Oblomov what the work is about briefly. Analysis of the work “Oblomov” (I

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 the 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, original 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 three other 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.

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 from creative activity due to 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 a humorous story, “Dashing Illness,” where he condemningly describes such a destructive phenomenon, flourishing 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 individual 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 decided to go on a circumnavigation of the world. His friends even nicknamed him “Prince De Lazy.”

The ideological content of the novel is extremely deep: the author raises deep social problems that were relevant to 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 of 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: bourgeois, 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 a general sense reflecting the way of life of the Russia of 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. He spends his 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 an 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, set him on the 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

The novel raises a rather serious problem from the point of view of the historical development of Russian society, namely “Oblomovism” 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 the 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 his 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.

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

Still from the film “A few days in the life of I.I. Oblomov" (1979)

Part one

In St. Petersburg, on Gorokhovaya Street, on the same morning as always, Ilya Ilyich Oblomov is lying in bed - a young man of about thirty-two, not burdening himself with any special activities. His lying down is a certain way of life, a kind of protest against established conventions, which is why Ilya Ilyich so ardently, philosophically and meaningfully objects to all attempts to get him off the couch. His servant, Zakhar, is the same, showing neither surprise nor displeasure - he is used to living the same way as his master: how he lives...

This morning, visitors come to Oblomov one after another: on the first of May, the whole St. Petersburg society gathers in Yekateringhof, so the friends are trying to push Ilya Ilyich away, to stir him up, forcing him to take part in the social holiday festivities. But neither Volkov, nor Sudbinsky, nor Penkin succeeds. With each of them, Oblomov tries to discuss his concerns - a letter from the headman from Oblomovka and the threatening move to another apartment; but no one cares about Ilya Ilyich’s worries.

But Mikhei Andreevich Tarantiev, Oblomov’s fellow countryman, “a man of a quick and cunning mind,” is ready to deal with the problems of the lazy master. Knowing that after the death of his parents, Oblomov remained the only heir of three hundred and fifty souls, Tarantyev is not at all opposed to settling down with a very tasty morsel, especially since he quite rightly suspects: the headman of Oblomov steals and lies much more than is required within reasonable limits. And Oblomov is waiting for his childhood friend, Andrei Stolts, who, in his opinion, is the only one who can help him understand his economic difficulties.

At first, when he arrived in St. Petersburg, Oblomov somehow tried to integrate into the life of the capital, but gradually he realized the futility of his efforts: no one needed him, and no one was close to him. So Ilya Ilyich lay down on his sofa... And so his unusually devoted servant Zakhar, who was in no way behind his master, lay down on his couch. He intuitively feels who can truly help his master, and who, like Mikhei Andreevich, only pretends to be Oblomov’s friend. But from a detailed showdown with mutual grievances, only a dream into which the master plunges, while Zakhar goes to gossip and relieve his soul with the neighboring servants, can save him.

Oblomov sees in a sweet dream his past, long-gone life in his native Oblomovka, where there is nothing wild, grandiose, where everything breathes calm and serene sleep. Here they only eat, sleep, discuss the news that comes to this region very late; life flows smoothly, flowing from autumn to winter, from spring to summer, to again complete its eternal circles. Here fairy tales are almost indistinguishable from real life, and dreams are a continuation of reality. Everything is peaceful, quiet, calm in this blessed land - no passions, no worries disturb the inhabitants of sleepy Oblomovka, among whom Ilya Ilyich spent his childhood. This dream could have lasted, it seems, for an eternity, if it had not been interrupted by the appearance of Oblomov’s long-awaited friend, Andrei Ivanovich Stoltz, whose arrival Zakhar joyfully announces to his master...

Part two

Andrei Stolts grew up in the village of Verkhlevo, which was once part of Oblomovka; here now his father serves as manager. Stolz developed into a personality, in many ways unusual, thanks to the double upbringing received from a strong-willed, strong, cold-blooded German father and a Russian mother, a sensitive woman who lost herself in the storms of life at the piano. The same age as Oblomov, he is the complete opposite of his friend: “he is constantly on the move: if society needs to send an agent to Belgium or England, they send him; you need to write some project or adapt a new idea to business - they choose it. Meanwhile, he goes out into the world and reads; when he succeeds, God knows.”

The first thing Stolz starts with is pulling Oblomov out of bed and taking him to visit different houses. Thus begins the new life of Ilya Ilyich.

