Why Oblomov is our folk type. Ilya Ilyich Oblomov - our indigenous folk type

MUNICIPAL BUDGET GENERAL EDUCATION

INSTITUTION SECONDARY SCHOOL No. 29 R. P. CHUNSKY

CHUNSKY DISTRICT OF IRKUTSK REGION

LITERATURE LESSON IN 10TH CLASS

« OBLOMOV - “OUR INDIGENOUS PEOPLE’S TYPE”

Conducted by: teacher of Russian language and literature

Emelyanovich Olga Anatolyevna

R. P. CHUNSKY, 2015

Goals: show the complexity of the author’s worldview, the figurative and semantic richness of the chapter “Oblomov’s Dream”; identify the connection between the novel’s problems and the most important issues of Russian reality in the mid-19th century; contribute to the formation of students’ idea of a comprehensively developed personality with an identified civic position.

Lesson type: problem lesson with elements of a seminar lesson.

During the classes.

And what do I care about human joys and misfortunes...

M.Yu. Lermontov

Org. moment.

Working on the words of the epigraph.

Teacher: Where did these lines come from? Who owned the idea?

Children: Pechorin "Hero of Our Time".

Teacher: Why did we choose these words as an epigraph? What will we talk about today?

Teacher: Is it possible to unambiguously assess the main character of the novel? Why is the image of the main character of the novel interesting for us? Can he be called a hero of his time?

The life and fate of I. I. Oblomov makes us think about the most complex issues: should I live “as I need” or “as I want”? How should life be structured so that a person does not die in it, does not hide from it, does not shrink from its touch? What is the key to a full, active existence? Or is Oblomov’s life and decline an acceptable, possible, legal option? The novel does not provide direct answers to these questions. But a detailed and leisurely story about human life awakens consciousness and disturbs feelings.

Conversation on questions

Teacher: Ilya Ilyich Oblomov. Who is he? It is unlikely that any Russian novel has been interpreted in such a controversial way as this one. Let us turn to Chapter I of the first part of the novel - its unique exposition. How is Oblomov’s appearance and the situation surrounding him drawn?

Children (use the texts of the works):He was a man about thirty-two or three years old, of average height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his facial features. The thought walked like a free bird across the face, fluttered in the eyes, sat on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glowed throughout the face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.

Sometimes his gaze darkened with an expression as if of fatigue or boredom; but neither fatigue nor boredom could for a moment drive away from the face the softness that was the dominant and fundamental 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 in passing at Oblomov, would say: “He must be a good man, simplicity!” A deeper and prettier man, having peered into his face for a long time, would have walked away in pleasant thought, with a smile.

Ilya Ilyich’s complexion was neither ruddy, nor dark, nor positively pale, but indifferent or seemed so, perhaps because Oblomov was somehow flabby beyond his years: perhaps from lack of exercise or air, or maybe that and another. In general, his body, judging by the matte, too white light of his neck, small plump arms, soft shoulders, seemed too pampered for a man.

His movements, even when he was alarmed, were also restrained by softness and laziness, not without a kind of grace. If a cloud of care came over your face from your soul, your gaze became cloudy, wrinkles appeared on your forehead, and a game of doubt, sadness, and fear began; but rarely did this anxiety congeal in the form of a definite idea, and even more rarely did it turn into an intention. All anxiety was resolved with a sigh and died away in apathy or dormancy.

How well Oblomov’s home suit suited his calm facial features and pampered body! He was wearing a robe made of Persian material, a real oriental robe, 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 constant Asian fashion, went wider and wider from the fingers to the shoulder. Although this robe had lost its original freshness and in places replaced its primitive, natural gloss with another, acquired one, it still retained the brightness of the oriental paint and the strength of the fabric.

The robe had in Oblomov’s eyes a darkness of invaluable merits: 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 walked around the house without a tie and without a vest, because he loved space and freedom. His shoes were long, soft and wide; when he, without looking, lowered his feet from the bed to the floor, he certainly fell into them immediately.

Lying down for Ilya Ilyich was neither a necessity, like that of a sick person or like a person who wants to sleep, nor an accident, like that of someone who is tired, nor a pleasure, like that of a lazy person: it was his normal state. When he was at home - and he was almost always at home - he kept lying down, and always in the same room where we found him, which served as his bedroom, study and reception room. He had three more rooms, but he rarely looked in there, perhaps in the morning, and then not every day, when a man cleaned his office, which was not done every day. In those rooms, the furniture was covered with covers, the curtains were drawn.

The room where Ilya Ilyich was lying seemed at first glance to be beautifully decorated. There was a mahogany bureau, two sofas upholstered in silk, beautiful screens with embroidered birds and fruits unprecedented in nature. There were silk curtains, carpets, several paintings, bronze, porcelain and many beautiful little things.

But the experienced eye of a person with pure taste, with one quick glance at everything that was there, would only read a desire to somehow observe the decorum 1 of inevitable decency, just to get rid of them. Oblomov, of course, only bothered about this when he was cleaning his office. Refined taste would not be satisfied with these heavy, ungraceful mahogany chairs and rickety bookcases. The back of one sofa sank down, the glued wood came loose in places. The paintings, vases, and small items bore exactly the same character.

The owner himself, however, looked at the decoration of his office so coldly and absent-mindedly, as if he was asking with his eyes: “Who brought and installed all this here?” Because of such a cold view of Oblomov on his property, and perhaps also from an even colder view of the same subject by his servant, Zakhar, the appearance of the office, if you examined it more closely, struck you with the neglect and negligence that prevailed in 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 notes on them in the dust for memory. The carpets were stained. There was a forgotten towel on the sofa; On rare mornings there was not a plate with a salt shaker and a gnawed bone on the table that had not been cleared away from yesterday’s dinner, and there were no bread crumbs lying around.

If it weren’t for this plate, and the freshly smoked pipe leaning against the bed, or the owner himself lying on it, then one would think that no one lived here - everything was so dusty, faded and generally devoid of living traces of human presence . On the shelves, however, there were two or three open books, a newspaper, and an inkwell with feathers 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 a long time ago; The issue of the newspaper was last year, and if you dipped a pen into it from the inkwell, a frightened fly would only escape with a buzz.

Teacher: What details of the portrait, the setting, and the hero’s behavior show the writer’s irony?

Children: Oblomov's home suit - a spacious Asian robe that fits his pampered body - is a symbol of his lifestyle. Other things in the house also, in Gogol’s style, “scream” about their belonging to the owner. Several comic episodes depict Oblomov’s “reclining.” It shows how the master lies on the sofa, how he tries to get up, how his foot misses his shoe; We are sluggishly looking for a letter that came from the village, but has been lost in the folds of the blanket for several days. The sofa, shoes, robe are also symbols of Oblomov’s life.

Teacher: How does the decoration of the room reveal the hero?

Children: “Festoons of cobwebs” clinging to the walls near the paintings; mirrors that do not reflect objects, but can serve as “Tablets for writing on them”; stains on the carpets, a forgotten towel on the sofa - all this speaks of the neglect and indifference of the hero to his life. But at the same time, at first glance, the room where Oblomov lay seemed “beautifully decorated.” The reason for this duality, apparently, is that the owner has taste, means, and an internal need to surround himself with expensive and beautiful things, but there is no desire to maintain the cleanliness and beauty of the office.

