The life and death of Ilya Ilyich. Essay death of Oblomov

Goals:

• to uncover philosophical meaning works, improve students’ reading activity, skills in working with critical literature and literary text;
• develop skills in discussion thinking and communication culture;
• show the relevance and time value of the work.

During the classes

I. Organizational stage.(Slide1)

1. Viewing of the finale of the film directed by N. Mikhalkov “A few days in the life of Oblomov.” (Slide 2)

2. Conversation.

Compare the ending of the film and the ending of the novel "Oblomov". (In the film there are no scenes with Pshenitsyna, there is no scene of farewell between Stolz and Oblomov, but there is a message about Oblomov’s death.)

Read the epigraph. (Slide 3, 4)

(- Why did everything perish?. . Who cursed you, Ilya? What have you done? You are kind, smart, gentle, noble: and: you are perishing! What ruined you? There is no name for this evil:

“Yes,” he said barely audibly:

Oblomovism! - he whispered:

Goncharov "Oblomov"

Who will tell us that we did not know how to live,
Soulless and idle minds,
That kindness and tenderness did not burn in us
And we didn’t sacrifice beauty?

:It’s not a pity for life with languid breathing,
What is life and death? What a pity about that fire
That shone over the whole universe,
And in the night is coming, and cries as he leaves.
A. Fet.)

What question do you think we will try to answer?

(The topic question opens: “Why did everything die?”) (Slide 5)

- “What happened to Oblomov? Where is he? Where? - In the nearest cemetery, under a modest urn, his body rests, between the bushes, in the calm. Lilac branches, planted by a friendly hand, doze over the grave, and the serene scent of wormwood. It seems like an angel himself silence guards his sleep: "

Key words in this snippet? (Calm; lilac branches are dozing; the angel of silence himself guards his sleep) (Slide 6)

Death: Sleep: Life: Based on these key words, what is Oblomov's life like? (Life is like a dream) (Slide 7)

What about sleep? (Sleep is like death)

Let's add to the topic of the lesson. (The whole topic of the lesson opens) (Slide 8)

Determine our main task in this lesson.

(Answer the question of the topic, try to understand the reason for the death of the hero, try to understand Oblomov).

3. The teacher explains how to work with the scoring table using a ten-point system.

II. Checking homework.

1. - At home you should have shown the keywords of the text compositional contrast novel "Oblomov". Who will present this plan to us and comment?

(One of the students suggested this option:

Part 1 (Slide 9)

a) “He must be a good-natured person, simplicity”, or maybe “a darling, a sybarite” or “a carefree sloth”? (Introducing the main character);

b) “Where is the person here?” (Visitors and Oblomov’s opinion about them);

c) “Silence and imperturbable calm reign in the morals of the people in that region.” ("Oblomov's Dream").

Part 2 (Slide 10)

a) “Because on it: they always break up afterwards, and I: break up with you!.. Never!”;

b) “To go forward means to suddenly throw off the wide robe not only from your shoulders, but also from your soul, from your mind; along with the dust and cobwebs from the walls, sweep away the cobwebs from your eyes and see clearly!” (An attempt to revive the hero through love, home, activity).

Part 3 (Slide 11)

a) “And all this summer, blooming poem of love seemed to stop, moved more lazily, as if there was not enough content in it”;

b) “The heart was killed: life died down there for a while” (Catastrophic return back to the old life: rejection of love, bitter awareness of the impossibility of fulfilling the expectations and demands of Olga Ilyinskaya. 2 hours and 3 hours end with climactic scenes: 2 hours - ascending, 3 hours - descending, that is, the hero’s joyful cry and silent illness)

Part 4 (Slide 12)

a) “Man was created to arrange himself and even change his nature: You had wings, but you untied them” (Stolz, Stolz and Olga);

b) “They were all connected by one common sympathy, one memory of the soul of the deceased, clear as crystal” (Epilogue).

