Characteristics of Ilya Ilyich Oblomov very ambiguous. Goncharov created it complex and mysterious. Oblomov separates himself from outside world, fences himself off from him. Even his home bears little resemblance to habitation.

WITH early childhood he saw a similar example among his relatives, who also fenced themselves off from the outside world and protected it. In his home it was not customary to work. When he, as a child, played snowballs with peasant children, they then warmed him up for several days. In Oblomovka they were wary of everything new - even a letter that came from a neighbor, in which he asked for a beer recipe, was afraid to open for three days.

But Ilya Ilyich remembers his childhood with joy. He idolizes the nature of Oblomovka, although this is an ordinary village, not particularly remarkable. He was brought up by rural nature. This nature instilled in him poetry and a love of beauty.

Ilya Ilyich does nothing, just complains about something all the time and engages in verbiage. He is lazy, does nothing himself and does not expect anything from others. He accepts life as it is and does not try to change anything in it.

When people come to him and tell him about their lives, he feels that in the bustle of life they forget that they are wasting their lives in vain... And he does not need to fuss, act, does not need to prove anything to anyone. Ilya Ilyich simply lives and enjoys life.

It's hard to imagine him in motion, he looks funny. At rest, lying on the sofa, it is natural. He looks at ease - this is his element, his nature.

Let's summarize what we read:

1. Appearance of Ilya Oblomov. Ilya Ilyich is a young man, 33 years old, of good appearance, of average height, plump. The softness of his facial expression showed him to be a weak-willed and lazy person.
2. Family status. At the beginning of the novel, Oblomov is not married, he lives with his servant Zakhar. At the end of the novel he gets married and is happily married.
3. Description of the home. Ilya lives in St. Petersburg in an apartment on Gorokhovaya Street. The apartment is neglected; the servant Zakhar, who is as lazy as the owner, rarely sneaks into it. A special place in the apartment is occupied by a sofa, on which all day long lies Oblomov.
4. Behavior and actions of the hero. Ilya Ilyich can hardly be called an active person. Only his friend Stolz manages to bring Oblomov out of his slumber. Main character lies on the sofa and only dreams that he will soon get up from it and take care of business. He cannot even solve pressing problems. His estate has fallen into disrepair and is not bringing in any money, so Oblomov doesn’t even have money to pay the rent.
5. The author's attitude towards the hero. Goncharov has sympathy for Oblomov; he considers him a kind, sincere person. At the same time, he sympathizes with him: it is a pity that a young, capable, not stupid man has lost all interest in life.
6. My attitude towards Ilya Oblomov. In my opinion, he is too lazy and weak-willed, and therefore cannot command respect. At times he just infuriates me, I want to go up and shake him. I don't like people who live their lives so mediocrely. Perhaps I react so strongly to this hero because I feel the same shortcomings in myself.

The novel “Oblomov” is an integral part of Goncharov’s trilogy, which also includes “The Precipice” and “ An ordinary story" It was first published in 1859 in the journal Otechestvennye zapiski, but the author published a fragment of the novel Oblomov’s Dream 10 years earlier, back in 1849. According to the author, the draft of the entire novel was already ready at that time. A trip to his native Simbirsk with its ancient patriarchal way of life largely inspired him to publish the novel. However, I had to take a break creative activity in connection with a trip around the world.

Analysis of the work

Introduction. The history of the creation of the novel. Main idea.

Much earlier, in 1838, Goncharov published humorous story“Dashing Sickness,” which condemningly describes such a harmful phenomenon that flourishes in the West as a tendency to excessive daydreaming and melancholy. It was then that the author first raised the issue of “Oblomovism,” which he later fully and comprehensively revealed in the novel.

Later, the author admitted that Belinsky’s speech on the topic of his “Ordinary History” made him think about creating “Oblomov”. In his analysis, Belinsky helped him outline a clear image of the main character, his character and personality traits. In addition, the hero Oblomov is, in some way, Goncharov’s recognition of his mistakes. After all, he, too, was once a supporter of serene and meaningless pastime. Goncharov spoke more than once about how difficult it was sometimes for him to do some everyday things, not to mention the difficulty with which he made the decision to go to circumnavigation. His friends even nicknamed him “Prince De Lazy.”

The ideological content of the novel is extremely deep: the author raises deep social problems, which were relevant for many of his contemporaries. For example, the dominance of European ideals and canons among the nobility and the vegetation of original Russian values. Eternal questions love, duty, decency, human relationships and life values.

General characteristics of the work. Genre, plot and composition.

According to genre features, the novel “Oblomov” can be easily identified as a typical work of the realism movement. Here there are all the signs characteristic of works of this genre: a central conflict of interests and positions of the protagonist and the society opposing him, many details in the description of situations and interiors, authenticity from the point of view of historical and everyday aspects. For example, Goncharov very clearly depicts the social division of layers of society, inherent in that time: burghers, serfs, officials, nobles. During the course of the story, some characters receive their development, for example, Olga. Oblomov, on the contrary, degrades, breaking under the pressure of the surrounding reality.

