Oblomov's positive qualities. Positive and negative character traits of Oblomov, his inconsistency in the novel of Goncharov What are the distinguishing features of Oblomov

Oblomov Ilya Ilyich is the protagonist of the novel of the same name by I.A. Oblomov has dark gray eyes and a soft gaze, and there is no concentration in his facial features. The main meaning of the novel is connected with the image of Oblomov. It would seem that there is nothing important in this story, but it reflects Russian life and the reality of the mid-19th century. It was after this book that the word "Oblomovism" appeared.

Oblomov is a kind of superfluous person in society, symbolizing the typical path of the provincial nobles of that time. After serving several years in the department, year after year, expecting a promotion, he decided that such a useless routine was not for him, deliberately choosing to do nothing. Now he lies on the couch day and night, not thinking about the future and not setting any goals for himself. He is not only incapable of managing his estate, but even for an evening party he cannot pack up and go. This inaction is a deliberate choice of the character. He is quite satisfied with such a life, and he is pleased that there is no depth that touches the living. From time to time, only his friend, Stolz, who is his complete opposite, can stir him up.

For a while, Oblomova is changed by her love for Olga. He even starts reading books, getting out of bed, looking through newspapers and putting on neat clothes instead of a greasy dressing gown. However, realizing his inability for active love, he himself initiates a break in relations, so that Olga does not become disappointed in him. As a result, the hero finds an ideal life only when surrounded by

The central character of the novel by I. A. Goncharov "Oblomov" is Ilya Ilyich Oblomov - the master of "thirty-two years of age." The work is dedicated to the disclosure of his life philosophy, way of existence, his psychology.
The main character traits of Oblomov are apathy, laziness, inactivity. He lies on the couch all day, taking no interest in anything. But this state of affairs does not bother the hero at all: in this existence he is satisfied with everything: “Lying down for Ilya Ilyich was neither a necessity ... nor an accident ...: this was his normal state”. On the contrary, Oblomov's discomfort is caused by annoying "touches of life."
However, this hero also has his own dreams. In the chapter "Oblomov's Dream" the author outlines them to us quite clearly. We see that native Oblomovka brought up in Ilya Ilyich a love of home comfort, silence, peace: "Happy people lived thinking that it should not and could not be otherwise."

r /> This person needed love, care, warmth and affection. Let's remember his dreams of his family life. Oblomov dreamed of a wife-mother, a wife-mistress, and not of a passionate mistress: “Yes, passion must be limited, strangled and drowned in marriage ...” He imagined a very warm pastime - in a peaceful circle of family and loving friends. There would be conversations about art, about events taking place in the world, etc.
It is the need for such a life - where everyone loves each other, is happy with each other and with themselves - that is, it seems to me, Oblomov's ideal in life. It was for this that Olga Ilyinskaya called the hero a "heart of gold", because he knew how not only to take love, but also to generously give it, share it.
Of course, Oblomovka cultivated not only this in her Ilya. She brought up in him a fear of life, and indecision, and laziness, and helplessness, and snobbery. And, besides, she formed a completely distorted idea of ​​adult life.
All this - both positive and negative - manifested itself in the hero's life later. We know that in his youth Oblomov, supported by Stolz, dreamed of improving himself, changing himself and the world around him. However, if Stolz began to realize his dreams in life, then Oblomov's words remained just words.
Arriving in St. Petersburg, the hero gradually became disillusioned with the service ("When to live?"), Withdrew from all business and lay down on the sofa. Somehow imperceptibly Oblomov lost almost all of his acquaintances, because in order to maintain communication, you need to make some effort. And this was completely unbearable for the hero.
Only once Ilya Ilyich revived and began to change - having fallen in love with Olga Ilyinskaya.
r /> Then the hero was ready to do whatever his beloved wanted. Ilya Ilyich really began to change - he forced himself to be interested in the life around him, to move more, to eat less. But in this story, Oblomov's uncertainty, his fear of change, played its tragic role. At one fine moment he felt that he was not worthy of Olga, and wrote the girl a letter with explanations: “Listen, without any hints, I’ll tell you bluntly and simply: you don’t love me and you cannot love me.”
After that, Oblomov's life went on as usual - he continued to lie in seclusion, communicating only with Zakhar and occasionally with Stolz.

http://www.litra.ru/composition/download/coid/00330401314114204204

Composition Oblomov's character traits reasoning

Goncharov's novel Oblomov was written in the middle of the nineteenth century and accurately described a prominent representative of the noble society, who has a consumer attitude towards life and the people around him, cannot find application for his knowledge and abilities. This is the fruit of upbringing, accustomed from generation to generation to use slave labor, to live at the expense of another person.

