Composing the meaning of Oblomov's life. Ideological and moral meaning of the novel Oblomov Oblomov main meaning
Often referred to as a mystery writer, Ivan Aleksandrovich Goncharov, extravagant and inaccessible to many contemporaries, went to his zenith for almost twelve years. "Oblomov" was published in parts, crumpled, completed and changed "slowly and hard," as the author wrote, whose creative hand, however, approached the creation of the novel responsibly and scrupulously. The novel was published in 1859 in the St. Petersburg journal "Otechestvennye zapiski" and was met with a clear interest from both literary circles and the philistine.
The history of the writing of the novel in parallel pranced with the tarantass of the events of that time, namely with the Grim Seven Years of 1848-1855, when not only Russian literature, but the entire Russian society was silent. This was the era of increased censorship, which became the reaction of the authorities to the activity of the liberal-minded intelligentsia. A wave of democratic upheavals took place throughout Europe, so politicians in Russia decided to secure the regime with repressive measures against the press. There was no news, and the writers were faced with a caustic and helpless problem - there was nothing to write about. What the censors might have wanted was mercilessly pulled out by the censors. It is this situation that is a consequence of that hypnosis and that lethargy, in which the entire work is shrouded, like Oblomov's favorite dressing gown. The best people of the country in such a stifling atmosphere felt unnecessary, and values encouraged from above - petty and unworthy of a nobleman.
“I wrote my life and what grew to it,” Goncharov briefly commented on the history of the novel after the final touches on his creation. These words are an honest recognition and confirmation of the autobiographical nature of the greatest collection of eternal questions and answers.
Composition
The composition of the novel is circular. Four parts, four seasons, four states of Oblomov, four stages in the life of each of us. The action in the book is a cycle: sleep turns into awakening, awakening - into sleep.
- Exposition. In the first part of the novel, there is almost no action, except perhaps only in Oblomov's head. Ilya Ilyich lies, he receives visitors, he shouts at Zakhar, and Zakhar shouts at him. Here characters of different colors appear, but basically all the same ... Like Volkov, for example, to whom the hero sympathizes and rejoices for himself that he does not split up and crumble into ten places in one day, does not stick around, but preserves his human dignity in his chambers ... The next "from the cold", Sudbinsky, Ilya Ilyich also sincerely regrets and concludes that his unfortunate friend got stuck in the service, and that now much in him will not move in the century ... There was also journalist Penkin, and colorless Alekseev, and heavy-browed Tarantiev, and all he equally pitied, sympathized with everyone, parried with everyone, recited ideas and thought ... An important part is the chapter "Oblomov's Dream", in which the root of "Oblomovism" is exposed. The composition is equal to the idea: Goncharov describes and shows the reasons due to which laziness, apathy, infantilism, and in the end a dead soul were formed. It is the first part - the exposition of the novel, since here the reader is presented with all the conditions in which the hero's personality was formed.
- The tie. The first part is also the starting point for the subsequent degradation of Ilya Ilyich's personality, for even the leaps of passion for Olga and devoted love for Stolz in the second part of the novel do not make the hero better as a person, but only gradually squeeze Oblomov out of Oblomov. Here the hero meets Ilyinskaya, which in the third part develops into a climax.
- The climax. The third part, first of all, is fateful and significant for the protagonist himself, since here all his dreams suddenly become real: he performs feats, he proposes to Olga, he decides to love without fear, decides to take risks, to a duel with oneself ... Only those like Oblomov do not wear holsters, do not fence, do not cover themselves with sweat during the battle, they doze and only imagine how heroically beautiful it is. Oblomov is not capable of everything - he cannot fulfill Olga's request and go to his village, since this village is a fiction. The hero breaks up with the woman of his dreams, choosing to keep his own way of life, not striving for the best and eternal struggle with oneself. At the same time, his financial affairs are hopelessly deteriorating, and he is forced to leave a cozy apartment and prefer a budget option.
- Interchange. The fourth final part, "Vyborg Oblomovism", is made up of a marriage with Agafya Pshenitsyna and the subsequent death of the protagonist. It is also possible that it was the marriage that contributed to the dullness and imminent death of Oblomov, because, as he himself put it: "There are such donkeys that get married!"
- The main story line there is only one here and she is loving, romantic ... The relationship between Olga Ilyinskaya and her main gentleman is shown in a new, bold, passionate, psychologically detailed way. That is why the novel claims to be a love novel, being a kind of sample and manual for building relationships between a man and a woman.
- The secondary storyline is based on the principle of opposing two destinies: Oblomov and Stolz, and the intersection of these very destinies at the point of love for one passion. But in this case, Olga is not a turning-point character, no, her gaze falls only on strong male friendship, on patting on the back, on wide smiles and on mutual envy (I want to live as the other lives).
It can be summed up that the plot itself is extremely simple, despite the fact that it stretches over six hundred pages. A lazy kind middle-aged man (Oblomov) is deceived by his vulture friends (by the way, they are vultures, each in their own area), but a kind loving friend (Stolz) comes to the rescue, who saves him, but takes away the object of his love (Olga), and therefore and the main nourishment of his rich spiritual life.
The peculiarities of the composition are in parallel storylines at different levels of perception.
What is the novel about?
