EGE and GIA traps. Essay on the theme of “Oblomov” Goncharov Why Oblomov became “Oblomov”. Childhood in Oblomovka

18.08.2020

The novel by I. Goncharov is the greatest literary monument of the second half of the 19th century. This work reflects not only the usual life of a person of that time, but also his worldview, thoughts, suffering, in a word, life itself! The problems in the novel “Oblomov” are so significant that it becomes necessary to talk about them again and again. Everything is very ambiguous and deep.

Goncharov "Oblomov". Problems of the novel

The origins of Ilya Ilyich’s worldview are very remarkable and have their own roots. The chapter “Oblomov’s Dream” shows the reasons for the deep spiritual slumber from which the main character suffered. The name for this is “Oblomovism”. This terrible word is interpreted in the work as a subconscious reluctance to live, develop activities, strive for high results and achievements.

Perhaps the hero’s character was formed as a result of being overly cared for in childhood, but this care turned out to be detrimental to development and gradually limited his mind and heart. If the weather was inclement, then his mother and father not only did not let him go out into the yard for a walk, but also did not send him to study “with the German” that day. Such excessive care gradually turned the boy into a pampered creature, not adapted to anything. He was afraid of the cold and any illness and spent a lot of time at home.

Life and lifestyle

Oblomov’s problems in the novel “Oblomov” are not immediately visible to the reader, but are gradually revealed as the main character of the story begins to realize them. Ilya Ilyich lives as if in a deep sleep: he does not care about his surroundings, he does not want to lead an active social life - he finds it boring. At first he still went out to visit, and then he got tired of the evenings. Soon he quit serving in the department, as it made him sad. At some point, Oblomov decided that the fortune he had was enough for him, and there was no need to work anymore - he did not find it necessary.

The hero's normal state is lying down. He rests not from physical or mental fatigue, but simply because he does not know any other way of life. This is the norm for him. Ilya Ilyich looks for meaning in each of his actions and, before making any movement, thinks through its usefulness in advance. He gets tired quickly and is tired of small talk. The soul yearns for something sublime, the poets “touched him to the quick.” The main character can be called an overly tender and impressionable nature. The problems of the work “Oblomov” are piercing and deep: when you read, a feeling of empathy arises, but not condemnation.

Friendship theme

Despite his certain detachment and isolation, Oblomov has his only close friend - Andrei Stolts. They became close in childhood, when they studied together at the gymnasium. However, having reached adulthood, one became an important influential person, while the other remained a naive child who tries to hide from life everywhere. Oblomov's problems in the novel "Oblomov" are revealed one after another, but gradually, more and more intriguing and bewitching the reader.

Despite the obvious contrast of views, Ilya Ilyich loves Andrei very much and is sincerely attached to him. And Stolz is ready to help his friend in any case and has helped him out more than once in difficult situations. The character of one complements the personality of the other. They are both individuals, self-sufficient and sincere.

Unmatched feeling

The problem of love occupies a special place in Oblomov. With the appearance of Olga Ilyinskaya, it seemed that the hero’s life was about to change. At some point, a movement towards change really began in him: he began to go to visit Olga, stayed there for a long time, and he and the girl walked in the garden, listened to “Casta Diva”. But then everything stopped and froze: Oblomov again lay down on his favorite sofa, allowing himself to sleep after lunch and at any other time. I remember very well the episode when the hero had to go to the young lady, but he said he was sick and stayed at home. Why did it happen? Perhaps Oblomov considered himself unworthy of the love of a girl like Olga, and he lacked self-confidence.

It must have been so difficult for him to believe that he could be truly loved that he simply did not wait for confirmation of this truth. Or maybe the point is that the young lady did not want to accept the hero for who he is? As much as Olga cherished her own fantasies, she loved Ilya Ilyich. Let us remember that the girl dreamed of changing him, she even made plans for how he would be transformed, which means that she was not satisfied with Oblomov’s previous image. True love is far from such aspirations. It is for this reason that the tender, sublime feeling that so suddenly flared up between them, fanned by the sweet melody of “Casta Diva,” did not find support for development in reality.