The main character of the novel is named Ilya Ilyich Oblomov. He repeats not only the name of his father, but also his habits and lifestyle. Oblomov's life test was his studies at the boarding school. He studied well, but was more happy when his parents, having come up with dozens of reasons, left him at home. After graduating from a boarding house, and then in Moscow, Ilya Ilyich enters the service. But even there he cannot hold out for more than two years. He is bored and not interested in doing any work.

He justifies his passivity by the fact that he has big plans for the future. Lying on the couch, he ponders a plan for rebuilding the estate. But the matter does not go further than dreams. And even his friend Andrei Stolz cannot stir him up. Leaving abroad on business, Andrei introduces Oblomov to Olga Ilyinskaya. But this acquaintance only for a short time revived Oblomov's life. Kind and honest by nature, Ilya Ilyich suddenly realizes that he cannot make Olga happy, that their views on life are very different.

He wants a calm measured life, without difficulties and shocks, to be surrounded by kind and loving people. Such a life could be provided for him by the owner of the house where he rented an apartment - Pshenitsyn's widow. Over time, she became his wife, the mother of his son, was a nurse for him, a guardian angel. Even Stolz, having arrived to Oblomov, realized that he could not change a friend's life.

After Oblomov's death, Stolz told a writer about his fate. He wanted readers to appreciate his pure soul and constant struggle with himself and the life around him.

Plan

1. Introduction
2. Conclusion

Introduction

Goncharov's novel Oblomov was written during the period of transition of Russian society from outdated, house-building traditions and values ​​to new, enlightening views and ideas. This process became the most difficult and difficult for the representatives of the landlord social class, since it required an almost complete rejection of the usual way of life and was associated with the need to adapt to new, more dynamic and rapidly changing conditions. And if a part of society easily adapted to the renewed circumstances, for others the process of transition turned out to be very difficult, since it was essentially opposed to the usual way of life of their parents, grandfathers and great-grandfathers. Ilya Ilyich Oblomov is the representative of just such landowners who have not been able to change along with the world, adjusting to it. According to the plot of the work, the hero was born in a village far from the capital of Russia - Oblomovka, where he received a classic landowner, house-building upbringing, which formed many of Oblomov's main character traits - weakness, apathy, lack of initiative, laziness, unwillingness to work and the expectation that someone would do everything for him.
Excessive parental care, constant prohibitions, the pacifying and lazy atmosphere of Oblomovka led to a deformation of the character of a curious and active boy, making him introverted, prone to escapism and unable to overcome even the smallest difficulties.

The contradictory character of Oblomov in the novel "Oblomov"

The negative side of Oblomov's character

In the novel, Ilya Ilyich does not solve anything on his own, hoping for help from the outside - Zakhara, who will bring him food or clothes, Stolz, who can solve problems in Oblomovka, Tarantiev, who, although he will deceive, will figure out the situation that Oblomov is interested in, etc. The hero is not interested in real life, it causes him boredom and fatigue, while he finds true peace and satisfaction in the world of illusions invented by him. Spending all the days lying on the couch, Oblomov makes unrealizable plans for arranging Oblomovka and his happy family life, much like the calm, monotonous atmosphere of his childhood. All his dreams are directed to the past, even the future that he draws for himself - echoes of the distant past, which is no longer possible to return.

It would seem that a lazy, lazy, lazy hero living in an uncleaned apartment cannot arouse sympathy and favor with the reader, especially against the background of Ilya Ilyich's active, active, purposeful friend - Stolz. However, the true essence of Oblomov is revealed gradually, which allows you to see all the versatility and inner unrealized potential of the hero. Even as a child, surrounded by quiet nature, care and control of parents, subtly feeling, dreamy Ilya was deprived of the most important thing - knowledge of the world through its opposites - beauty and ugliness, victories and defeats, the need to do something and the joy of what he acquired through his own labor.
From an early age, the hero had everything he needed - helpful courtyards, at the first call, carried out orders, and parents pampered their son in every possible way. Finding himself outside the parental nest, Oblomov, not ready for the real world, continues to expect that everyone around will treat him as warmly and welcomingly as in his native Oblomovka. However, his hopes were shattered already in the first days in the service, where no one cared about him, and everyone was only for himself. Deprived of the will to live, the ability to fight for his place under the sun and perseverance, Oblomov, after an accidental mistake, leaves the service himself, fearing the punishment of his superiors. The first failure becomes the last for the hero - he no longer wants to move forward, hiding from the real, "cruel" world in his dreams.