This novel is, first of all, about a vice of social significance. Often, the reader can notice the similarities between Oblomov not only with his creator, but also with most people who live and have ever lived. Which of the readers, as they got closer to Oblomov, did not recognize themselves, lying on the couch and reflecting on the meaning of life, on the futility of being, on love power, on happiness? Who among the readers has not crushed his heart with the question: "To be or not to be?"
The quality of the writer, in the end, is such that, trying to expose another human flaw, he falls in love with it in the process and gives the reader a flaw with such an appetizing aroma that the reader wants to feast impatiently. After all, Oblomov is lazy, untidy, childish, but the public loves him only because the hero has a soul and this soul is not ashamed to reveal to us. “Do you think that a heart is not needed for thought? No, it is fertilized by love ”- this is one of the most important postulates of the work, laying the essence of the novel“ Oblomov ”.
The sofa itself and Oblomov lying on it keep the world in balance. His philosophy, promiscuity, confusion, throwing control the lever of movement and the axis of the globe. In the novel, in this case, there is not only an excuse for inaction, but also a desecration of action. The vanity of Tarantiev or Sudbinsky does not bring any sense, Stolz is successfully making a career, but what kind is unknown ... Goncharov dares to slightly ridicule work, that is, work in the service, which he hated, which, therefore, it was not surprising to notice in the character of the protagonist ... “But how upset he was when he saw that at least there had to be an earthquake so that a healthy official didn’t come to work, and earthquakes, like a sin, do not happen in St. Petersburg; a flood, of course, could also serve as a barrier, but even that rarely happens. " - the writer conveys all the senselessness of state activity, which Oblomov thought about and gave up in the end, referring to Hypertrophia cordis cum dilatatione ejus ventriculi sinistri. So what is Oblomov talking about? This is a novel about the fact that if you are lying on the couch, you are probably more right than those who go somewhere or sit somewhere every day. Oblomovism is a diagnosis of humanity, where any activity can lead either to the loss of one's own soul, or to a stupid crumbling of time.
The main characters and their characteristics
It should be noted that speaking surnames are characteristic of the novel. For example, everyone is wearing them. minor characters... Tarantiev comes from the word "tarantula", journalist Penkin - from the word "foam", which hints at the surface and cheapness of his occupation. With their help, the author complements the description of the heroes: the surname of Stolz is translated from German as "proud", Olga is Ilyinskaya because she belongs to Ilya, and Pshenitsyna is an allusion to the meanness of her bourgeois way of life. However, all this, in fact, does not fully characterize the heroes, this is done by Goncharov himself, describing the actions and thoughts of each of them, revealing the potential or lack thereof.
- Oblomov- the main character, which is not surprising, but the hero is not the only one. It is through the prism of Ilya Ilyich's life that a different life is visible, but what is interesting is that Oblomovskaya seems to readers to be more entertaining and original, despite the fact that he does not have the characteristics of a leader and is even unsympathetic. Oblomov, a lazy and overweight middle-aged man, can confidently become the face of propaganda of melancholy, depression and blues, but this man is so unhypocritical and pure in soul that his gloomy and stale flair is almost invisible. He is kind, thin in love matters, is sincere with people. He asks himself the question: "When to live?" - and does not live, but only dreams and waits for the right moment for the utopian life that comes in his dreams and dreams. He also asks the great Hamlet question: "To be or not to be" - when he decides to get off the couch or confess his feelings to Olga. He, just like Don Quixote Cervantes, wants to accomplish the feat, but does not, and therefore blames his Sancho Pansa - Zakhar for this. Oblomov is naive, like a child, and so dear to the reader that an irresistible feeling arises to protect Ilya Ilyich and quickly send him to an ideal village, where he can, holding his wife by the waist, walk with her and look at the chef while cooking. we have analyzed in detail in the essay on this topic.
- Oblomov's opposite is Stolz. The man from whom the narration and the story of the "Oblomovism" is being conducted. He is German by father and Russian by mother, therefore, a person who inherited the virtues of both cultures. Since childhood, Andrei Ivanovich read both Herder and Krylov, he was well versed in "hard-working making money, vulgar order and boring regularity of life." For Stolz, the philosophical nature of Oblomov is equal to antiquity and the past fashion for thought. He travels, works, builds, reads avidly and envies the free soul of a friend, because he himself does not dare to claim a free soul, but maybe he is simply afraid. we have analyzed in detail in the essay on this topic.
- The turning point in Oblomov's life can be called by one name - Olga Ilyinskaya. She is interesting, she is special, she is smart, she is well-mannered, she sings amazingly and she falls in love with Oblomov. Unfortunately, her love is like a list of certain tasks, and the beloved himself is nothing more than a project for her. Having learned from Stolz the peculiarities of the thinking of her future betrothed, the girl fired up with the desire to make Oblomov a "man" and considers his boundless and quivering love for her as her leash. In part, Olga is cruel, proud and dependent on public opinion, but to say that her love is not real means to spit on all the vicissitudes in gender relations, no, rather, her love is special, but genuine. also became the theme for our composition.
- Agafya Pshenitsyna is a 30-year-old woman, mistress of the house where Oblomov moved. The heroine is an economic, simple and kind person who found in Ilya Ilyich the love of her life, but did not seek to change him. She is characterized by silence, calmness, a kind of limited outlook. Agafya does not think about something high that goes beyond the boundaries of everyday life, but she is caring, hardworking and capable of self-sacrifice for the sake of her beloved. More detailed in the essay.
