The plot and main characters of Oblomov. Analysis of the work “Oblomov” (I. Goncharov). Images of the main characters

05.03.2020

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 annual cycle, brings all storylines to a smooth conclusion. One gets the impression that the structure of the novel was borrowed by Goncharov himself directly from 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 the words are not belonging to heroes, should not be read directly as a 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 organizes a parade minor characters, each of which is described according to recipes that were 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 them 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 seek manifestations of power sank and withered" among them fatally. 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 literary image“an extra person” 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 detailed story about the life of Ilya Ilyich Oblomov, thoughtlessly spending 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. At the junction love story 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 grew up begins with one of the main and, in my opinion, the most interesting moments 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 lives in exactly the same way and that living differently is a sin...” I think that the author resorted to this style because, reflecting his position in relation to the problem of serfdom, he should not have disturbed the atmosphere of general drowsiness, so important for the protagonist. 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. It will have to become a generalized image advanced person, which includes strength of character, a flexible mind, a constant thirst for action, in other words, display 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 in relation to Oblomov and Stolz 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 help 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 something strong, business man, who would always come to the aid of his indecisive and drowsy nature, then how can we explain Stolz’s affection for 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”

Genre and literary movement

The novel "Oblomov" was written in the traditions literary direction realism, as evidenced by the following signs: the central conflict of the work, developing between the main character and a society that does not share his way of life; realistic image reality, reflecting many everyday historical facts; the presence of characters typical of that era - officials, entrepreneurs, townspeople, servants, etc., who interact with each other, and in the process of the narrative the development (or degradation) of the personality of the main characters is clearly visible.

The genre specificity of the work allows us to interpret it, first of all, as a social and everyday novel, revealing the problem of “Oblomovism” in the author’s contemporary era, its harmful effect on the bourgeoisie. In addition, the work must be considered as philosophical, touching on many important “eternal questions”, and psychological novel– Goncharov subtly reveals inner world and the character of each hero, analyzing in detail the reasons for their actions and their future fate.

Composition

An analysis of the novel "Oblomov" would not be complete without considering compositional features works. The book consists of four parts. The first part and 1-4 chapters of the second are a description of one day in Oblomov’s life, including events in the hero’s apartment, his characterization by the author, as well as a chapter important for the entire plot - “Oblomov’s Dream”. This part the work is an exposition of the book.

Chapters 5-11 and the third part represent the main action of the novel, describing the relationship between Oblomov and Olga. The culmination of the work is the separation of the lovers, leading to Ilya Ilyich again falling into the old state of “Oblomovism”.

The fourth part is an epilogue to the novel, telling about later life heroes. The denouement of the book is the death of Oblomov in a kind of “Oblomovka” created by him and Pshenitsyna.
The novel is divided into three conventional parts - 1) the hero strives for an illusory ideal, the distant “Oblomovka”; 2) Stolz and Olga bring Oblomov out of a state of laziness and apathy, forcing him to live and act; 3) Ilya Ilyich again returns to his previous state of degradation, having found “Oblomovka” from Pshenitsyna. Despite the fact that the main plot point was love story Olga and Oblomov, from a psychological point of view, the leitmotif of the novel is the depiction of the degradation of Ilya Ilyich’s personality, its gradual disintegration right up to actual death.

Character system

The central core of characters is represented by two contrasting male and female images - Oblomov and Stolz, as well as Ilyinskaya and Pshenitsyna. Apathetic, calm, more interested in everyday life, the warmth of home and a rich table, Oblomov and Pshenitsyna act as bearers of outdated, archaic ideas of Russian philistinism. For both of them, “breakdown” as a state of calm, detachment from the world and spiritual inactivity is the primary goal. This is contrasted with the activity, activity, practicality of Stolz and Olga - they are bearers of new, European ideas and norms, a renewed Russian-European mentality.

Male characters

The analysis of Oblomov and Stolz as mirror characters involves considering them as heroes of different time projections. So, Ilya Ilyich is a representative of the past tense, for him the present does not exist, and the ephemeral “Oblomovka of the Future” does not exist for him either. Oblomov lives only in the past tense; for him, all the best was already a long time ago in childhood, that is, he strived back, not appreciating the experience and knowledge gained over the years. That is why the return to “Oblomovism” in Pshenitsyna’s apartment was accompanied by a complete degradation of the hero’s personality - it was as if he was returning to a deep, weak childhood, which he had been dreaming about for many years.