Teacher: Books can tell a lot about a person, his mental interests, and activities. What is Oblomov reading?

Children: “there were two or three open books, a newspaper, and an inkwell with feathers 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 a long time ago; The issue of the newspaper was last year, and if you dipped a pen into it from the inkwell, a frightened fly would only escape with a buzz.”

Such an attitude towards everything may indicate either depression, fatigue from life, or some kind of drama experienced by the owner of all these things. But as we read the first chapter, we find out. That Oblomov is simply accustomed to such decoration of his room, sometimes he notices the neglect and dirt and then calls Zakhara to account. The tedious bickering with Zakhar to get him to do something only emphasizes the complete inaction of the master, who is in the grip of inertia.

Teacher: Didn’t the thought flash through your mind that somewhere we have already seen a similar everyday situation, and the image itself reminds of someone?

Appearance: “his facial features were not devoid of pleasantness, but this pleasantness seemed to have too much sugar in it”;

Education: considers himself well-mannered, educated, noble. But in my office for two years in a row there has been a book with a bookmark on page 14.

He displays a “beautiful soul” in everything, lively manners and an amiable chirp in conversation. Having become hooked on any topic, his thoughts float into the distance, into abstract thoughts.

Character: a dreamer, and his dreams are completely divorced from reality. “How nice it would be if suddenly an underground passage was built from the house or a stone bridge was built across the pond.”

The landowner's housekeeping is handled by a drunkard clerk.

Conclusion:

This landowner has no living desires, that force of life that moves a person, forces him to do some things. In this sense, he is a dead soul, “neither this nor that.”

He dreams of a neighbor with whom he could talk “about courtesy, about good treatment, follow some kind of science,” “how good it would really be if we lived like this together, under the same roof, or under the shadow of some elm to philosophize."

This hero is not capable of thinking about real life, much less making any decisions.

It was mismanaged, the business “went somehow by itself.” He allows the peasants to drink instead of work, his steward does not know his business and, like the landowner, does not know how and does not want to manage the farm.

A boring interlocutor, “you won’t get any lively or even arrogant words from him,” that after talking with him, “you will feel mortal boredom.”

The stamp of greyness, scarcity, and uncertainty of color is on everything.

Teacher: What are the similarities between the depiction of Manilov in “Dead Souls” and Oblomov? What is the difference?

Children: “Oblomov in Goncharov’s portrayal is not imaginary (like Manilov), but a really pleasant and truly kind, gentle, frank and warm-hearted person. And he evokes completely different (than Manilov) feelings in the people around him.” N.I.Prutskov

Teacher: Together with Oblomov in ch. I Zakhar appears. Can Zakhara be called a kind of “double” of Oblomov and why?

Children: “... an elderly man, in a gray frock coat, with a hole under his arm, from which a piece of shirt was sticking out, in a gray vest... with a skull as bare as a knee and with immensely wide and thick gray-blond sideburns...” In this portrait description one can feel the irony of the author, who further explains the reasons for such an extravagant appearance: Zakhar’s clothes reminded him of a livery - a uniform required to accompany his masters “to church or on a visit” and served as “the only representative of the dignity of the Oblomov house.”

Passionately devoted to his master, Zakhar, however, rarely has a day when he does not lie to him about something. He also loves to drink, and always strives to “count” the master’s ten-kopeck coin. Melancholy takes possession of him if the master or his guests eat everything served on the table. Zakhar also loves to gossip and invent some incredible things about the master. “Zakhar would have died instead of the master, considering this his inevitable and natural duty... But if, for example, it had been necessary to sit all night next to the master’s bed, without closing his eyes, and the health or even the life of the master would depend on this, Zakhar would certainly I would fall asleep."

Zakharka's only duty was to sit in the hallway awaiting the master's orders. But it rarely came to orders, and the “young, agile, gluttonous and crafty guy” dozed off in the same hallway throughout his youth.

“You are more Oblomov than I am,” Ilya Ilyich throws to his servant.

Teacher: What are their similarities?

Children: Oblomov and Zakhar are equally hopelessly mired in laziness, lack of spirituality, and apathy.

Teacher: Why?

Children: Both Zakhar and Oblomov, each in their own way, keep in their souls the image of Oblomovka, who raised them, who shaped their lives, character and relationships. “Zakhar loved Oblomovka like a cat loves its attic...” He could not forget the “lordly, broad and peaceful life in the wilderness of the village”; he took from there his own personal “Oblomovism”, closely intertwined with the life of his master.

Teacher: And now the question arises: why, in the middle of the story, does the author take us to a “paradise”? (Chapter “Oblomov’s Dream”)

Analysis " Oblomov's dream." To do this, the class is divided into 5 groups. Each group receives its own task and its own questions.

Reveal the role of landscape in understanding the ideological content of “Oblomov’s Dream”
Determine the role of symbolic images in describing the way of life of Oblomovites (2 groups).
Talk about the spiritual life of the Oblomovites.
Note the features of the image of space and time in “Dream”

1. Reveal the role of landscape in understanding the ideological content of “Oblomov’s Dream”

How does the author describe the nature of Oblomovka? Please provide quotes.
What artistic means does the writer use to convey the state of nature?
How do descriptions of nature reveal the state of mind of Oblomov’s people, their characters, and way of life?

2. Determine the role of symbolic images in describing the way of life of Oblomovites

Find a description of the sleep of the Oblomovites. Please provide quotes.

With the help of what artistic means does the writer poetize this physiological state of a person?
Prove that the dream image has a symbolic meaning.

3. Determine the role of symbolic images in describing the way of life of Oblomovites.

Find a description of the pie and the “ritual” of making and eating it.
With the help of what artistic means does the writer poetize this physiological state of a person?
Prove that the image of the pie has a symbolic meaning

4. Talk about the spiritual life of the Oblomovites.

Find and read quotes that reveal the attitude of Oblomovites to education, books, on the one hand, and to signs and superstitions, on the other.
What meaning is revealed when the image of Oblomov is brought closer to the folklore images of Emelya and Ilya Muromets?

5. Note the features of the image of space and time in “Dream”

Discuss a schematic representation of the spatial boundaries of Oblomovka. Choose the most successful scheme and justify your choice. Based on spatial images of "Dream".
Explain the symbolic meaning of the images of the letter and the ravine.
Find a description of the passage of time in Oblomovka. Note its features and draw it schematically.

Conclusion: Oblomovka - "blessed corner" - utopia.

This “wonderful land” is separated from the surrounding world: a guest rarely comes here, and the news rarely reaches. But in Oblomovka this is not necessary, there “people lived, thinking that it shouldn’t and couldn’t be otherwise, confident that everyone else lived exactly the same way and that living differently is a sin.” “God did not punish that side with either Egyptian or simple plagues,” and the Oblomovites themselves were most afraid of passions, “grand, wild and gloomy.”