Theme
As Dmitry Bykov says:
Goncharov's heroes do not shoot in a duel like Onegin, Pechorin or Bazarov, do not participate, like Prince Bolkonsky, in historical battles and the writing of Russian laws, do not commit crimes and oversteps the commandment "Thou shalt not kill", as in Dostoevsky's novels. Everything they do fits into the framework of everyday life, but this is only one facet
Indeed, one facet of Russian life cannot embrace the whole novel: the novel is divided into social relations, friendships, and love relationships ... It is the latter theme that is the main one and is highly appreciated by critics.
- Love theme is embodied in Oblomov's relationship with two women: Olga and Agafya. So Goncharov depicts several varieties of the same feeling. Ilyinskaya's emotions are saturated with narcissism: in them she sees herself, and only then her chosen one, although she loves him with all her heart. However, she values her brainchild, her project, that is, the non-existent Oblomov. Ilya's relationship with Agafya is different: the woman fully supported his desire for peace and laziness, idolized him and lived by taking care of him and their son Andryusha. The tenant gave her new life, family, long-awaited happiness. Her love is adoration to the point of blindness, because indulging her husband's whims led him to an early death. More details main topic works are described in the essay "".
- Friendship theme... Stolz and Oblomov, although they experienced falling in love with the same woman, did not unleash a conflict and did not betray friendship. They always complemented each other, talked about the most important and intimate in the life of both. This relationship has been rooted in their hearts since childhood. The boys were different, but got along well with each other. Andrei found comfort and kind-heartedness when visiting a comrade, and Ilya gladly accepted his help in everyday matters. You can read more about this in the essay "Friendship of Oblomov and Stolz".
- Searching for the meaning of life... All heroes are looking for their own way, looking for the answer to the eternal question about the purpose of man. Ilya found him in thinking and finding spiritual harmony, in dreams and in the very process of existence. Stolz found himself in a perpetual movement forward. Expanded in detail in the essay.
Problems
Oblomov's main problem is the lack of motivation to move. The whole society of that time really wants, but cannot wake up and get out of that terrible depressing state. Many people have become and are becoming Oblomov victims to this day. Living hell is living life as a dead person and not seeing any purpose. It was this human pain that Goncharov wanted to show, resorting to the concept of conflict for help: there is also a conflict between a person and society, and between a man and a woman, and between friendship and love, and between loneliness and an idle life in society, and between work and hedonism and between walking and lying and things and things.
- Love problem... This feeling can change a person for the better, this transformation is not an end in itself. For the heroine of Goncharov, this was not obvious, and she put all the strength of her love into the re-education of Ilya Ilyich, not seeing how painful it was for him. While remaking her lover, Olga did not notice that she was squeezing out of him not only bad character traits, but also good ones. In fear of losing himself, Oblomov could not save his beloved girl. He faced a problem moral choice: either remain yourself, but alone, or play the whole life of another person, but for the good of the wife. He chose his individuality, and in this decision one can see selfishness or honesty - to each his own.
- Friendship problem. Stolz and Oblomov passed the test of one love for two, but could not snatch a minute from family life to preserve the partnership. Time (and not a quarrel) separated them, the routine of days broke the bonds of friendship that had been strong. From separation, they both lost: Ilya Ilyich completely neglected himself, and his friend was mired in petty worries and troubles.
- The problem of education. Ilya Ilyich fell victim to the sleepy atmosphere in Oblomovka, where servants did everything for him. The boy's liveliness was dulled by endless feasts and naps, the dull numbness of the wilderness left an imprint on his addictions. becomes clearer in the episode "Oblomov's Dream", which we analyzed in a separate article.
Idea
Goncharov's task is to show and tell what “Oblomovism” is, opening its doors and pointing out both its positive and negative sides and giving the reader the opportunity to choose and decide what is paramount for him - Oblomovism or real life with with all his injustice, materiality and activity. the main idea in the novel "Oblomov" - a description of a global phenomenon modern life, which has become part of the Russian mentality. Now the name of Ilya Ilyich has become a household name and denotes not so much a quality as a whole portrait of the person in question.
Since no one forced the nobles to work, and serfs did everything for them, phenomenal laziness flourished in Russia, which engulfed the upper class. The country's support was rotting from idleness, not contributing in any way to its development. This phenomenon could not but cause fear among the creative intelligentsia, therefore, in the image of Ilya Ilyich, we see not only a rich inner world, but also a destructive inaction for Russia. However, the meaning of the reign of laziness in Oblomov's novel has political overtones. It was not for nothing that we mentioned that the book was written during the period of tightening of censorship. There is a hidden, but, nevertheless, basic idea in it that the authoritarian regime of government is to blame for this general idleness. In it, the personality does not find application for itself, bumping into only restrictions and the fear of punishment. The absurdity of servility reigns around, people do not serve, but serve, so a self-respecting hero ignores the vicious system and, as a sign of silent protest, does not play at an official who still does not decide anything and cannot change anything. The country under the gendarme's boot is doomed to regression, both at the level of the state machine and at the level of spirituality and morality.
How did the novel end?
The hero's life was cut short by heart obesity. He lost Olga, he lost himself, he even lost his talent - the ability to think. Living with Pshenitsyna did not do him good: he was mired in a kulebyak, in a pie with entrails, which swallowed and sucked poor Ilya Ilyich. His soul was eaten by fat. His soul was eaten by the dressing-gown repaired by Wheatsina, the sofa, from which he was rapidly sliding into the abyss of entrails, into the abyss of entrails. This is the finale of Oblomov, a gloomy, uncompromising sentence to Oblomovism.