2. “So why did everything die?” Perhaps the reason is in the environment? At home, you drew up a diagram of Oblomov’s relationships with other characters in the novel. "Oblomov's tree of life" (Slide 13)

As we see, the environment is one of the reasons for the death of the hero. Oblomov is unhappy, being in an environment devoid of spirituality. But is this not why he decides, after the takeoff and soaring of his soul, given to him by love, to so quickly descend to the earth’s surface, that is, to settle on the Vyborg side? The impression is that he is taking revenge on himself for his inability and inability to realize his dreams and spiritual impulses. He chooses his own punishment. Which?

III. Work on the topic of the lesson.

Motif of fire and river. (Slide 14)

The word "life" is mentioned in the topic of the lesson. What symbols of life are found in the novel? (Fire, river).

So, the motif of the river and fire in the novel "Oblomov". “And where did everything go - why did it go out?” Your comments?

How did Oblomov and Stolz perceive life?

What is the literal and figurative meaning of the river and fire

(Oblomov and Stolz are antipodes, and when reading the novel, we perceive them as two rivers and two fires). (Slide 15)

(Different combustion and flow).

How is this shown in the text?

(“He didn’t want to imagine it as a wide, noisily rushing river with seething waves,” as Stolz imagined it, “it’s a disease,” says Oblomov, “fever, jumping with rapids, with dam breaks, with floods”).

How do we see the life of Oblomovka?

(“Nothing is needed: life, like a calm river, flowed past them, they could only sit on the bank of this river and observe the inevitable phenomena that, in turn, without a call, appeared before each of them,” it becomes clear why Oblomov in inaction)

How is the fire motif shown?

(Stolz believed that “the normal purpose of a person is to live through 4 seasons, that is, 4 ages, without leaps, to carry the vessel of life to the last day, without spilling a single drop in vain, and that an even and slow burning of fire is better than violent fires, no matter what poetry there was no flame in them."

Oblomov says: “No, my life began with extinction, it’s strange, but it’s so! From the first minute, when I realized myself, I felt that I was already extinguishing. I began to fade away while writing papers in the office, then I died out while proofreading in books of truth, with which I did not know what to do in life, I hung out with my friends, listening to talk, gossip, mockery, angry and cold chatter"

Stolz believes that his existence will be an eternal burning: “Life will flash by like an instant, and he [Oblomov] would lie down and go to sleep! Let it be a constant burning! Oh, if you lived two hundred, three hundred, how much you could redo things!”) .

In what other meaning is fire given?

(Zakhar “inflamed with zeal”; Olga, whose eyes “burned with rays of inner fire”, “spiritual fire”).

How do you understand the "fire of Vesta"? (Slide 16)

(“The norm of life was prepared and taught to them by their parents: with a covenant to guard its integrity and inviolability, like the fire of Vesta,” that is, an ever-burning fire guarded by priestesses. In the novel, this is an image of the inviolability of the way of life, stagnation and inertia).

How do you understand “Antonov’s spiritual fire”? (Slide 17)

(This popular name gangrene, disease. Illness of the soul, Stolz and Olga talk about Oblomov as a sick person, and the hero needs treatment).

2. Motive of sleep. (Slide 18)

We read the topic of the lesson: “Life is like a dream:” How is the motif of sleep shown in the novel? What is the definition of the word "sleep" in the dictionary?

A physiological state of rest and rest that occurs at certain intervals, in which the work of consciousness almost completely stops and reactions to external stimuli decrease. Fall into sleep. Fall into eternal sleep. Like in a dream. Moon.

What is dreamed is dreamed by the sleeper, a dream. I have dreams. See a dream. Sleep in hand.).

The writing of the novel began with the chapter “Oblomov’s Dream.” This is a figurative semantic key to understanding the entire work. Oblomovka - “sleepy kingdom” in the form vicious circle. “Oblomov’s Dream” - dreams, nostalgia about the past of both the hero and Zakhar. "Oblomov's Dream" - a dream of a lost paradise. How do you understand "dream of paradise lost"?

(In the novel we read:

“For mercy!” added Oblomov more boldly. “But the goal of all your running around, passions, wars, trade and politics is not the manufacture of peace, not the desire for this ideal of a lost paradise.

And your utopia is Oblomov’s,” Stolz objected. ")

What is Stolz talking about?