Oblomovka is characterized by Russian features. There we don’t get to see “evenings in the Swiss or Scottish style”; the men are busy with the usual chores: working for the master, paying taxes. Antisocial manifestations are reduced to nothing: theft is considered the worst crime, and few people have ever seen a drunken man.

Oblomovka is surrounded by an invisible wall; nothing new penetrates behind this wall. This place is similar to Ostrovsky’s city of Kalinov: people do not know about the world around them, they believe fairy tales about two-headed people and do not try to doubt it, they accept everything as the truth.

The natural landscape of Oblomovka “for fifteen miles around presented a series of picturesque sketches, cheerful, smiling landscapes.” Only the ravine, darkened by tales about it, disturbed this picture. The ravine was the main “mythical” object; little Ilyusha was frightened with it. But, however, everything in Oblomovka was subordinated to myth, fairy tale, and traditions. The peasants called the pier on the Volga "Colchis" and the "Pillars of Hercules", the Oblomov family was entirely brought up on various kinds of fairy tales about the beautiful sorceress Militrina Kiribityevna.

Outside the village, miracles begin - bright miracles of the people's imagination and dark miracles of deadening superstition. One imperceptibly transforms into another - so that it is difficult to draw the line between good and bad. Here stands Onesimus’s hut, and you can get into it only if you “ask her to stand with her back to the forest, and her front.” This is a good fairy tale, but right there, behind the nearest ditch, a terrible fairy tale begins. Little Oblomov just wants to get to the birch forest “not around, but directly, through the ditch, when he gets scared: there, they say, there are devils, and robbers, and terrible animals.” Along this groove runs the border between light and shadow: closer to little Oblomov’s house there is a joyful miracle, further away there is a fairy-tale horror.

The inhabitants of Oblomovka perceive the world without counting and measures. For them there is only their own home, and then the imagination of an Oblomovite immediately jumps into an unprecedented distance - the one that is “far away.” There, “in some kingdom-state,” the same Oblomovka is dreaming, but only transformed. The real Oblomovka is only the first approximation to Oblomov’s fairy tale; On long evenings, the nanny tells little Ilyusha “about an unknown country,” where there is neither night nor cold, where miracles happen, where rivers of honey and milk flow, where no one does anything all year round, and all they do is walk all day long. all good fellows, such as Ilya Ilyich, and beauties, no matter what you can say in a fairy tale or describe with a pen.”

The whole life of Oblomovka was subordinated to traditions: the rites of baptism and burial were strictly performed, each Oblomovite followed the formula “birth - marriage - death,” and even in nature, “according to the instructions of the calendar,” the seasons changed. Everything was measured: both everyday life and rain and thunderstorms happened at a certain time. If something happened that was out of the established order, then this incident outraged the entire district. Everything traditional and fantastic in Oblomovka ceased to be ordinary, but became sacred.

According to this, the Oblomovs’ house also lived. The daily routine established by our great-grandfathers was preserved and followed exactly. From morning awakening to lunch, from lunch to daytime sleep, from sleep to evening - this is how each of the Oblomovs lived. But little Ilya Oblomov seemed to be out of this routine. He hardly remembered the words of the morning prayer, he was playful and inquisitive, unlike those around him, and therefore he ran away at the hour of everyone’s sleep to explore the area. But the caring mother, the strict nanny and everyone in the house did not give the child freedom, but only cared that he was fed and healthy. So it turned out that apart from affection, caring about food and fairy tales, Ilya Oblomov knew nothing. This brought in him an immeasurable love for his mother and formed an ideal of life. Oblomov wanted to live for his own pleasure, to fill his existence with dreams and reflections.

Teacher: What in the world of Oblomovka, in the lives of its inhabitants, evokes a good feeling for the writer? Children:Calm, peace, silence, peasant labor, not forced, but for oneself, nature is all love, all poetry: “The sky there, on the contrary, seems to be pressing closer to the earth, but not in order to throw arrows more powerfully, but perhaps only , to hug her tighter, with love.” In harmony with loving mother nature - the image of “mama”. Just as the “mother of the damp earth” cares for those whom she sheltered, so does the “mama” care for her son: “The mother showered him with passionate kisses, then looked at him with greedy, caring eyes...” The son responds to her with warm reciprocity - and he is an adult Oblomov, who sleeps and has a dream, and that little Oblomov, who dreams of him: “Oblomov, seeing his long-dead mother, and in his dream trembled with joy, with ardent love for her: he, sleepy, slowly swam out from under his eyelashes and two warm tears became motionless.” Everything here evokes the thought of that native, nationally Russian thing that connects with Mother Earth, with its roots and sources of national existence.

Teacher: What in Oblomov’s way of life can’t he accept?

Children: But at the same time, in Oblomov’s tale there is a chilling fear, a fear of everything new and unfamiliar. There is also dull immobility and everything that corresponds to the Russian “maybe”. Oblomovka resembles an enchanted kingdom, where everything has fallen into sleep, a vicious circle, where the entire rhythm of life repeats the natural rhythm, like the change of seasons. The intense, searching life of humanity does not concern her. Food and sleep - only this is what life there is limited to. Man there is in the grip of age-old boredom and laziness.

Teacher: How have our ideas about the hero expanded after meeting “Oblomov’s Dream”?

Children: We learn how Oblomov was brought up: in love, but also in the constant limitation of his own will.

In “Oblomov’s Dream” there are also important comparisons between Oblomov and the heroes of Russian fairy tales and epics. Ilya Oblomov and Ilya Muromets, who, like the hero of the novel, sat in jail for 33 years, but then the passersby came, gave Muromets a drink of living water, and he set off to perform feats. There is something similar in the fate of Oblomov

Result: Thus, Oblomov’s dream gives us an explanation of how Ilya Oblomov turned from a cheerful, playful boy into a man who does not want to know anything or anyone except his office and lackey Zakharka.

Oblomov’s serene way of life had a detrimental effect on Zakhar, as well as on his master. Zakhar is the same product of the serfdom as Oblomov. This type of servant is depicted in the novel quite naturally. He not only sets off his master, but also shows that “Oblomovism” is a mass phenomenon. Both the master and the servant are subject to the same vices, despite their different social status, they repeat and complement each other. Life, built according to Oblomovka’s model, deprived them of spiritual development, caused the devastation of their souls, and made them closely dependent on each other: just as Oblomov “could neither get up, nor go to bed, nor be combed and put on shoes, nor dine without the help of Zakhar, so Zakhar could not imagine another master, besides Ilya Ilyich, another existence, how to dress him, feed him, be rude to him, be cunning, lie and at the same time inwardly reverence him.” Indicative in this regard is the fate of Zakhar after the death of his master. Not accustomed to work, Zakhar was unable to stay in any job, and he could not find a master like Oblomov. Oblomov’s life is tragic, but the life of his servant is also tragic.

Teacher: How did dreams and reality collide in Oblomov’s life in St. Petersburg?