What does it teach?
The novel is arrogant. Oblomov keeps the reader's attention and puts this very attention on the whole part of the novel in a dusty room, where the main character does not get out of bed and all shouts: "Zakhar, Zakhar!" Isn't that nonsense ?! And the reader doesn’t leave ... and can even lie down next to him, and even wrap himself up in “an oriental robe, without the slightest hint of Europe”, and not even decide anything about “two misfortunes”, but think about them all ... Goncharov's psychedelic novel is very fond of lulling the reader and pushes him to parry on the fine line between reality and dream.
Oblomov is not just a character, it is a lifestyle, it is a culture, it is any contemporary, it is every third inhabitant of Russia, every third inhabitant of the whole world.
Goncharov wrote a novel about universal worldly laziness to live in order to overcome it and help people cope with this disease, but it turned out that he justified this laziness only because he lovingly described every step, every weighty idea of the bearer of this laziness. It is not surprising, because Oblomov's "crystal soul" still lives in the memories of his friend Stolz, his beloved Olga, his wife Pshenitsyna and, finally, in the tear-stained eyes of Zakhar, who continues to go to the grave of his master. Thus, conclusion of Goncharov- to find a middle ground between the "crystal world" and the real world, finding a vocation for yourself in creativity, love, development.
Criticism
Readers of the 21st century rarely read the novel, and even if they do, it is not completely. Some lovers of Russian classics can easily agree that the novel is partly boring, but boring on purpose, overwhelmingly. However, this does not scare the reviewers, and many critics were happy to analyze and are still dismantling the novel by its psychological bones.
One of the popular examples is the work of Nikolai Alexandrovich Dobrolyubov. In his article "What is Oblomovism?" the critic gave an excellent description of each of the heroes. The reviewer sees the reasons for laziness and inability to arrange Oblomov's life in upbringing and in the initial conditions, where the personality was formed, or, rather, was not.
He writes that Oblomov is “not a dull, apathetic nature, without aspirations and feelings, but a person who is also looking for something in his life, thinking about something. But the vile habit of receiving satisfaction of his desires not from his own efforts, but from others - developed in him an apathetic immobility and plunged him into a miserable state of moral slavery. "
Vissarion Grigorievich Belinsky saw the origins of apathy in the influence of the whole society, since he believed that a person was originally a blank canvas created by nature, therefore, a certain development or degradation of a particular person is on the scales that belong directly to society.
Dmitry Ivanovich Pisarev, for example, looked at the word "Oblomovism" as an eternal and necessary organ for the body of literature. According to him, "Oblomovism" is a vice of Russian life.
The sleepy, routine atmosphere of rural, provincial life complemented what the works of parents and nannies did not manage to do. On a greenhouse plant, not familiarized in childhood with not only excitement real life, but even with children's sorrows and joys, it smelled like a stream of fresh, living air. Ilya Ilyich began to study and developed so much that he understood what life is, what are the responsibilities of a person. He understood this intellectually, but he could not sympathize with the perceived ideas about duty, about work and activity. The fatal question: why live and work? - the question that usually arises after numerous disappointments and disappointed hopes, directly, by itself, without any preparation, in all its clarity presented itself to the mind of Ilya Ilyich - the critic wrote in his famous article.
Alexander Vasilyevich Druzhinin examined the Oblomovism and its main representative in more detail. The critic singled out 2 main aspects of the novel - external and internal. One is in the daily routine and practice, while the other occupies the area of the heart and head of any person, which never ceases to gather crowds of destructive thoughts and feelings about the rationality of existing reality. If you believe the criticism, Oblomov died because he chose to die, and not live in eternal incomprehensible vanity, betrayal, self-interest, financial confinement and absolute indifference to beauty. However, Druzhinin did not consider “Oblomovism” to be an indicator of decay or decay, he saw sincerity and conscience in it, and believed that this positive assessment of “Oblomovism” was the merit of Goncharov himself.
Interesting? Keep it on your wall!Ivan Goncharov's novel Oblomov is highly instructive.
Oblomov's lifestyle is a continuous routine, and the main character does not even try to break out of it on his own. With the help of this character, the author will prove that laziness and indifference ruin the fate of people.
First meeting
Ivan Goncharov introduces the reader to Ilya Ilyich Oblomov from the very first pages of the novel. The man lies in his own bed with a detached gaze. He tries to force himself to rise, but attempts fail. Promises to get up after an hour lead to the fact that the day smoothly turns into evening, and it is no longer necessary to leave bed.
Living horizontally
Ilya thinks about the misfortunes that overtook him. So the man calls the troubles associated with the affairs of the estate, inherited from the parents, and the search for a new apartment.
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He gives orders to the old footman Zakhar in bed. Guests, who often visit him, are received by the master lying down, in an old darned dressing gown.
Oblomov's former colleagues also come. And he does not at all seek to appear from his best side, meeting them cheerful and in excellent health. He always complains to young, handsome men about their health.
Clutter in the apartment and in the shower
Rarely leaves the house. He rejects invitations of friends to attend social events. Justifies the refusal with poor health, barley, drafts and dampness, which is contraindicated for him.