The typical phenomenon of that time, described on the pages, which later received the name “Oblomovshchina,” allows us to interpret the novel as a social one. The extreme degree of laziness and moral depravity, vegetation and personal decay - all this had an extremely detrimental effect on the bourgeoisie of the 19th century. And “Oblomovshchina” became a household name, in in a general sense reflecting the way of life of Russia at that time.

In terms of composition, the novel can be divided into 4 separate blocks or parts. At the beginning, the author lets us understand what the main character is like, to follow the smooth, non-dynamic and lazy flow of his boring life. What follows is the climax of the novel - Oblomov falls in love with Olga, comes out of “hibernation”, strives to live, enjoy every day and receive personal development. However, their relationship was not destined to continue and the couple experienced a tragic breakup. Oblomov's short-term insight turns into further degradation and disintegration of personality. Oblomov again falls into despondency and depression, plunging into his feelings and joyless existence. The denouement is the epilogue, which describes the further life of the hero: Ilya Ilyich marries a homely woman who does not shine with intelligence and emotions. Conducts last days in peace, indulging in laziness and gluttony. The finale is the death of Oblomov.

Images of the main characters

In contrast to Oblomov is the description of Andrei Ivanovich Stolts. These are two antipodes: Stolz’s gaze is directed clearly forward, he is confident that without development there is no future for him as an individual and for society as a whole. Such people move the planet forward; the only joy available to them is constant work. He takes pleasure in achieving goals, he has no time to build ephemeral castles in the air and vegetate like Oblomov in a world of ethereal fantasies. At the same time, Goncharov is not trying to make one of his heroes bad and the other good. On the contrary, he repeatedly emphasizes that neither one nor the other male image is not ideal. Each of them has both positive features and disadvantages. This is another feature that allows us to classify the novel as a realistic genre.

Just like men, women in this novel are also opposed to each other. Pshenitsyna Agafya Matveevna - Oblomov's wife is presented as a narrow-minded, but extremely kind and flexible nature. She literally idolizes her husband, trying to make his life as comfortable as possible. The poor thing does not understand that by doing so she is digging his grave. She is a typical representative of the old system, when a woman is literally a slave of her husband, not having the right to her own opinion, and a hostage to everyday problems.

Olga Ilyinskaya

Olga is a progressive young girl. It seems to her that she can change Oblomov, guide him to true path and she almost succeeds. She is incredibly strong-willed, emotional and talented. In a man, she wants to see, first of all, a spiritual mentor, a strong, integral personality, at least equal to her in mentality and beliefs. This is where the conflict of interests with Oblomov occurs. Unfortunately, he cannot and does not want to meet her high demands and goes into the shadows. Unable to forgive such cowardice, Olga breaks up with him and thereby saves herself from “Oblomovism.”

Conclusion

Quite raised in the novel serious problem from point of view historical development Russian society, namely “Oblomovshchina” or the gradual degradation of certain layers of the Russian public. The old foundations that people are not ready to change and improve their society and way of life, philosophical issues of development, the theme of love and the weakness of the human spirit - all this rightfully allows us to recognize Goncharov’s novel as a brilliant work of the 19th century.

“Oblomovism” from a social phenomenon gradually flows into the character of the person himself, dragging him to the bottom of laziness and moral decay. Dreams and illusions are gradually replacing real world where there is simply no place for such a person. This leads to another problematic topic raised by the author, namely the issue of the “Superfluous Man,” which is Oblomov. He is stuck in the past and sometimes his dreams even take precedence over really important things, for example, his love for Olga.

The success of the novel was largely due to the deep crisis of the serfdom that coincided at the same time. The image of a bored landowner, incapable of independent life, was perceived very sharply by the public. Many recognized themselves in Oblomov, and Goncharov’s contemporaries, for example, the writer Dobrolyubov, quickly picked up the theme of “Oblomovism” and continued to develop it on the pages of their scientific works. Thus, the novel became an event not only in the field of literature, but the most important socio-political and historical event.

The author is trying to reach the reader, make him look at own life, and perhaps rethink something. Only by correctly interpreting Goncharov’s fiery message can you change your life and then you can avoid Oblomov’s sad ending.

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OBLOMOV'S VISITORS 1. "Appearance" of the gentleman. Portrait of a visitor. 2. "Don't come, don't come... you're out of the cold!" 3. Conversation and invitation to Ekateringof. 4. Ilya Ilyich’s refusal. 5. “I have two misfortunes...” 6. The visitor’s refusal to listen to Oblomov. 7. The hero’s reflection on the “unfortunate” visitor. WHAT IS THE GENERAL SCHEME OF ALL VISITS? REMEMBER IN WHICH APPOINTMENT THE AUTHOR USED THE SAME DEVICE?

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WHAT IS IT WORTH GIVING UP OF THE SOFA FOR? VOLKOV SUDBINSKY PENKIN ALEXEEV? Social life Career Literary activity???????????? parasite

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“WHY AM I LIKE THIS?” (“Oblomov’s Dream”, part 1, chapter IX) Restore the composition of the dream: highlight the main thematic parts. Please indicate positive and negative traits life in Oblomovka. Compare Ilyusha at 7 years old and at 14: what changes have occurred in the hero and why? Does our attitude towards Oblomov change after reading this chapter?

