The plot and composition of Oblomov's novel
Goncharov's novel "Oblomov" is strictly and clearly subordinated to the division of the Russian calendar into four seasons. The composition of Goncharov’s masterpiece speaks about this. The events taking place there begin in the spring of May 1st. Summer brings the most stormy action - the love of Oblomov and Olga. And winter ends with the first snow.
This composition of the novel, included in the annual cycle, brings all plot lines to a smooth completion. One gets the impression that the structure of the novel was borrowed by Goncharov himself directly from his native nature. Oblomov's life - from his love to his dinner menu - is included in this organic order and is reflected in the natural annual cycle, finding a scale for comparison in the calendar.
The sophisticated, unique structure of Goncharov’s novel is characteristic of Russian poetics in its unusualness. Russian classics, not burdened by ancient traditions, often ignored ready-made genre forms, preferring to create them anew each time, for their own special purposes. Both novels in verse and poems in prose appeared from an overabundance of content that required an original system of presentation.
"Oblomov" is no exception. It could be called a special prose drama. Theatrical convention (seven guests come to the couch potato Oblomov in one day) in Goncharov is combined with detailed everyday life writing, a rhetorical outline of morals is combined with a stage-rapid, often absurd conversational element. By the way, speaking of language, we can assume that the image of Oblomov was born from the Russian predilection for indefinite particles. He is the living embodiment of all these “something, something, something.”
The frontal, condensed, accelerated image of Oblomov in the first part of the novel, in fact, exhausts the theme of “Oblomovism”. The hero's whole life - both external and internal, his past ("Oblomov's Dream") and future - seems to be already being revealed in this part. However, the very fact of the existence of the other three parts suggests that a superficial reading of the book only allows us to detect Oblomovism in it, but not Oblomov - a type, not an image.
By provocatively suggesting conclusions about Oblomov to us at the beginning of the book, the author is actually masking his incomparably more complex point of view on the hero. Deep into the fabric of the novel, Goncharov implanted the contradictory voice of the narrator, which destroys the unambiguous interpretation of the novel.
On the last page of the book we learn that Stolz tells the whole story of Oblomov: “And he (Stoltz - Author) told him (the narrator - Author) what is written here.” This story was recorded by a listener of Stolz, in whom it is easy to recognize Goncharov himself: “A writer, plump, with an apathetic face, thoughtful, as if sleepy eyes.”
These two voices - the reasoning, pedantic tone of Stolz and the mocking but sympathetic tone of the author himself - accompany Oblomov throughout his entire journey, preventing the novel from becoming a flat sketch of morals. The complexly intertwined intonations do not contrast, but complement each other: the first does not deny the second. Because of this structure of the author’s speech, the book becomes multi-layered. As is usually the case in a Russian novel, a metaphysical theme emerges behind the social plane.
In Oblomov, all words that do not belong to the characters should be read not directly, as preliminary criticism of the novel, but as an artistically depicted word. Only then will the phenomenal duality of Oblomov, a hero who goes far beyond the contours of the plot, be revealed.
Oblomov seems funny only when he is on the move, for example, in the company of Stolz. But in the eyes of the widow Pshenitsyna, who is in love with him, Oblomov again turns into a statue: “He will sit down, cross his legs, rest his head on his hand - he does all this so freely, calmly and beautifully... he is all so good, so pure, he can do nothing and doesn't."
And in the eyes of Oblomov himself, his then-beloved Olga freezes in beautiful stillness: “If she were turned into a statue, she would be a statue of grace and harmony.”
The first part of the novel “Oblomov” is essentially an exposition that has expanded into a quarter of the book, where “the author arranges a parade of minor characters, each of whom is described according to the recipes of the then fashionable natural school. This gallery of types, popular in the middle of the last century, is needed insofar as he needs to show that for the sake of their ridiculous activities, Oblomov should not get up from the couch. All these insignificant figures, with their vanity, compromise the life around him in Oblomov’s eyes. He, the motionless center of the plot, immediately stands out with mysterious significance among these non-character types.”