For Stolz there is no past and present, he is focused only on the future. Unlike Oblomov, who realizes the goal and outcome of his life - the achievement of the distant “paradise” Oblomovka, Andrei Ivanovich does not see the goal, for him it becomes a means of achieving goals - constant work. Many researchers compare Stolz to an automated, masterfully tuned mechanism, devoid of the inner spirituality that he finds when communicating with Oblomov. Andrei Ivanovich appears in the novel as a practical character who has no time to think while he needs to create and build something new, including himself. However, if Oblomov was fixated on the past and was afraid to look into the future, then Stolz did not have time to stop, look back and understand where he was coming from and where he was going. Perhaps it is precisely because of the lack of exact landmarks at the end of the novel that Stolz himself falls into the “traps of debris”, finding peace in his own estate.

Both male characters are far from the ideal of Goncharov, who wanted to show that remembering your past and honoring your roots is just as important as constant personal development, learning something new and continuous movement. Only such a harmonious personality, living in the present tense, combining the poetry and good nature of the Russian mentality with the activity and hard work of the European, is worthy, in the author’s opinion, to become the basis for a new Russian society. Perhaps Andrei, Oblomov’s son, could become such a person.

Female characters

If, when depicting male characters, it was important for the author to understand their direction and meaning of life, then female images associated primarily with issues of love and family happiness. Agafya and Olga not only have different origins, upbringing and education, but also have different character. Meek, weak-willed, quiet and economical, Pshenitsyna perceives her husband as a more important and significant person, her love borders on adoration and idolization of her husband, which is normal within the framework of the old, archaic traditions of house-building. For Olga, a lover is, first of all, a person equal to her, a friend and teacher. Ilyinskaya sees all Oblomov’s shortcomings and tries to change her lover until the very end - despite the fact that Olga is depicted as an emotional, creative person, the girl approaches any issue practically and logically. The romance between Olga and Oblomov was doomed from the very beginning - in order to complement each other, someone would have to change, but neither of them wanted to give up their usual views and the heroes continued to unconsciously oppose each other.

Symbolism of Oblomovka

Oblomovka appears before the reader as a kind of fabulous, unattainable place, where not only Oblomov strives, but also Stolz, who constantly settles his friend’s affairs there and tries at the end of the work to take home the last thing that remains of that old Oblomovka - Zakhara. However, if for Andrei Ivanovich the village is devoid of its mythical qualities and attracts rather on an intuitive, unclear level for the hero, connecting Stolz with the traditions of his ancestors, then for Ilya Ilyich it becomes the center of his entire illusory universe in which the man exists. Oblomovka is a symbol of everything old, dilapidated, passing away, which Oblomov keeps trying to grab onto, which leads to the degradation of the hero - he himself becomes decrepit and dies.

In Ilya Ilyich’s dream, Oblomovka is closely connected with rituals, fairy tales, and legends, which makes it itself a part ancient myth about the village-paradise. Oblomov, associating himself with the heroes of fairy tales told by his nanny, seems to find himself in this ancient, existing in parallel real world. However, the hero does not realize where dreams end and illusions begin, replacing the meaning of life. The distant, unattainable Oblomovka never becomes closer to the hero - it only seems to him that he found it with Pshenitsyna, while he slowly turned into a “plant”, ceasing to think and live a full life, completely immersing himself in the world of his own dreams.

Issues

Goncharov in his work “Oblomov” touched on many historical, social and philosophical issues, many of which do not lose their relevance to this day. Central problem work is the problem of “Oblomovism” as a historical and social phenomenon among Russian philistines who do not want to adopt new social principles and change. Goncharov shows how “Oblomovism” becomes not only a problem for society, but also for the person himself, who is gradually degrading, fencing off his own memories, illusions and dreams from the real world.
Of particular importance for understanding the Russian national mentality is the depiction of classical Russian types in the novel - both in the example of the main characters (landowner, entrepreneur, young bride, wife), and secondary ones (servants, swindlers, officials, writers, etc.), and also revealing Russian national character in contrast with the European mentality using the example of the interaction between Oblomov and Stolz.

An important place in the novel is occupied by questions of the meaning of the hero’s life, his personal happiness, place in society and the world in general. Oblomov is typical " extra person“, for whom the world striving for the future was inaccessible and distant, while the ephemeral, essentially existing only in dreams, ideal Oblomovka was something close and more real than even Oblomov’s feelings for Olga. Goncharov did not portray the all-encompassing true love between the characters - in each case it was based on other, prevailing feelings - on dreams and illusions between Olga and Oblomov; on the friendship between Olga and Stolz; on respect from Oblomov and adoration from Agafya.