(Utopia is a place that does not exist).

Why, reading the novel, especially the chapter “Dream,” can we safely call Goncharov a Russian Flemish, and his work [the chapter] a pastoral?

(Slide 19) Fleming - artist of conventional and traditional art of Flanders, [traditional name art XVII- XVIII centuries]. Flemings: Jan Van Eyck is an artist, a master of inspired, graceful portraits, A. Brouwer is a master of dramatic and expressive landscapes, H. Huysmans is a master of elegant, colorful landscapes. Goncharov is a writer and draftsman.

(Slide 20) Pastoral is a dramatic or musical work that idyllically depicts the life of shepherds and shepherdesses in the lap of nature.

(Slide 21) Idyll - 1. A poetic work depicting a virtuous, serene life in the lap of nature. 2. Peaceful, happy existence.

According to D. Merezhkovsky, in his descriptions Goncharov dwells for a long time with special love on the prosaic details of life. “The same love for the everyday side of life, the same ability to transform the prose of reality into poetry and beauty. Re-read “Oblomov’s Dream”: food, tea drinking, ordering food, chatting, the fun of old-world landowners here take on ideal shape: Goncharov does not describe, but sings of morals Oblomovtsev,” emphasizes Dmitry Sergeevich.

Your comments?

(“Oblomov’s Dream” is an idyll dream, a warning dream, a utopian dream of a “happy society” and a dystopian dream of historical stagnation and inaction).

How does D. Merezhkovsky talk about death? Compare with the novel.

(“Death is only the evening of life, when soft shadows fly over the eyes and close them for eternal sleep”) (Slide 22)

3. Motive of silence. (Slide 23)

How is the motif of silence shown in the novel?

(“Deep silence reigned in the house” [Oblomovka]

“Eternal peace, eternal silence and lazy crawling from day to day quietly stopped the machine of life. Ilya Ilyich died, as if a clock had stopped that had forgotten to wind:”

“Agafya Matveevna: found him resting as meekly on his deathbed as on his bed of sleep.”

Clock stopped. Stopped the machine of life :)

What is Oblomov's death like?

This is the fate of a man with a “heart of gold” and a “soul as pure as crystal.” Who are we talking about and whose words are these? (Author's opinion about Oblomov.)

Why exactly the “golden heart” and “pure soul”?

(“At the base of Oblomov’s nature lay a pure and good beginning, filled with deep sympathy for everything that was good and that only opened up and responded to the call of this simple, simple, ever-trusting heart: Whoever accidentally and deliberately looked into this bright, childish soul - be he is gloomy, angry - he could no longer refuse him reciprocity." [Author]).

Oblomov tried to understand the “pattern of his own life,” but what is the poetic ideal of life?

Norma's aria "Casta diva" from the opera of the same name by V. Bellini plays in the background, the teacher reads an excerpt from the novel (Slides 24 - 30):

"- Well, I would get up in the morning: The weather is beautiful, the sky is blue and blue, not a single cloud: While waiting for my wife to wake up, I would put on a dressing gown and walk around the garden to breathe in the morning fumes; I would find a gardener there, watering flowers together, trimmed bushes, trees: Then, putting on a spacious frock coat or jacket of some kind, hugging his wife around the waist, go deeper with her into the endless, dark alley; walk quietly, thoughtfully, silently, or think out loud, dream, count the minutes of happiness, how. the beat of the pulse; listen to how the heart beats and stops; look for sympathy in nature: and quietly go out to the field: it is dark, the fog hangs over the rye; It’s time to go home. The lights are already on in the kitchen; there are a frying pan of mushrooms, cutlets, berries: there’s music: Casta diva! - Oblomov sang: What a sadness lies in this woman! sounds!. And no one knows anything around: She is alone: ​​The secret weighs on her; she entrusts it to the moon:

Do you love Aria? I’m very glad: Olga Ilyinskaya sings it beautifully. I'll introduce you - here's the voice, here's the singing! And what a charming child she is! . "

What is the role of the musical passage?