The positive side of Oblomov's character

The person who could get Oblomov out of this passive state, leading to the degradation of the personality, was Andrei Ivanovich Stolts. Perhaps Stolz appears in the novel as the only character who thoroughly saw not only the negative, but also the positive features of Oblomov: sincerity, kindness, the ability to feel and understand the problems of another person, inner calmness and simplicity. It was to Ilya Ilyich that Stolz came in difficult moments when he needed support and understanding. Oblomov's dovish tenderness, sensuality and sincerity are revealed during a relationship with Olga. Ilya Ilyich is the first to realize that he is not suitable for the active, purposeful Ilyinsky, who does not want to devote herself to "Oblomov" values ​​- this betrays him as a subtle psychologist. Oblomov is ready to give up his own love, as he understands that he cannot give Olga the happiness she dreams of.

The character and fate of Oblomov are closely related - his lack of will, his inability to fight for his happiness, together with spiritual kindness and gentleness, lead to tragic consequences - fear of difficulties and griefs of reality, as well as the complete departure of the hero into a pacifying, calm, wonderful world of illusions.

National character in the novel "Oblomov"

The image of Oblomov in Goncharov's novel is a reflection of the national Russian character, its ambiguity and versatility. Ilya Ilyich is the same archetypal Emelya the fool on the stove, about which the nanny told the hero in childhood. Like the character of a fairy tale, Oblomov believes in a miracle that should happen to him by itself: a benevolent firebird or a kind sorceress will appear, who will take him to the wonderful world of honey and milk rivers. And the chosen one of the sorceress should not be a bright, hard-working, active hero, but necessarily "quiet, harmless", "some kind of lazy person whom everyone offends."

An unquestioning belief in a miracle, in a fairy tale, in the possibility of the impossible is the main feature not only of Ilya Ilyich, but also of any Russian person raised on folk tales and legends. Falling on fertile soil, this faith becomes the basis of a person's life, replacing reality with an illusion, as happened with Ilya Ilyich: “his fairy tale is mixed with life, and he sometimes unconsciously sad, why is a fairy tale not life, but life is not a fairy tale”.

In the finale of the novel, Oblomov, it would seem, acquires that "Oblomov" happiness that he had long dreamed of - a calm, monotonous life without stress, a caring kind wife, an arranged life and a son. However, Ilya Ilyich does not return to the real world, he remains in his illusions, which become more important and significant for him than real happiness next to a woman who adores him. In fairy tales, the hero must withstand three tests, after which he will be expected to fulfill all desires, otherwise the hero will die. Ilya Ilyich does not pass a single test, first giving in to failure in the service, and then to the need to change for Olga's sake. Describing Oblomov's life, the author seems to be ironic about the hero's excessive faith in an impossible miracle, for which one does not need to fight.

Conclusion

At the same time, the simplicity and complexity of Oblomov's character, the ambiguity of the character himself, the analysis of his positive and negative sides, allow us to see in Ilya Ilyich an eternal image of an unrealized personality “not of his time” - “an extra person” who could not find his own place in real life, and therefore left into a world of illusion. However, the reason for this, as Goncharov emphasizes, is not in a fatal combination of circumstances or the plight of the hero, but in the wrong education of Oblomov, who is sensitive and soft in character. Growing up as a "houseplant", Ilya Ilyich turned out to be unadapted to reality, which was harsh enough for his refined nature, replacing it with the world of his own dreams.

Positive and negative traits of Oblomov's character, his inconsistency in Goncharov's novel | a source

Oblomov's character

Roman I.A. Goncharov's "Oblomov" was published in 1859. It took almost 10 years to create it. It is one of the most prominent novels in classical literature of our time. This is how famous literary critics of that era spoke of the novel. Goncharov was able to convey realistically, objectively and reliable facts of the reality of the layers of the social environment of the historical period. Presumably, his most successful achievement was the creation of the image of Oblomov.