Children: Oblomov, a nobleman by birth, a collegiate secretary by rank, has been living in St. Petersburg for twelve years... After the death of his father and mother, he became the sole owner of three hundred and fifty souls... Then he was still young, and if it cannot be said that he was alive, then , at least more alive than now; He was also full of various aspirations, he kept hoping for something, expecting a lot both from fate and from himself; everything was preparing for the field, for the role - first of all, of course, in the service, which was the purpose of his visit to St. Petersburg... Finally, in the distant future... family happiness flashed and smiled in his imagination... But the days passed, days, years followed years... thirty years turned, and he did not move a single step in any field and was still standing... in the same place where he was ten years ago. But he was still... preparing to start life - Life in his eyes was divided into two halves; one consisted of work and boredom - these were synonyms for him; the other - from peace and peaceful fun.... Brought up in the depths of the province... he was so imbued with family principles that his future service seemed to him in the form of some kind of family activity, like, for example, lazy writing in a parish notebook and expense, as his father did. He believed that... visiting a public place is by no means an obligatory habit that must be adhered to

Every day... But how upset he was when he saw that it would take at least an earthquake to prevent a healthy official from coming to work... All this brought great fear and boredom to him. “When to live?” - he repeated. Ilya Ilyich suffered from fear and melancholy in the service, even under a kind, condescending boss. God knows what would have happened to him if he had fallen into the hands of someone strict and demanding! Oblomov served somehow for two years,” and then an incident occurred that forced him to quit his service. One day he sent some necessary paper to Arkhangelsk instead of Astrakhan, was afraid that he would have to answer, “went home and sent a medical certificate” about his illness, and then resigned. “Thus ended - and then was not resumed - his state activity. His role in society worked out better for him. In the first years of his stay in St. Petersburg... his calm facial features were more often animated, his eyes shone for a long time with the fire of life, rays of light, hope, and strength flowed from them.” But he was afraid of love and shunned women. “His soul was still pure and virgin; she, perhaps, was waiting for her love... and then, over the years, it seems, she stopped waiting and despaired. Ilya Ilyich said goodbye to the crowd of friends even more coldly... Almost nothing attracted him from home, and every year he settled more and more firmly in his apartment. At first it became difficult for him to stay dressed all day, then he was too lazy to dine at a party... Soon he got tired of the evenings: he had to put on a tailcoat and shave every day.”

Teacher: What role do his meetings and dialogues with visiting guests play in understanding Oblomov and the life around him?

Children: Each of Oblomov’s visitors represents some kind of social function. Volkov is the type of amorous suitor fluttering around balls and theaters; Sudbinsky is an official to the core, Penkin is an example of an unprincipled journalist, Alekseev is a man without his own opinion and will, Tarantyev is a gloomy extortionist and a rude man. Oblomov’s statement about his guests is a consistent criticism of an incomplete, narrowly focused, functional existence..

Teacher: How is he superior to his guests?

Children: Visitors who often come to Oblomov invite him with them, but they cannot dispel his drowsiness, apathy, or awaken him to a new, active life. These heroes are active only at first glance, each of them is busy with some specific task, but, in essence, their life is meaningless and empty. Compared to them, Oblomov looks like a sage who does not want to take part in the meaningless bustle. And in this there is a hidden comparison of Oblomov with Diogenes, who walked the streets with a lantern and looked for Man.

He himself is incapable of any activity... but it still does not follow from this that other people, under different conditions, could not move Oblomov to think and do good deeds. A child by nature and according to the conditions of his development, Ilya Ilyich in many ways left behind him the purity and simplicity of a child, precious qualities in an adult, qualities that in themselves, in the midst of the greatest practical confusion, often open to us the realm of truth and at times make an inexperienced, dreamy eccentric and above the prejudices of his age, and above the whole crowd of businessmen surrounding him.

Conclusion: Thus, we see Oblomovka in miniature and here – the same vicious circle, the same stopped life. The circle is also directly related to the name of Ilya Ilyich and, consequently, to the name of the village where he spent his childhood. Although in the literature about Goncharov there are other opinions about the origin of the surname of the main character of the novel “Oblomov” - from another archaic word “oblomon”, which means sleep. But even more clearly in the surname of Ilya Ilyich the meaning of FLUSH appears. The surname of the main character of the novel also contains the meaning of a fragment of serfdom, because the novel was created in the post-reform era and was its bright, brilliant embodiment.

Reflection.
Grading
Homework

Give a comparative description of Oblomov and his friends.

()

Literature abstract on the topic:

“Ilya Ilyich Oblomov is “our indigenous folk type”, 11th grade student of school No. 763 Maria Palaeva.

Moscow, 2001.

1. Introduction Page 3 2. “Oblomovism” is a national trait of the Russian people Page 4 3. Oblomov and Stolz Page 8 4. Oblomov and Olga Page 11 5. Oblomov and Agafya Matveevna Page 15 6. Conclusion Page 17 7. List of used literature Page 18 Introduction. Some people find Goncharov's novel "Oblomov" boring. Yes, indeed, throughout the first part Oblomov lies on the sofa, receiving guests, but here we get to know the hero. In general, the novel contains few intriguing actions and events that are so interesting to the reader. But Oblomov is “our people's type,” and he is the bright representative of the Russian people. That's why the novel interested me. In the main character, I saw a piece of myself. You should not think that Oblomov is a representative only of Goncharov’s time. And now Oblomovites live among us, because this novel glorifies Russian laziness. And many of us would gladly lie on the sofa, like Ilya Ilyich, if there was such an opportunity. In my essay I consider the main question “What is Oblomovism?” and I’m trying to make out all the traits of Oblomov’s character in his relationships with Olga Ilyinskaya, Agafya Matveevna and Stolz.

“Oblomovism” is a national trait of the Russian people. The story of how the good-natured sloth Oblomov lies and sleeps and how neither friendship nor love can awaken and raise him is a rather boring story. But it reflected Russian life, in it a living, modern Russian type appears before us, minted with merciless rigor and correctness, it expressed a new word of our social development, pronounced clearly and firmly. This word is Oblomovism; it serves as the key to unraveling many phenomena of Russian life. The concept of “Oblomovism” includes the entire patriarchal way of Russian life, not only with its negative, but also with its deeply poetic sides. The broad and soft character of Ilya Ilyich was influenced by Central Russian nature with the soft outlines of sloping hills, with the slow, leisurely flow of lowland rivers. This nature simply disposes a person to rest. The main character of the novel, Ilya Ilyich Oblomov, is sincere, gentle, and has not lost his precious moral quality - conscience. Already on the first page of this work, the author drew the reader’s attention to the main feature of his hero: “The soul shone so openly and clearly in his eyes, in his smile, in every movement of his head and hands.” It is clear 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 receiving satisfaction of his desires not from his own efforts, but from others, developed in him apathetic immobility and plunged him into a pitiful state of moral slavery. This slavery is so intertwined with Oblomov’s lordship, so they mutually penetrate each other and are determined by one another, that it seems there is not the slightest possibility of drawing any boundary between them. Oblomov - master; “he has Zakhar and three hundred more Zakharovs,” as the author puts it. Ilya Ilyich explains the advantage of his position to Zakhara in this way:

“Am I rushing about, am I working? I don’t eat enough, or what? thin or pitiful in appearance? Am I missing anything? It seems like there is someone to give it to and do it! I have never pulled a stocking over my feet as long as I live, thank God! Will I worry? Why should I?.. And who am I telling this to? Haven't you been following me since childhood? You know all this, you saw that I was brought up tenderly, that I never endured cold or hunger, knew no need, did not earn my own bread and generally did not engage in dirty work.”