The author’s explanation is epically detailed and deeply convincing: “Oblomovism” as a system is in the morals and concepts of life, which is based on the unpaid labor of serfs and imbued with the ideals of idleness, eternal peace and carefreeness. “Those who sought manifestations of power sank and withered” among them in a fatal way. Thus, in the new work, “Oblomovism” acquired clear sociological concreteness. And class-estate clarity (especially in the chapter “Oblomov’s Dream”) made it possible to directly compare the death of the owner of three hundred serfs with the existing serfdom, which distorts man and paralyzes his will. Dobrolyubov in his famous article “What is Oblomovism?” called Oblomov “our indigenous, folk type, from which none of our serious artists could get rid of.” The critic saw in him a modern noble liberal, completing the literary image of a “superfluous man” with a complete failure to face the “real thing” - a decisive struggle against the autocratic-serf system - the way of life in Russia.
Initially, the plot of “Oblomov” was apparently conceived as a generalized biography of an inactive, apathetic, receding landowner class using a separate example. The author's position in relation to serfdom should have been reflected in a detailed story about the life of Ilya Ilyich Oblomov, who thoughtlessly spent day after day in his country estate. In accordance with this idea, the first volume of Oblomov was written, which mostly tells about the childhood of Ilya Ilyich. When writing the next three parts of the work, Goncharov’s attitude towards it changes. Firstly, the author takes his hero to an urban setting and through him shows his attitude towards metropolitan society. Secondly, the storyline becomes more complicated. The latter should be discussed separately. This method of testing love, however, is found not only in Goncharov.
By showing how this or that hero behaves when falling in love, the author will be able to discover many new facets in the soul of his characters that would not appear under any other circumstances. At the same time, the author is given the opportunity to present his hero from one side or another, depending on his attitude towards the latter. Based on the outcome of the love plot, one can also judge the author’s position regarding the character.
The analysis of the work, of course, must begin with the first part, despite the fact that the beginning and development of the main plot occurs in the next three. At first, through the conversations of the main character, Ilya Ilyich Oblomov, the author characterizes him as a friendly and hospitable person and at the same time possessing extraordinary drowsiness and laziness. And then, to explain the origins of his character, Goncharov introduces the hero’s dream, where he shows his childhood. Thus, the composition of the work is not disrupted.
The story about the idyllic region where Oblomov was born and raised begins with one of the main and, in my opinion, the most interesting moments of this part of the novel. Here the nature of the Oblomovsky region is described.
Its serenity and plainness are, of course, noticeably exaggerated and sometimes even border on something fabulous, due to the general atmosphere of the estate. However, interestingly, from Goncharov’s own comments made here, one can judge that this landscape largely reflects his view of nature. From this passage we see that Lermontov’s descriptions of formidable elements are alien to the author. In his idyllic location, “there are no dense forests—nothing grand, wild or gloomy.” And it’s not surprising, because Goncharov’s composition in relation to them is quite definite: the sea “brings only sadness” to him, and “mountains and abysses... are formidable, terrible, like the claws and teeth of a wild beast released and directed at him...”. But in the “peaceful corner” he outlined for Oblomov, even “the sky... is like a parent’s reliable roof.” “The sun shines brightly and hotly there around noon and then moves away... as if reluctantly...” And “the mountains... are just models of those terrible mountains.” And all the nature there “represents a series of... cheerful, smiling landscapes...”.
The very idea conveyed here is not new: idle landowners, the basis of whose life is the question of what to choose for lunch, and peasants working day after day for the benefit of their masters. What is interesting is not this, but how Goncharov reflects his attitude towards this way of life. Here, as in everything in Oblomovka, the colors seem to be muted. This is how the life of the peasants is described here: “Happy people lived, thinking that it should not be otherwise and, perhaps, confident that everyone else lived exactly the same way and that living differently was a sin...” I think that the author resorted to this style, because, having reflected his position in relation to the problem of serfdom, he should not have disturbed the atmosphere of general drowsiness, so important for the main character. After all, whatever Goncharov’s attitude towards the landowners, it seems to me that deep down in his soul he sympathizes and sympathizes with Oblomov. The same general apathy that surrounded Ilya Ilyich in childhood could partly justify him.