"When I was at home, I almost always lay there, and everyone was in the same room."
His best friend, Andrei Ivanovich Stolts, compares Oblomov to an animal that is constantly in a dark den.
"Did you really prepare yourself for such a life in order to sleep like a mole in a hole?"
Zakhar reports to Andrey that he has polished the owner's shoes a long time ago, and the boots are intact.
He wakes up late. Eats and drinks tea in bed. The footman helps him to put on his socks. Home shoes are placed near the bed so that it is easy to get into them when lowering your feet. Oblomov is very lazy. Will never clean up after itself. In his room there are mountains of dirty dishes, which are difficult for a man to carry to the kitchen. Since childhood, his family has been taught to sleep during the day. Ilya still adheres to a similar routine.
“After lunch, nothing could disturb Oblomov's sleep. He usually lay on his back on the sofa.
Positive changes
After meeting Olga Ilyinskaya Oblomov is changing for the better. He is inspired by new feelings. Love gives him strength, inspires.
“He read several books, wrote letters to the village, changed the headman on his own estate. Haven't had supper, and for two weeks hasn't known what it means to lie down during the day. Gets up at seven o'clock. No sleep, no fatigue, no boredom on my face. He is cheerful, hums. "
This state did not last long. Ilya again begins to be captivated by the past life. He understands that he will not be able to give Olga the confidence and strength that the girl expects from him.
Life with the widow Pshenitsyna
Soon he marries the widow Agafya Matveevna Pshenitsyna, from whom he rented a room in a house on Vyborgskaya Street. This type of woman suits him much more than Ilyinskaya. Agafya is ready to fulfill all his whims, demanding nothing in return.
"Oblomov, noticing the participation of the hostess in his affairs, offered, as a joke, to take care of his food on himself and save him from the trouble."
Ilya Ilyich dies at the age of forty. He often compared himself to an old caftan, no longer fit for good. His sedentary lifestyle led to his health deteriorating so early. The man was given a chance to change his own destiny, but laziness turned out to be stronger.
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 in the reader. What is the meaning of Oblomov's life, who is he and was he really a bummer?
The absurdity of the life of the protagonist of the work
From the very beginning of the work, Ilya Ilyich appears before the reader in a completely absurd situation. He spends every day in his room. Deprived of any experience. Nothing new happens in his life, there is nothing that would fill it with some meaning. One day is like another. Absolutely not carried away or interested in anything, this person, one might say, resembles a plant.
Ilya Ilyich's only occupation is lying comfortably and serenely on the sofa. From childhood, he was accustomed to being constantly taken care of. He never thought about how to ensure his own existence. Always lived on everything ready. There was no such incident that would disturb his serene state. It's just convenient for him to live.
Inaction does not make a person happy.
And this constant lying on the couch is not caused by some incurable disease or a psychological disorder. No! The terrible thing is that this is the natural state of the main character in the novel. The meaning of Oblomov's life lies in the soft upholstery of the sofa and a comfortable Persian robe. It is common for every person to think about the purpose of their own existence from time to time. The time comes, and many, looking back, begin to argue: "What did I do useful, why do I live at all?"
Of course, not everyone is able to move mountains, perform some heroic act, but any person can make their own life interesting and full of impressions. Inaction has never made anyone happy. Perhaps only up to a certain point. But this has nothing to do with Ilya Ilyich. Oblomov, whose life story is described in the novel of the same name by Ivan Alexandrovich Goncharov, is not burdened by his inaction. Everything suits him.
The main character's dwelling
The character of Ilya Ilyich can already be judged from some lines in which the author describes the room where Oblomov lived. Of course, the decoration of the room did not look poor. It was elegantly furnished. And yet there was neither coziness nor comfort in her. The paintings that hung on the walls of the room were framed with cobweb designs. Mirrors, designed to be reflected in them, could be used instead of writing paper.
The whole room was covered in dust and dirt. Somewhere there was an accidentally thrown thing lying around, which will remain there until it is needed again. On the table are uncleaned dishes, crumbs and leftovers from yesterday's meal. All this does not cause a feeling of comfort. But Ilya Ilyich does not notice this. Cobwebs, dust, dirt and uncleaned dishes are natural companions of his daily reclining on the couch.
Dreaminess in the character of Ilya, or As in the village
Often, Ilya Ilyich reproaches his own servant, whose name is Zakhar, for his slovenliness. But he seemed to have adjusted to the character of the owner, and perhaps he himself was initially not far from him, quite calmly reacts to the untidiness of the dwelling. According to his reasoning, there is no point in cleaning the room from dust, since it still accumulates there again. So what is the meaning of Oblomov's life? A man who cannot even force his own servant to put things in order. He cannot even control his life, and the existence of those around him is generally beyond his control.
Of course, sometimes he dreams of doing something for his village. He is trying to come up with some plans, again - lying on the couch, in order to reorganize the village life. But this person is already so divorced from reality that all the dreams he has built remain them. 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 of "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 mental alertness. No matter what Andrei undertakes, he succeeds in everything, and he enjoys everything. He does not even think about why he is doing this or that business. According to the character himself, he works for the sake of labor.