Has Oblomov found his poetic ideal of life? Where else is the “poetry of life” found in the novel?

Let's read the epigraph again. So why did everything die? (Oblomovshchina)

IV. Lesson summary.

Make a syncwine. (Slide 31)

(Variant of syncwine suggested by students:

Oblomov

• Serene, kind
• Lie down, sleep, dream
• It started with the inability to put on stockings, it ended with the inability to live
• Oblomovism)

How did Druzhinin speak about Oblomov?

(“Oblomov is a child, and not a trashy libertine, he is a sleepyhead, and not an immoral egoist or an epicurean from the times of decay. He is powerless for good, but he is positively incapable of evil deeds, pure in spirit, not perverted by everyday sophisms.”

“A child by nature and according to the conditions of his development, Ilya Ilyich in many ways left behind him the purity and simplicity of a child, precious qualities in an adult, qualities that in themselves often open up to us the realm of truth and at times place the inexperienced, dreamy eccentric above the prejudices of his age , and above the whole crowd of businessmen surrounding him:" (Slide 32))

On the board are the opinions of critics about Oblomov and Oblomovism. If you were writing an essay on the topic of the lesson, what words would you choose as the epigraph? Why?

(In addition to Druzhinin’s statements on the board, the words of I. Annensky: “What is he: a glutton? a sloth? a sissy? a contemplator? a reasoner? No: he, Oblomov, is the result of a long accumulation of heterogeneous impressions, thoughts, feelings, sympathies, doubts and self-reproaches:" (Slide 33)

D. Merezhkovsky: “Vulgarity, triumphing over purity of heart, love, ideals - this is the main tragedy of life for Goncharov.”

What new experience did you gain and what did you learn?

Have we answered the topic question? Have you achieved your goals? Conclusion?

V. Homework.

Write a review of a tenth grader's essay. (Essays for which reviews must be written are in

"The Life of Ilya Ilyich." The performance is based on the novel “Oblomov” by I. A. Goncharov and the play “The Death of Ilya Ilyich” by M. Ugarov.
Theater-festival " Baltic House».
Director Igor Konyaev, artist Alexey Poraj-Koshits

A year ago, at readings modern dramaturgy, held at the “Baltic House” festival, Igor Konyaev and his comrades read aloud excerpts from M. Ugarov’s play “The Death of Ilya Ilyich”. A year later, on small stage Theater "Baltic House" there was a play staged by I. Konyaev "The Life of Ilya Ilch", based on the novel "Oblomov" by I. Goncharov and the play by M. Ugarov. The fact that in Konyaev’s performance approximately ten percent of the text is from Ugarov’s Play, and ninety percent belongs to Goncharov, is not surprising. (If, of course, we take into account the fact that M. Ugarov is actually our contemporary, and doing this with a contemporary’s play is not entirely correct and ethical - he may be offended). Igor Konyaev is a student of Lev Dodin’s school, and it is clear that the flesh of Goncharov’s novel for the director of traditional psychological theater is fraught with more temptations and secrets than any modern play, be she three times good. As a result, a dramatization was born, where story line does not go beyond the limits designated by the playwright, but the text inside these plot moves is replaced with the text of similar scenes from the novel “Oblomov”. There are only a few lines and episodes left from the play, mainly dialogues between Ilya Ilyich and his servant Zakhar. This is all to say that neither the language, nor the ideas, nor the philosophy of the play penetrate into the performance. Talk about the conceptual connection of the two original texts It’s also not necessary. It is clear that the creators of the play worked according to the “school” method, using the sketch method, reading the novel as in the old good times— page by page, looking for the right lines and key monologues. The scenes remaining from the play, willy-nilly, organize the comic space of the performance. Among Goncharov's text, the play's lines look like reprises, and they are acted out by the actors as light gags.