Here for the first time Goncharov mentions Stolz. The author's position in relation to him in the future is clear. He will have to become a generalized image of an advanced person, including strength of character, a flexible mind, a constant thirst for action, in other words, reflect the complete opposite of Oblomov. Accordingly, the author makes the conditions of upbringing that shape his future character completely different than in Oblomovka.
Now, moving on to the three main parts of the novel, it must be said that the main storyline here is the relationship between Olga Ilyinskaya and Ilya Ilyich Olomov. However, first we need to consider how the author’s position regarding Oblomov and Stolz was reflected in their comparison. In this case, considering the development of the love line between Olga, Oblomov and Stolz, we can once again emphasize one or another view of the author on the personalities of these two characters.
The author, like the reader, undoubtedly likes Stolz, endowed with only the most correct and necessary character traits, but at the same time, like most of us, Goncharov feels a feeling of sympathy for Ilya Ilyich. This position of the author in relation to his heroes was reflected not only in their destinies, but even in their portraits. This is how he describes Oblomov: “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.” And here is Stolz’s description: “He is all made up of bones, muscles and nerves, like a blooded English horse... His complexion is dark and there is no blush; the eyes are at least a little greenish, but expressive.” One cannot but arouse sympathy with the softness and dreaminess of his nature reflected on his face, while the other delights with his firmness and determination, readable in his entire appearance.
The author's attitude towards them was also expressed through the mutual characteristics of the heroes. And here we need to talk about the strange friendship between these two diametrically opposed people. It’s unlikely that it’s just a matter of childhood affection that once united them. But what then connects them? If Oblomov’s friendship can be explained by the need for a strong, business-like person who would always come to the aid of his indecisive and drowsy nature, then how can we explain Stolz’s attachment to Oblomov? I think that this question can be answered in the words of Andrei himself: “This is a crystal, transparent soul; there are few such people; they are rare; these are pearls in the crowd!
Analysis of the plot of the novel “Oblomov”
Other essays on the topic:
- The beginning of work on the novel dates back to the 40s. XIX century After completing “An Ordinary Story,” where the main motive, according to the author, is...
- Composition is a certain sequence of presentation of parts of a work, adopted by the author. We not only see how and in what sequence they developed...
- The role of artistic detail in the novel “Oblomov” I. A. Goncharov’s novel “Oblomov” is a novel about movement and rest. The author, revealing...
- “Without Olga Ilyinskaya and without her drama with Oblomov, we would not have known Ilya Ilyich the way we know him”...
- Eternal images in the novel “Oblomov” Eternal images are characters in literary works that have gone beyond the scope of the work. They are found in other...
- The hackneyed point of view of teachers and professors of literature - that Goncharov is “a great stylist and a great Objective painter of reality” - is ridiculous...
- Although Belinsky speaks extremely highly of Goncharov’s novel “An Ordinary Story.” I was dissatisfied with its ending. According to the critic, the transformation of a romantic idealist...
- Works on literature: Stolz as the antipode of Oblomov in the novel by I. A. Goncharov Oblomov The works of I. A. Goncharov have become widely known...
- Stolz has been Oblomov’s friend since childhood, from the time when they were both still studying at Stoltz’s father’s boarding school in Verkhlev...
- The irresistible laziness and apathy inherent in Oblomov found fertile soil in Pshenitsyna’s house. Here “there are no proddings, no demands.” Subject detail...
- Essays on literature: Comic and tragic in I. Goncharov’s novel “Oblomov” I believe that Goncharov’s “Oblomov” is a tragicomedy novel: in...
- Part one In St. Petersburg, on Gorokhovaya Street, on the same morning as always, Ilya Ilyich Oblomov lies in bed...
- School essay on Russian literature based on the novel “Oblomov” by I. A. Goncharov. Andrei Stolts is Oblomov’s closest friend, they grew up together...
- In the novel “Oblomov” I. A. Goncharov tries to find answers to those eternal questions that he asks himself at least once in his life...
Introduction
The novel “Oblomov” was written by Goncharov in 1859. The work belongs to the literary movement of realism. In the novel, the author raises many important social and philosophical issues, revealing them through the use of various literary techniques. The plot of “Oblomov”, built on the use of the method of antithesis, plays a special ideological and semantic role in the work.