What is the difference between the meaning of life Oblomov and Stolz? Andrei never lies, like Ilya Ilyich, idle. He is always busy with something, he has a huge social circle with interesting people. Stolz never sits in one place. He is constantly on the 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 friend to an active life. To do this, he resorts to some kind of trick. Introduces him to Olga Ilyinskaya. Realizing that pleasant communication with beautiful woman, perhaps, will quickly awaken in Ilya Ilyich a taste for a life more diverse than existence in his room.
How does Oblomov change under the influence of Stolz? His life story is now associated with the beautiful Olga. He even awakens tender feelings for this woman. He is trying to change, to adapt to the world in which Ilyinskaya and Stolz live. But his long lying on the couch does not pass without leaving 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 weary about his relationship with Olga. And, of course, their break became inevitable.
The meaning of life and death of Oblomov
Ilya Ilyich's only dream is the desire to find peace. He does not need seething energy Everyday life... The world in which he is closed, with its small space, seems to him much more pleasant and comfortable. And the life that his friend Stolz leads does not appeal to him. It requires fuss and movement, and this is unusual for Oblomov's character. Finally, all Andrei's ebullient energy, which constantly encounters Ilya's indifference, dried up.
Ilya Ilyich finds his consolation in the house of a widow whose surname 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. Lying on the couch again. Oblomov leads him to a slow extinction. V last time Andrei visits his friend already under the watchful eye of Pshenitsyna. He sees his friend go down and makes one last attempt to get him out of the pool. But there is no point in that.
Positive traits in the character of the protagonist
Revealing the meaning of Oblomov's life and death, it is necessary to mention that Ilya Ilyich is still not a negative character in this work. There are in his image and quite bright positive features... He is infinitely hospitable and welcoming host. Despite the constant lying on the couch, Ilya Ilyich is a very educated person, he appreciates art.
In relations with Olga, he does not show rudeness or intolerance, he is gallant and courteous. Its very rich, but destroyed by unnecessary care from the very childhood. At first you might think that Ilya Ilyich is infinitely happy, but this is just an illusion. The dream that replaced the real state.
Oblomov, who turned into a tragedy, seems to be pleased with his position. And yet he understands the worthlessness of his existence. Moments of realizing his own inaction come to him. After all, Ilya Stolts forbade letting Olga to see him, he did not want her to see the process of his decomposition. An educated person cannot fail to understand how empty and monotonous his life is. Only laziness does not allow changing it and making it bright and diverse.
"Oblomov's Dream" not only illuminated, understood and intelligently poeticized the entire face of the hero, but with a thousand invisible fasteners connected him with the heart of every Russian reader. In this respect, The Dream, striking in itself as a separate artistic creation, is even more striking in its significance throughout the novel.
Deep in the feeling that inspired it, light in meaning, contained in it, at the same time it clarifies and enlightens with itself that typical face in which the interest of the whole work is concentrated. Oblomov without his "Dream" would be an unfinished creation, not native to each of us, as it is now - his "Dream" explains all our perplexities and, without giving us a single naked interpretation, commands us to understand and love Oblomov. There is nothing superfluous here, you will not find an obscure feature or a word spoken in vain, all the little things of the situation are necessary, everything is legal and beautiful. Onisim Suslov, whose porch could only be reached by grasping the grass with one hand and the roof of the hut with the other, is kind to us and needs clarification in this matter. A sleepy chelyadin man, drowsy blowing on kvass, in which drowning flies move violently, and a dog, recognized as mad for only rushing to run from the people who had gathered on it with pitchforks and axes, and a nanny falling asleep after a fat dinner with a premonition that Ilyusha will go to touch the goat and climb the gallery, and a hundred other charming, Mierisian details are necessary here, for they contribute to the integrity and lofty poetry of the main task.
So, "Oblomov's Dream" expanded, legalized and understood the multi-symbolic type of hero, but this was not yet enough for the completeness of creation. The new and last, decisive step in the creative process was the creation of Olga Ilyinskaya - a creation so happy that we, without offense, call the first thought of him the cornerstone of the entire Oblomov drama, the happiest thought in all the artistic activity of our author. Even leaving aside all the charm of the performance, all the artistry with which Olga's face is processed, we will not find sufficient words to express all the beneficial influence of this character on the course of the novel and the development of Oblomov's type. Without Olga Ilyinskaya and without her drama with Oblomov, we would not recognize Ilya Ilyich as we know him now, without Olga's glance at the hero we still would not have looked at him properly. In the convergence of these two main persons of the work, everything is supremely natural, each detail satisfies the most exacting requirements of art - and yet how much psychological depth and wisdom develops before us through it! How this young, proudly courageous girl lives and fills all our ideas about Oblomov, how we sympathize with the striving of her whole being for this gentle eccentric, separated from the world around him, how we suffer from her suffering, how we hope with her hopes, even knowing, and knowing well their impossibility! G. Goncharov, as a brave connoisseur of the human heart, from the first scenes between Olga and her first chosen one, gave a large share of intrigue to the comic element.