He was a young man of 32-33 years old, of average height, with a pleasant face and intelligent eyes, but without any definite depth of meaning. As the author noted, the thought walked across the face as a free bird, fluttered in the eyes, dropped to half-open lips, hid in the folds of the forehead, then completely disappeared and a careless young man appeared in front of us. Sometimes on his face one could read boredom or fatigue, but still there was a softness of character and the warmth of his soul in him. All his life Oblomov is accompanied by three attributes of bourgeois well-being - a sofa, a robe and shoes. At home Oblomov wore an oriental soft roomy robe. He spent all his free time lying down. Laziness was an integral part of his character. The house was cleaned superficially, creating the appearance of cobwebs hanging in the corners, although at first glance one might think that a well-tidied room. There were two more rooms in the house, but he did not go there at all. If an uncleaned dinner plate with crumbs were everywhere, a half-smoked pipe, one would think that the apartment was empty, no one lived in it. He was always amazed at his energetic friends. How can you waste your life, being scattered over dozens of cases at once. His financial condition wished to be the best. Lying on the sofa, Ilya Ilyich always thought of how to correct him.

Oblomov's image is a complex, contradictory, even tragic hero. His character predetermines an ordinary, not interesting fate, devoid of the energy of life, its bright events. Goncharov draws his main attention to the prevailing system of that era, which influenced his hero. This influence was expressed in the empty and meaningless existence of Oblomov. Helpless attempts to revive under the influence of Olga, Stolz, marriage to Pshenitsyna, and death itself are defined in the novel as Oblomovism.

The very character of the hero, as conceived by the writer, is much larger and deeper. Oblomov's dream is the key to the whole novel. The hero moves to another era, to other people. A lot of light, joyful childhood, gardens, sunny rivers, but first you have to go through obstacles, an endless sea with raging waves and groans. Behind him are rocks with abysses, a crimson sky with a red glow. After the exciting landscape, we find ourselves in a small corner where people live happily, where they want to be born and die, it cannot be otherwise, they think so. Goncharov describes these inhabitants: “Everything in the village is quiet and sleepy: the silent huts are wide open; not a soul is visible; some flies fly in clouds and buzz in the stuffy atmosphere. " There we meet young Oblomov. As a child, Oblomov could not get dressed himself, he was always helped by servants. As an adult, he also uses their help. Ilya grows up in an atmosphere of love, peace and excessive care. Oblomovka is a corner where calmness and imperturbable silence reign. This is a dream within a dream. Everything around seemed to stand still, and nothing could wake up these people who uselessly live in a distant village without any connection with the rest of the world. Ilyusha grew up on fairy tales and legends that his nanny told him. Developing dreaminess, the fairy tale tied Ilya more to the house, causing inaction.

Oblomov's dream describes the hero's childhood, his upbringing. All this helps to find out the character of Oblomov. The Oblomovs' life is passivity and apathy. Childhood is his ideal. There, in Oblomovka, Ilyusha felt warm, reliable and very protected. This ideal and doomed him to aimless further existence.

The clue to the character of Ilya Ilyich in his childhood, from where straight threads stretch to the adult hero. The character of the hero is an objective result of the conditions of birth and upbringing.

bummer romance lazy character

Tutoring

Need help exploring a topic?

Our experts will advise or provide tutoring services on topics of interest to you.
Send a request with the indication of the topic right now to find out about the possibility of obtaining a consultation.

The main character of the novel is Ilya Ilyich Oblomov, a landowner who, however, lives permanently in St. Petersburg. Oblomov's character is perfectly sustained throughout the novel. It is far from being as simple as it might seem at first glance. The main character traits of Oblomov are an almost painful weakness of will, expressed in laziness and apathy, then - the absence of living interests and desires, fear of life, fear of any change in general.