Stolz seems to pour some of his ebullient energy into Oblomov, now Oblomov gets up in the morning and begins to write, read, take an interest in what is happening around him, and his acquaintances cannot be surprised: “Imagine, Oblomov has moved!” But Oblomov didn’t just move - his whole soul was shaken to the core: Ilya Ilyich fell in love. Stolz brought him into the Ilyinskys’ house, and in Oblomov a man, endowed by nature with unusually strong feelings, wakes up - listening to Olga sing, Ilya Ilyich experiences a genuine shock, he finally finally woke up. But for Olga and Stolz, who have planned a kind of experiment on the eternally dormant Ilya Ilyich, this is not enough - it is necessary to awaken him to rational activity.

Meanwhile, Zakhar found his happiness - having married Anisya, a simple and kind woman, he suddenly realized that dust, dirt, and cockroaches should be fought, and not put up with. In a short time, Anisya puts Ilya Ilyich’s house in order, extending her power not only to the kitchen, as initially expected, but throughout the entire house.

But this general awakening did not last long: the very first obstacle, moving from the dacha to the city, gradually turned into that swamp that slowly but steadily sucks in Ilya Ilyich Oblomov, who is not adapted to making decisions, to taking the initiative. A long life in a dream cannot end immediately...

Olga, feeling her power over Oblomov, is unable to understand too much about him.

Part three

Having succumbed to Tarantiev’s intrigues at the moment when Stolz left St. Petersburg again, Oblomov moved to an apartment rented to him by Mikhei Andreevich, on the Vyborg side.

Unable to deal with life, unable to get rid of debts, unable to manage his estate and expose the swindlers around him, Oblomov ends up in the house of Agafya Matveevna Pshenitsyna, whose brother, Ivan Matveevich Mukhoyarov, is friends with Mikhei Andreevich, not inferior to him, but rather superior the latter with cunning and cunning. In Agafya Matveevna’s house, in front of Oblomov, at first imperceptibly, and then more and more clearly, the atmosphere of his native Oblomovka unfolds, what Ilya Ilyich treasures most in his soul.

Gradually, Oblomov’s entire household passes into the hands of Pshenitsyna. A simple, ingenuous woman, she begins to manage Oblomov’s house, preparing him delicious dishes, organizing his life, and again the soul of Ilya Ilyich plunges into a sweet sleep. Although occasionally the peace and serenity of this dream explodes with meetings with Olga Ilyinskaya, who is gradually becoming disillusioned with her chosen one. Rumors about the wedding of Oblomov and Olga Ilyinskaya are already scurrying between the servants of the two houses - having learned about this, Ilya Ilyich is horrified: nothing has been decided yet, in his opinion, and people are already moving from house to house conversations about what is most likely , that won't happen. “That’s all Andrei: he instilled love, like smallpox, in both of us. And what kind of life is this, all the excitement and anxiety! When will there be peaceful happiness, peace?” - Oblomov reflects, realizing that everything that is happening to him is nothing more than the last convulsions of a living soul, ready for the final, already continuous sleep.

Days pass by days, and now Olga, unable to bear it, comes to Ilya Ilyich on the Vyborg side. He comes to make sure that nothing will awaken Oblomov from his slow descent into final sleep. Meanwhile, Ivan Matveyevich Mukhoyarov is taking over Oblomov’s estate affairs, entangling Ilya Ilyich so thoroughly and deeply in his clever machinations that the owner of blessed Oblomovka is unlikely to be able to get out of them. And at this moment Agafya Matveevna is also repairing Oblomov’s robe, which, it seemed, no one could fix. This becomes the last straw in the throes of Ilya Ilyich’s resistance - he falls ill with fever.

Part four

A year after Oblomov’s illness, life flowed along its measured course: the seasons changed, Agafya Matveevna prepared delicious dishes for the holidays, baked pies for Oblomov, brewed coffee for him with her own hands, celebrated Elijah’s Day with enthusiasm... And suddenly Agafya Matveevna realized that she had fallen in love master She became so devoted to him that at the moment when Andrei Stolts, who came to St. Petersburg on the Vyborg side, exposed Mukhoyarov’s dark deeds, Pshenitsyna renounced her brother, whom she had so revered and even feared until recently.

Having experienced disappointment in her first love, Olga Ilyinskaya gradually gets used to Stolz, realizing that her relationship with him is much more than just friendship. And Olga agrees to Stolz’s proposal...