The plot basis of the novel "Oblomov"
“Oblomov” begins with a description of the ordinary day of the main character, Ilya Ilyich Oblomov. The author portrays to the reader a lazy, apathetic, but kind character who is used to spending all his days in unrealistic plans and dreams. The origins of this life position lie in Oblomov’s childhood, which took place in a distant, quiet, picturesque village, where people did not like to work, trying to rest as much as possible. The author describes his youth, training and service as a collegiate secretary, from which he quickly tired.
Oblomov's monotonous life is interrupted by the arrival of his childhood friend, Andrei Stolts, a man with an active position. Stolz forces Oblomov to leave his apartment and his home sofa, replacing them with social life. On one of these evenings, Andrei Ivanovich introduces Ilya Ilyich to his friend Olga Ilyinskaya. Beautiful, romantic feelings flare up between the girl and Oblomov, which last for about six months.
However, the happiness of the lovers was doomed to parting - their ideas about a happy family life were too different and Olga wanted too much to change the introverted, dreamy Oblomov. After parting, Olga and Oblomov’s paths diverge - Ilya Ilyich finds quiet, calm, “Oblomov” family happiness with Agafya Pshenitsyna, and Olga marries Stolz. The work ends with Oblomov's death after a second stroke of apoplexy.
Plot antithesis in the novel “Oblomov”
The principle of plot antithesis in the novel “Oblomov” is an important meaning-forming device of the work. Even at the beginning of the novel, the author introduces two contrasting characters - the passive, lazy Oblomov and the active, active Stolz. Comparing their childhood and teenage years, Goncharov shows how the personality of each of the heroes was formed - Ilya Ilyich’s gradual sinking into the swamp of “Oblomovism” and Andrei Ivanovich’s independent life. Their destinies are separate storylines of the novel, revealing the idea of the work, based on the opposition of two worldviews - outdated, based on traditions and leaning towards the wonderful events of the past, as well as new, active, striving forward.
If Stolz’s life goes exactly as planned, without surprises and shocks, then a revolution takes place in Oblomov’s fate, which, if Ilya Ilyich were younger, would completely turn his life upside down - his love for Olga. An exciting, inspiring, reverent feeling develops on the edge of fantasy and reality, surrounded by the beauty of spring-summer landscapes. Its spontaneity and strong connection with nature are emphasized by the fact that lovers part in the fall - it is not surprising that a branch of a short-lived lilac becomes a symbol of their love.
The love of Oblomov and Olga is contrasted with the love of Oblomov and Agafya. Their feelings are not so spontaneous and exciting, they are calm, quiet, homely, filled with the spirit of Oblomovka, close to Ilya Ilyich, when the main thing in life is not distant aspirations, but a pacifying, sleepy and well-fed life. And Agafya herself is depicted as a character who seems to have emerged from the dreams of Ilya Ilyich - a kind, quiet, economic woman who does not require any activity or accomplishments from her husband, a “kindred soul” for Ilya Ilyich (while Olga seemed rather distant and an admiring muse than a real future wife).
Conclusion
The plot of the novel “Oblomov” by Goncharov is built on the principle of contrasting both contrasting characters and events of opposite nature in the lives of the heroes. The antithesis in the work allows us not only to better understand the idea of the author, who in the novel touches on not only the issues of “Oblomovism” as a phenomenon of social degradation, but also the conflict between the active, active and passive, reflective foundations, between the heritage of the past and the discoveries of the future. By introducing the technique of opposition into the novel, Gocharov emphasizes the importance of finding harmony and compromise between the two fundamental principles of the world.
Work test
In an apartment in one of the houses on Gorokhovaya Street, Ilya Ilyich Oblomov lies in his bed in the morning. This is a man about thirty-two years old, of average height, pleasant appearance. His facial expression is soft, kind and carefree, his movements are soft and smooth, and he is all soft, plump and calm. He lives with his old servant Zakhar and almost never leaves his bedroom, much less the house. Lying down is a normal state for him.