But, along with these negative traits, there are also major positive ones in him: wonderful spiritual purity and sensitivity, good nature, cordiality and tenderness; Oblomov has a "crystal soul", in the words of Stolz; these traits attract the sympathy of everyone who comes into close contact with him: Stolz, Olga, Zakhar, Agafya Matveyevna, even his former colleagues who visit him in the first part of the novel. Moreover, Oblomov is far from stupid by nature, but his mental faculties are dormant, suppressed by laziness; there is in him both the desire for good and the consciousness of the need to do something for the common good (for example, for his peasants), but all these good inclinations are completely paralyzed in him by apathy and lack of will. All these traits of Oblomov's character appear vividly and prominently in the novel, despite the fact that there is little action in it; in this case, this is not a drawback of the work, since it fully corresponds to the apathetic, inactive nature of the protagonist. The brightness of the characteristics is achieved mainly through the accumulation of small, but characteristic details, vividly depicting the habits and inclinations of the person depicted; so, from one description of Oblomov's apartment and its furnishings on the first pages of the novel, one can get a fairly accurate idea of ​​the personality of the owner himself. This method of characterization is one of Goncharov's favorite artistic techniques; that is why in his works there is such a mass of small details of everyday life, furnishings, etc.

In the first part of the novel, Goncharov introduces us to Oblomov's lifestyle, his habits, and also talks about his past, about how his character developed. During this whole part, describing one "morning" of Oblomov, he hardly leaves his bed; in general, lying on a bed or on a sofa, in a soft robe, was, according to Goncharov, his "normal state." Any activity tired him; Oblomov once tried to serve, but not for long, because he could not get used to the requirements of the service, to strict accuracy and diligence; hectic office life, writing papers, the purpose of which was sometimes unknown to him, the fear of making mistakes - all this weighed on Oblomov, and once he sent an official paper instead of Astrakhan to Arkhangelsk, he chose to retire. Since then, he lived at home, almost never leaving: neither to society, nor to the theater, almost without leaving his beloved deceased dressing gown. His time passed in lazy "crawling from day to day", in idle doing nothing or in no less idle dreams of loud exploits, of glory. This play of the imagination occupied and amused him, in the absence of other, more serious mental interests. Like any serious work requiring attention and concentration, reading tired him; therefore, he read almost nothing, did not follow life in the newspapers, content with the rumors brought to him by rare guests; the half-read book, unfolded in the middle, turned yellow and covered with dust, and in the inkwell, instead of ink, only flies were found. Every extra step, every effort of will was beyond his strength; even taking care of himself, of his own well-being, weighed down on him, and he willingly left it to another, for example, Zakhara, or relied on "maybe", on the fact that "somehow everything will work out." When he had to make some serious decision, he complained that "life touches everywhere." His ideal was a calm, peaceful life, without worries and without any changes, so that “today” was like “yesterday”, and “tomorrow” is like “today”. Everything that confused the monotonous course of his existence, every concern, every change frightened and depressed him. The letter of the headman, demanding his orders, and the need to move out of the apartment seemed to him real "misfortunes", in his own words, and he was reassured only by the fact that somehow all this would work out.

But if Oblomov's character had no other traits besides laziness, apathy, weakness, mental sleepiness, then, of course, he could not interest the reader, and Olga would not be interested in him, he could not serve as the hero of a whole extensive novel. For this, it is necessary that these negative aspects of his character be balanced by no less important positive ones that can arouse our sympathy. And Goncharov, indeed, from the very first chapters shows these personality traits of Oblomov. In order to more clearly emphasize its positive, attractive sides, Goncharov introduced several episodic persons that appear in the novel only once and then disappear without a trace from its pages. This is Volkov, an empty socialite, a dandy, looking for only pleasures in life, alien to any serious interests, leading a noisy and mobile life, but nevertheless completely devoid of inner content; then Sudbinsky, an official-careerist, all immersed in the petty interests of the office world and paperwork, and “for the rest of the world he is blind and deaf,” as Oblomov put it; Penkin, a petty writer of a satirical, accusatory trend: he boasts that in his essays he brings out weaknesses and vices to universal ridicule, seeing in this the true vocation of literature: but his smug words are rebuffed by Oblomov, who finds only slavishness in the works of the new school loyalty to nature, but too little soul, little love for the subject of the image, little true "humanity". In the stories that Penkin admires, there are no, in Oblomov's opinion, "invisible tears", but only visible, coarse laughter; depicting fallen people, the authors "forget man." “You want to write with one head! - he exclaims, - do you think that a heart is not needed for thought? No, she is fertilized by love. Stretch out your hand to a fallen person to lift him, or weep bitterly over him if he dies, and do not mock. Love him, remember yourself in him ... then I will read you and bow my head before you ... ”From these words of Oblomov it is clear that his view of the vocation of literature and his demands from the writer is much more serious and lofty than that of a professional the writer Penkin, who, in his words, "spends his thought, his soul on trifles, trades in the mind and imagination." Finally, Goncharov deduces a certain Alekseev, "a man of indefinite years, with an indefinite physiognomy," who has nothing of his own: neither his own tastes, nor his desires, nor sympathies: Goncharov introduced this Alekseev, obviously, in order to show by comparison, that Oblomov, despite all his spinelessness, is not at all impersonal, that he has his own definite moral physiognomy.

