Why are Stolz and Oblomov friends? Unified State Examination literature (Goncharov I. A.). Confirm that Oblomovka is heaven on earth. Attitude to the love of Olga and Oblomov

Critics still cannot agree on the interpretation of Oblomov’s image. But in the assessments of the second hero, immediately after the appearance of the novel, unanimity reigned. It was interpreted as unsuccessful: “The image of Stolz is pale and not real. Not alive, but just an idea...” Reviewers pointed out that this character was introduced only for ideological and compositional reasons. In order to deepen Oblomov’s features, it was necessary to contrast him with the contrasting character of a modern figure. Well, in Russian life there have been few such people so far: “... Having put up a Russian next to him as an example of energy, knowledge, labor<…>I would fall into contradiction with myself." As a character and character, Stolz remained distant and incomprehensible to the Russian reader. His activity, love of work, and desire to learn are incomprehensible. The critics' reasoning somehow surprisingly coincides with Tarantiev's denunciations. This colorful character, as we remember, was indignant: “Suddenly, out of his father’s forty, he made three hundred thousand in capital, and in the service he became a servant, and a scientist... now he’s still traveling!<…>A Russian person will choose one thing, and even then slowly, little by little<…>. And the fact that Stolz negatively evaluates an insignificant character like Tarantyev forces him to take a closer look at Andrei Ivanovich. Just as the Oblomovs have never disappeared in Rus', the Stoltzes will never disappear in Europe. For the second time in his novel, Goncharov creates a hero national scale.

The patriarchal nurturing of Ilyusha is contrasted with the system of European education that Andrei Stolz received in the house of a German manager. What is the purpose of such education? “When his son returned from the university,” says Goncharov about Andrei’s youth, “and lived at home for three months, his father said that he had nothing more to do in Verkhlev<…>. Why did he need to go to St. Petersburg, why couldn’t he stay in Verkhlev and help manage the estate - the old man didn’t ask himself about this; he only remembered that when he himself finished his course of study, his father sent him away. And he sent his son away - this is the custom in Germany.” This is the custom in Europe in general, where a grown-up person immediately flies out of the family nest and knows that in the future in life he can only rely on himself. Parents also know about this, and that’s why education is structured this way: to create an independent, self-sufficient personality capable of overcoming any everyday adversity. Ivan Bogdanich does this under the incessant sighs and groans of his wife, a born Russian noblewoman.

The main virtue of a Russian child is obedience, and the “good mother” sincerely worries that her son is growing up as a tomboy: “Have mercy, Ivan Bogdanich,” she complained, “not a day goes by without him ( Andryusha) came back without a blue spot, and the other day he broke his nose until it bled.” “What kind of child is he who has never broken his own or another’s nose? - said the father with a laugh.” Fights prepare you for a world where you have to take your place by force. For the same reason, the father does not condemn his son’s sudden absences. “...The mother cried her eyes out, but the father did nothing - he walked around the garden and smoked.” Although, one must assume, he worries in his soul no less than his tearful wife - this is evidenced by movements in which anxiety is discernible. Even the father does not dare to tie independence growing person. But he has the right to demand that during personal studies one does not forget case. Therefore, after the long-awaited return of his son, the father is primarily interested in “whether he has a translation ready ... into German.” Idleness alone can become the cause of parental repression: “The father took him by the collar with one hand, led him out the gate, put a cap on his head and kicked him from behind so that he knocked him off his feet.

“Go where you came from,” he added, “and come again with a translation, instead of one, two chapters, and teach your mother the role from the French comedy that she asked: don’t show up without it!”

In the Western world, there reigns a cult of knowledge incomprehensible to the Russian, a desire to discover the secrets of science and crafts: “When he grew up, his father put him on a spring cart, gave him the reins and ordered him to be taken to the factory, then to the fields, then to the city<…>, then look at some clay, which he takes on his finger, and gives to his son to smell, and explains what it is like, what it’s good for.” The mother correctly guesses that after this, hopes of making a “master” out of Andryusha will come to an end, for the lordship is proud of the opportunity to do nothing: “And suddenly he will almost be turning the millstones in the mill himself, returning home from factories and fields, like his father: in lard, in manure, with red-dirty, callused hands<…>!” The Russian person is especially shocked by the fact that there is no place for family attachments: “Well, so be it; but he paid him a salary, as a craftsman, completely in German: ten rubles a month, and forced him to sign...” Such upbringing contradicts the entire surrounding life. The writer exclaims with irony: “Take comfort, good mother: your son grew up on Russian soil<…>. Oblomovka was nearby: there is an eternal holiday there!

Nowhere do the contrasts in worldviews, traditions and ideals of the European and Russian worlds manifest themselves more clearly than in the episode of the Stoltsev’s last farewell. Restraint and stinginess in expressing the feelings of father and son are interpreted by Russian peasants as callous cruelty. But suddenly a loud cry was heard in the crowd: some woman could not stand it: “Father, you little light! - she said<…>. - Poor little orphan! You don’t have a mother, there’s no one to bless you<…>. Let me at least rebaptize you, my handsome man!..” Meanwhile, the father says goodbye to his son with secret pride. According to European standards, he completely fulfilled his parental duty: “...You are well educated: all careers are open to you; You can serve, trade, or at least write, perhaps - I don’t know what you will choose, what you feel more inclined to do.” ““Yes, I’ll see if it’s possible for everyone,” said Andrey. The father laughed with all his might and began to pat his son on the shoulder..."

The breadth of interests of the young Stolz only superficially resembles the simple-minded naivety of the romantic Aduev, who wanted to simultaneously become the head of a department and a fashionable poet. It is based on the belief that everything can be achieved through work and knowledge. But the manager’s son knows how to work and loves to learn. Hence the condescending pride of the father, who obviously did not expect any other answer.

- Well, if you don’t have the skill, you won’t be able to find it yourself.<…>your path,” continues old Stolz, “you will need to consult, ask - go to Reingold: he will teach<…>. I'll tell you the address.

“Don’t, don’t talk,” Andrei objected, “I’ll go to him when I have a four-story house, but now I’ll do without him...”

The son passed this small test with honor. After all, it is not shameful for a Russian to achieve success in life thanks to the patronage and help of his elders. For a European this is humiliation. In addition, pride does not allow you to accept help. According to Goncharov, the desire to achieve everything on one’s own and to shame one’s elders, “self-love” is the main reason for the success of a European. And vice versa. Oblomov and Olga talk about this: “But pride is everywhere<…>. Andrei Ivanovich says that this is almost the only engine that controls the will.” It’s not for nothing that the hero’s name is translated from German as “proud.”

Why are Stolz and Oblomov friends?

The idea for the novel “Oblomov” arose towards the end of the 50s of the 19th century, at the same time Goncharov published the chapter “Oblomov’s Dream” in his “Literary Collection with Illustrations,” which later became the compositional center of the work. The novel was published in its entirety in 1859 in the journal Otechestvennye zapiski.