And Oblomov speaks the absolute truth. The entire history of his upbringing serves as confirmation of his words. From an early age he sees in his house that all household work is performed by footmen and maids, and daddy and mummy only give orders and scold for bad performance. And now he already has the first concept ready - that sitting with folded hands is more honorable than working... All further development is going in this direction. Sometimes he thought about the reasons that prompted him to lead such a life, and asked himself: “Why am I like this?” In the climactic chapter of the novel “Oblomov’s Dream,” the writer answers this question. He creates a picture of provincial landowner life and shows how lazy hibernation gradually becomes a normal human state. In a dream, Oblomov is transported to his parents’ estate 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.” Oblomov sees himself as a little boy, striving to look into the unknown, ask more questions and get answers. But only caring 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 sleep.” And therefore, all those “seeking manifestations of strength” in Ilyusha “turned inward and sank, withering away.” But Oblomov doesn’t just lie on the sofa, looking at the ceiling. He is dreaming. And as soon as his dreams collide with reality, Ilya Ilyich is lost, as was the case with his Oblomovka estate. His dreams will never come true because he won't even lift a finger to make them come true. He always hopes for chance... But this problem is not only for Oblomov, but for the entire Russian people. If we remember our folk tales, we will understand the reason for the failure of Ilya Ilyich’s dreams to come true. In almost all our fairy tales, the heroes do not achieve anything with their work; either a pike or a goldfish fulfills all desires. So we still dream about a magic wand.

But Oblomov is no more idle than all the other Oblomov brothers; only he is more frank - he does not try to cover up his idleness even with conversations in society and walking along Nevsky Prospekt.

“Light, society! You are truly, on purpose, Andrei, sending me into this world and society to discourage me from being there!.. there is nothing deep there that touches the living. You will enter the hall and will not stop admiring how symmetrically the guests are seated, how quietly and thoughtfully they sit - playing cards. These are all dead people. Why am I more guilty than them, lying at home and not infecting my head with threes and jacks?

Oblomov and Stolz. Oblomov and Stolz are the main characters of the novel. Goncharov contrasts Stolz with Oblomov. Thanks to this comparison, the features of “Oblomovism” are even more revealed to us. Stolz grew up in a poor family, where all days were spent working. Since childhood, he was accustomed to work and firmly knew that anything in life could be achieved only through hard work. Work for Stolz was a part of his life, a pleasure. He did not disdain even the most menial work. His life is full of action. For Oblomov it was a burden. He was not used to work and did not see the point in work. Since childhood, Oblomov was surrounded by the tender care of his parents and nanny, and Stolz was brought up in an atmosphere of constant mental and physical labor. Oblomov's ideal of happiness is complete calm and good food. Goncharov tried to combine in Stolz German hard work, prudence and punctuality with Russian dreaminess and gentleness, with philosophical thoughts about the high destiny of man. But it didn't work out. His activities sometimes become worthless vanity. His practicality is far from high ideals and is aimed at personal well-being and bourgeois comfort. In Stolz, the mind prevails over the heart. He accuses Oblomov of idleness and tries to “stir up” him, force him to work. But does Oblomov need this? Even in his youth, he dreamed of “serving as long as he can, because Russia needs hands and heads to develop inexhaustible sources”... Once he had already entered the service, which seemed to him in the form of some kind of family occupation, and, disappointed, he applied resign. Oblomov realized that work is boredom, not idleness, and all his idylls about a “friendly, close family” were destroyed by cruel reality. But he was also convinced of the meaninglessness of the service, where everyone is in a hurry to “get things done” quickly, without even delving into it, and “with fury they grab onto something else, as if all the strength is in it...” All this constituted a single system, where work was aimed at personal comfort and career. Stolz was part of this system. He didn’t just want to “get Oblomov off the couch,” but to make him like himself, also becoming part of this system. This is exactly what Oblomov was afraid of, so all of Stolz’s attempts to “stir up” him were unsuccessful. In the life that Stolz offers him, Oblomov does not see a field that meets the highest purpose of man. Oblomov recognized only the work of the soul, practicality was unusual for him, he did not need a career. He has everything, and he prefers to lie on the sofa and indulge in dreams of the meaningless mechanical activity of Stolz. And even now he is “not alien to universal human sorrows, the pleasures of lofty thoughts are available to him,” and although he does not scour the world for gigantic work, he still dreams of worldwide activity, still looks with contempt at the laborers and speaks with fervor :

“No, I won’t waste my soul on people’s ant work...” In Oblomov’s conflict with Stolz, another, historical and philosophical meaning shines through behind social and moral problems. The sad-funny Oblomov challenges modern civilization with its idea of historical progress. Oblomov is ready to leave the vain circle of history. He dreams that people would calm down and calm down, give up the pursuit of illusory comfort, stop playing technical games and begin to enjoy a simple, unpretentious life.