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OBLOMOV AND STOLTZ

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AND OR STOLTZ OBLOMOV MOVEMENT ACTIVITY LABOR RATIONALISM PRACTICISM DESIRE TO SUCCESS AND MAKE CAPITAL LYING LAZINESS AND APATHY LACK OF WORK DREAMY IMPACTICALITY DESIRE FOR PEACE AND PEACE

Slide 7

HOW TO LIVE? (Argument of heroes in 3-4 chapter II part.) “Life: life is good! What to look for there? interests of the mind, heart? Look where the center is around which it all revolves: it is not there, there is nothing deep that touches the living. All these are dead people, sleeping people, worse than me, these members of the council and society! What drives them in life? After all, they don’t lie down, but scurry about every day like flies, back and forth, but what’s the point?.. Underneath this comprehensiveness lies emptiness, a lack of sympathy for everything!.. No, this is not life, but a distortion of the norm, the ideal of life, which Nature has indicated a goal to man.” “All life is thought and work..., even though it is unknown, dark, but continuous... work is the image, content, element and purpose of life...”

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“weak... pale, the idea barely peeks out of him” I. Goncharov “Stolz is the antidote to Oblomov” N. Dobrolyubov “Stolz does not inspire me with any confidence. The author says that he is a magnificent fellow, but I don’t believe him. This is a clever beast who thinks very well of herself and is pleased with herself. It’s half composed, three-quarters stilted.” A.P. Chekhov “... Stolz is an unsuccessful, fictitious figure. He loses all the more in our eyes because he stands next to Oblomov, like a machine gun with a living person.” D. S. Merezhkovsky 1890 “And Stolz’s bourgeois pathos was at that moment much more progressive for Russia than feudal stagnation... Goncharov argues that such biculturalism is most promising for the development of the human personality, and therefore, its activities for the benefit of people...” V. K. Kantor 1989 “... this is an ordinary person and does not aim at extraordinary people, a person who is not at all elevated by the novelist to the ideal of our time.” A V. Druzhinin CRITICISM ABOUT STOLTZ

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AUTHOR'S ATTITUDE INTERPRETING THE AUTHOR'S POSITION 1. The author is an adherent of the “Stoltsev” attitude to life, sympathizing with Oblomov, but not sharing the worldview of Ilya Ilyich 2. He (the author) recognizes and demonstrates the superiority of Oblomov’s contemplation over the limitations of the rationalist and pragmatist Stolz 3. In the novel, two “ truths" - "Stoltsevskaya" and "Oblomovskaya" - both are limited, not absolute, ideally their synthesis is desirable

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OBLOMOV AND OLGA

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“... But if she were turned into a statue, she would be a statue of grace and harmony.” What attracted Oblomov to Olga Ilyinskaya? Why did Olga choose Oblomov over Stolz? What prevented the mutual happiness of the heroes? Slide 14

Homework

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Agafya Pshenitsyna

Agafya Matveevna Pshenitsyna is the widow of an official, Oblomov’s illegitimate wife. “She was about 30 years old. She was very white and plump in face. She had almost no eyebrows at all... Her eyes were grayish-simple, like her entire facial expression; the hands are white, but hard, with large knots protruding outward blue veins».
Before Oblomov, P. lived without thinking about anything. She was completely uneducated, even stupid. She was not interested in anything other than running the house. But in this she achieved perfection.
P. was in constant motion, realizing that “there is always work.” It was work that was the content and meaning of this heroine’s life. In many ways, it was P.’s activity that captivated Oblomov.
Gradually, with Oblomov settling in her house, important changes occur in P.’s nature. Anxieties, glimpses of reflection, and finally love awaken in her. Her heroine manifests herself in her own way, taking care of Oblomov’s clothes and table, praying for his health, and caring for the hero at night during his illness. “Her entire household... received a new, living meaning: the peace and comfort of Ilya Ilyich... She began to live in her own full and varied way.” P. is the only absolutely unselfish and decisive person around Oblomov. For his sake, she is ready to do anything: pawn jewelry, borrow money from her late husband’s relatives. When P. finds out about the machinations of her “brother” and godfather against Oblomov, she does not hesitate to break off all relations with them. P. and Oblomov have a son. Understanding his difference from the rest of his children, P., after Oblomov’s death, meekly gives him up to Stoltz to be raised. Having become a widow, P. realized that she had a meaning in life, she “knew why she lived and that she did not live in vain.” At the end of the novel, P.’s selflessness is manifested with renewed vigor: she does not need reports from Oblomov’s estate and income from it. The light of P.'s life faded along with Oblomov's life.