Goncharov’s entire work is built on an antithesis, which helped the author to better reveal the characters’ characters and reveal the author’s intention. The novel contrasts the central characters - Ilya Ilyich Oblomov and Andrei Ivanovich Stolts.

From the first pages of the novel, starting with the portrait characteristics of the heroes, the reader notices the difference between them. The antipode of the “flabby beyond his years,” bored and apathetic Oblomov is Stolz, all made up of “bones, muscles and nerves,” energetic and calculating. However, despite all the differences between the heroes, the friendship of Oblomov and Stolz lasts for many years. What is the reason for the close friendship of the heroes?

The secret of the long friendship between Oblomov and Stolz, first of all, lies in the fact that the heroes have known each other since childhood. Goncharov shows how the years of childhood and general study bring such different characters together: “...they were connected by childhood and school - two strong springs.” Drawing pictures of life in Oblomovka, the writer draws attention to scenes of children playing together and notes that Stolz was accepted into the Oblomov family as one of his own. Being a naturally inquisitive and active boy, Oblomov enjoys exploring the world around him with Stolz. According to Goncharov, it is the difference in upbringing that determines the different development of characters. In the composition “Oblomov’s Dream”, a large place is devoted to the school years of the heroes: if Oblomov’s parents left the child at home at every opportunity and spoiled him, then Stolz’s father taught Andrei to work and earn money from an early age, instilled in him hard work and determination.

The relationship between Stolz and Oblomov continues into adulthood, remaining as trusting as in childhood. The reason for this is the ability to appreciate each other's best qualities. Stolz, despite Oblomov’s apathy and laziness, saw in him his “pure”, “crystal” soul. Oblomov, in turn, sincerely appreciates Stolz’s best traits: efficiency, deep intelligence, decency. Ilya Ilyich, escaping from real life into the wonderful world of dreams, and the rational, controlling Andrei Stolts find in each other those qualities that they cannot reveal in themselves.

The friendship of the heroes is built not only on mutual understanding and empathy, but also on mutual assistance. It is Stolz’s arrival that brings variety to Oblomov’s life, introduces him to Olga Ilyinskaya and thereby contributes to the transformation of Ilya Ilyich. In turn, only next to Oblomov does Stolz find peace of mind, calmness, and can reflect on the meaning of life. In the episode of the argument between the heroes (part 2, chapter 4), the worldview of each of them is revealed. To Oblomov’s thoughts about the meaninglessness and emptiness of social life and romantic dreams of life in the village, Stolz exclaims: “Yes, you are a poet, Ilya!” This is how Stolz recognizes the spiritual beauty and sublimity of his friend.

Goncharov reveals the theme of friendship in the novel “Oblomov” using the example of the relationship between two heroes, whose characters and lifestyles are opposed to each other. However, the differences between Oblomov and Stolz are only external, since both heroes are individuals who are in constant search of their own “I”, but have never been able to fully reveal themselves and realize their full potential. The images of the heroes are dramatic, since neither the constantly active, calculating Stolz, nor Oblomov, who lives in illusions, find harmony between the two main principles - rational and sensual. This leads to the death of Ilya Ilyich and Stolz's internal conflict.

Stolz's arrival at Oblomov's house. First there will be a long and detailed description of a lazy life and a lazy environment. Then, like a fresh wind, Stolz will burst in and try to change something in this sleepy existence of his friend. It is quite difficult to analyze the second part without saying a few words about the first part and the general concept of the novel. It is interesting that the first part of the novel ends with Oblomov’s dream, which seems to sum up this whole “lazy” description; and one of the heroes of this dream is Stolz’s childhood friend.

The first part of the novel is devoted to one ordinary day of the hero, who spends it without leaving the couch. The author's leisurely narration depicts in detail the furnishings of Oblomov's apartment, which bears the stamp of abandonment and desolation. In the things surrounding the hero, his character is guessed. The author pays special attention to the description of Oblomov’s robe: oriental, “without the slightest hint of Europe,” spacious, wide, which obediently follows the movements of his body. The image of the robe grows into a symbol that, as it were, denotes the milestones of his spiritual evolution. Love for Olga Ilyinskaya awakens the hero’s soul to an active, active life. These changes are associated in Oblomov’s thoughts with the need to “throw off the wide robe not only from the shoulders, but also from the soul and mind.” And indeed, for some time the robe disappears from sight, so that then the new owner of Oblomovka, Agafya Matveevna Pshenitsyna, finds it in the closet and brings it back to life.

So, Oblomov’s weak attempts to change his existence fail. The hero continues to lie on the sofa, hiding from the intrusion of outside life, but it still bursts into his darkened, sealed room in the form of an unpleasant letter from the headman or a demand from the owner to move out of the apartment. Oblomov cannot bring himself to read the letter, he puts off searching for a new apartment, but thoughts about this constantly poison his existence. “It touches life, it gets you everywhere,” Ilya Ilyich complains, trying to turn to his guests for help and advice. These people from the outside world are completely different from each other, there is not the slightest resemblance in them to Oblomov. They are all active, mobile and energetic. Here the empty dandy Volkov appears, and the careerist Sudbinsky, and the denunciatory writer Penkin, and Oblomov’s impudent fellow countryman Tarantiev, and the faceless Alekseev.

Why does the writer introduce these episodic characters into the novel, who appear in turn at Oblomov’s famous sofa? Probably, each of Ilya Ilyich’s visitors, talking about their activities and problems, represents one or another version of an active, active life that reality offers the hero instead of lying on the sofa. After each guest leaves, the owner sums up the conversation with him and gives him his assessment. And this assessment is always negative. Oblomov is not at all attracted by secular success, career, or superficial literary denunciation. Why does the OC so stubbornly reject these possible paths? Maybe because he doesn’t see anything in them except empty, unnecessary vanity. He wants something more sublime and beautiful, for which it is worth getting off the couch. And indeed, when you think about it, Oblomov’s position seems more attractive and honest.

But this does not mean at all that Ilya Ilyich is completely satisfied with his current position. He realizes the squalor and emptiness of his mediocre life, his spiritual fall. The hero strictly judges himself for laziness and passivity, is ashamed of his lordship, comparing his soul to a treasure littered with all sorts of rubbish. A painful question arises before him: “Why am I like this? “The writer gives the answer to it in the chapter “Oblomov’s Dream,” which is called “the overture of the entire novel.” The hero dreams of his childhood in patriarchal Oblomovka, we see the social conditions that shaped his character. The playful and inquisitive Ilyusha is not even allowed to dress himself. Labor here is the privilege of the courtyard servants, who vigilantly watch over the little barich, preventing all his desires.