Oblomov and Olga. The main plot situation in the novel is the relationship between Oblomov and Olga Ilyinskaya. Here Goncharov follows a path that had by that time become traditional in Russian literature: testing a person’s values through his intimate feelings, his passions. It is Olga’s look at her lover that helps to see Oblomov, the way the author wanted to show him. At one time, Chernyshevsky wrote about how, through the moral weakness of a person who is unable to respond to a strong feeling of love, his social failure is revealed. “Oblomov” does not oppose this conclusion, but reinforces it even more. Olga Ilyinskaya is characterized by harmony of mind, heart, will, and active goodness. The inability for Oblomov to understand and accept this high moral standard of life turns into an inexorable sentence for him as an individual. The novel so poetizes Ilya Ilyich’s sudden feeling of love, fortunately mutual, that hope may arise: Oblomov will be reborn as a person to the fullest. The hero's inner life began to move. Love discovered in him the properties of spontaneity, which then resulted in a strong emotional impulse, passion. Along with his feelings for Olga, Oblomov awakens an active interest in spiritual life, in art, and in the mental demands of the time. Olga sees in Oblomov intelligence, simplicity, gullibility, the absence of all those secular conventions that are also alien to her. She feels that there is no cynicism in Ilya, but there is a constant desire for doubt and sympathy. And it is in Olga, and not in Stolz, that one can see “a hint of a new Russian life”; One can expect from her a word that will burn and dispel “Oblomovism.” In relation to women, all Oblomovites behave in the same shameful manner. They do not know how to love at all and do not know what to look for in love, just like in life in general. They are not averse to flirting with a woman as long as they see her as a doll moving on springs; They are not averse to enslaving a woman’s soul... of course! their lordly nature is very pleased with this! But as soon as it comes to something serious, as soon as they begin to suspect that this is really not a toy, but a woman who can demand respect for her rights from them, they immediately turn to the most shameful flight. Oblomov definitely wants to possess a woman, he wants to force her to make all sorts of sacrifices as proof of love. You see, at first he did not hope that Olga would marry him, and he proposed to her with timidity. And when she told him that he should have done this long ago, he became embarrassed and was not satisfied with Olga’s consent. He began to torture her to see if she loved him enough to be able to become his mistress! And he was annoyed when she said that she would never go down this path; but then her explanation and the passionate scene calmed him down... But still, in the end, he became cowardly to the point that he was afraid to even show himself to Olga, pretended to be sick, covered himself with a raised bridge, and made it clear to Olga that she could compromise him. And all because she demanded from him determination, action, something that was not part of his habits. Marriage in itself did not frighten him, but Olga wanted him to arrange matters for his name before marriage; that would have been a sacrifice, and he, of course, did not make this sacrifice, but appeared as a real Oblomov. Meanwhile, he himself is very demanding. He imagined that he was not handsome enough and generally not attractive enough for Olga to fall in love with him. He begins to suffer, does not sleep at night, finally, armed with energy and writes Olga a long message. All Oblomovites love to humiliate themselves; but they do this for the purpose of having the pleasure of being refuted and hearing praise from those before whom they scold themselves. Oblomov, having written a libel about himself to Olga, felt “that it’s not hard for him anymore, that he’s almost happy”... He concludes his letter with Onegin’s moral teaching: “Let the story with me,” he says, serve as a guide for you in future, normal love " Ilya Ilyich, of course, could not contain himself at the height of humiliation in front of Olga: he rushed to see what impression the letter would make on her, saw that she was crying, was satisfied and could not resist appearing before her at such a critical moment. And she proved to him how vulgar and pathetic an egoist he was in this letter, written “out of concern for her happiness.” Here he finally gave up, as all Oblomovites do, however, when they meet a woman who is superior to them in character and development. Olga constantly thinks not only about her feelings, but also about the influence on Oblomov, about her “mission”: “And she will do all this miracle, so timid, silent, to whom no one has listened until now, who has not yet begun to live!” And this love for Olga becomes a duty. She expects activity, will, energy from Oblomov; in her mind, he should become like Stolz, but only while preserving the best that is in his soul. Olga loves the Oblomov whom she herself created in her imagination, whom she sincerely wanted to create in life. “I thought that I would revive you, that you could still live for me, but you have already died a long time ago.” All this with difficulty, Olga pronounces a harsh sentence and asks a bitter question: “Who cursed you, Ilya? What did you do? What ruined you? There is no name for this evil...” “There is,” answers Ilya. “Oblomovism!” Oblomov and Agafya Matveevna.

After some time, Oblomov meets another woman who loves him with selfless, sacrificial love, and takes all care of him - this is the widow Agafya Matveevna. What role does she play in Oblomov’s life? Remembering her image, we can say with confidence that she is the living embodiment of his ideal. She attracts Oblomov with her continuous activity. She has some kind of Russian beauty. Agafya Matveevna, unlike Olga, does not shine with a special mind and does not know how to sing “Casta Diva” so wonderfully, but, having fallen in love with Oblomov once, she is ready to give him her whole life. Agafya Matveevna is much simpler than Olga, but only with this woman does Oblomov find his human happiness. In the house on the Vyborg side, Agafya Matveevna takes on all the household chores of Ilya Ilyich. For Ilya Ilyich, this was the fulfillment of his dream. He begins to live the way he likes: lying on the sofa, eating, drinking, sleeping has become much more pleasant and convenient than always “spinning” in the service, like Sudbinsky, than writing accusatory articles, like Penkin. His life flowed calmly, without external worries and worries. “It’s as if an invisible hand planted it, like a precious plant, in the shade from the heat, under a shelter from the rain, and is caring for and nurturing it.” In essence, we can say that the house on the Vyborg side is the same Oblomovka. And Agafya Matveevna is the same Zakhar. “The trusty eye of the housewife looked after the fish so that, God forbid, it would not be overcooked; the greens in the salad were the freshest. The dust has been swept away from the mirror and chairs. The room was always clean with a fresh morning smell.” What could make the master fall in love with a simple woman, the widow of a college assessor, who knew nothing but how to make the life of her loved one very comfortable? It seems to me that after Ilya Ilyich broke up with Olga Ilyinskaya, Ilya Oblomov’s heart was broken. But it would be unfair to say that Oblomov died for all noble and great purposes, burying himself alive on the Vyborg side. Everything seemed to be overgrown, flooded, covered with the patina of time in it. Only one thing remained untouched in Ilya, pure and clear, as it had been for many years. This miracle was Oblomov’s soul, not dusty and transparent, like a crystal vessel with living water inside. Love in Oblomov’s life was both tragic and beautiful. The tragedy lies in his break with Olga Ilyinskaya, which led him to internal experiences. And she is beautiful because he finally found happiness with Agafya Matveevna, but his happiness lies in peace and humility. As a result of their love, little Andryushka is born, whom Stolz takes into his upbringing, and, probably, will make him the “future” Stolz, directing all his strength to mechanical labor, which Oblomov was so afraid of.

Conclusion.

I believe that the novel “Oblomov” shows not only a lazy gentleman, but a man brought up in Russian traditions. A man who refused mechanical labor and social communication, and preferred to lie on the couch in order to maintain his honesty and spontaneity. Oblomov is not only a representative of that time, but also of ours. In it we see ourselves, the features of the Russian people. Goncharov, who managed to understand and show us our “Oblomovism,” could not, however, help but pay tribute to the general error: he decided to bury the “Oblomovism” and give it a commendable funeral word. “Farewell, old Oblomovka, you have outlived your time,” he says through the mouth of Stolz, and he is not telling the truth. All of Russia, which has read or will read Oblomov, will not agree with this. No, Oblomovka is our direct homeland, its owners are our educators. I.S. Turgenev was right when he said: “As long as there is at least one Russian left, Oblomov will be remembered.” And Oblomov has been living within us for more than a century.

List of used literature:

1. N.G. Bykova, V.Ya. Links. Literature: a schoolchild's reference book. M.:

Philological Society "Slovo", Company "Klyuch" - "S", TKO, "Ast", Center for the Humanities at the Faculty of Journalism of Moscow State University named after M.V.

Lomonosova, 1995. – 576 p.

2. I.O. Rodion, T.M. Pimenova. All works of the school curriculum in a brief summary. – M.: “Rodin and Company”, TKO AST, 1997. – 616 p.

3. Article by N.A. Dobrolyubova “What is Oblomovism?” "Domestic Notes" No. 5. 1859.

Ilya Ilyich Oblomov - “our indigenous folk type”

Abstract by Maria Palaeva, an 11th grade student at school No. 763.

Moscow, 2001.

Introduction.

Some people find Goncharov's novel "Oblomov" boring. Yes, indeed, throughout the first part Oblomov lies on the sofa, receiving guests, but here we get to know the hero. In general, the novel contains few intriguing actions and events that are so interesting to the reader. But Oblomov is “our people's type,” and he is the bright representative of the Russian people.