Zakhar

Zakhar is Oblomov's servant. This " old man, in a gray frock coat, with a hole under the arm... with a skull as bare as a knee and with immensely wide thick brown and gray sideburns..."
Z. is lazy and sloppy. Everything Z. touches breaks and breaks. He can serve food to Oblomov on dirty or broken dishes, he can serve food picked up from the floor, etc. He justifies this philosophically: everything that is done is pleasing to the Lord, and there is no point in fighting it. But Z.’s external looseness is deceptive. He cares about his master's goods and knows them inside out. Despite Tarantiev’s pressure, Z. does not give him any of the master’s clothes, confident that he will not return them. Z. is a servant of the old school, idolizing his master and his entire family. When Oblomov scolds the servant for likening him to other people living in the world, Z. feels guilty. Indeed, his master is special and the best. But, along with devotion to the owner, Z. is characterized by sophistication and depravity of morals. He loves to drink with friends, gossip with other servants, sometimes praising and then belittling his master. On occasion, Z. can pocket money for himself, change from a store, for example. Z.'s life is closely connected with Oblomov's life. The last two representatives of Oblomovka, each in their own way, sacredly keep her covenants in their souls. Even when Z. marries the cook Anisya, he tries not to allow her to see the master, but does everything for him himself, considering it his inviolable duty. Z.'s life ends with Oblomov's life. After his death, Z. is forced to leave Pshenitsyna’s house. He ends his life on the porch as a poor old man. This is how Stolz meets him and offers to take him to the village. But the faithful servant refuses: he cannot leave his master’s grave unattended.

Mikhei Tarantiev

Tarantyev Mikhey Andreevich is Oblomov’s fellow countryman. Where he came from and how he gained the trust of Ilya Ilyich is unknown. T. appears on the very first pages of the novel - “a man of about forty, belonging to large breed, tall, voluminous in the shoulders and throughout the body, with large features face, with a large head, with a strong, short neck, with large bulging eyes, thick lips. A quick glance at this man gave rise to the idea of ​​something rude and unkempt.”
This type of bribe-taking official, a rude man, ready to scold everyone in the world every minute, but in last minute cowardly hiding from deserved reprisal, it was not Goncharov who discovered it in literature. It became widespread precisely after Goncharov, in the works of M. E. Saltykov-Shchedrin, A. V. Sukhovo-Kobylin. T. is that “coming Ham” who gradually reigned throughout Russia and who grew into a formidable symbol in the image of Sukhovo-Kobylin’s Rasplyuev.
But T. has one more interesting feature. “The fact is that Tarantiev was a master only of talking; in words he decided everything clearly and easily, especially with regard to others; but as soon as it was necessary to move a finger, to get under way - in a word, to apply the theory he had created to the case and give it a practical move... he was a completely different person: here he was missing... "This trait, as is known, characterizes not only the rude and uncouth characters of the named writers, but to some extent " extra people" Like T., they also remained “theoreticians for life,” applying their abstract philosophy to places and places out of place. Such a theorist needs a number of practices that could bring his plans to life. T. finds himself a “godfather”, Ivan Matveevich Mukhoyarov, a morally unscrupulous man, ready for any meanness, who does not disdain anything in his thirst for accumulation.

At first, Oblomov believes that T. is able to help him with worries about the estate and in changing his apartment. Gradually, not without the influence of Olga Ilyinskaya and Andrei Stolts, Ilya Ilyich begins to understand what quagmire T. is trying to drag him into, slowly forcing Oblomov to sink to the very bottom of life. T.’s attitude towards Stolz is not so much the contempt of a Russian for a German, with whom T. rather hides behind him, but rather the fear of exposing the grandiose frauds that T. hopes to carry through to the end. It is important for him, with the help of trusted persons, to get his hands on Oblomovka, receiving interest from Ilya Ilyich’s income, and to confuse him himself properly by obtaining evidence of Oblomov’s connection with Pshenitsyna.
T. hates Stolz, calling him a “sleazy beast.” Out of fear that Stolz will nevertheless take Oblomov abroad or to Oblomovka, T., with the assistance of Mukhoyarov, is in a hurry to force Ilya Ilyich to sign a predatory contract for an apartment on the Vyborg side. This contract deprives Oblomov of the possibility of any action. Following this, T. persuades Mukhoyarov, “before there are no more boobies in Rus',” to marry Oblomov to a new manager of the estate, Isai Fomich Zatertoy, who is very successful in bribes and forgeries. T.’s next step is to put into practice (with the help of the same Mukhoyarov) the idea of ​​​​Oblomov’s “debt”. As if offended by his sister’s honor, Mukhoyarov should accuse Ilya Ilyich of laying claim to the widow Pshenitsyna and sign a document for compensation for moral damage in the amount of ten thousand rubles. The paper is then rewritten in the name of Mukhoyarov, and the godfathers receive money from Oblomov.