The apartment is not cleaned, there is dust everywhere, desolation reigns, but this does not bother the owner and the servant. If it weren’t for the owner blissfully on the sofa and the plates on the table not taken away from the evening, one would think that no one lives here. They owe money to all the shops, the owner of the apartment asks to move out, but Oblomov does nothing to rectify the situation.
On this day, various acquaintances come to him one by one, each of whom tells the news and invites him to go to Yekateringhof for a walk, but Oblomov remains lying on the sofa. The doctor comes in, Ilya Ilyich complains of all sorts of ailments, and he advises him to go abroad, but the very thought of traveling scares Oblomov, and everything remains the same.
Oblomov has been living in St. Petersburg for 12 years. When he was young, he was in the public service and his life was divided into two parts: work and boredom - words that were synonymous for him - and peace and fun. After the death of his parents, he turned out to be quite rich, maintained a staff of servants and traveled abroad. but then his income decreased and he was left alone with Zakhar.
At work, Oblomov once made some mistake and, fearing his superiors’ anger, stopped coming there, providing a doctor’s certificate about heart disease, and then resigned altogether. At home he tried to read, but reading quickly became boring, and his main occupation became dreaming about some future projects. Only Stolz, with whom he grew up together, brought him out of this state, but Stolz rarely visited St. Petersburg. So Ilya Ilyich lay on the sofa, dreaming, now in his sleep, now in reality.
So he falls asleep, and dreams of his early childhood in the village, of his parents who love him immensely and protect him from any independent action; There is peace and quiet all around, his nanny’s fairy tales, dear to his heart, awaken his imagination. The boy observes the world around him and dreams. Then he sees himself as a boy of about thirteen. He studies in the village of Verkhlev, five miles from Oblomovka, with the local manager, Stolz, who started a small boarding school for the children of the surrounding nobles. Stolz’s son, Andrei, the same age as Ilyusha, studies with him. The German was strict, but Ilya learned nothing from him:
The sleepy kingdom of the Oblomovka, which lived according to its own laws - from holiday to holiday - turned out to be stronger. Zakhar, who previously, taking advantage of the master’s sleep, was chatting with the neighboring servants, at five o’clock in the evening begins to wake up Oblomov. He resists, but at this moment
Stolz suddenly appears, greeted by Ilya Ilyich with delight.
Andrei Ivanovich Stolz - German Only half (mother - Russian), professed the Orthodox faith. Since childhood, he studied a lot and with interest. His father, Ivan Bogdanovich, gave him mainly practical knowledge, and his mother instilled in him a love of poetry. Andrei began to carry out his father’s instructions early and always did it accurately, without forgetting anything. Ivan Bogdanovich paid him a salary as a simple artisan and forced him to sign a book.
After graduating from university, his father sent him to St. Petersburg. Stolz served there, then retired, successfully went into business and made a house and money. He has a practical outlook on life, knows how to manage his joys and sorrows, there is no place for dreams in his soul. Andrei Ivanovich considers himself happy, able to overcome obstacles on the way to his goal, and puts perseverance above all else.
Despite the obvious difference in characters, he loves Oblomov, and he reciprocates.
And now they are happy to see each other. Oblomov complains about his health, that he is broke, and Stolz only laughs in response. He makes his friend get dressed and takes him to his place. Ilya Ilyich comes from almost complete solitude into society; they visit each other every day. Oblomov is tired of this, he misses his quiet life.
He doesn’t understand why a person needs to work all his life, that is, suffer, he tells Stoltz his dreams, but he calls them the poisonous word “Oblomovism.” Stolz is going abroad and wants to take his friend with him, he leaves for England and makes Oblomov promise to come straight to Paris. He seems to agree, but the night before his departure his lip became swollen, and his departure was postponed.
It’s already August, Stolz writes from Paris, but Oblomov still doesn’t go. But these days he is not lying on his sofa. He lives in the country, reads a lot, writes something (even on stamped paper), and goes somewhere. And all because he fell in love with Olga Sergeevna Ilyinskaya, whom Stolz introduced him to. Olga is young, smart, graceful and charming, she has a beautiful smile and an infectious laugh.