Thus, a comparison with these episodic persons shows that Oblomov mentally and morally stood above the people around him, that he understood the insignificance and illusion of those interests with which they were carried away. But Oblomov not only could, but also knew how "in his clear, conscious moments" to critically treat the surrounding society and himself, admit his own shortcomings and it is hard to suffer from this consciousness. Then memories of the years of his youth awakened in his memory, when he was at the university with Stolz, studied science, translated serious scientific works, was fond of poetry: Schiller, Goethe, Byron, dreamed of future activities, of fruitful work for the common good. Obviously, at this time, Oblomov was also influenced by the idealistic hobbies that prevailed among Russian youth in the 1930s and 1940s. But this influence was fragile, because Oblomov's apathetic nature was unusual for a prolonged passion, as systematic hard work was unusual. At the university Oblomov was content with the fact that he had assimilated passively ready-made conclusions of science, without thinking them over on his own, without defining their mutual relationship, without bringing them into a harmonious connection and system. Therefore, “his head was a complex archive of dead deeds, persons, eras, figures, unrelated political, economic, mathematical and other truths, tasks, statements, etc. It was like a library, consisting of some scattered volumes in different parts knowledge. The teaching had a strange effect on Ilya Ilyich: he had a whole abyss between science and life, which he did not try to cross. "He had life by itself, and science by itself." Knowledge divorced from life, of course, could not be fruitful. Oblomov felt that he, as an educated person, needed to do something, he was aware of his duty, for example, to the people, to his peasants, he wanted to arrange their fate, improve their situation, but everything was limited only by many years of pondering the plan of economic reforms, and the actual management of the economy and the peasants remained in the hands of the illiterate headman; and the conceived plan could hardly be of practical importance in view of the fact that Oblomov, as he himself admits, did not have a clear understanding of village life at all, did not know "what corvée is, what rural labor is, what does a poor peasant mean, what is rich."

Such ignorance of real life, with a vague desire to do something useful, brings Oblomov closer to the idealists of the 40s, and especially to "superfluous people", as they are portrayed by Turgenev.

Like “superfluous people”, Oblomov was sometimes imbued with the consciousness of his powerlessness, his inability to live and act, at the moment of such consciousness “he felt sad and painful for his underdevelopment, a stop in the growth of moral forces, for the heaviness that hindered everything; and envy gnawed at him that others lived so fully and widely, and it was as if a heavy stone had been thrown on the narrow and pitiful path of his existence ... then a good, light beginning, maybe now, is already dead, or it lies like gold in the depths of the mountains, and it would be high time for this gold to be a walking coin. " The consciousness that he was not living as it should wandered vaguely in his soul, he suffered from this consciousness, sometimes wept bitter tears of impotence, but could not decide on any change in his life, and soon calmed down again, which contributed to his apathetic nature, incapable of a strong uplifting spirit. When Zakhar inadvertently decided to compare him with "others", Oblomov was severely offended by this, and not only because he felt offended in his lordly pride, but also because in the depths of his soul he realized that this comparison with "others" tended far from in his favor.

When Stolz asks Zakhar what Oblomov is, he replies that this is a "master". This is a naive but accurate definition. Oblomov is, indeed, a representative of the old serf lordship, "master", that is, a person who "has Zakhar and three hundred more Zakharov," as Goncharov himself puts it about him. Using Oblomov as an example, Goncharov thus showed how perniciously serfdom was reflected on the nobility itself, hindering the generation of energy, perseverance, initiative, work habits. In the old days, compulsory civil service supported these essential qualities for life in the service class, which gradually began to stall since the compulsory service was abolished. The best people among the nobility have long since realized the injustice of this order of things, created by serfdom; the government, starting with Catherine II, wondered about its abolition, literature, in the person of Goncharov, showed its perniciousness for the nobility itself.