After Stolz exposes these frauds, T. disappears from the pages of the novel. Only at the very end is he mentioned by Zakhar, who, when meeting Stolz near the cemetery on the Vyborg side, tells how much he had to endure after the death of Ilya Ilyich from Mukhoyarov and T., who wanted to exterminate him from the world. “Mikhei Andreich Tarantyev kept striving to kick you from behind as soon as you passed by: life was gone!” In this way, T. took revenge on Zakhar for the neglect shown by the servant in those times when T. came to Oblomov for lunch and asked for a shirt, a vest, or a tailcoat - naturally, without return. Every time Zakhar stood up to defend his master’s property, growling like a dog at uninvited guest and without hiding his feelings for a low person.
Oblomov

This is how the Main Character appears to the reader at the very beginning of the novel: “He was a man about thirty-two or three years old, of average height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his facial features... His movements even when he was alarmed, he was also restrained by gentleness and laziness, not without a kind of grace. All anxiety was resolved with a sigh and died away in apathy or dormancy. Ilya Ilyich’s lying down was not... a necessity... it was his normal state.” Oblomov's home costume - an oriental robe, as well as the life of Ilya Ilyich, described in detail by the author, complement the image of the hero and help to better understand his character. “On the walls, near the paintings, cobwebs, saturated with dust, were molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets for writing down some notes on them in the dust for memory.”

A far from impartial character appears before us; it seems that laziness, passivity, and indifference are deeply rooted in him. But at the same time, against the background of his “friends”, deceitful, selfish, boastful people who paid him a visit at the very beginning of the novel, the reader gets to know positive qualities Oblomov: purity of thoughts, honesty, kindness, cordiality.

To more fully reveal Oblomov’s character, Goncharov contrasts him with other heroes of the novel, Andrei Stoltz and Olga Ilyinskaya.

Stolz is certainly the antipode of Oblomov. Every trait of his character is a sharp protest against the qualities of Ilya Ilyich. Stolz loves life - Oblomov often falls into apathy; Stolz has a thirst for activity - for Oblomov, the best activity is relaxing on the couch. The origins of this opposition are in the education of heroes.
The author makes you involuntarily compare childhood little Andrey with Ilyusha's childhood. Unlike Stolz, who grew up under the tutelage of his father, independent, persistent in achieving his goals, and thrifty, the main character grew up as a child, accustomed to having all his desires satisfied not as a result of his own efforts, but from the hard work of others. The village where Oblomov was brought up was, according to Dobrolyubov, the soil on which Oblomovism grew. Such an upbringing developed apathetic immobility in Ilya Ilyich and plunged him into the pitiful state of a moral slave. This is one of Oblomov’s tragedies touched upon in the novel - the young and active Ilyusha was infected from childhood with an “incurable disease”, Oblomovism - laziness generated by fear of change and fear of the future.
Stolz, in whom the author instilled the power capable of reviving the Oblomovs and destroying Oblomovism, considers it his duty to change lifestyle friend.

Andrei tries to “walk” Ilya Ilyich with people, goes with him to dinner parties, at one of which he introduces him to Olga Ilyinskaya. She “in the strict sense was not a beauty... But if she were turned into a statue, she would be a statue of grace and harmony,” “in a rare girl you will find such simplicity and natural freedom of look, word, action... no lies, no tinsel, no intent !” Olga in the novel is the embodiment of grace, concentration, and lightness. Oblomov is immediately captivated amazing voice girls listening to her magnificent “Casta diva”. At Stoltz’s request, Olga draws up a plan for how she will use Oblomov’s love to “remake” him into an active, active person. Olga understands that in her relationship with Oblomov she plays the main role, “the role of a guiding star.” She transformed along with Oblomov’s changes, because these changes are the work of her hands. “And she will do all this miracle... She even shuddered with proud, joyful trepidation; I considered this a lesson ordained from above.” During the process of her experiment, Olga falls in love with Oblomov, which leads her entire plan to a dead end and leads to tragedy in their future relationship.

Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy. In her mind, he should become like Stolz, but at the same time retain the best that is in his soul. He is reckless from her, selfless love. But Olga loves the Oblomov whom she created in her imagination, whom she sincerely wanted to create in life. “I thought that I would revive you, that you could still live for me, but you died a very long time ago,” Olga pronounces with difficulty and asks a bitter question: “Who cursed you, Ilya? What did you do? What ruined you? There is no name for this evil..." - “Yes,” answers Ilya. “Oblomovism!” The tragedy of Olga and Oblomov becomes the final verdict on that terrible phenomenon, which Goncharov depicted in his novel.
The main thing, in my opinion, is another tragedy of Oblomov - humility, unwillingness to overcome such an illness as Oblomovism. Over the course of the novel, Oblomov set himself many tasks that seemed to be of primary importance to him: to carry out a reform on the estate, get married, travel the whole world, and, finally, find himself new apartment in St. Petersburg instead of the one from which he was being evicted. But a terrible “illness” does not allow him to get down to business, it “knocked him down on the spot.” But Oblomov, in turn, does not try to get rid of her, but only tries in vain to shift his problems onto the shoulders of another, as he was taught in childhood. The tragedy of Ilya Ilyich is that even such high and noble feelings as love and friendship cannot make him wake up from his eternal sleep.