It is not surprising that the interpretation of Oblomov’s story in in this case does not go beyond the usual, stereotyped, sociological. If for Goncharov and Ugarov Ilya Ilyich is, first of all, a rare type of person that is disappearing today, in whom the integrity of nature and peace of mind are combined with a childish pure perception of the world, then the director gives Oblomov a completely textbook diagnosis, known to everyone with school days as "Oblomovism". Due to the danger of the disease, the patient was admitted to the clinic. The performance space is a hospital ward with five beds (for all the characters in this story, by the way). Primary colors are gray and white. The metal beds are fenced off with white curtains, the back wall is white medical shelves with neatly lined up bottles and folders, and in the center, in a glass cabinet, a skeleton sits comfortably. The director's view of the whole story is that of a German doctor, sober, an outsider. That’s why the doctor among all the characters is the only one who is deprived of a bed and comes here to visit the patient. For I. Konyaev, Oblomov’s inactivity and apathy are a disease of the soul, weakness is unnatural, dangerous, and has no right to exist. It is not surprising that in the finale the place of the skeleton in the closet will be taken by Ilya Ilyich himself as visual material on the topic “You can’t live like this.” But the director’s general concept leaves more and more questions and doubts as the performance progresses and seems more and more formal. What, then, is the history that we have witnessed? A figment of a sick imagination or, perhaps, a performance put on by bored patients in one of the wards?

At the very beginning of the play, all the characters, the future Zakhar, Stolz, Olga, Agafya Matveevna, in gray hospital gowns, surround the sleeping Oblomov and begin to wake him up in a loud whisper: “Ilya Ilyich, Ilya Ilyich,” after which they quietly disappear from the room. They appear as characters themselves during the course of the plot. Only Oblomov and Zakhar, sleeping behind the curtain, remain in the room. In the finale, after Oblomov’s death, the mattress on his bed will be rolled up, and all the participants in the drama that took place will again put on hospital gowns and lie down on their beds. Who is next? What did they do wrong? Who is this lying on gray hospital beds? Something doesn’t add up in the “case history” and, first of all, the figure of the main character breaks out of it.

The stage tradition of “Oblomov” as such does not exist. For everything there is one screen version, where little Ilyusha runs across the field to his mother, and Oleg Tabakov is almost an authentic image of Oblomov in the mass consciousness. The choice of MDT actor Petr Semak for this role is primarily useful for breaking stereotypes. This solution is truly amazing and non-trivial, because to imagine P. Semak playing a swimmer, apathetic Oblomov lying on the sofa for days on end - my consciousness coped with this task with difficulty. The actor had to play the role of resistance, overcome his own strength, turn it into weakness, play apathy, painful indifference, the inner extinction of a person endowed with soul, feelings, and talent. It was the actor-role relationship that became the main intrigue of the performance. This game of “resistance” was a complete success. Throughout the performance, the actor not only develops the theme of “Oblomovism”, but plays two different states of his hero - before the break with Olga and after.

In the first act, on the one hand, the patient's apathy is played. Everyone is trying to “wake up” Oblomov in one way or another: Zakhar (V. Anisimov), who comes out screaming, strums the piano, in despair, almost crying, tucks the enema down the master’s collar in order to push Oblomov away by five, as ordered. Stolz (V. Solovyov), trying to return his friend to his youth, to those old plans and dreams that connected them. Olga (E. Ushakova), who with her “Casta Diva” makes Ilya Ilyich’s heart beat faster. On the other hand, this apathy does not in any way resemble mental illness. This apathy must have its own backstory - the path that young Ilya Ilyich took. But the design of the play, in which the staging was included, was designed for completely different tasks. The actor plays the “childhood of consciousness” much more clearly. It is no coincidence that the first person we see on stage at the beginning of the performance is mother, who is already dreaming of the adult Ilyusha, and without waking up he will stretch, put his fingers into a pinch and obediently repeat the prayer. This childish behavior will echo in other episodes. When Oblomov is dressed in a slightly baggy suit, he will look like a forty-year-old boy, enthusiastically eating cakes at a social event and completely indifferent to the classic beauty of Olga Ilyinskaya. Ilya Ilyich will behave like a boy, throwing a napkin at Stolz until he hears Olga singing, until he freezes, amazed by his beauty, until he cries. Here the soul is awakened, but the story of internal rebirth is not written in the performance.