“It began with the inability to put on stockings, and ended with the inability to live,” Stolz aptly put it about Oblomov. Oblomov himself is aware of his inability to live and act, his inability, the result of which is a vague, but painful fear of life. In this consciousness lies the tragic trait in Oblomov's character, sharply separating him from the previous "Oblomovites". Those were whole natures, with a solid, albeit ingenuous, outlook on the world, alien to any doubts, any inner duality. In contrast to them, it is precisely this duality that exists in Oblomov's character; it was brought into him by the influence of Stolz and the education he received. For Oblomov, it was already psychologically impossible to lead the same calm and self-satisfied existence as his fathers and grandfathers led, because deep down he still felt that he did not live as he should and how “others” like Stolz live. Oblomov already has a consciousness of the need to do something, to be useful, to live not for himself alone; he also has a sense of his duty to the peasants, whose labors he uses; he develops a "plan" for a new structure of village life, which takes into account the interests of the peasants, although Oblomov does not at all think about the possibility and desirability of the complete abolition of serfdom. Until the end of this "plan", he does not consider it possible to move to Oblomovka, but of course, nothing comes of his work, because he lacks neither knowledge of rural life, nor persistence, nor diligence, nor real conviction of the expediency of the "plan itself. ". Oblomov at times grieves deeply, agonizes in the consciousness of his unsuitability, but is not able to change his character. His will is paralyzed, every action, every decisive step scares him: he is afraid of life, as in Oblomovka they were afraid of a ravine, about which there were various unkind rumors.

Introduction

Goncharov's novel Oblomov is a landmark work of Russian literature of the 19th century, describing the phenomenon of Oblomovism, characteristic of Russian society. A striking representative of this social trend in the book is Ilya Oblomov, who comes from a family of landowners, whose family way was a reflection of the rules and regulations of Domostroi. Developing in such an atmosphere, the hero gradually absorbed the values ​​and priorities of his parents, which greatly influenced the formation of his personality. A brief description of Oblomov in the novel "Oblomov" is given by the author at the beginning of the work - this is an apathetic, introverted, dreamy man who prefers to live his life in dreams and illusions, presenting and experiencing fictional pictures so vividly that he can sometimes sincerely rejoice or cry from those scenes that are born in his mind. Oblomov's internal softness and sensuality seemed to be reflected in his appearance: all his movements, even in moments of anxiety, were restrained by external softness, grace and delicacy, excessive for a man. The hero was flabby beyond his years, had soft shoulders and small plump hands, and a sedentary and inactive lifestyle was read in his sleepy look, in which there was no concentration or some basic idea.

Oblomov's life

As if a continuation of the soft, apathetic, lazy Oblomov, the novel describes the life of the hero. At first glance, his room was beautifully decorated: “There was a mahogany bureau, two sofas upholstered with silk fabric, beautiful screens with embroidered birds and fruits unprecedented in nature. There were silk curtains, carpets, several paintings, bronze, porcelain and many beautiful little things. " However, if you look closer, you can see cobwebs, dusty mirrors and long-opened and forgotten books, stains on carpets, uncleaned household items, bread crumbs and even a forgotten plate with a gnawed bone. All this made the hero's room unkempt, abandoned, gave the impression that no one had lived here for a long time: the owners had long since left their homes, not having had time to clean up. To some extent, this was true: Oblomov had not lived in the real world for a long time, replacing it with an illusory world. This is especially clearly seen in the episode when his acquaintances come to the hero, but Ilya Ilyich does not even bother to stretch out his hand to greet them, and, moreover, get out of bed to meet the visitors. The bed in this case (like the dressing gown) is the borderline between the world of dreams and reality, that is, getting out of bed, Oblomov to some extent would agree to live in the real dimension, but the hero did not want this.

The influence of "Oblomovism" on Oblomov's personality

The origins of Oblomov's all-encompassing escapism, his irresistible desire to escape from reality, lie in the "Oblomov" upbringing of the hero, about which the reader learns from the description of Ilya Ilyich's dream. The character's native estate, Oblomovka, was located far from the central part of Russia, located in a picturesque, peaceful area, where there have never been strong storms or hurricanes, and the climate was calm and mild. Life in the village was measured, and time was measured not by seconds and minutes, but by holidays and ceremonies - births, weddings or funerals. The monotonous quiet nature also reflected on the character of Oblomovka residents - the most important value for them was rest, laziness and the opportunity to eat well. Labor was viewed as a punishment and people tried in every possible way to avoid it, to delay the moment of work, or to force someone else to do it.