Olga Ilyinskaya

Olga Sergeevna Ilyinskaya - Oblomov’s beloved, Stolz’s wife, bright and a strong character.
“Olga in the strict sense was not a beauty... But if she were turned into a statue, she would be a statue of grace and harmony,” “In a rare girl you will find such simplicity and natural freedom of look, word, action... no lies, no tinsel, no intent !”
The author emphasizes the fast spiritual development of her heroine: she “as if she was listening to the course of life by leaps and bounds.”

Stolz introduces O. and Oblomov. Ilya Ilyich is immediately captivated by the girl’s amazing voice. Listening to her magnificent “Casta diva”, Oblomov falls more and more in love with O.

The heroine is self-confident, her mind requires constant work. Having fallen in love with Oblomov, she certainly wants to change him, raise him to her ideal, re-educate him. O. draws up a plan to “remake” Oblomov into an active, active person. “And she will do all this miracle... She even shuddered with proud, joyful trepidation; I considered this a lesson ordained from above.” O. understands that in her relationship with Oblomov she plays the main role, “the role of a guiding star.” She transformed along with Oblomov’s changes, because these changes are the work of her hands. But the heroine’s mind and soul required further development, and Ilya Ilyich changed very slowly, reluctantly and lazily. O.’s feeling is more reminiscent of the experience of re-educating Oblomov than of sincere first love. She does not inform Oblomov that all the affairs of her estate have been settled only in order to “see to the end how love will make a revolution in his lazy soul...” But, realizing that her life ideals will never agree with Oblomov’s ideals, O. breaks off relations with him: “... you are ready to coo under the roof all your life... but I’m not like that: this is not enough for me, I need something else, but I don’t know what!” O. needs to feel that her chosen one is higher than her. But even Stolz, whom she will marry, does not succeed. “The deep abyss of her soul” does not give O. peace. She is doomed to always strive for development and a richer, spiritually rich life.

Stolz

STOLTZ is the central character of I.A. Goncharov’s novel “Oblomov” (1848-1859). Literary sources images of Sh. - Gogol's Konstanjonglo and the merchant Murazov (second volume " Dead souls"), Pyotr Aduev ("Ordinary History"). Later, Sh. Goncharov developed the type in the image of Tushin (“Cliff”).
Sh. is the antipode of Oblomov, a positive type of practical figure. In the image of Sh., according to Goncharov’s plan, such opposite qualities, as, on the one hand, sobriety, prudence, efficiency, knowledge of people, a practical materialist; on the other hand, spiritual subtlety, aesthetic sensitivity, high spiritual aspirations, poetry. The image of Sh. is thus created by these two mutually exclusive elements: the first comes from his father, a pedantic, stern, rude German (“his father put him on a spring cart, gave him the reins and ordered him to be taken to the factory, then to the fields, then to the city , to merchants, to public places"); the second - from her mother, a Russian, poetic and sentimental nature (“she rushed to cut Andryusha’s nails, curl his curls, sew graceful collars and shirtfronts, sang to him about flowers, dreamed with him about the poetry of life high role..."). The mother was afraid that Sh., under the influence of his father, would become a rude burgher, but Sh.’s Russian entourage prevented him (“Oblomovka was nearby: there eternal holiday!”), as well as the princely castle in Verkhlev with portraits of pampered and proud nobles “in brocade, velvet and lace.” “On the one hand, Oblomovka, on the other, the princely castle, with a wide expanse of lordly life, met the German element, and Andrei did not turn out to be a good bursh, or even a philistine.”

Sh., in contrast to Oblomov, makes his own way in life. It is not for nothing that Sh. comes from the bourgeois class (his father left Germany, wandered around Switzerland and settled in Russia, becoming the manager of an estate). Sh. graduates brilliantly from the university, successfully serves, retires to study own business; makes a house and money. He is a member of a trading company that ships goods abroad; as an agent of the company, Sh. travels to Belgium, England, and throughout Russia. Sh.'s image is built on the basis of the idea of ​​balance, harmonious correspondence between the physical and spiritual, mind and feeling, suffering and pleasure. The ideal of Sh. is measure and harmony in work, life, rest, love. The portrait of Sh. contrasts with the portrait of Oblomov: “He is entirely made up of bones, muscles and nerves, like a blooded English horse. He is thin, he has almost no cheeks at all, that is, bone and muscle, but no sign of fatty roundness...” Sh.’s ideal of life is constant and meaningful work, this is “the image, content, element and purpose of life.” Sh. defends this ideal in a dispute with Oblomov, calling the latter’s utopian ideal “Oblomovism” and considering it harmful in all spheres of life.