His incomparable, mocking, lively Olga from the first minutes of rapprochement sees all the funny features of the hero, without being deceived in the least, plays with them, almost enjoys them and is deceived only in her calculations on the solid foundations of Oblomov's character. All this is strikingly true and at the same time bold, because until now none of the poets has dwelt on the great importance of the tender comic side in love affairs, while this side has always existed, eternally to the being - How to write an essay 205 and expresses itself in most of our heart affections. Many times over the past months, we have heard and even read expressions of bewilderment about “how the clever and sharp-sighted Olga could fall in love with a person who was unable to change the apartment and slept with pleasure after dinner” - and, as far as we can recall, all such expressions belonged very young people, very unfamiliar with life. Olga's spiritual antagonism with Oblomovism, her playful, touching attitude to the weaknesses of the chosen one is explained by both the facts and the essence of the matter. The facts came together quite naturally - the girl, by her nature not fond of tinsel and empty secular youths of her circle, is interested in an eccentric, about whom the clever Stolz told her so many stories, curious and funny, extraordinary and amusing. She draws closer to him out of curiosity, likes him out of nothing to do, perhaps because of innocent coquetry, and then stops in amazement at the miracle she has done. We have already said that the gentle, loving nature of the Oblomovs is all illuminated through love - and could it be otherwise with a pure, childishly affectionate Russian soul, from which even her laziness drove away corruption with tempting thoughts. Ilya Ilyich expressed himself completely through his love, and Olga, a keen-sighted girl, did not remain blind before the treasures that were revealed to her. These are external facts, and there is only one step from them to the most essential truth of the novel. Olga understood Oblomov closer than Stolz understood him, closer than all the people devoted to him.
She saw in him both innate tenderness, and purity of temper, and Russian gentleness, and knightly ability for devotion, and a decisive inability to do any unclean deed, and finally - which should not be forgotten - she saw in him an original, funny, but pure person. and not at all contemptible in its originality. Once having reached this point, the artist reached such an entertaining action, to such a charm in the entire course of events that the failed, sadly ended love of Olga and Oblomov became and will forever remain one of the most enchanting episodes in all Russian literature. We know that the time for renewal is missed, that Olga was not given to raise Oblomov, but meanwhile, with any collision in their drama, our heart sinks from the unknown. What we didn’t feel with all the twists and turns of this passion, starting at least from the minute when Ilya Ilyich, looking at Olga the way her nanny Kuzminishna looks at her, importantly talks about the fact that it’s bad and dangerous to see each other in private, until his terrible, last meeting with the girl and to her last words: "What ruined you, there is no name for this evil!" What is there in this interval, in this struggle of light and shadow, which gives us all Oblomov and brings him closer to us so that we suffer for him when, groaning and bored, he makes his way into the opera from the Vyborg side, and we light up with joy in those minutes, when in his Oblomov, dusty nest, with the desperate barking of a dog galloping on a chain, an unexpected vision of a kind angel suddenly appears. Before how many particulars of the aforementioned episode, the good-natured laughter takes possession of us, and then seizes, in order to immediately give way to expectation, sadness, excitement, bitter condolences to the weak! This is where a number of artistic details, which began with Oblomov's dream, lead us to. This is where true laughter through tears appears - that laughter that became hated to us - so often scandalous poets and biographers of drunken bribe-takers hid behind them! The expression, so mercilessly disgraced by mediocre writers, again received its strength for us: the power of true, living poetry again turned our sympathy for it. Olga's creation is so complete - and the task she accomplished in the novel is so richly accomplished that further clarification of Oblomov's type through other characters becomes a luxury, sometimes unnecessary. One of the representatives of this superfluous luxury is Stolz, with whom many of Mr. Goncharov's admirers seem to be dissatisfied.
For us it is quite clear that this person was conceived and thought out before Olga, that in his lot, in the author's previous idea, fell the great work of elucidating Oblomov and Oblomovism through the comprehensible opposition of the two heroes. But Olga took the whole thing into her own hands, to the true happiness of the author and to the glory of his work. Andrei Stolts disappeared before her, as a good but ordinary husband disappears before his brilliantly gifted wife. His role became insignificant, completely disproportionate to the difficulty and vastness of training, as the role of an actor who had been preparing to play Hamlet for a whole year and appeared before the public in the role of Laertes. Looking at the matter from this point of view, we are ready to condemn the too frequent appearance of Stolz; we are incapable of condemning him as a living person in the same way as condemning Laertes for not being Hamlet. We do not see in Stolz absolutely nothing unsympathetic, and in the creation of it there is nothing sharply incompatible with the laws of art: this is an ordinary person and does not aim at extraordinary people, a face that is not at all elevated by the novelist to the ideal of our time, a character depicted with excessive painstaking care, which all -so does not give us the necessary completeness of the impression. Describing Stolz's childhood in great detail and poetically, Mr. Goncharov cools so much towards the period of his maturity that he does not even tell us exactly what kind of enterprises Stolz is engaged in, and this strange mistake has an unpleasant effect on the reader, who since his childhood has become accustomed to looking unkindly at any swindler. whose business pursuits are shrouded in obscurity. If there were a great need in Stolz, if only through him Oblomov's type was capable of proper understanding, we have no doubt that our artist, with his strength and vigilance, would not retreat before a once given theme, but we have already said that the creation Olga was pushed far aside by Stolz and his significance in the novel. Clarification through the sharp opposition of two dissimilar male characters became unnecessary: dry ungrateful contrast was replaced by drama, full of love, tears, laughter and pity. For Stolz, only some participation in the mechanical course of the whole intrigue remained, and even his boundless love for the person of Oblomov, in which, however, he has many rivals.