Attitude to work

Oblomov’s problems in the novel “Oblomov” affect all areas of human life. Any activity that did not correspond to Ilya Ilyich’s inner impulses was disgusting to him. In fact, he would be much more willing to devote a day to rest than to go on a visit just because there he can meet influential people and make useful connections.

Pointless activities did not inspire him. If there was no such object that excited his attention in time, then the hero’s endless sleep continued, only occasionally interrupted by something interesting. This is where the main problem of the work lies. It was not illness that destroyed Oblomov, but a genuine reluctance to live.

Search for the meaning of life

This is how Ilya Ilyich was designed, that his soul was constantly looking for an invisible source of inspiration. He perceived going to work as hard labor and soon left it. But even while at home, he did not find anything important for himself, did not occupy his imagination with anything, which in fact required intense inner thought from him. Not finding a lofty idea that could serve for years, the hero’s mind became bored and gradually began to focus on sleep. Ilya Ilyich fell asleep not only physically, but also did not awaken in soul for a long time. The problems in the novel “Oblomov” are truly pressing; they make you think about a lot. The novel will be especially useful to read for those people who, in adulthood, are still looking for their unique path.

Thus, Oblomov’s problems in the novel “Oblomov” are treated with extreme skill. The literary talent that I. Goncharov possessed gave birth to a wonderful work that does not lose its relevance today.

In the novels of I. A. Goncharov, the feeling of love is often one of the main means of revealing characters. Moreover: through this intimate feeling, the writer also reveals the civic qualities of a person. The novel "Oblomov" is no exception. The characters and human qualities of the main characters are most clearly manifested in their relationships.

The coincidence of the first and last names: Ilya Ilyich - Ilyinskaya emphasizes that they are destined for each other. It is no coincidence that the first mention of Olga is included in the ideal picture of life that Oblomov paints for Stoltz. He describes the music that will sound in his house: “...how this woman’s heart is crying! What sadness is inherent in these sounds! ...And no one knows anything around... She is alone... The secret weighs on her; she entrusts her to the moon..." Olga's name, her appearance, her actions are permeated with music - she lives in its halo. Everything about her is amazingly harmonious: her beautiful voice, soft, “with a nervous tremor of feeling,” “pure, strong, girlish,” and “intelligent,” “affectionate” dark gray-blue eyes, and the tilt of her head, “nobly resting on the thin , proud neck." “My God, how pretty she is!” Oblomov admires her appearance, although Olga is not a beauty. “There are people like that in the world! This whiteness, these eyes, where, as if in the abyss, it is dark and together something shines... the soul “It must be! A smile can be read like a book; behind the smile, these teeth and the whole head... how gently it rests on the shoulders, as if it sways like a flower, breathing in the scent.” In Olga there is absolutely no affectation, coquetry, lies, tinsel, or intent. Due to her nature and upbringing, she is natural in the manifestation of thoughts and feelings; All her gestures are natural, even the slightest, barely noticeable movements of her eyes, lips, and hands.

Possessing a gentle and at the same time hot nature, Olga responds to the suddenly flared feeling of Ilya Ilyich, who saw in her the embodiment of his ideal, and Olga’s love is as simple and natural as her whole life. She fell in love for the first time at twenty years old. There was more light in her eyes, more grace in her movements; her breasts developed so magnificently, they moved so smoothly.” All the forces began to play in Olga, she saw what her eyes had previously been closed to. “New sides of the mind, new character traits developed in her.” Despite her youth, Olga understands perfectly well that the “first and main role” belongs to her, that one cannot expect “no movement of will, no active thought” from Oblomov. And she takes on the role of a “guiding star”, dreams that she will pour light “over a stagnant lake and be reflected in it.”