Unlike Oblomov, Sh. stands the test of love. He meets the ideal of Olga Ilyinskaya: Sh. combines masculinity, loyalty, moral purity, universal knowledge and practical acumen, allowing him to emerge victorious in all life's trials. Sh. marries Olga Ilyinskaya, and Goncharov tries to represent ideal family, a true ideal that fails in Oblomov’s life: “they worked together, had lunch, went to the fields, played music as Oblomov also dreamed of... Only there was no drowsiness, no despondency in them, they spent their days without boredom and without apathy; there was no sluggish look, no words; their conversation never ended, it was often heated.” In his friendship with Oblomov, Sh. also rose to the occasion: he replaced the rogue manager, destroyed the machinations of Tarantiev and Mukhoyarov, who deceived Oblomov into signing a false loan letter.
The image of Sh., according to Goncharov, was supposed to embody a new positive type of Russian progressive figure (“How many Stoltsevs should appear under Russian names!”), combining both the best Westernizing tendencies and Russian breadth, scope, and spiritual depth. Type Sh. was supposed to turn Russia onto the path European civilization, to give it the appropriate dignity and weight among the European powers. Finally, Sh.’s efficiency does not conflict with morality; the latter, on the contrary, complements efficiency, gives it inner power and strength.
Contrary to Goncharov's plan, utopian features are noticeable in Sh.'s image. The rationality and rationalism inherent in the image of Sh. is detrimental to artistry. Goncharov himself was not entirely satisfied with the image, believing that Sh. was “weak, pale”, that “the idea is too bare from him.” Chekhov expressed himself more harshly: “Stolz does not inspire me with any confidence. The author says that he is a magnificent fellow, but I don’t believe him. This is a spirited beast who thinks very well of herself and is pleased with herself. It’s half composed, three-quarters stilted” (letter 1889). The failure of Sh.'s image may be explained by the fact that Sh. is not artistically shown in the large-scale activity in which he is successfully engaged.

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The surname Oblomov is meaningful (from the verb “to break off”, “to break”): Oblomov is broken by life, gives in to its difficulties and problems. Oblomov's name - Ilya Ilyich - is self-contained, because the inactive and fruitless way of existence of O.'s ancestors finds its final completion in him. Oblomov's son, Andrei, named after Stolz, should, according to Goncharov's plan, lay the foundation for a new type of progressive and moral figure in a resurgent Russia. The image of Oblomov has become a household word to denote laziness, lack of will and indifference to life. The type created by Goncharov, in addition, reveals features of pronounced asociality, passivity and escapism. It is generally accepted that the image of Oblomov is purely negative, but Oblomov is portrayed by Goncharov as sympathetic, sincere and morally pure: “at the basis of Oblomov’s nature lay a pure, bright and kind beginning, filled with deep sympathy for everything that is good and that only opened up and responded to the call of this a simple, uncomplicated, eternally trusting heart.” Oblomov’s portrait is also dual: “pleasant appearance” and “absence of any definite idea” in his face; softness of movement and grace, and at the same time the body “seemed too effeminate for a man.” Oblomov, as Stolz puts it, “has slept off his ailments”: “flattened beyond his years,” he has a “sleepy look,” “flabby cheeks,” and he is attacked by nervous fear: he is frightened by the surrounding silence.

Oblomov's clothes are his robe, “oriental, very roomy, so Oblomov could wrap himself in it twice.” The robe becomes a symbol of Oblomov's laziness. Stolz and Olga Ilyinskaya strive to get Oblomov out of the robe, but when Oblomov finally gives up, abandons the struggle of life, flees from love for Ilyinskaya into sleep and habitual idleness, the robe again envelops his corpulent body. Another indispensable attribute of Oblomov’s laziness is the sofa on which Oblomov spends all his days from dawn to dusk in daydreaming, half-asleep and sleep. The furnishings of Oblomov’s apartment are evidence of decline, neglect of surrounding things, apathy and lack of will: “On the walls, near the paintings, a cobweb, saturated with dust, was molded in the form of festoons; mirrors, instead of reflecting objects, could serve rather as tablets for writing down on them, in the dust, some notes for memory. The carpets were stained. There was a forgotten towel on the sofa; On rare mornings there was not a plate with a salt shaker and a gnawed bone on the table that had not been cleared away from yesterday’s dinner, and there were no bread crumbs lying around.” (Compare with the description of Plyushkin’s room) Oblomov’s fate is a series of failures, disappointments and defeats in life: in childhood, he studied somehow, because he considered teaching “a punishment sent by heaven for our sins”; at the end of his education, “his head was a complex archive dead affairs, persons, eras, figures, religions”, “as if a library consisting of some scattered volumes on different parts of knowledge”; Oblomov’s service was not a success, since he did not see the point in it and was timid in the presence of his superiors, when one day he accidentally sent the necessary paper instead of Astrakhan to Arkhangelsk, went to bed, and then resigned out of fright; Oblomov did not experience love, because “great troubles lead to rapprochement with women.” Later life Oblomov devoted himself to the plan for organizing the estate and managing the peasants, however, his ideas were limited to ardent dreams on the sofa, here Oblomov, like Manilov, indulged in “the pleasures of high thoughts”, was filled with contempt “for human vice, for lies, for slander, for the spilled in the world evil,” was fired up with “the desire to point out to a person his” Shv. But Oblomov’s impulses ended in a change of two or three positions on the sofa, sobering set in, and day after day Oblomov watched the sun go down behind the four-story building opposite his window.