The girl is very musical and has a beautiful voice. Her singing turned Oblomov’s soul upside down, and one day he confessed his love to her. It turned out that Olga reciprocated his feelings, but Ilya Ilyich doubted her feelings for a long time, fearing that Ilyinskaya would mistake a slight infatuation for true love. Finally they decided to get married, but for this Oblomov needed to settle his affairs.
It must be said that Olga really loved Oblomov, but the sincere feeling was mixed with an ambitious desire to spare him, to pull him out of the quagmire of that inactive existence that Shgolts told the girl about. Therefore, Ilyinskaya demanded an active life from her lover: reading books, visiting theaters, some kind of chores about future home, which could not help but depress Oblomov.
Meanwhile, summer is over. Ilya Ilyich moved into an apartment on the Vyborg side, which a certain Tarantiev rented for him from his godfather, the widow Agafya Matveevna Pshenitsyna. The owner of the apartment is a simple woman of few words, not particularly beautiful, but well-behaved and strong. She runs the house herself, cooks very well, and the whole life of her home turned out to be extremely nice and convenient for Oblomov. He continued to meet with Olga, but it was a long way to travel to her from the Vyborg side, and other difficulties arose when settling pre-wedding affairs.
Ilya Ilyich decided to change his apartment, but everything turned out to be not so simple. The owner's brother demanded money a year in advance to compensate for losses, since Pshenitsyna would no longer be able to find another tenant. Oblomov had no money, and he stayed. His life went on as usual and he liked it very much, and he liked the hostess more and more.
He saw Olga on set days, went with her to the theater, but with the onset of winter, meetings became increasingly rare. Ilyinskaya was constantly surrounded by young people, Oblomov was lost in society. So everything dragged on and on, finally Olga forced Ilya Ilyich to a decisive explanation, as a result of which she realized that such a serious act as marriage frightened him, and said that they needed break up: yes, they love each other, but they are too different to live together.
After this, Oblomov began to develop a fever. Having recovered, he sank into apathy. But life goes on. Seeing Agafya Pshenitsyna’s participation, Ilya Ilyich invited her to take on all the worries about him, to which she gladly agreed. Agafya Matveevna, without noticing it herself, fell in love with the guest. She did not know how to name this feeling, she would never admit it to anyone, and all her love was expressed in her vigilant care for Ilya Ilyich and efforts to prevent any of his desires.
On Ilya’s day, Stolz unexpectedly arrived and learned about everything that had happened. wanted to restore his friend’s relationship with Ilyinskaya, which Oblomov, who by that time realized the difference in their characters, categorically refused.
In parallel with the events described above, the scam of Tarantyev and Mukheyarov (brother of Agafya Pshenitsyna) is unfolding, who, taking advantage of Oblomov’s decisive inability to conduct any practical affairs, installed their man as the manager of Oblomovka and are now robbing Ilya Ilyich.
Stolz, having accidentally learned from a friend how little money he received from the village, rented the estate and kicked out the attorney. Then Mukhoyarov and Garantyev deceived Oblomov into issuing a loan letter for 10 thousand in favor of Pshenitsyna, and she transferred the money to her brother. Agafya Matveevna does not understand anything about the current situation, and when Ilya Ilyich begins to live in poverty, she pawns her own things so that Oblomov does not lack anything, but there are not enough funds.
When Stolz next came to see his friend, he saw that the hostess had lost weight, was wearing an old dress, and Oblomov was sitting in a patched robe, and for lunch, instead of the usual abundance, there was an ear of ruffs. Having understood the situation, Andrei Ivanovich again helped out his friend, and Mukhoyarov was forced to resign, otherwise Stolz threatened to take the case to court.
Time has passed. On his next visit, Stolz found his friend already married to Agafya Matveevna, who had gained weight again. It turned out that they had a son, named Andryusha in honor of Stolz. Oblomov looked quite happy. True, a year before this meeting he had a stroke; his wife was coming out. Having learned from the doctor that the cause of the disease was a sedentary lifestyle and a rich diet, she began to force him to walk for two hours a day, did not allow him to sleep after lunch, and on the table there were now only light dietary dishes, lovingly prepared by Anisya, Zakhar’s wife.