The serfdom of Russia not only condemns the Russian people to a miserable and powerless position, but also cripples the soul of a growing nobleman, killing his wonderful inclinations of character. In Oblomov they often see only the destructive influence of serfdom and lordship. But he has many attractive qualities generated by the same patriarchal environment. This is his kindness, critical attitude towards himself, deep analytical mind, honesty, breadth of soul, desire for something higher. Ilyusha Oblomov was brought up on Russian folk tales and epics. It grows in the bosom of soft Central Russian nature, which promises a person peace and quiet, surrounded by love and affection. Therefore, vanity and prudence are organically alien to him. He is looking for “intelligence, will, feelings” in life. And such a beautiful, all-encompassing feeling as love for Olga Ilyinskaya illuminates Oblomov’s life, awakening his soul, instilling hope for happiness. But if he loves sincerely and tenderly, then calculation and vanity clearly prevail in Olga’s feelings. She set herself a difficult and noble goal - to awaken a sleeping soul to life. Maybe Ilya Ilyich feels it. For him, love becomes a test that he cannot stand.

The main antipode character of Oblomov in the novel is his friend Andrei Stolts. This is a nature completely opposite to the lazy and slacker Ilya. The author introduces us in detail to the origin, upbringing, education and current activities of Stolz. It would seem that he embodies the best human qualities: hard work, intelligence, energy, honesty, nobility, but critics of different times, not without reason, noted the sketchiness of his image, the unconvincingness of his ideas and activities. Despite all his merits, Andrei Stolts is perceived as a successful, energetic businessman, a representative of the new bourgeois way of life, which is replacing the patriarchal blokes.

Of course, this historical path of development of the country is inevitable. It is the Stolts who lead a backward country to civilization while the Oblomovs lie on the sofa. But in a conversation with a friend, Ilya Ilyich gives a surprisingly accurate and apt assessment of the world of industrialists, into which Stolz is persistently trying to introduce him. He calls businessmen dead men, sleeping people who only imitate activity, interest, vigorous activity, through which hopeless boredom peeks through.

So, what is “Oblomovism”? This concept is much broader than it seems at first glance. It includes the entire patriarchal way of Russian life with its laziness, idleness, drowsiness, combined with kindness, love, and poetry. In addition, the prosperous working and cultural life of the Stolts represents a modernized bourgeois version of “Oblomovism.” That is, this concept can be used to designate a state in general that stops in its development, focusing on personal interests, and therefore is inferior.

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HISTORY OF CREATION

As I. Goncharov himself recalled, the idea for “Oblomov” arose after “An Ordinary History” - the writer’s first novel - was published in 1847. In 1849, “Oblomov’s Dream. An episode from an unfinished novel." The chapter appeared after Goncharov’s trip to Simbirsk, where patriarchal life and traditions were well preserved.

The inhabitants of the city inspired the writer to create the image of Oblomovka. The publication of “Oblomov’s Dream” was a great success and attracted attention. However, it took the author more than ten years to write the entire novel. Working on the novel was not easy. Goncharov himself noted that the work was written slowly and difficultly. The writer's journey on the frigate Pallada and the creation of travel essays, which were published in 1858, also slowed down work on Oblomov. The novel was published in its entirety in four issues of the journal Otechestvennye zapiski only in 1859 and brought the author wide fame, becoming his main work.

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GENRE AND COMPOSITION

Genre. Social-psychological novel. Composition. The novel consists of four parts. The parts are divided into chapters. The first part is dedicated to one day of Oblomov, which he spends without leaving the couch. The author leads people past this sofa, no better than Oblomov, showing the insignificance of secular vanity. This is the exposition of the novel - getting to know the hero, the history of his childhood, the conditions that shaped him.

The second part talks about the love of Oblomov and Olga. An attempt is made to save the hero from Oblomovism. Stolz is opposed to Oblomov. The action develops and culminates - Oblomov’s declaration of love.

The third part convinces the reader that Oblomov cannot sacrifice peace for the sake of love. Another heroine appears - Agafya Pshenitsyna. The fourth part echoes the first - the hero returns to his usual state (Oblomovism on the Vyborg side). There is a gradual approach to the end. Oblomov again goes into hibernation and then dies. The composition of the novel is circular: sleep - awakening - sleep.

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ILYA ILYICH OBLOMOV

Portrait. This is a young man of good appearance. His facial features are calm, his body is round and delicate, his neck is white, his hands are plump and small. “He will sit down, cross his legs, rest his head on his hand - he does all this so freely, calmly and beautifully.” The author likes Oblomov (he largely copied his image from himself). Typical Russian gentleman. He comes from a noble family, is smart and educated. He lives for his own pleasure: eats, drinks and sleeps. His ideal is peace and serenity. This is more important for the hero than always worrying about business, like Sudbinsky, chasing after women, like the dandy Volkov, or writing accusatory articles, like the writer Penkin.

Oblomov is not attracted to either secular entertainment or a career - he sees nothing in them but vanity. And for the sake of fuss, you shouldn’t get up from the couch and take off your cozy robe. The contemplator and dreamer never does anything himself - for this he has “Zakhar and three hundred more Zakharovs.” He only dreams of how wonderfully he will arrange everything on his estate. Typical Russian character. A gentle and kind person with a sensitive heart and a “crystal soul.” Impractical, irrational, not adapted to life, helpless in the face of problems. He is used and deceived by everyone, even his faithful servant Zakhar.

Oblomov himself strictly judges himself for passivity and compares his soul to a treasure piled with garbage. He is faced with a painful question: “Why am I like this?” The answer is given in the chapter “Oblomov’s Dream”. Generalized national character. Oblomov’s features are characteristic not only of the era that the novel reflects. His image is a national Russian character. Laziness, kindness, open-mindedness, complaisance, naivety, sensitivity, pure soul - all these are historically established qualities of the Russian person. The active rationalist Stolz does not take root in Russia; Oblomov is more organic for her.

Turgenev wrote: “... as long as there is at least one Russian left, Oblomov will be remembered.” Oblomovism. N. Dobrolyubov in the article “What is Oblomovism?” called this phenomenon a disease of Russian society, consisting of idleness, irresistible laziness and inability to engage in social activities. Oblomov is the last in a series of “superfluous people” (Onegin, Pechorin, Rudin) who were unable to find a use for themselves.

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OBLOMOV'S DREAM

History of creation. The chapter was written in 1849 and was a great success. Everyone was waiting for the novel to appear in its entirety, but it was written in its entirety much later. Goncharov called the chapter “the overture of the entire novel.”

Artistic technique. A nostalgic dream about Ilyusha’s childhood is the key to understanding the image of Oblomov - it reveals the origins and causes of Oblomovism, represents the environment, life and morals that shaped the hero.

Oblomovka is an idyllic region where Oblomov was born and raised. It is presented as a promised land, as an island of happiness. Ilyusha grew up in the lap of beautiful nature. The geography of this corner of the earth does not include mountains - only plains surrounded by hills. There are no hours and minutes here. Time is associated with the concept of a circle, with the cycles of nature (spring - birth of a person, summer - youth, autumn - old age, winter - death).

