes that Oblomov is loved: “He knows how to inspire love, even adoration in Agafya Matveevna. Recall the end of the novel and Zakhar's memory of it. He, this weak, capricious, inept and pampered man, requiring care, he could give happiness to people, because he himself had a heart. I.F. Annensky, in his article “Goncharov and his Oblomov” (1892), refuses to define Oblomov as a “positive” or “negative” type, and writes: “I read Oblomov many times, and the more I read into him, the more I liked Oblomov himself. The author, in my opinion, portrayed a person he likes, and this is the basis of the impression. Then, the more you read into Oblomov, the less it irritates and outrages in him the love of the sofa and the dressing gown. Annensky notes that Oblomov is loved: “He knows how to inspire love, even adoration in Agafya Matveevna. Recall the end of the novel and Zakhar's memory of it. He, this weak, capricious, inept and pampered man, requiring care, he could give happiness to people, because he himself had a heart.

Check yourself Read these lines: Read these lines: Walks, reading, deep sleep, Forest shadow, murmur of jets, Sometimes a black-eyed white-eyed white-haired young and fresh kiss, An obedient zealous horse in a bridle, A rather whimsical dinner, A bottle of light wine, Solitude, silence ... Walks, reading, deep sleep, Forest shadow, murmur of streams, Sometimes a black-eyed white-eyed white-eyed young and fresh kiss, An obedient zealous horse in a bridle, A rather whimsical dinner, A bottle of light wine, Solitude, silence ... Isn’t it true, the life described here resembles the one you dreamed about Oblomov? Which of the characters in Russian literature of the 19th century are we talking about in the above lines? Isn't it true that the life described here resembles the one that Oblomov dreamed of? Which of the characters in Russian literature of the 19th century are we talking about in the above lines?

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 the writing of 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 countries in such a suffocating atmosphere felt unnecessary, and values ​​​​encouraged from above - 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 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 climax.
• 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 swordsman, 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 it is not known which one ... 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, everyone wears them. secondary 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 – 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 here, 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.

Topic

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, a family, a long-awaited happiness. Her love is adoration to the point of blindness, because indulging her husband's whims led him to an early death. More main topic the work is described 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 keep the partnership. 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 Russia, 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 creative intelligentsia, therefore, in the image of Ilya Ilyich, we see not only a rich inner world, but also disastrous for Russia inaction. However, the meaning of the kingdom of laziness in the novel "Oblomov" has political overtones. 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. In this way, 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 added to 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".

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