And a few years later, Stolz reappears on the Vyborg side. He finds Ilya Ilyich, who has become “a complete and natural reflection and expression of ‹…› peace, contentment and serene silence. Looking and reflecting on his life and becoming more and more comfortable in it, he finally decided that he had nowhere else to go, nothing to look for...” Oblomov found his quiet happiness with Agafya Matveevna, who bore him a son, Andryusha. Stolz's arrival does not bother Oblomov: he asks his old friend just not to leave Andryusha...

And five years later, when Oblomov was no longer there, Agafya Matveevna’s house fell into disrepair, and the wife of the bankrupt Mukhoyarov, Irina Panteleevna, began to play the first role in it. Andryusha was asked to be raised by the Stoltsy. Living in the memory of the late Oblomov, Agafya Matveevna focused all her feelings on her son: “she realized that she had lost and her life shone, that God put his soul into her life and took it out again; that the sun shone in her and darkened forever...” And high memory forever connected her with Andrei and Olga Stolts - “the memory of the soul of the deceased, clear as crystal.”

And faithful Zakhar is there, on the Vyborg side, where he lived with his master, now asking for alms...

Retold

Year: 1859 Genre: novel

Main characters: Ilya Oblomov, Olga, Andrey Stolts

1859 Russia. Goncharov’s novel “Oblomov” was published in the journal Otechestvennye zapiski. The work talks about Ilya Ilyich Oblomov, his servant Zakhara and their life in St. Petersburg. Ilya Ilyich practically does not get up from the sofa and his main attributes are a spacious robe, soft slippers and a sofa. The author also introduces us to Stolz, Oblomov’s best friend and his aptipod. There is also a love plot... The ending of the novel is tragic - Oblomov dies, but “Oblomovism” lives on.

the main idea The novel “Oblomov” is that Ivan Aleksandrovich Goncharov, for the first time in Russian literature, draws the reader’s attention to such a negative and destructive concept as “Oblomovism”. It is this phenomenon that causes degradation of both an individual and society as a whole. This can be seen in the ideological concept of the novel.

The reader gets acquainted with the main character of the story - Ilya Ilyich Oblomov. He is 32 years old. He lives with his servant Zakhar on Gorokhovaya Street in St. Petersburg. His days are like one another like twins. Usually Ilya Oblomov lies in bed. “Doing nothing” is the main trait of the main character. His servant does not resist this way of life. Everything suits him.

A new day comes and Volkov, Penkin, Sudbinsky come one after another to visit Ilya Ilyich. Their goal is to disrupt the regular course of the sloth’s life. Oblomov, in turn, tells them about his problems, but the guests are not interested in these matters.
Oblomov has a friend - Andrei Stolts. And only he alone can help Ilya Ilyich sort things out.
In the meantime, the hero lies on the sofa. He dreams of his native village - Oblomovka, where he is a small and curious boy, and life is carefree and calm. But the dream is interrupted by the arrival of Stolz.

Then the story begins about Andrei Stolts, his childhood and youth. It turns out that they are the same age as Oblomov, but in every way they are antipodes. Stolz has German roots and, because of this, he was formed early as a person. He is active and constantly moving. Andrei even makes attempts to stir up Oblomov: take him on a visit, introduce him to different people. Stoltz succeeds because Oblomov leaves the couch and tries to lead an active lifestyle.

One fine day, fate brings Oblomov together with Olga Ilyinskaya. He falls in love... But Olga is a very active person and she absolutely does not like much of Oblomov’s way of life.

Stolz needs to leave on business. It was during this period of time that Ilya Ilyich fell under the influence of Tarantiev and moved to the Vyborg side. Oblomov again plunges into the maelstrom of problems. It is unbearably difficult for him to deal with things. And then one day he meets Agafya Pshenitsyna. It is so cozy that the hero feels as if he has returned to his native Oblomovka.

Unnoticed, Pshenitsyna takes matters into her hands. Then Ilya Ilyich again returns to a state of slumber and bliss. Often he gets a shake-up - these are meetings with Olga Ilyinskaya. Oblomov hears talk about the upcoming wedding of Olga and Stolz. But... Oblomov is only indignant, but does not take decisive action against it.

Almost a year passes. Oblomov has been sick all this time. Pshenitsyna runs the household with a firm hand. Tender feelings even appeared between her and Oblomov. Their life is returning to a calm direction. Finally, the wedding of Olga and Stolz took place.

Several more years pass. Stolz visits his old friend and sees that nothing has changed in his life. Oblomov doesn’t care. The only thing he asks Andrei to do is take care of Oblomov’s son. After some time, Oblomov dies. Agafya Pshenitsyna completely devotes herself to her son.

The novel ends with the meaningful words: “Reason... what a reason! Oblomovism!