Mental comfort, peace and quiet - such is the atmosphere of this “primitive paradise”. The reasons for Oblomovism, sweet idleness plunges the hero into hibernation. His wonderful spiritual qualities are already buried in Oblomovka, they are being killed by laziness and spiritual stagnation.

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THE ROLE OF DETAILS IN THE NOVEL

Oblomov's robe. This is not just an artistic detail - the hero’s favorite clothes are, in fact, a character in their own right. The robe is a symbol of Oblomovism. Taking off your robe means radically changing your life. The item is described in detail: “How 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.” A cozy dressing gown reflects the character of its owner - it is Oblomov’s double.

The hero wears a robe not only on his body - his mind and soul also seem to be wrapped in such a robe. At the beginning of the novel, Oblomov lovingly wraps himself in its wide flaps. It is emphasized that he has been wearing a robe for a long time - just as long ago he has been carrying laziness and apathy in his soul. Thanks to his love for Olga, the hero wakes up, comes to life and forgets about his robe. After breaking up with Olga, he lives in the house of Agafya Pshenitsyna, who not only got the robe, but also repaired it - mended it, removed the stains. Until the end of his life, Oblomov never parted with his favorite robe.

Lilac branch. The branch, plucked by Olga during her meeting with Oblomov and picked up by the hero, helped the lovers understand each other’s feelings. She became a symbol of their love and the possibility of changing their lives for the better. But just as the lilac fades, so does their love. Lilac appears again at the end of the novel - it blooms on Oblomov’s grave. Interior.

In Oblomov’s house, at first glance, everything is beautiful and rich: mahogany furniture, cozy sofas, screens with birds and fruits unprecedented in nature, silk curtains, carpets, paintings, bronze, porcelain. But the back of the sofa had sagged, cobwebs were “clinging to the walls in the form of festoons,” notes could be written on the mirrors, expensive carpets were stained. If it were not for the owner himself, lying on the sofa, one would think that no one lives here - everything is so faded, dusty and devoid of traces of human presence. There is last year’s issue of the newspaper, and “if you dipped a pen into it, a frightened fly would burst out of the inkwell with a buzz.”

This description is reminiscent of the home of Gogol's Plyushkin. Perhaps, if not for the participation of the energetic Stolz, not for Olga’s love, not for the care of Agafya Pshenitsyna, Oblomov’s fate would have been just as pitiful.

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OBLOMOV AND STOLTZ

Origin. Oblomov comes from an old noble family with patriarchal traditions. And his grandfathers and parents did nothing. Stolz is from a poor family: his father is a Russified German, the manager of a rich estate, his mother is an impoverished noblewoman. Upbringing. Ilyusha was accustomed to idleness and peace. Labor in Oblomovka was a punishment. The family had a cult of food, and after eating there was a sound sleep.

Andryusha's father taught him all the practical sciences, instilled in him a love of work, perseverance, and accuracy. Test of love. Oblomov needs maternal love - the kind that Agafya Pshenitsyna gave him. Stolz needs a woman equal in strength and views. His ideal is Olga. Characteristic. The heroes are complete antipodes. Stolz strives forward, he is not afraid of problems and failures, he is confident that he will achieve everything. His whole life is hard work.

The meaning of Oblomov’s life is a dream. However, friends not only complement each other, but also need each other. Compared to Andrei, Ilya is passive and helpless, but next to him the strong Stolz finds peace of mind.

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OLGA ILYINSKAYA AND AGAFYA PSHENITSYNA

Portrait. In Olga there is “no affectation, no coquetry, no lies, no tinsel< … >if she were turned into a statue, she would be a statue of grace and harmony.” In Agafya, truly Russian beauty is noted: “the chest and shoulders shone with contentment and fullness, meekness and only economic care shone in the eyes.” She is kind and modest, an excellent housewife, caring and sensitive.

Origin. Olga is from the nobility, received an excellent education, has an extraordinary mind, and strives for new knowledge. Agafya is from the people, not distinguished by education, very simple. Role in Oblomov's life. Olga's love is spiritual, but selfish (she loves her efforts and efforts in Oblomov). He is tired of Olga's restless nature; she does not look like the woman of his dreams.

Olga forced Oblomov to get up from the sofa, take off his robe, and experience romantic love. Agafya’s love is selfless and sacrificial. She accepted Oblomov for who he is and did not try to change him. All his dreams came true in her house.

Landowner Ilya Ilyich Oblomov. The main character is “a man of thirty-two or three years old,” lives in St. Petersburg, on Gorokhovaya Street, with his servant Zakhar, using the funds brought by the Oblomovka estate. This is a man of “pleasant appearance, with dark gray eyes, but with a lack of 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.”

Ilya Ilyich is kind, but very lazy - he prefers to lie on the sofa in his favorite robe. Lying down for him “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”...

Oblomov is in trouble. He received a letter from the headman from Oblomovka, complaining about a bad harvest and a decrease in income, and the owner of the apartment in which Oblomov lives asks to vacate it. The hero should go to Oblomovka, solve the issue of moving to another apartment, but all this is for him
flour.

Visitors. Volkov, Sudbinsky, Penkin, Alekseev come to Oblomov in turn. They talk about themselves and invite you to May Day festivities in Yekateringof. Oblomov refuses, inventing various reasons. Volkov, in shining health, is delighted with social life, he talks about his new tailcoat, about his crush, and shows off his new gloves.

Sudbinsky, a former colleague of Oblomov, has made a career and is going to marry the daughter of a state councilor with a large dowry. “And blind, and deaf, and dumb to everything else in the world. And he will come out among the people, over time he will manage his affairs and grab ranks...” Oblomov thinks about him.

The writer Penkin wonders if Oblomov has read his article “about trade, about the emancipation of women, about beautiful April days and about the newly invented composition against fires.” The next visitor is Alekseev (“an impersonal allusion to the human mass”). This is a man “with an uncertain physiognomy”, “his presence will not add anything to society, just as his absence will not take anything away from him.”

Ilya Ilyich tells all the guests about his problems, but no one wants to advise him - everyone is busy with their own affairs.

Tarantiev. The fifth to come to Oblomov is his fellow countryman Tarantiev, a swindler and scoundrel. He was “a man of a lively and cunning mind; no one can judge any general everyday question or legal complicated matter better than him< … >Meanwhile, twenty-five years ago he himself was assigned to some office as a scribe, and in this position he lived until his gray hairs. It never occurred to him or anyone else that he should go higher. The fact is that Tarantyev was a master of just talking...”

Alekseev and Tarantyev visit Oblomov constantly - they go to him “to drink, eat, smoke good cigars.” But they irritate the hero. The only person close to him whom he remembers all the time is Andrei Stolts. He should return from his trip soon. He could solve all of Oblomov’s problems.

Tarantiev scolds Oblomov for lying down all the time, forces him to go to the estate to restore order there, and offers to solve the problem of finding another apartment simply - move to live with his godfather. Oblomov does not accept Tarantiev’s advice. The guests are leaving.