And in fact, take a close look at the whole novel, and you will see how many people there are devoted to Ilya Ilyich and even adore him, this gentle dove, in Olga's expression. And Zakhar, and Anisya, and Stolz, and Olga, and lethargic Alekseev - all are attracted by the charm of this pure and whole nature, in front of which only Tarant'ev can stand, not smiling and not feeling warmth in his soul, not making fun of her and not wanting her take a sip. But Tarant'ev is a bastard, a mazurik; a lump of dirt, a nasty cobblestone sitting in his chest instead of a heart, and we hate Tarantiev, so if he appeared before us alive, we would consider it a pleasure to beat him with our own hands. But the cold penetrates us to the bones and a thunderstorm rises in our souls at the moment when, after describing Oblomov's conversation with Olga, after the seventh heaven of poetry, we learn that Tarant'ev is sitting in the armchairs of Ilya Ilyich and waiting for his arrival. Fortunately, there are few Tarantievs in the world and in the novel there is someone to love Oblomov. Anyone from almost actors loves him in his own way, and this love is so simple, so necessarily follows from the essence of the matter, so alien to any calculation or author's exaggeration! But no one’s adoration (even considering here Olga’s feelings at the best time of her hobbies) does not touch us as much as Agafya Matveyevna’s love for Oblomov, that very Agafya Matveyevna Pshenitsyna, who from her first appearance seemed to us the evil angel of Ilya Ilyich - and alas! really became his evil angel.
Agafya Matveyevna, quiet, devoted, ready to die for our friend at any moment, really ruined him completely, piled a grave stone over all his aspirations, plunged him into the gaping abyss for a moment of Oblomovism abandoned, but this woman will be forgiven for the fact that she is a lot loved. The pages in which Agafya Matveevna appears to us, from the very first shy conversation with Oblomov, the height of perfection in artistically, but our author, concluding the story, crossed all the boundaries of his usual artistry and gave us such lines from which the heart breaks, tears pour down on the book and the soul of a keen reader flies into the field of such poetry that until now, of all Russian people, there will be the creator in this area was given to Pushkin alone. Agafya Matveyevna's grief about the late Oblomov, her attitude to the family and Andryusha, finally, this marvelous analysis of her soul and her past passion - all this is above the most enthusiastic assessment.
The social meaning of the novel The meaning of the title of the work The meaning of Oblomovka in the novel The meaning of Oblomov's life in the novel Conclusion
Goncharov's novel "Oblomov" is a landmark work of literature of the 19th century, affecting both acute social and many philosophical problems while staying relevant and interesting modern reader. Ideological meaning the novel "Oblomov" is based on the opposition of an active, new social and personal principle with an obsolete, passive and degrading one. In the work, the author reveals
these beginnings are at several existential levels, therefore, to fully understand the meaning of the work, a detailed consideration of each of them is required.
The public meaning of the novel
In the novel Oblomov, Goncharov was the first to introduce the concept of Oblomovism as a generalized name for outdated patriarchal-landowners' foundations, personal degradation, and the stagnation of a whole social stratum of the Russian philistine, unwilling to accept new social trends and norms.
The author considered this phenomenon on the example of the main character of the novel, Oblomov, whose childhood was spent in the distant Oblomovka, where everyone lived quietly, lazily, taking little interest and almost not caring about anything. The hero's native village becomes the embodiment of the ideals of the Russian old-bourgeois society - a kind of hedonistic idyll, a “conserved paradise” where there is no need to study, work or develop.
Portraying Oblomov as “ extra person”, Goncharov, in contrast to Griboyedov and Pushkin, whose characters of this type were ahead of society, introduces into the narrative a hero lagging behind society, living in the distant past. An active, active, educated environment oppresses Oblomov - the ideals of Stolz with his work for the sake of labor are alien to him, even his beloved Olga is ahead of Ilya Ilyich, approaching everything from a practical side. Stolz, Olga, Tarantyev, Mukhoyarov, and other acquaintances of Oblomov are representatives of a new, “urban” type of personality. They are more practitioners than theoreticians, they do not dream, but do, create new things - someone working honestly, someone cheating.
Goncharov condemns “Oblomovism” with its gravitation towards the past, laziness, apathy and complete spiritual withering away of the personality, when a person essentially becomes a “plant” lying around the clock on the couch.
However, Goncharov also portrays the images of modern, new people as ambiguous - they do not have the peace of mind and inner poetry that Oblomov had (remember that only resting with a friend, Stolz found this peace of mind, and already married Olga is sad for something far away and is afraid to dream making excuses to her husband).
At the end of the work, Goncharov does not make a definite conclusion who is right - the practitioner Stolz or the dreamer Oblomov. However, the reader understands that it was precisely because of the "Oblomovism", as a phenomenon of sharply negative and long obsolete, that Ilya Ilyich "disappeared". That is why the social meaning of Goncharov's novel Oblomov is the need for constant development and movement - both in the continuous construction and creation of the surrounding world, and in work on the development of one's own personality.
The meaning of the title of the work
The meaning of the title of the novel “Oblomov” is closely related to the main theme of the work - it was named after the name of the protagonist Ilya Ilyich Oblomov, and is also associated with the social phenomenon “Oblomovism” described in the novel. The etymology of the name is interpreted by researchers in different ways. So, the most widespread version is that the word “bummer” comes from the words “fragment”, “break off”, “break”, denoting the state of mental and social breakdown of the landlord nobility, when it turned out to be in a borderline state between the desire to preserve the old traditions and foundations and the need to change to the requirements of the era, from a creator person to become a practical person.
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