All the drama of the relationship will be revealed at the moment of the breakup, when Olga walks out the door and Ilya Ilyich is left on stage alone. The actor is alone and will play a catastrophe: indecision, an attempt to hide, growing melancholy. There is an obvious flaw in the dramatization—the gap remains unclear. What was it - a moment of weakness? A conscious act? One thing is obvious - a disaster. Semak, after Olga’s departure, plays the hero’s instant maturation, the piercing awareness of what happened with the whole being, it is not the disease that plays - cardiac arrest. “Mom, tell me a story,” Oblomov will say sadly, stretch out on the bed, shout: “Snow, snow,” and fall on the pillow in a fever.

The actor changes his performance style very accurately. He discards the comedy that was present in the first act and plays the breaking of the heart, internal death. The actor exists on stage so poignantly for forty minutes of the second act that the obvious miscalculations of the staging and the formal director's decision of the performance fade into the background.

Gradually Oblomov seems to be returning to life. The hospital ward takes on the characteristics of a home: there are dishes on the shelves, jars of cucumbers on the bedside table, a napkin there, an icon here. Soft, calm Pshenitsina promises peace with her whole appearance, and Oblomov smiles at her - weakly, helplessly. She brings Oblomov a stick, and he reaches out to her, like a child to his mother (Pshenitsyna and mother, who comes to Ilyusha in a dream, are “rhymed” by the director, they are played by the same actress). Agafya Matveevna, with maternal care, with an eternal smile on her lips, rubs Ilya Ilyich’s numb leg and ties it with a scarf, puts on a terrifying pink jacket over Oblomov’s robe - and before us is the aged, slouched Ilya Ilyich, with a quiet, even voice and melancholy in his eyes. This is not apathy, it is the absence of life, the final fall, which is realized by the hero. Stolz's arrival causes only a shadow of joy. “She’s married,” Stolz says, and then the beating of a human heart is heard. When Stolz says that he is Olga’s husband, his heart will stop. Oblomov dies of love, because the thread connecting him with the Universe was broken.

But the quiet death of Ilya Ilyich after the words “I died” is not the end. A medical report is required for medical history. The doctor begins to read the letter sent to him by Oblomov, and the words from the letter are picked up by Pyotr Semak. His final monologue about “Oblomovism” is an example of how the masters of the Maly Drama use words. Five minutes alone with the audience, exposing yourself, your life, your difficult inheritance. From a performance point of view, it’s impeccable. In relation to the performance, it seems superfluous, since everything has been played before, and the monologue about “Oblomovism” is too visual and a mentoring lesson to be believed. And although Oblomov will take the place of a skeleton in a glass cabinet as a warning to all living, he still dies of love. Semak plays not “Oblomovism”, but love and death after the betrayal of this love and brings the play to the eternal drama of the Russian man on “rendes-vous”.

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The life and death of Oblomov. Epilogue of the novel. On the third and last time Stolz visits his friend. Under the caring eye of Pshenitsyna, Oblomov almost realized his ideal: “He dreams that he has achieved that promised land, where rivers of honey and milk flow, where they eat unearned bread, walk in gold and silver...", and Agafya Matveevna turns into the fabulous Miliktrisa Kirbitievna... The house on the Vyborg side resembles rural freedom.

However, the hero never reached his native village. The theme “Oblomov and the men” runs through the entire novel. Even in the first chapters, we learned that in the absence of the master, life is difficult for the peasants. The headman reports that the men are “running away,” “begging for rent.” While Oblomov was drowning in his problems, he missed the opportunity to pave a road, build a bridge, as his neighbor, a village landowner, did. It cannot be said that Ilya Ilyich does not think about his peasants at all. But his plans boil down to ensuring that everything remains as it is. And to the advice to open a school for the man, Oblomov replies with horror that “he probably won’t even plow…” But time cannot be stopped. In the finale we learn that “Oblomovka is no longer in the wilderness, the rays of the sun fell on it!” The peasants, no matter how difficult it was, managed without the master: “... In four years it will be a road station, the men will go to work on the embankment, and then bread will roll along the cast iron to the pier... And there... schools, literacy...” But did they manage Ilya Ilyich without Oblomovka? Using the logic of the narrative, Goncharov proves his favorite thoughts. And the fact that on the conscience of every landowner lies concern for the fate of hundreds of people. And what country life is the most natural and therefore the most harmonious for the Russian person; she herself will guide, teach and suggest what to do better than any “plans”