Oblomov's life in St. Petersburg. At first, the hero was full of aspirations and dreamed of many things: about success in the service, about a role in society, about starting a family. He kept preparing to start living, but did not move one step closer to his dreams.

Oblomov, brought up in an atmosphere of love and kindness, perceived service as “some kind of family activity, like, for example, lazy writing down income and expenses in a notebook, as his father did.”

He believed that officials were “a friendly, close family, vigilantly concerned about mutual peace and pleasure, that visiting a public place is by no means an obligatory habit that must be adhered to every day, and that slush, heat or simply indisposition will always serve as sufficient and legitimate excuses for not holding office.” But I realized that “it would take at least an earthquake to prevent a healthy official from coming to work.”

All this filled him with fear and boredom. So Oblomov served for two years. One day he sent a dispatch to Arkhangelsk instead of Astrakhan. Frightened, he went home, called in sick, and then resigned altogether. With women, Ilya Ilyich limited himself to “worship from afar.”

Oblomov “every day became more and more firmly established 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, except at briefly acquainted, mostly single houses, where he could take off his tie, unbutton his vest, and where he could even “lounge” or sleep for an hour.” Soon he got tired of this too.

Only Stoltz managed to get Oblomov out of the house, but Stoltz was often absent.

Until the age of fifteen, Ilya Ilyich studied at a boarding school, “of necessity, he sat upright in class, listened to what the teachers said, because nothing else could be done, and with difficulty, with sweat, with sighs, he learned the lessons given to him.” Reading tired him, only “the poets touched him to the quick.” While reading, “no matter how interesting the place where he stopped was, but if the hour of lunch or sleep found him at this place, he put the book down with the binding facing up and went to dinner or put out the candle and went to bed.” As a result, his head “was like a library, consisting of only scattered volumes on different parts of knowledge.”

Zakhar. Oblomov’s servant is over fifty years old. He is grumpy, unkempt and awkward. It's fun to watch how Zakhar argues with the owner over every little thing, and he constantly reproaches the servant for sloppiness and laziness. Zakhar is rude and roguish (he steals change from purchases), but is devoted to his master.

“He would not think of burning or drowning for him, not considering this a feat worthy of respect or some kind of reward.” Zakhar nursed little Oblomov. “Just as Ilya Ilyich could neither get up, nor go to bed, nor be combed and put on shoes, nor have dinner without Zakhar’s help, so Zakhar could not imagine another master, besides Ilya Ilyich, another existence, how to dress him, feed him, be rude to him, to dissemble, lie and at the same time inwardly reverence him.”

Doctor's visit. Ilya Ilyich's squabble with Zakhar is interrupted by the arrival of the doctor, who, having listened to Oblomov's complaints, warns that if he does not change his lifestyle, then in a couple of years he will have a stroke.

All the problems that befell Oblomov at once plunge him into anxious thoughts. He “painfully felt that some good, bright beginning was buried in him, as in a grave, like gold in the depths of a mountain.” But this treasure is “deeply and heavily littered with rubbish, alluvial debris.” “However... it would be interesting to know... why am I... like this?” - the hero asks himself. Bitter reflections upset Oblomov, but “sleep stopped the slow and lazy flow of his thoughts.”

Oblomov's dream. The hero sees in a dream his childhood, his parents, his carefree life in his beloved Oblomovka. He is seven years. He wakes up in his crib. The nanny dresses him and takes him to his mother. All household members shower the boy with affection and praise.

After this, feeding him with buns, crackers and cream begins. Then the mother lets Ilyusha go for a walk with strict instructions to the nanny not to leave the child alone and not to let him into the ravine - the most dangerous place in the neighborhood. The day in Oblomovka passes slowly. The father sits by the window and watches everything that is happening in the yard.

The mother spends three hours talking to the tailor about how to alter Ilyusha’s jacket from her husband’s sweatshirt, then she goes to watch the apples being filled in the garden.

The most important concern is dinner, after which everyone sleeps (the coachman in the stable, the gardener under a bush in the garden, etc.), Nanny tells Ilyusha scary fairy tales in which it is not the hero’s courage, but the help of a good sorceress that leads to a happy ending.

Growing up, Ilya Ilyich realized “that there are no honey and milk rivers, no good sorceresses,” but “his fairy tale is mixed with life, and he sometimes unconsciously feels sad, why is a fairy tale not life, and why is life not a fairy tale.” Oblomov “is drawn to the direction where they only know that they are walking, where there are no worries and sorrows; he always has the disposition to lie on the stove, walk around in a ready-made, unearned dress and eat at the expense of the good sorceress.”

Ilya also dreams of his German neighbor Stolz, with whom the boy went to study. Ilya is inseparable from his son, Andryusha.

Pried Stoltsa. While the master is sleeping, Zakhar gossips about him with the janitor, women and lackeys, then tries to wake Oblomov. Andrei Stolts, who has just arrived, laughs as he watches the scene of his friend’s bickering with Zakhar.

Andrey Stolts is a successful and hardworking person. He was “only half German, through his father: his mother was Russian; he professed the Orthodox faith; his natural speech was Russian.” From his father he received a strict German upbringing, from his mother he inherited tenderness and kindness.

When Stolz graduated from the university, his father did not allow him to live at home and sent his son to St. Petersburg. The same age as Oblomov, Stolz grew up with him, then served, retired, acquired a house and money. Participates in a company that ships goods abroad. “He is all made up of bones, muscles and nerves, like a blooded English horse.”

Stolz, a man with a strong character, considered himself happy and stubbornly followed his chosen path. He shared a happy childhood with Oblomov.

Stolz often took time off from work and went to a friend’s house to “sit on a wide sofa and, in a lazy conversation, take away and calm an anxious or tired soul.” Stolz is characterized by constant activity, but he had no unnecessary actions; “he controlled sorrows and joys, like the movement of his hands, like the steps of his feet, or how he dealt with bad and good weather.”

Stolz is trying to change Oblomov's life. Andrei is outraged by his friend’s lifestyle and tries to stir him up - he takes him out into the world. They spend a whole week making visits. Oblomov gets tired of the unusual bustle and tells Stoltz that he doesn’t like this kind of life.

And when asked which one he likes, he formulates his ideal, essentially retelling his own dream. He would like to live in the village with his wife. To live the way his fathers and grandfathers lived in Oblomovka: to dream, admire nature, have a delicious dinner, and in the evenings listen to the aria “Casta diva” in the living room. Stolz does not understand such an ideal: “Some kind of ... Oblomovism.”

He plans to take his friend abroad with him in two weeks, but in the meantime he promises to introduce Oblomov to Olga Ilyinskaya, who beautifully performs his favorite aria.