What happened to Olga during this time? Stolz met her in Paris. where she arrived about two months after the break with Oblomov. Andrei Ivanovich was amazed at how she had matured, turned pale and haggard. They began to see each other every day and soon realized that they loved each other. Then the wedding, children.
When Oblomov died (after the third blow), Agafya Matveevna gave Andryusha to them to raise, realizing that it would be better this way. she gave up her income from Oblomovka for the sake of her son and lived in her old house, yearning for her husband and quietly fading away. Zakhar, who was kicked out of the house by Mukhoyarov after Anisya’s death, began begging on the street, where the author of the novel met him.
0 / 5. 0
The novel “Oblomov”, a summary of which is given in this article, was published in 1859. It was written by the famous Russian writer Ivan Goncharov. A huge amount of work has been done. The novel was written over 10 years. After the work was completed, the author admitted that in it he told about his life. He also points out that he and the main character of the novel, the nihilist Oblomov, share many common traits. Immediately after its publication, the work became the subject of heated debate among critics and writers.
Meet the main characters
The setting of the novel is the city of St. Petersburg, Gorokhovaya Street. Ilya Ilyich Oblomov lives here with his servant Zakhar. The main character, being a young man, leads an idle lifestyle. He does nothing except talk all day long about how he should live, and dreams of a quiet life in his native village of Oblomovka. Ilya Ilyich is not at all concerned about any problems: the fact that they are going to him and the fact that the farm is in complete decline. A young man has a friend who is the complete opposite of him. This is Andrey Ivanovich Stolts. He is very active and active. Trying to stir up his lazy friend, Andrei invites him to banquets in the best houses of St. Petersburg. It is unlikely that a summary will be able to convey all the feelings and thoughts of the main characters. “Oblomov” is a novel that has not lost its relevance in our time. We highly recommend reading it.
Oblomov fell in love
What happens next? After Oblomov began going out into the world, he was simply unrecognizable. He gets up not during the day, but in the morning, which he has never done before, is interested in everything that happens around him and writes a lot. Everyone around him is shocked by such a metamorphosis in the behavior of the young lazy man. What happened to him? It turns out that the young man fell in love. At one of the receptions, Oblomov met Olga Ilyinskaya. She, in turn, answers him. The history of the development of their relationship is unlikely to be conveyed by a brief summary. Oblomov soon invites Olga to marry.
Oblomov in a house on the Vyborg side
But this “ebullient activity” of the young nihilist did not last long. Soon he settles in the house of Agafya Matveevna Pshenitsyna on the Vyborg side. This home is as old and dilapidated as Oblomov himself will soon become. Olga is trying to shake up her loved one, to pull him out of this “swamp.” But, having come to his house, she realized that all her efforts would be in vain. Agafya Matveevna takes care of Ilya Ilyich, preparing his favorite dishes and repairing old shabby things. Unexpectedly for herself, she realizes that she has fallen in love with her master. Soon their son Andryusha was born. It is impossible to follow how dramatically the life of the main character changes if you only skim through the summary. Oblomov did not immediately become a prisoner of his “blessed paradise” in Agafya’s house. Trying to free himself from the tenacious shackles of laziness and apathy, he first tries to renew his relationship with Olga. But soon the quagmire of idleness and lethargy completely sucks him in.
Love of Olga and Stolz
Here is only a brief summary of Oblomov. In the full version of the novel you will read about how Olga’s love feeling for Stolz arose and developed. In the article we will only mention how one day our heroine realized that Andrei had ceased to be just a friend for her. Stolz always liked Olga, and her attitude towards Oblomov revealed a new side to her for her lover. These two were born to be happy together.
Ending
The novel ends with a story about Oblomov's little son Andryusha. The main character himself is no longer alive. Dying, he begged his friend not to leave his son. Therefore, the Stoltsy, who by that time also had children, took little Oblomov to raise. This novel was written during a difficult period in the history of Russia. A brief summary cannot convey the fullness of the contradictory views and ways of that time. “Oblomov” is a work that will be useful for everyone to read. After all, it has a meaning