^ In the house on Vyborgskaya Oblomov sank. What was a free dream became a hallucination - “the present and the past merged and mixed up.” On his first visit, Stolz managed to get Oblomov off the couch. In the second, he helped a friend in solving practical matters. And now she realizes with horror that she is powerless to change anything: “Get out of this hole, out of the swamp, into the light, into the open space, where there is healthy, normal life! - Stolz insisted...

“Don’t remember, don’t disturb the past: you can’t bring it back! - said Oblomov. “I’ve grown to this hole with a sore spot: if you try to tear it off, there will be death... I feel everything, I understand everything: I’ve been ashamed to live in the world for a long time!” But I can’t go your way with you, even if I wanted to... Maybe the last time was still possible. Now... now it’s too late...” Even Olga is not able to resurrect him: “Olga! - the frightened Oblomov suddenly burst out... - For God’s sake, don’t let her come here, go away!

As on his first visit, Stolz sums it up sadly:

- What's there? – Olga asked...

- Nothing!..

– Is he alive and well?

- Why did you come back so soon? Why didn’t you call me there and bring him? Let me in!

- It is forbidden!

– What is going on there?... Has “the abyss opened”? Will you tell me?.. What's going on there?

- Oblomovism!

And if Ilya Ilyich found people who agreed to endure this life around him, then nature itself, it seems, came out against it, measuring out a short period for such an existence. That is why the same Agafya Matveevna’s attempts to limit her husband produce a tragicomic impression. “How many times have you gone through? - she asked Vanyusha... - Don’t lie, look at me... Remember Sunday, I won’t let you visit.” And Oblomov, willy-nilly, counted eight more times, then came into the room...”; “It would be nice to have some pie!” - “I forgot, I really forgot! I wanted to since the evening, but my memory seems to have gone missing!” - Agafya Matveevna cheated.” This makes no sense. For she cannot offer him any other purpose in life other than food and sleep.

Every day there is a new discovery!

Goncharov devotes relatively little space to describing the illness and death of his hero. Why? Because the worst thing has already happened to Oblomov. Spiritual death preceded physical death. “He died because he ended...” (I. Annensky). “Vulgarity has finally triumphed over purity of heart, love, and ideals.”

Goncharov says goodbye to his hero with an emotional lyrical requiem: “What happened to Oblomov? Where is he? Where? “In the nearest cemetery, under a modest urn, his body rests. Lilac branches, planted by a friendly hand, doze over the grave, and wormwood smells serenely. It seems that the angel of silence himself is guarding his sleep.”

It would seem that there is an undeniable contradiction here. A high funeral speech for a fallen hero! But life cannot be considered useless when someone remembers you. Bright sadness filled the life of Agafya Matveevna with the highest meaning: “She realized that God put a soul into her life and took it out again; that the sun shone in it and darkened forever... Forever, really; but on the other hand, her life was forever comprehended: now she knew why she lived and that she did not live in vain.”

In the finale, we meet Zakhar in the guise of a beggar on the church porch. The orphaned valet prefers to ask for Christ's sake rather than serve the “objectionable” lady. The following dialogue takes place between Stolz and his literary acquaintance about the late Oblomov:

- And he was no more stupid than others, his soul was pure and clear, like glass; noble, gentle, and - disappeared!

- From what? What reason?

- Reason... what a reason! Oblomovism! - said Stolz.

- Oblomovism! – the writer repeated with bewilderment. - What it is?

- Now I’ll tell you... And you write it down: maybe it will be useful to someone. “And he told him what was written here.”

Thus, the composition of the novel is strictly circular; it is impossible to isolate the beginning and end in it. Everything that we read from the first pages, it turns out, can be interpreted as a story about Oblomov, his friend. At the same time, Stolz could tell the story of a recently completed life. So the circle human life completed twice: in reality and in the memories of friends.