Oblomov's question. Meet Olga Ilyinskaya. The next day Ilya Ilyich woke up in alarm. He is tormented by his friend’s words about Oblomovism; “He grabbed a pen, pulled a book out of the corner and in one hour wanted to read, write and change his mind everything that he had not read, written or changed his mind in ten years.

What should he do now? Go forward or stay?” Solving this Oblomov issue was more important to him than anything else. “To go forward means suddenly throwing off a wide robe not only from your shoulders, but also from your soul, from your mind; together with the dust and cobwebs from the walls, sweep the cobwebs out of your eyes and see clearly!” He was almost ready to take decisive action, “he stood up from his chair, but did not immediately hit his shoe with his foot and sat down again.”

Having introduced Oblomov to Olga Ilyinskaya, Stolz went abroad, taking his friend’s word that he would come to him in Paris. The passport was ready and ordered
travel coat, and friends—some with laughter, some with fear—discussed Oblomov’s departure. But the day before he was bitten by a fly - his lip was swollen, and this became a reason to postpone his departure. Oblomov did not leave after a month or three. Oblomov does not respond to Stolz’s “frantic letters.” Now he lives in the country, reads. “There is no sleep, no fatigue, no boredom on my face.

Even colors appeared on him, there was a sparkle in his eyes, something like courage or, at least, self-confidence. You can’t see the robe on him.” And the reason for everything is Olga, for whom he felt love.

Oblomov and Olga. Meeting in the park, explanations, excitement and hopes - the happy heroes are filled with wonderful feelings.

Olga lives with her aunt. This was a house “where everything was a little prim, where not only would you not be offered to take a nap after dinner, but where it was even uncomfortable to cross your legs, where you had to be freshly dressed, remember what you were talking about - in a word, you could neither doze off nor fall asleep” . Stolz thought that if “you bring into Oblomov’s sleepy life the presence of a young, pretty, intelligent, lively and partly mocking woman, it’s the same as bringing a lamp into a gloomy room, from which an even light will spill into all the dark corners.”

But Stolz did not foresee that this acquaintance would change the lives of the heroes. Olga feels changes in herself - thanks to her flared up feelings for Oblomov, she looks at life differently. It seems to Ilya Ilyich that Olga is cold towards him and stops visiting her.

He wants to go to the city and return to his old way of life. Zakhar, having accidentally met Olga, innocently informs her about Oblomov’s condition and his desire to leave for the city. She, through Zakhar, makes an appointment for Ilya in the park and, upon meeting, makes it clear to Oblomov about the seriousness of her feelings.
. . . XII

The development of relations between Olga and Oblomov. Heroes often meet in the park. Olga fights with all her might against Ilya Ilyich’s apathy - she takes him for walks, doesn’t let him sleep, forces him to read, and go to concerts.

Oblomov does everything to please Olga: “he wrote several letters to the village, changed the headman and entered into relations with one of the neighbors through Stolz. He would even go to the village if he considered it possible to leave Olga. He hasn’t had dinner and for two weeks now he doesn’t know what it means to lie down during the day.” They both experience a deep feeling.

One day Oblomov woke up gloomy - he did not believe that Olga could love him, because, in his opinion, people like him cannot be loved. He writes to her in a letter that he is breaking off relations with her. Olga reads the letter and cries, and Ilya Ilyich watches this, hiding. He sees her tears and asks for forgiveness - everything returns to its place. Summer ends. The lovers see each other every day. Oblomov enjoys happiness and one day proposes to Olga, which she accepts.

Love and the housing problem. Tarantiev comes to Oblomov and demands that he pay for the apartment rented on the Vyborg side. Ilya Ilyich recalls that on the day of moving to the dacha, he signed the contract that Tarantiev slipped to him without looking.

Oblomov, in love, does not want to think about business - he goes to Olga, determined to announce an official proposal to her aunt. But Olga does not let him in, believing that first he must finish his business and decide where they will live after the wedding.

Oblomov goes to the Vyborg side, meets the owner of the apartment - Agafya Pshenitsyna, Tarantiev's godfather. “She was about thirty. She was very white and full in the face, so that the blush, it seems, could not break through her cheeks.”

Oblomov unsuccessfully tries to explain to the landlady that he does not need the apartment. Agafya seems to him to be a narrow-minded but pleasant woman (“She has a simple but pleasant face< … >She must be a kind woman!”). Oblomov is unable to resolve the housing issue because her brother Mukhoyarov, who does not want to miss out on the benefits, is in charge of the affairs.

Oblomov's move to the Vyborg side. At the end of August, Olga moves from her dacha to a city apartment, and Oblomov is forced to settle on the Vyborg side, in the house of Agafya Pshenitsyna. He already manages to evaluate the landlady’s pies, and Mukhoyarov demands to pay the entire amount for the apartment. Oblomov wants to announce to everyone his intention to get married, but Olga asks to first settle matters in Oblomovka.

Oblomov lives with Pshenitsyna and goes to Olga for lunch. Their dates are becoming less and less frequent. Oblomov himself no longer believes that he recently wanted to get married.

Oblomov and Olga meet less and less often. One day Olga sends Oblomov a letter, setting up a date. The heroes meet secretly: people have been gossiping about them for a long time, but there is still no official proposal. Now Olga convinces Oblomov to talk about their relationship with their aunt, and he asks to postpone the conversation until all problems are resolved.

Olga invites Ilya Ilyich to come to them for lunch tomorrow. But the hero is afraid of gossip. He writes to Olga that he has a cold and will not be able to come. Winter is coming, and Oblomov still hasn’t been to Olga.

Olga's last attempt. Ilya Ilyich spends time at home with Pshenitsyna and her children - Masha and Vanya. He still does not dare to go to Olga, saying he is sick. Olga, disdaining secular decency, comes to Oblomov herself. Seeing her, the hero perked up. He's happy again.

Mukhoyarov's deceit. Oblomov receives a letter from the village from a neighbor to whom he wanted to transfer management of his estate by proxy. The neighbor refuses to help (he has a lot of things to do) and warns that Oblomov will face big losses.

The hero is upset: it is impossible to get married, he must go to Oblomovka himself. He also does not dare to borrow money. Mukhoyarov advises hiring a manager so as not to go to the village, and proposes Mr. Zatyorty, his colleague, for this position.

Oblomov likes this proposal. Mukhoyarov thanks Tarantiev for Oblomov, who is so easy to deceive. The worn-out one will now begin to siphon money from Oblomovka under the guise of an honest manager. Mukhoyarov is delighted with the naivety and gullibility of his tenant.

A break up. Oblomov tells Olga that he has found the manager of the estate, and now they have to wait a year until everything is settled before the wedding. Olga is surprised how Oblomov could entrust matters to a stranger. There is bitterness in her soul, she is disappointed that he does not want to do anything himself, that he is lazy and that it is impossible to change this.