Olga has a desire to resurrect a person who is interesting to her, albeit weak-willed: “she will show him a goal, make him fall in love again with everything that he has stopped loving.” In this update of Ilya Ilyich, she sees her calling. And to a large extent he fulfills this intention. She bravely reminded Oblomov “of the purpose of life and duties and strictly demanded movement, constantly calling his mind out, either entangling him in a subtle, vital question familiar to her, or she herself went to him with a question about something unclear, inaccessible to her.” If she noticed “the old features in Oblomov’s soul... the slightest fatigue, a barely noticeable drowsiness of life, reproaches poured down on him, which were occasionally mixed with the bitterness of remorse and fear of mistakes.”

Olga saw her purpose in loving Oblomov, and she followed her destiny, learned love, “tortured it and greeted every new step with a tear or a smile, thought about it.” In moments of disappointment, she thought: “They don’t love twice in their life, they say it’s immoral.” She justified her love for Oblomov “by his meekness, pure faith in goodness, and most of all by his tenderness, a tenderness that she had never seen in the eyes of a man.” “The heart, when it loves,” thought Olga, “has its own mind, it knows what it wants, and knows in advance what will happen.”

After Oblomov proposed to Olga, she was not carried away by his romantic impulses and dreams. Instead, she began to tell him that serious, practical life begins in love: he needs to go to the ward, sign a power of attorney, go to Oblomovka and arrange his affairs...

But duty and obligation turned out to be destructive for love and its romantic pathos. When Oblomov fell into despair over the practical side of the wedding, Olga received news of the completion of the litigation on her estate, but did not say anything to Ilya Ilyich, wanting to “see to the end how in his lazy soul love will make a revolution, how the oppression will finally fall from him how he cannot resist close happiness." She expected decisive action, courage, and readiness to live actively from Oblomov, but was forced to admit defeat. On the last date, Olga admits that she loved the future Oblomov (“I loved in you what I wanted to have in you, what Stolz showed me, what we came up with with him”). In the bitter moments of separation, Olga’s determination and will betray her, and she rushes to Oblomov, begging him to forget her cruel words... But everything is in vain.

First love - love for Oblomov, became a serious test for Olga. Her childishness, naivety, and carelessness disappeared. Olga no longer looked at the world the same way as before - openly, brightly and calmly: “... her eyes seemed a little sunken, and there was no childish smile on her lips, no naivety, no carelessness.” This is exactly how Olga Stolz saw him a year later in Paris. She was delighted with him, Olga's eyes flashed with the light of quiet, not rapid, but deep joy.

The changes that happened in Olga amazed Stolz. Previously, she was for him “a sweet child with great promise.” In St. Petersburg, Stolz did not see that Olga “walks almost alone on her own path... walks along a new path along which she had to carve out her own path with her own mind, look, feeling.” Olga learned to understand and guess a lot; carefully peering into life, listening to Stolz’s speeches and advice. And then he did not see this, he expected from her “a lot ahead, but far ahead, not wanting her to be his friend.” And only abroad, having seen the unfamiliar and mysterious Olga, did he dare to delve “into the labyrinth of her mind, character, and every day he discovered and studied more and more new features and facts and still did not see the bottom, only with surprise and alarm watched how her mind demanded daily essentials bread, how her soul does not stop talking, keeps asking for experience and life.”

For Olga, love for Stolz also became a completely new, unknown feeling. In her first love - love for Oblomov - she endured "a girlish period of inability to control herself, sudden color, thinly hidden pain in the heart, feverish signs of love, its first fever." Olga did not realize her feelings for Stolz, she fought desperately “with herself,” she began to doubt her love for Oblomov, even to be ashamed of her affair with him. And at the same time, she sincerely repented “of being ungrateful for the deep devotion of her former friend.” Olga liked the “continuous worship of a man like Stolz, full of intelligence and passion,” and liked it because it “restored her offended pride.” And gradually Stolz became her “reason and conscience.” In front of him, Olga lost her willpower and character, insight, and ability to control herself. Against her will, love took possession of her and filled her whole life. Her love for Stolz is a mature, deep feeling.