Theme and idea

In the novel "Oblomov" Goncharov, considering historical topic changes in society in the 19th century through the prism of such a social phenomenon as “Oblomovism”, reveals its destructive effect not only for the new society, but also for the personality of each individual, tracing the influence of “Oblomovism” on the fate of Ilya Ilyich. At the end of the work, the author does not lead the reader to a single thought, who was more right - Stolz or Oblomov, however, an analysis of the work “Oblomov” by Goncharov shows that a harmonious personality, like a worthy society, is only possible with full acceptance of one’s past, drawing spiritual values from there basics, with constant striving forward and continuous work on oneself.

Conclusion

Goncharov, in his novel “Oblomov,” first introduced the concept of “Oblomovism,” which remains a common noun today to designate apathetic, lazy people stuck in the illusions and dreams of the past. In the work, the author touches on a number of important and relevant social and philosophical issues in any era, allowing the modern reader to take a fresh look at his own life.

Work test

The composition of “Oblomov” was built by the writer according to the strict logic of displaying the national character, expressed in the image of the main character.

Dividing logic:

Part 1 - Oblomov’s day, his character, childhood story. Characters that highlight the character of the hero.
Part 2 - the love story of Oblomov and Olga Ilyinskaya. Contrast between the main character and Stolz.
Part 3 - The end of love, the hero’s relationship with Agafya Tikhonovna.
Part 4 - the end of Oblomov.

The first part of the novel is a reflection of the character of the hero

According to Goncharov’s plan, the plot of the work is divided into 4 main parts. The purpose of the first part is to show Oblomov’s character from life in the village and problems in his career.

Chapter 1 is a portrait of the hero, the setting that characterizes him. Zakhar as the alter ego of his master;
Chapters 2-4 - characteristics of life that Oblomov refuses

(Volkov is the embodiment social life, Sudbinsky - careers, services, Penkin - literary studies, journalism, Volkov and Tarantyev as people who lived under the master); preparation for Stolz's appearance;

Chapters 5-6 - a story about the service, the reasons for the hero’s aversion to life, a story about his teaching. Inner life Oblomov

("So he let his moral forces enter, so he often worried for whole days, and only then would he wake up with a deep sigh from a charming dream or from painful care, when the day was leaning towards evening... Then he again sees him off with a painful look and a sad smile and will rest peacefully from unrest");

Characteristics of Zakhar and his relationship with the master

(“He belonged to two eras, and both left their mark on him. From one he inherited boundless devotion to the Oblomov family, and from the other, later, sophistication and corruption of morals,” “the ancient connection was ineradicable between them”);

chapters 2-8 - the inability for Oblomov to act and solve practical matters: reading a letter from the estate, the hero turning to everyone, even the doctor, for advice and help - an inability to act.

Chapter 9 is the central place of the novel, explaining the essence of Oblomovism as a phenomenon.

Chapters 10-11 - clarify the character of the servants, in particular, show Zakhar’s devotion to the master, prepare the arrival of Stolz, who appears at the end of chapter 10.

The second part of the novel “Oblomov” is a love plot line

Part 2 of the novel in the overall composition is devoted to the love story of the hero and Olga Ilyinskaya, as well as displaying the hero’s test of love, an attempt to tear him out of Oblomovism. The motto of this part is “now or never.”

Chapters 1-2 - about Stolz as an alternative to Oblomov, a combination of German (father) and Russian (mother) -

“Above all else, he placed persistence in achieving goals...”, “...he himself walked towards his goal, bravely walking through all the obstacles...”, Oblomov “always experienced that calming feeling that a person experiences when coming from a magnificent hall to his own modest roof ..."

Chapters 3-4 - dialogues between the main character and Stolz. Oblomov's criticism of modern life

(“this is not life, but a distortion of the norm, the ideal of life that nature has shown to man”, Oblomov’s idyll - a calm life, without fuss, without wars, without a career).

Stolz program

(“Labor is the image, content, element and purpose of life”). Oblomovism is Stolz’s diagnosis.

Chapter 5 - Meeting Oblomov and Olga Ilyinskaya. The goal of Stolz and Olga is to save Ilya Ilyich from Oblomovism. Olga singing

(“For a long time he had not felt such vigor and such strength, which seemed to rise from the bottom of his soul, ready for a feat.”)