Goncharov, the singer of harmony, could not end his book with one minor note. A new one appears in the epilogue little hero, which, perhaps, will be able to harmoniously combine best features father and teacher. “Don’t forget my Andrey! - were last words Oblomov, spoken in a faded voice...” “No, I won’t forget your Andrei,” Stolz promises. “But I will take your Andrei where you could not go and with him we will put our youthful dreams into action.”

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

The absurdity of the life of the protagonist of the work

From the very beginning of the work, Ilya Ilyich appears before the reader in a completely absurd situation. He spends every day in his room. Devoid of any impressions. Nothing new happens in his life, there is nothing that would fill it with any meaning. One day is like another. Absolutely uninterested in and uninterested in anything, this person, one might say, resembles a plant.

Ilya Ilyich's only activity is lying comfortably and serenely on the sofa. Since childhood, he has been accustomed to being constantly taken care of. He never thought about how to ensure his own existence. I always lived with everything ready. There was no such incident that would disturb his serene state. Life is simply convenient for him.

Inaction does not make a person happy

And this constant lying on the sofa is not caused by some incurable disease or psychological disorder. No! The terrible thing is that this is the natural state of the main character of the novel. The meaning of Oblomov’s life lies in the soft upholstery of the sofa and a comfortable Persian robe. Every person from time to time tends to think about the purpose of his own existence. The time comes, and many, looking back, begin to reason: “What useful have I done, why am I even living?”

Of course, not everyone is given the opportunity to move mountains or accomplish any heroic deed, but do own life Any person can have an interesting and full of impressions. Inaction has never made anyone happy. Perhaps only until some point certain point. But this has nothing to do with Ilya Ilyich. Oblomov, whose life story is described in novel of the same name Ivan Aleksandrovich Goncharov, is not burdened by his inaction. Everything suits him.

Main character's home

The character of Ilya Ilyich can be judged from some of the lines in which the author describes the room where Oblomov lived. Of course, the decoration of the room did not look poor. It was luxuriously furnished. And yet there was neither coziness nor comfort in it. The paintings that hung on the walls of the room were framed with drawings of cobwebs. Mirrors, designed to allow one to see one's reflection in them, could be used instead of writing paper.

The whole room was covered in dust and dirt. Somewhere there was a randomly thrown thing that would remain there until it was needed again. On the table there are uncleaned dishes, crumbs and leftovers from yesterday's meal. All this does not evoke a feeling of comfort. But Ilya Ilyich does not notice this. Cobwebs, dust, dirt and uncleaned dishes are natural companions of his daily reclining on the sofa.

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

Often Ilya Ilyich reproaches his own servant, whose name is Zakhar, for sloppiness. But he seemed to adapt to the owner’s character, and perhaps he himself was not far from him from the very beginning; he reacts quite calmly to the untidiness of the home. According to his reasoning, there is no point in cleaning the room from dust, since it still accumulates there again. So what is the meaning of Oblomov’s life? A man who can’t even get his own servant to clean up the mess. He cannot even control his own life, and the existence of those around him is completely beyond his control.

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

A hero opposite to Oblomov

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

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

Andrey's influence on the main character

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

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

The meaning of Oblomov's life and death

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

Ilya Ilyich finds his solace in the house of a widow, whose last name is Pshenitsyna. Having married her, Oblomov completely stopped worrying about life and gradually fell into moral hibernation. Now he is again dressed in his favorite robe. He's lying on the sofa again. Oblomov leads him to a slow decline. For the last time, Andrei visits his friend under the watchful eye of Pshenitsyna. He sees how his friend has sunk and makes one last attempt to pull him out of the pool. But there is no point in this.

Positive traits in the character of the main character

Revealing the meaning of Oblomov’s life and death, it is necessary to mention that Ilya Ilyich is still not negative hero in this work. There are quite bright ones in his image positive features. He is an infinitely hospitable and cordial host. Despite constantly lying on the sofa, Ilya Ilyich is very educated person, he appreciates art.

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

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