Goncharov showed us all the shades of Olga’s complex love relationship with Oblomov and Stolz, in which all her best qualities were revealed: nobility, desire to be a “guiding star,” determination, spiritual beauty. We saw that she grows along with her feelings, and every scene that takes place between her and the person she loves adds a new feature to her character, with every scene the graceful image of the girl becomes more and more attractive, outlined brighter and stronger. And we are sincerely glad that in Stolz she found a man who partly “embodied her ideal of male perfection”, that in marriage her girlish dream of happiness comes true.

But I feel sorry for Oblomov. After all, not only his mind gradually died, but also his moral life. He met an extraordinary, sensitive girl who fell deeply in love with him, and love initially captured him, but it ended in the same Oblomov spirit. Laziness and the fear of breaking his usual way of life won over Oblomov’s feeling of love; he did not want to experience her worries or bear any responsibilities to another person. In his dreams, the ideal of a woman seemed to be the embodiment of “a whole life, filled with bliss and solemn peace, like peace itself.” He dreamed of finding in his beloved “an unchanging face of peace, an eternal and even flow of feeling.”

The ideal of family happiness seemed to Ilya Ilyich quite “Oblomov-style,” and therefore his life, devoid of any moral meaning, with Pshenitsyna, the complete opposite of Olga, turned out to correspond to his character and the needs of his nature. And the coincidence of the ranks of her husband and Oblomov himself becomes a hint of the inevitability of finding a dream in Pshenitsyna’s house. We cannot help but notice that objectively this house became for Ilya Ilyich a new Oblomovka, so desired and so disastrous.

Here there is a slow, but still irreversible fading of the hero. If love for Olga was accompanied by books, flowers, music, then the relationship with Pshenitsyna is largely determined by the attractive power of elbows “with dimples in the middle.” If in Olga Oblomov saw and appreciated grace and spiritual beauty, then he looks at Pshenitsyna like “a hot cheesecake.” In his life on Vyborgskaya there is no poetry, no rays, “with which his imagination once depicted the lordly, broad and carefree course of life in his native village, among the peasants and servants.” But in the newfound corner of paradise, peace and silence reign, conversations are not about the high purpose of man and the meaning of life, but about holidays, cuisine, and food. Everything hostile disappeared from the life of Ilya Ilyich, the loving eye of his wife, Agafya Matveevna, vigilantly guarded every moment of his life. Pshenitsyna did not make any demands on Oblomov, and he “lived as if in a golden frame of life.” By providing Ilya Ilyich with ideal living conditions, Agafya Matveevna thus provided an opportunity for Oblomov to demonstrate nobility and confidence in his moral strength. So, for example, having listened to Tarantiev for many years in a row out of laziness and carelessness, he finally shows courage and determination when the rudeness and vulgarity of his fellow countryman crosses all boundaries.

In Pshenitsyna’s house, Oblomov found the calm and even family happiness he dreamed of. He takes care of Agafya Matveevna’s children as if they were his own; he himself had a son. His love for his wife is also a calm and even feeling, requiring neither sleepless nights nor sweet and bitter tears. The kindest Agafya Matveevna helps Oblomov not to notice life and not to feel it. And the hero finally convinces himself that this woman embodied “the ideal of that vast, ocean-like, and indestructible peace of life, the picture of which was indelibly etched in his soul in childhood, under the paternal roof,” that is, “... the ideal of his life was realized.” .

I. A. Goncharov’s novel “Oblomov” was published in 1859 and was first published in the journal “Otechestvennye zapiski”. Since then, it has been considered one of the most popular works of Russian classics. Immediately after the appearance of the novel, the word “Oblomovism” came into use, which in all its magnitude conveyed the idleness and laziness of the nobility of that time, as well as the reasons for this way of life. What is “Oblomovism”? This can be understood by studying the character of the main character.