That's why the novel interested me. In the main character, I saw a piece of myself. You should not think that Oblomov is a representative only of Goncharov’s time. And now Oblomovites live among us, because this novel glorifies Russian laziness. And many of us would gladly lie on the sofa, like Ilya Ilyich, if there was such an opportunity.

In my essay I consider the main question “What is Oblomovism?” and I’m trying to make out all the traits of Oblomov’s character in his relationships with Olga Ilyinskaya, Agafya Matveevna and Stolz.

“Oblomovism” is a national trait of the Russian people.

The story of how the good-natured sloth Oblomov lies and sleeps and how neither friendship nor love can awaken and raise him is a rather boring story. But it reflected Russian life, in it a living, modern Russian type appears before us, minted with merciless rigor and correctness, it expressed a new word of our social development, pronounced clearly and firmly. This word is Oblomovism; it serves as the key to unraveling many phenomena of Russian life.

The concept of “Oblomovism” includes the entire patriarchal way of Russian life, not only with its negative, but also with its deeply poetic sides. The broad and soft character of Ilya Ilyich was influenced by Central Russian nature with the soft outlines of sloping hills, with the slow, leisurely flow of lowland rivers. This nature simply disposes a person to rest.

“The soul shone so openly and clearly in his eyes, in his smile, in every movement of his head and hands.”

It is clear 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 receiving satisfaction of his desires not from his own efforts, but from others, developed in him apathetic immobility and plunged him into a pitiful state of moral slavery. This slavery is so intertwined with Oblomov’s lordship, so they mutually penetrate each other and are determined by one another, that it seems there is not the slightest possibility of drawing any boundary between them.

Oblomov - master; “he has Zakhar and three hundred more Zakharovs,” as the author puts it. Ilya Ilyich explains the advantage of his position to Zakhara in this way:

Sometimes he thought about the reasons that prompted him to lead such a life, and asked himself: “Why am I like this?” In the climactic chapter of the novel “Oblomov’s Dream,” the writer answers this question. He creates a picture of provincial landowner life and shows how lazy hibernation gradually becomes a normal human state.

In a dream, Oblomov is transported to his parents’ estate 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.” Oblomov sees himself as a little boy, striving to look into the unknown, ask more questions and get answers. But only caring 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 sleep.” And therefore, all those “seeking manifestations of strength” in Ilyusha “turned inward and sank, withering away.”

But Oblomov doesn’t just lie on the sofa, looking at the ceiling. He is dreaming. And as soon as his dreams collide with reality, Ilya Ilyich is lost, as was the case with his Oblomovka estate. His dreams will never come true because he won't even lift a finger to make them come true. He always hopes for the best...

But this problem is not only for Oblomov, but for the entire Russian people. If we remember our folk tales, we will understand the reason for the failure of Ilya Ilyich’s dreams to come true. In almost all our fairy tales, the heroes do not achieve anything with their work; either a pike or a goldfish fulfills all desires. So we still dream about a magic wand.

But Oblomov is no more idle than all the other Oblomov brothers; only he is more frank - he does not try to cover up his idleness even with conversations in society and walking along Nevsky Prospekt.

“Light, society! You are truly, on purpose, Andrei, sending me into this world and society to discourage me from being there!.. there is nothing deep there that touches the living.

You will enter the hall and will not stop admiring how symmetrically the guests are seated, how quietly and thoughtfully they sit - playing cards. These are all dead people. Why am I more guilty than them, lying at home and not infecting my head with threes and jacks?

Oblomov and Stolz.

Oblomov and Stolz are the main characters of the novel. Goncharov contrasts Stolz with Oblomov. Thanks to this comparison, the features of “Oblomovism” are even more revealed to us.

Stolz grew up in a poor family, where all days were spent working. Since childhood, he was accustomed to work and firmly knew that anything in life could be achieved only through hard work. Work for Stolz was a part of his life, a pleasure. He did not disdain even the most menial work. His life is full of action. For Oblomov it was a burden. He was not used to work and did not see the point in work. Since childhood, Oblomov was surrounded by the tender care of his parents and nanny, and Stolz was brought up in an atmosphere of constant mental and physical labor. Oblomov's ideal of happiness is complete calm and good food.

Goncharov tried to combine in Stolz German hard work, prudence and punctuality with Russian dreaminess and gentleness, with philosophical thoughts about the high destiny of man. But it didn't work out. His activities sometimes become worthless vanity. His practicality is far from high ideals and is aimed at personal well-being and bourgeois comfort. In Stolz, the mind prevails over the heart. He accuses Oblomov of idleness and tries to “stir up” him, force him to work. But does Oblomov need this? Even in his youth, he dreamed of “serving as long as he can, because Russia needs hands and heads to develop inexhaustible sources”... Once he had already entered the service, which seemed to him in the form of some kind of family occupation, and, disappointed, he applied resign. Oblomov realized that work is boredom, not idleness, and all his idylls about a “friendly, close family” were destroyed by cruel reality. But he was also convinced of the meaninglessness of the service, where everyone is in a hurry to “get things done” quickly, without even delving into it, and “with fury they grab onto something else, as if all the strength is in it...” All this constituted a single system, where work was aimed at personal comfort and career. Stolz was part of this system. He didn’t just want to “get Oblomov off the couch,” but to make him like himself, also becoming part of this system. This is exactly what Oblomov was afraid of, so all of Stolz’s attempts to “stir up” him were unsuccessful. In the life that Stolz offers him, Oblomov does not see a field that meets the highest purpose of man. Oblomov recognized only the work of the soul, practicality was unusual for him, he did not need a career. He has everything, and he prefers to lie on the sofa and indulge in dreams of the meaningless mechanical activity of Stolz. And even now he is “not alien to universal human sorrows, the pleasures of lofty thoughts are available to him,” and although he does not scour the world for gigantic work, he still dreams of worldwide activity, still looks with contempt at the laborers and speaks with fervor :

"No, I will not waste my soul

At the ant work of people..."

In the conflict between Oblomov and Stolz, another, historical and philosophical meaning shines through behind social and moral problems. The sad-funny Oblomov challenges modern civilization with its idea of historical progress. Oblomov is ready to leave the vain circle of history. He dreams that people would calm down and calm down, give up the pursuit of illusory comfort, stop playing technical games and begin to enjoy a simple, unpretentious life.

Oblomov and Olga.

The main plot situation in the novel is the relationship between Oblomov and Olga Ilyinskaya. Here Goncharov follows a path that had by that time become traditional in Russian literature: testing a person’s values through his intimate feelings, his passions. It is Olga’s look at her lover that helps to see Oblomov, the way the author wanted to show him. At one time, Chernyshevsky wrote about how, through the moral weakness of a person who is unable to respond to a strong feeling of love, his social failure is revealed. “Oblomov” does not oppose this conclusion, but reinforces it even more. Olga Ilyinskaya is characterized by harmony of mind, heart, will, and active goodness. The inability for Oblomov to understand and accept this high moral standard of life turns into an inexorable sentence for him as an individual. The novel so poetizes Ilya Ilyich’s sudden feeling of love, fortunately mutual, that hope may arise: Oblomov will be reborn as a person to the fullest. The hero's inner life began to move. Love discovered in him the properties of spontaneity, which then resulted in a strong emotional impulse, passion. Along with his feelings for Olga, Oblomov awakens an active interest in spiritual life, in art, and in the mental demands of the time. Olga sees in Oblomov intelligence, simplicity, gullibility, the absence of all those secular conventions that are also alien to her. She feels that there is no cynicism in Ilya, but there is a constant desire for doubt and sympathy. And it is in Olga, and not in Stolz, that one can see “a hint of a new Russian life”; One can expect from her a word that will burn and dispel “Oblomovism.”