It is noteworthy that the characterization of Oblomov's hero in childhood differs significantly from the image that appears to readers at the beginning of the novel. Little Ilya was an active child with a wonderful imagination, interested in many people and open to the world. He liked to walk and explore the surrounding nature, but the rules of Oblomov's life did not imply his freedom, so his parents gradually re-educated him in their own image and likeness, growing him as a “greenhouse plant”, protecting him from the hardships of the outside world, the need to work and learn new things. Even the fact that they gave Ilya to study was more a tribute to fashion than a real necessity, because for any slightest reason they themselves left their son at home. As a result, the hero grew up, as if closed from society, not wanting to work and relying in everything on the fact that with the emergence of any difficulties it would be possible to shout "Zakhar" and the servant would come and do everything for him.

The reasons for Oblomov's desire to get away from reality

The description of Oblomov, the hero of Goncharov's novel, gives a vivid idea of ​​Ilya Ilyich as a person who is firmly fenced off from the real world and does not internally want to change. The reasons for this lie in Oblomov's childhood. Little Ilya was very fond of listening to tales and legends about great heroes and heroes that the nanny told him, and then imagine himself as one of such characters - a person in whose life a miracle will happen at one moment, which will change the current state of affairs and make the hero a cut above others. However, fairy tales are significantly different from life, where miracles do not happen by themselves, and in order to achieve success in society and a career, you must constantly work, step over the falls and persistently move forward.

Greenhouse education, where Oblomov was taught that someone else would do all the work for him, combined with the dreamy, sensual nature of the hero, led to the inability of Ilya Ilyich to deal with difficulties. This feature of Oblomov manifested itself even at the moment of the first failure in the service - the hero, fearing punishment (although, perhaps, no one would have punished him, and the matter would have been decided by a banal warning), he quits his job and does not want to face a world where everyone for himself. An alternative to harsh reality for the hero is the world of his dreams, where he imagines a wonderful future in Oblomovka, his wife and children, a pacifying calmness that reminds him of his own childhood. However, all these dreams remain only dreams; in reality, Ilya Ilyich in every possible way postpones the issues of arranging his native village, which, without the participation of a reasonable owner, is gradually being destroyed.

Why didn't Oblomov find himself in real life?

The only person who could get Oblomov out of his constant half-asleep idleness was the hero's childhood friend, Andrei Ivanovich Stolts. He was the complete opposite of Ilya Ilyich, both in external description and in character. Always active, striving forward, able to achieve any goals, Andrei Ivanovich still treasured his friendship with Oblomov, since in communication with him he found that warmth and understanding that he really lacked in his environment.

Stolz was most fully aware of the destructive influence of "Oblomovism" on Ilya Ilyich, therefore, until the last moment, he tried with all his might to pull him out into real life. Once Andrei Ivanovich almost succeeded when he introduced Oblomov to Ilyinskaya. But Olga, in her desire to change the personality of Ilya Ilyich, was driven exclusively by her own egoism, and not by an altruistic desire to help a loved one. At the moment of parting, the girl tells Oblomov that she could not bring him back to life, because he was already dead. On the one hand, this is so, the hero was too deeply immersed in "Oblomovism", and in order to change his attitude towards life, it took inhuman efforts and patience. On the other hand, active, purposeful by nature, Ilyinskaya did not understand that Ilya Ilyich needed time to transform, and he could not change himself and his life with one jerk. The break with Olga became for Oblomov an even greater failure than a mistake in the service, so he finally plunges into the networks of “Oblomovism”, leaves the real world, not wanting to experience mental pain anymore.

Conclusion

The author's description of Ilya Ilyich Oblomov, despite the fact that the hero is the central character, is ambiguous. Goncharov exposes both his positive traits (kindness, tenderness, sensuality, the ability to experience and sympathize) and negative (laziness, apathy, unwillingness to decide anything on his own, refusal of self-development), depicting a multifaceted personality in front of the reader, which can cause both sympathy and disgust. At the same time, Ilya Ilyich is undoubtedly one of the most accurate depictions of a truly Russian person, his nature and character traits. This particular ambiguity and versatility of Oblomov's image allows even modern readers to discover something important for themselves in the novel, posing those eternal questions that Goncharov raised in the novel.

Product test