Olga's attitude towards Oblomov. At first the only goal is to awaken him to life

(“He will live, act, bless life and her”).

A branch of lilac (Chapter 6) as a symbol of sincere love not only of the hero, but also of Olga.

Chapter 7 - The transformation of Zakhar’s life as an echo of the master’s life.

Chapters 8-12 - development of love: meetings. Doubts, explanation, letter from Ilya Ilyich, intoxication with happiness. Olga

“And now she realized that she had just begun to live.”

Oblomov —

“He fell asleep thinking about her, went for a walk, read - she was here.” “For me, this love is the same as... life... Life is a duty, an obligation, therefore, love is also a duty; It’s as if God sent her to me and told me to love her.”

Hero Transformation

(“Oblomov was beaming as he walked home. His blood was boiling, his eyes were shining.”)

The third part of the composition “Oblomov” - the collapse of the hero

In part 3, Goncharov shows the downfall of his main character. Ilya Ilyich does not stand the test of love. The appearance of another heroine - Agafya Tikhonovna.

Chapters 1-4 - the intervention of life, requiring action from him: the situation with the apartment is not resolved, Oblomov remains. Oblomov's attention to Agafya Tikhonovna

(“They remind me of a village, Oblomovka”).

The beginning of the intrigue of Ivan Matveevich and Tarantiev against Oblomov. The hero's lack of knowledge about life. Conversations about the wedding and Oblomov’s reaction to them

(“He wanted to scare Zakhar and was more afraid than him when he delved into the practical side of the question of the wedding...”)

Chapter 5-6 - the beginning of the end of love (in response to Olga’s offer to ride along the Neva -

"What you? God be with you! It's so cold...")

to talk about the wedding -

“Wait, Olga: why be in such a hurry?”

Reluctance to go to Olga. A gradual return to the previous way of life - thoughts of settling next to Olga -

“...but, after thinking a little, with a caring face and a sigh, he slowly lay down in his place again.”

Chapter 7 - explanation with Olga, final takeoff

(“You will see, you and Andrey, to what heights the love of a woman like you raises a person!”)

Chapters 8-10 - Oblomov’s collision with life (letter from the estate, conversation with Ivan Matveevich, naivety in practical matters, the desire to get rid of them with someone else’s help)

Chapter 11 - last explanation with Olga - the end of the relationship

(“You are meek, honest, Ilya; you are gentle... like a dove; you hide your head under your wing - and don’t want anything else... but I’m not like that”)

The fourth part is the overall result of “Oblomov”

In part 4, the writer shows a gradual approach to the end. Time frame: a year, one and a half, five years have passed.

Chapter 1 - Agafya Tikhonovna's love

(“... fell in love with Oblomov simply, as if she had caught a cold and had an incurable fever”). “His relationship with her was much simpler: ... he embodied the ideal of that vast, ocean-like, and inviolable peace of life, the picture of which was indelibly etched on his soul in childhood, under his father’s roof.”

Chapter 2 - explanation with Stolz. Stolz:

“It started with the inability to put on stockings and ended with the inability to live.”

Chapter 4 - Stolz and Olga

(“Friendship drowned in love”).

Chapters 5-7 - Stolz triples Oblomov’s affairs (reveals the intrigue of Tarantiev and Ivan Matveevich). The hero’s decisive act - a slap in the face to Tarantiev - is a response to Stolz’s insults.

Chapter 8 - the life of Stolz and Olga. Olga's spiritual growth. A woman in Russian literature is spiritually superior to the hero. Olga about Oblomov -

“Oblomov will never bow to the idol of lies, his soul will always be pure, bright, honest...”

Chapter 9 - Last meeting Stolz and Oblomov.

“Oblomov was a complete and natural reflection and expression of that peace, contentment and serene silence.” The hero's last act. In response to Stoltz’s words about Agafya Tikhonovna, Oblomov says with dignity that this is his wife.

Chapters 10-11 are a kind of epilogue - life after the death of the hero. The dignity of Agafya Tikhonovna

(“She responds to everything with the dignity of her grief and proud silence”).

Stolz's activities. Raising Oblomov's son, Andrei, in the family of Stolz and Olga. Zakhar's fate is a reflection of the master's fate. The same reluctance and inability to live. Oblomovism is like a sentence.

The composition of Goncharov's novel is a skillful interweaving of chapters that help the author recreate the type of Russian national character, show its principles, character traits, destiny.

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