Ilya Ilyich Oblomov is a true representative of the Russian nobility

The mid-19th century, embodying the features of spiritual apathy. His laziness and idleness know no bounds. He prefers to lie on the couch all day long and do nothing, but only dream about what he will never have the courage to do. Drawing the image of Oblomov, the author clearly showed how flabby a person can become in his thirties without activity, as well as how spiritual deadness can lead to physical death. The novel pays special attention to details. For example, the hero’s greasy robe, worn out slippers. His servant Zakhar, who always walks around with a hole under his arm, is not far behind the owner. They both easily find excuses for their laziness.

How the nannies took care of everything. I could only eat, sleep, and dream. I also didn’t have any particular desire for studying, as I quickly lost interest in any type of activity. Thus, those around him gradually killed any initiative in the boy’s soul. However, he retained a peculiar naivety and sincerity. It was precisely these qualities that made him interesting and even attracted Olga Ilyinskaya for a while.

The author also uses the test of love to test the hero’s personality for consistency. First, Olga appears in Oblomov’s life, representing an ideal for both the hero himself and the author. However, she loves Oblomov not of today, but of the future, as she would like to see him. Realizing this, he warns her against future disappointments and gradually stops seeing her. The hero acquires the family ideal and atmosphere of his native Oblomovism in his relationship with Agafya Pshenitsyna. The difference between the two female characters is well shown through the details. So, for example, if Olga wanted to “change” Ilya Ilyich’s robe for a new one, then Agafya Matveevna wanted to “patch” it so that it would serve the owner longer. Considering that Oblomov, in fact, did not want to change anything in his life, Pshenitsyna’s concern suited him.

Thus, the author wanted to show that “Oblomovism” is not just laziness and apathy, but also a lack of will and initiative, moral deadness leading to physical deadness. And most of all, this is the state of Russian society, in which even the best inclinations of the individual were suppressed by inactivity. For this reason, “Oblomovism” quickly found understanding and became a common noun.

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Oblomov and “Oblomovism” in I. A. Goncharov’s novel “Oblomov”

Ilyich Oblomov is a true representative of the Russian nobility of the mid-19th century, who embodied the traits of spiritual apathy. His laziness and idleness know no bounds. He prefers to lie on the couch all day long and do nothing, but only dream about what he will never have the courage to do. Drawing the image of Oblomov, the author clearly showed how flabby a person can become in his thirties without activity, as well as how spiritual deadness can lead to physical death. The novel pays special attention to details. For example, the hero’s greasy robe, worn out slippers. His servant is not far behind the master

Zakhar, who always walks around with a hole under his arm. They both easily find excuses for their laziness.

Despite the fact that Oblomov is not a stupid person and has many useful ideas, he prefers to leave everything unfinished. This lack of life purpose is due to the upbringing that the hero received in childhood. Growing up in the village of Oblomovka, he was pampered and surrounded by endless care. I didn’t do anything myself, since the nannies did everything. I could only eat, sleep, and dream. I also didn’t have any particular desire for studying, as I quickly lost interest in any type of activity. Thus, those around him gradually killed any initiative in the boy’s soul. However, he retained a peculiar naivety and sincerity. It was precisely these qualities that made him interesting and even attracted Olga Ilyinskaya for a while.

The inconsistency of Oblomov’s character in the novel “Oblomov”

The negative side of Oblomov’s character

In the novel, Ilya Ilyich does not decide anything on his own, hoping for help from the outside - Zakhar, who will bring him food or clothes, Stolz, who is able to solve the problems in Oblomovka, Tarantiev, who, although he will deceive, will himself figure out the situation that interests Oblomov, etc. The hero is not interested in real life, it causes him boredom and fatigue, while he finds true peace and satisfaction in the world of illusions he himself has invented. Spending all his days lying on the sofa, Oblomov makes unrealistic plans for the arrangement of Oblomovka and his happy family life, in many ways similar to the calm, monotonous atmosphere of his childhood. All his dreams are directed to the past, even the future that he imagines for himself - echoes of a distant past that can no longer be returned.