Oblomov’s dream is a parodic and ironic idyll of the “golden age”, the serene existence of the inhabitants of Oblomovka, the way of life that shaped Oblomov’s character: sluggish, indecisive, passive, incapable of life's trials. Oblomovka is a blessed, quiet and happy land (“no robberies, no murders, no terrible accidents happened there”), far from both the capital and provincial cities (the nearest pier of the Volga is like Colchis or the Pillars of Hercules). The interests of the Oblomov family are focused on food, household chores and sleep (afternoon sleep is the “true likeness of death”, when the whole house, the whole village sleeps). Oblomov’s father “all day long knows only that he walks from corner to corner, with his hands behind his back, sniffing tobacco and blowing his nose, while mother moves from coffee to tea, from tea to dinner.” Nobody takes care of the housekeeping, the manager steals, the rotten gallery stands until it collapses, the bridge is laid only when the peasant falls from it into the ditch; The letter sent to Oblomovka is not opened for four days, fearing bad news. Oblomov the child is pampered, not allowed to take a step, his liveliness and playfulness are suppressed: the servants Vaska, Vanka, Zakharka do everything for Oblomov. He grew “like an exotic flower in a greenhouse. Those seeking manifestations of power turned inward and withered away.” Oblomov was brought up with laziness, lordship, and contempt for serf servants (Zakhar would pull on 14-year-old O.’s stockings, “and if anything seems wrong to him, he kicks Zakharka in the nose”), which laid the foundations of “Oblomovism” - idle and vicious lordly lifestyle. (See N.A. Dobrolyubov’s article “What is “Oblomovism”?”) Contrary to his upbringing, Oblomov has the ability to deeply penetrate into the essence of things, resulting from his natural observation. Oblomov, in a dispute with Stolz, rightly criticizes the internally fruitless activities of the nobles of his circle: the pursuit of rank, hypocrisy, vanity, gossip secular society, deceit, envy, anger, boredom. Essentially, such activity is akin to Oblomov’s idleness: it is just as vicious. In return, Oblomov proclaims his own ideal, however, this idyllic ideal is a renewed and transformed “Oblomovism” of the Oblomovites, a utopia that is impossible in reality: “hugging your wife by the waist, go deep with her into the endless dark alley dream, count moments of happiness like the beat of a pulse; listen to how the heart beats and stops; look for sympathy in nature..."

Goncharov subjects Oblomov to the test of love. As Dobrolyubov puts it, “the Russian man at the rendezvous” is a fiasco. Oblomov repeats in this sense the path of Onegin, Pechorin, Beltov, Rudin, Tentetnikov. Oblomov falls in love with Olga Ilyinskaya, an aesthetic nature akin to him (cf. the names of the lovers: Ilya Ilyich - Ilyinskaya). At first, under the influence of love, Oblomov gets out of his robe and begins to believe in the future, but worries about the reconstruction of the estate in connection with his marriage frighten him, he shifts responsibility from himself to Mukhoyarov and Zatertoy, swindlers and swindlers, avoids Olga (the flooded Neva serves as an insurmountable obstacle for dates with her), returns to peaceful life, sofa and robe, surrenders to the caring care of the owner of the apartment, Agafya Matveevna Pshenitsyna, so that Olga Ilyinskaya rejects his timid, dependent, weak-willed nature as not corresponding to her ideal of a true personality: “You are meek, honest, Ilya, you are ready to coo all your life under the roof... Yes, I’m not like that: this is not enough for me...” The language of love of Olga and Oblomov was flowers, nature, books; in the rapprochement of 0blomov with Agafya Matveevna main role the hostess’s “round elbows” play, “still with dimples” (N. Prutskov). Oblomov looks at Pshenitsyna with the same pleasure as “at a hot cheesecake.” Gradually Oblomov turns into a “lump of dough”.

Mukhoyarov and Tarantyev, taking advantage of Oblomov’s kindness, tolerance and inexperience, threatened him with a scandal and forced him to sign a false loan letter given to the widow Pshenitsyna so that the income from Oblomov’s estate would go into their pocket. Oblomov’s “dove” nature, thus, contributes to the fact that deceivers of all stripes “flutter” around Oblomov. Stolz, as Oblomov’s good guardian angel, saves him from Mukhoyarov and Tarantiev and returns income from the estates. Agafya Matveevna Pshenitsyna takes care of Oblomov, feeds him deliciously and plentifully. Oblomov achieves his ideal, “albeit without poetry, without those rays with which his imagination once depicted the lordly, broad and carefree flow of life in native village, among the peasants, he quietly and gradually fit into a simple and wide coffin for the rest of his existence, made with his own hands...” Oblomov receives two apoplectic strokes and dies. The tragedy of Oblomov’s image is that “the struggle internal forces in himself” (Tseitlin) ends in defeat. Oblomov is unable to be reborn to a new life; the disastrous nature of “Oblomovism” destined him life path(Prutskov). Oblomov’s son, Andrei, given to be raised by Olga Ilyinskaya and Stolz, must combine the kindness, “dovelike kindness” of Oblomov and Agafya Matveevna Pshenitsyna and practicality, an active spirit, and an appeal to the high ideals of Stolz and Olga Ilyinskaya.