In relation to women, all Oblomovites behave in the same shameful manner. They do not know how to love at all and do not know what to look for in love, just like in life in general. They are not averse to flirting with a woman as long as they see her as a doll moving on springs; They are not averse to enslaving a woman’s soul... of course! their lordly nature is very pleased with this! But as soon as it comes to something serious, as soon as they begin to suspect that this is really not a toy, but a woman who can demand respect for her rights from them, they immediately turn to the most shameful flight.

Oblomov definitely wants to possess a woman, he wants to force her to make all sorts of sacrifices as proof of love. You see, at first he did not hope that Olga would marry him, and he proposed to her with timidity. And when she told him that he should have done this long ago, he became embarrassed and was not satisfied with Olga’s consent. He began to torture her to see if she loved him enough to be able to become his mistress! And he was annoyed when she said that she would never go down this path; but then her explanation and the passionate scene calmed him down... But still, in the end, he became cowardly to the point that he was afraid to even show himself to Olga, pretended to be sick, covered himself with a raised bridge, and made it clear to Olga that she could compromise him. And all because she demanded from him determination, action, something that was not part of his habits. Marriage in itself did not frighten him, but Olga wanted him to arrange matters for his name before marriage; that would have been a sacrifice, and he, of course, did not make this sacrifice, but appeared as a real Oblomov. Meanwhile, he himself is very demanding. He imagined that he was not handsome enough and generally not attractive enough for Olga to fall in love with him. He begins to suffer, does not sleep at night, finally, armed with energy and writes Olga a long message.

All Oblomovites love to humiliate themselves; but they do this for the purpose of having the pleasure of being refuted and hearing praise from those before whom they scold themselves.

Oblomov, having written a libel about himself to Olga, felt “that it’s not hard for him anymore, that he’s almost happy”... He concludes his letter with Onegin’s moral teaching: “Let the story with me,” he says, serve as a guide for you in future, normal love " Ilya Ilyich, of course, could not contain himself at the height of humiliation in front of Olga: he rushed to see what impression the letter would make on her, saw that she was crying, was satisfied and could not resist appearing before her at such a critical moment. And she proved to him how vulgar and pathetic an egoist he was in this letter, written “out of concern for her happiness.” Here he finally gave up, as all Oblomovites do, however, when they meet a woman who is superior to them in character and development.

Olga constantly thinks not only about her feelings, but also about the influence on Oblomov, about her “mission”:

“And she will do all this miracle, so timid, silent, whom no one has listened to until now, who has not yet begun to live!”

And this love for Olga becomes a duty. She expects activity, will, energy from Oblomov; in her mind, he should become like Stolz, but only while preserving the best that is in his soul. Olga loves the Oblomov whom she herself created in her imagination, whom she sincerely wanted to create in life.

“I thought that I would revive you, that you could still live for me, but you have already died a long time ago.”

All this with difficulty Olga pronounces a harsh sentence and asks a bitter question:

“Who cursed you, Ilya? What did you do? What ruined you? There is no name for this evil..."

“Yes,” answers Ilya. “Oblomovism!”

Oblomov and Agafya Matveevna.

Oblomov once, she is ready to give him her whole life. Agafya Matveevna is much simpler than Olga, but only with this woman does Oblomov find his human happiness. In the house on the Vyborg side, Agafya Matveevna takes on all the household chores of Ilya Ilyich. For Ilya Ilyich, this was the fulfillment of his dream. He begins to live the way he likes: lying on the sofa, eating, drinking, sleeping has become much more pleasant and convenient than always “spinning” in the service, like Sudbinsky, than writing accusatory articles, like Penkin. His life flowed calmly, without external worries and worries.

“It’s as if an invisible hand planted it, like a precious plant, in the shade from the heat, under a shelter from the rain, and is caring for and nurturing it.”

In essence, we can say that the house on the Vyborg side is the same Oblomovka. And Agafya Matveevna is the same Zakhar.

“The trusty eye of the housewife looked after the fish so that, God forbid, it would not be overcooked; the greens in the salad were the freshest. The dust has been swept away from the mirror and chairs. The room was always clean with a fresh morning smell.”

What could make the master fall in love with a simple woman, the widow of a college assessor, who knew nothing but how to make the life of her loved one very comfortable? It seems to me that after Ilya Ilyich broke up with Olga Ilyinskaya, Ilya Oblomov’s heart was broken. But it would be unfair to say that Oblomov died for all noble and great purposes, burying himself alive on the Vyborg side. Everything seemed to be overgrown, flooded, covered with the patina of time in it. Only one thing remained untouched in Ilya, pure and clear, as it had been for many years. This miracle was Oblomov’s soul, not dusty and transparent, like a crystal vessel with living water inside. Love in Oblomov’s life was both tragic and beautiful. The tragedy lies in his break with Olga Ilyinskaya, which led him to internal experiences. And she is beautiful because he finally found happiness with Agafya Matveevna, but his happiness lies in peace and humility. As a result of their love, little Andryushka is born, whom Stolz takes into his upbringing, and, probably, will make him the “future” Stolz, directing all his strength to mechanical labor, which Oblomov was so afraid of.

Conclusion.

Oblomov is not only a representative of that time, but also of ours. In it we see ourselves, the features of the Russian people.

Goncharov, who managed to understand and show us our “Oblomovism,” could not, however, help but pay tribute to the general error: he decided to bury the “Oblomovism” and give it a commendable funeral word. “Farewell, old Oblomovka, you have outlived your time,” he says through the mouth of Stolz, and he is not telling the truth. All of Russia, which has read or will read Oblomov, will not agree with this. No, Oblomovka is our direct homeland, its owners are our educators.

I.S. Turgenev was right when he said: “As long as there is at least one Russian left, Oblomov will be remembered.”

And Oblomov has been living within us for more than a century.

Bibliography

N.G. Bykova, V.Ya. Links. Literature: a schoolchild's reference book. M.: Philological Society "Slovo", Company "Klyuch" - "S", TKO, "Ast", Center for the Humanities at the Faculty of Journalism of Moscow State University named after M.V. Lomonosova, 1995. – 576 p.

AND ABOUT. Rodion, T.M. Pimenova. All works of the school curriculum in a brief summary. – M.: “Rodin and Company”, TKO AST, 1997. – 616 p.

Article by N.A. Dobrolyubova “What is Oblomovism?” "Domestic Notes" No. 5. 1859.