At the end of the conversation she feels sick. When she wakes up, she says: “The stone would have come to life from what I did. Now I won’t do anything, not even take a single step, I won’t even go to the Summer Garden: everything is useless - you’re dead! I only recently found out that I loved in you what I wanted to have in you, what Stolz showed me, what we invented with him. I loved the future Oblomov! Who cursed you, Ilya? You are kind, smart, gentle, noble... and... you are dying! What ruined you? There is no name for this evil...” Oblomov replies: “There is< … >Oblomovism!

The characters break off their relationship. Oblomov comes home, he begins to have a fever from his experience. Zakhar puts on a robe mended by Agafya Pshenitsyna - the same one that he wanted to throw away when he met Olga.

A year has passed since Oblomov’s breakup with Olga Ilyinskaya. Ilya Ilyich came to his senses. To the joy of Agafya Pshenitsyna, “Oblomov, seeing the hostess’s participation in his affairs, once suggested to her, as a joke, that she take all the worries about his food upon herself and save him from all the hassle.” He becomes close to Agafya - he feels comfortable and cozy with her.

She sees the meaning of her life in giving him peace and comfort, “this has become her pleasure.” Oblomov pays attention to the widow and even offers to go with him to the village. Zatyorty sent the proceeds from the sale of bread, but was unable to collect the quitrent, which he reported to Oblomov in a letter. But he was satisfied with the amount sent.

Stolz at Oblomov's. Summer. Oblomov celebrates his name day. Stolz comes to him. He tells his friend that Olga left for Switzerland after breaking up with him. She asked Stolz not to leave Oblomov - to bother him in every possible way so that he “wouldn’t die at all, wouldn’t be buried alive.” Stolz learns that Oblomov’s income from the estate has fallen and understands that the manager is deceiving him. He kicks him out and takes matters into his own hands.

Mukhoyarov's scam. The next day Tarantiev and Mukhoyarov meet. They are upset that Stolz uncovered their scam, destroyed the power of attorney to conduct business for Zatyorty and himself rented Oblomovka. They are afraid that he will find out that the rent was actually collected, and Tarantyev, Mukhoyarov and Zatyorty divided the money among themselves.

Mukhoyarov has a new plan: he wants to blackmail Oblomov about his relationship with Pshenitsyna and demand from the hero a promissory note for ten thousand in her name. Mukhoyarov wants to accuse Oblomov of indecent behavior and extract money from him.

Olga and Stolz. The chapter tells about what happened between Olga and Stoltz before Stoltz appeared at Oblomov’s. They met by chance in Paris, then became close. Olga told Andrey the love story of her and Oblomov. Stolz was glad that Olga’s lover was not someone else, but Oblomov. He proposes to Olga.

A year and a half has passed. Stolz visits Oblomov again. Ilya Ilyich became flabby, began to drink, and his robe became even more worn. He became poor. Pshenitsyna’s brother carried out his plan - he did not leave money to either Oblomov or his sister. Now Agafya, in order to feed Oblomov, began to pawn her things.

Andrei, seeing his friend’s pitiful situation, pins him against the wall and finds out about the loan letter that he signed. Stolz demands a receipt from Agafya Matveevna stating that Oblomov does not owe her anything. She signs the paper. Stolz is going to punish the swindler Mukhoyarov.

He turns to Mukhoyarov’s boss, and the swindler loses his position. Ilya Ilyich breaks off relations with Tarantiev. Stolz tries to take Oblomov away, but he plaintively asks to wait only a month.

Several years pass. Olga and Stolz live in Odessa, they already have children. They are surprised at their happiness, not understanding why it fell to their lot. “The years passed, but they did not get tired of living.” Stolz is “deeply happy with his full, exciting life, in which an unfading spring bloomed.”

Together with Olga, he often remembers Oblomov and is going to visit a friend in St. Petersburg.

Several years pass. Ilya Ilyich still lives with Agafya Matveevna. He also fulfilled his dream - everything in his life now resembles the old Oblomovka. He “ate appetizingly and a lot, as in Oblomovka, walked and worked lazily and little, also as in Oblomovka.

Despite the growing summer, he carelessly drank wine, currant vodka and even more carelessly slept for a long time after dinner.” There is order and abundance in Ilya Ilyich’s house. He and Agafya have a three-year-old son, named Andryusha in honor of Stolz.

One day, Oblomov’s serene life was interrupted by an apoplexy. Agafya left him, and this time everything ended well. Arriving Stolz is amazed at how hopelessly his friend is stuck in the swamp of apathy and laziness. He makes a last attempt to take Ilya Ilyich away. But Oblomov refuses.

Stolz says that Olga is waiting for him in the carriage, she wants to enter. But Oblomov asks Andrei not to let her into the house and leave him forever. His last request addressed to Stolz: “Don’t forget my Andrey!” Stolz returns to his wife, she wants to enter the house, but he does not let her in. “What’s going on there?” - Olga asks. Stolz answers in one word: “Oblomovism!”

Another five years passed. Agafya has been widowed for three years now—Oblomov has died. A year after meeting Stolz, Oblomov suffered a second apoplexy. He survived it, but became weak, began to eat little, and became silent and thoughtful. No one saw Oblomov's last minutes. He died “without pain, without suffering, as if a watch had stopped and they had forgotten to wind it.”

Agafya has lost the meaning of life. The years she lived with Oblomov shed a quiet light on her whole life. She had nowhere to go and nothing more to desire. Her son from her first marriage completed a course in science and entered the service, her daughter got married, and Andryusha was asked to be raised by the Stoltsy.

Agafya often visits him, and she lives with her brother’s family. Mukhoyarov, with the help of all sorts of tricks, returned to his previous place, and everything in the house became the same as before Oblomov’s appearance. Agafya Pshenitsyna refused to receive income from Oblomovka - she told Stolz to save this money for Andryusha, “he is a gentleman, but I will live like this.”

The fate of Zakhara. One day Stolz and a literary friend walked past a church. The mass ended, the people poured out of the church, and the beggars were ahead of everyone. In one poor old man, Stolz recognized Oblomov’s former servant, Zakhar. In Pshenitsyna’s house, where her brother and his family settled again, there was no place for Zakhar. He tried to get a job with the new masters, but the old, stupid lackey was quickly kicked out from everywhere. So Zakhar became a beggar.

Stolz invited Zakhar to live in his village, but Zakhar refused - he did not want to leave the grave of his master. “I don’t feel like going from here, from the grave! The Lord has taken away such a master! He lived for the joy of people, he would live a hundred years,” Zakhar laments.

The writer is interested in the story of Zakhar and his master. Stolz regrets the fate of Oblomov (he was no stupider than others, his soul was pure and clear, like glass; noble, gentle, and - disappeared!). And Stolz tells the writer a story that the reader already knows about from this novel),

4.2 / 5. 32

a) Why is the episode “Oblomov’s Dream” placed at the end of the first part?

b) What time period does the first part occupy?

c) Who is Oblomov? What might his last name mean? Is she talking?

d) Why was Oblomov unable to serve?

f) What prevented him from going to the village?

g) How did he think about his plan for rebuilding life in the village?

h) How does his servant Zakhar treat his master? (6ch)

What do we learn about Zakhara?

In contrast to whom is Zakhar portrayed in the novel?

Name a literary work where the hero-servant is the antipode of Zakhar.

g) What does Oblomov dream about?

i) What kind of life does Oblomov lead and what does the doctor offer him?

j) Why doesn’t Oblomov want to move to a new apartment?

j) Why was Oblomov so offended by the word “other”?

^ Assignment for group 2

1. 
   Confirm that Oblomovka is heaven on earth. Note the author's irony.
2. 
   What kind of people lived in Oblomovka and how? What are their interests in life? How do Oblomovites feel about work and the ritual side of life?
3. 
   How was Oblomov brought up? His joys and sorrows. What questions does Ilyusha ask? Nanny, fairy tales, mother's love. The author's irony.
4. 
   How a day goes in Oblomovka: gentlemen, servants, sleep.
5. 
   What can we say about the servants in Oblomovka and about Zakharka?
6. 
   How do the Oblomov landowners live, what do they do? Gallery story.
7. 
   What are the vital interests of the Oblomovites? What are they talking about?
8. 
   Ilyusha's training from Stolz, the manager in Verkhlev. Issues of education in the novel.
9. 
   The story of the letter. What does it mean in the outline of the novel? How will this story resonate in Oblomov’s life in the future?
10. 
    How do you understand the words: “...Life, like a calm river, flowed past them; they could only sit on the banks of this river and observe the inevitable phenomena that, in turn, without calling, appeared before each of them.”
11. 
    So, who is to blame for the life that the Oblomovs led?

Assignment for group 3
Homework:

III. Prepare answers to the questions:

1. 
   Why does the dream end with the appearance of Stolz?
2. 
   Why does the second part of the novel begin with a story about Stolz’s upbringing? How does Stolz’s upbringing differ from Oblomov’s upbringing? How does Goncharov characterize Stolz? What does he like about it and what doesn’t he like it? What does the episode of his farewell to his father indicate?
3. 
   Why are people as different as Stolz and Oblomov friends?
4. 
   Why does Stolz “lift” Oblomov from the sofa?
5. 
   How does Oblomov explain his rejection of St. Petersburg life? Why does Oblomov call St. Petersburg life a comprehensive dream?
6. 
   How do you understand Stolz’s laughter at Zakhar’s words “master, Ilya Ilyich”? Why did Stolz dub this “life” of Oblomov “Oblomovism”? How do you understand this word?
7. 
   What does Andrei Stolts consider to be the most important thing in a person’s life?
8. 
   How do you understand Oblomov’s words: “Our name is legion.” What is he talking about?
9. 
   Re-read the conversation between Oblomov and Stolz in the fourth chapter of the second part. What are the heroes arguing about? What ideal of life does Oblomov paint for his friend? Does he look like the Oblomovka that appeared before us in the hero’s dream? Can the picture created by the hero be called utopian?
10. 
    Why does Stolz call Oblomov a “poet”? How does this help understand the character of the hero?
11. 
    What does Stolz oppose to Oblomov’s ideal? How do you understand his words: “Work is the content, element and purpose of life”?
12. 
    What does Oblomov’s “to be or not to be” consist of? And for Stolz?

II. Prepare for a lesson on the topic: “The problem of love in the novel “Oblomov.”

1. 
   Olga Ilyinskaya.

• 
  What did Oblomov and Stoltz like about Olga, but “others” didn’t like? What literary heroine can you see a resemblance to when reading a description of her appearance? (Tatiana Larina)
• 
  What was Oblomov’s first conversation with Olga about? Why did it arise?
• 
  How do they declare their love?
• 
  Is Olga the woman Oblomov has dreamed of all his life?
• 
  Why was Oblomov so afraid of love? And only love? What does it mean to love? (Compassion, sympathize, give your soul.)
• 
  Meeting in the alley. How do you understand Olga’s words that she is the first half of life, and you need to look for the second so as not to lose the first, that is, her? What does Olga mean by other half?
• 
  What is Oblomov's love? (Tears of tenderness) And Olga? (Pain). Love is life: “Life is a duty, an obligation, therefore, love is also a duty: it’s as if God sent it to me... and told me to love.”

• 
  What is the cause of Oblomov's disease?
• 
  What kind of life does Oblomov plunge into after recovery?
• 
  What can we say about Agafya Matveevna and her attitude towards Ilya Ilyich?
• 
  Why did they fall in love with Oblomov in Pshenitsyna’s house? (pp.371-373)
• 
  Why does Stolz call Pshenitsyna’s house “Oblomovka, only nastier”? Did Stolz understand the new Oblomov?
• 
  How do Olga, Stolz (and Goncharov) define what love is? Olga calls her feeling a disease, and her confession to Stolz - recovery. Do you agree with this?
• 
  How does the life of Olga and Stolz differ from the one that Oblomov dreamed of? (pp. 440, 442.)
• 
  Why does Olga Ilyinskaya love Oblomov? (Page 454)
• 
  Why does Agafya Matveevna live in a house on the Vyborg side and Oblomov die quietly? Is this the kind of life and death he dreamed of? (“...everyone agreed with their existence to support Oblomov’s life, to help him not notice it, not feel it”).
• 
  What killed Oblomov? How does Goncharov talk about this? (p.471) Who or what does Goncharov blame for Oblomov’s death?
• 
  Who does Oblomov blame for being like this? How do you understand what Oblomovism is? How does the literature textbook say this?)
• 
  - That's all...Zakhar!

From the text of the novel, select materials based on the image of Zakhar using the following questions:
1. What do you know about Zakhar’s young years (part 1, chapter 9)?

2. Re-read chapters 1, 7, 10 of part 1. Write a story about the relationship between a master and a servant.

3. Describe Zakhar’s appearance (part 1, chapter 1).

4. Around what did Oblomov’s dispute with Zakhar flare up in the episodes of the novel (part 1, chapter 1)?

5. Find phrases in the text that prove Zakhar’s affection for his master (part 1, chapters 7, 9-10).

6. What was Zakhar’s fate after Oblomov’s death (part 4, chapter 11)?

Whole class activity

Homework: prepare for discussions on the topic:“The novel “Oblomov” in Russian criticism (N.A. Dobrolyubov, D.I. Pisarev, A.V. Druzhinin).”

1. Based on articles by N.A. Dobrolyubova “What is Oblomovism?” And

A.V. Druzhinina "Oblomov". Roman I.A. Goncharov”, justify the attitude of criticism towards Oblomov.

1. 
   Make a summary of the articles ( in table form) Dobrolyubova and Druzhinina according to the following plan: a) the place of the novel “Oblomov” in Russian literature; b) the image of Oblomov; c) the image of Stolz; d) the image of Olga Ilyinskaya; e) the image of Agafya Matveevna Pshenitsyna.