It would seem that a lazy, lumbering hero living in an untidy apartment cannot evoke sympathy and affection from the reader, especially against the backdrop of Ilya Ilyich’s active, purposeful friend, Stolz. However, Oblomov’s true essence is revealed gradually, which allows us to see all the versatility and inner unrealized potential of the hero. Even as a child, surrounded by quiet nature, the care and control of his parents, the sensitive, dreamy Ilya was deprived of the most important thing - knowledge of the world through its opposites - beauty and ugliness, victories and defeats, the need to do something and the joy of what was gained through one’s own labor. From an early age, the hero had everything he needed - helpful servants carried out orders at the first call, and his parents spoiled their son in every possible way. Finding himself outside his parents' nest, Oblomov, not ready for the real world, continues to expect that everyone around him will treat him as warmly and welcomingly as in his native Oblomovka. However, his hopes were destroyed already in the first days in the service, where no one cared about him, and everyone was only for themselves. Deprived of the will to live, the ability to fight for his place in the sun and perseverance, Oblomov, after an accidental mistake, leaves the service himself, fearing punishment from his superiors. The very first failure becomes the last for the hero - he no longer wants to move forward, hiding from the real, “cruel” world in his dreams.

Positive side of Oblomov’s character

The person who could pull Oblomov out of this passive state leading to personality degradation was Andrei Ivanovich Stolts. Perhaps Stolz is the only character in the novel who thoroughly saw not only the negative, but also the positive traits of Oblomov: sincerity, kindness, the ability to feel and understand the problems of another person, inner calm and simplicity. It was to Ilya Ilyich that Stolz came in difficult moments, when he needed support and understanding. Oblomov’s dove-like tenderness, sensuality and sincerity are also revealed during his relationship with Olga. Ilya Ilyich is the first to realize that he is not suitable for the active, purposeful Ilyinskaya, who does not want to devote herself to “Oblomov” values - this reveals him as a subtle psychologist. Oblomov is ready to give up his own love, because he understands that he cannot give Olga the happiness she dreams of.

Oblomov’s character and fate are closely connected - his lack of will, inability to fight for his happiness, together with spiritual kindness and gentleness, lead to tragic consequences - fear of the difficulties and sorrows of reality, as well as the hero’s complete withdrawal into the pacifying, calm, wonderful world of illusions.

National character in the novel "Oblomov"

The image of Oblomov in Goncharov’s novel is a reflection of the national Russian character, its ambiguity and versatility. Ilya Ilyich is the same archetypal Emelya the fool on the stove, about whom the nanny told the hero in childhood. Like the character in the fairy tale, Oblomov believes in a miracle that should happen to him by itself: a supportive firebird or a kind sorceress will appear who will take him to the wonderful world of honey and milk rivers. And the chosen one of the sorceress should not be a bright, hard-working, active hero, but always “quiet, harmless”, “some kind of lazy person who is offended by everyone.”

Unquestioning faith in a miracle, in a fairy tale, in the possibility of the impossible is the main feature not only of Ilya Ilyich, but also of any Russian person raised on folk tales and legends. Finding itself on fertile soil, this faith becomes the basis of a person’s life, replacing reality with illusion, as happened with Ilya Ilyich: “his fairy tale is mixed with life, and he is unconsciously sad sometimes, why is a fairy tale not life, and why is life not a fairy tale.”

At the end of the novel, Oblomov, it would seem, finds that “Oblomov” happiness that he has long dreamed of - a calm, monotonous life without stress, a caring, kind wife, an organized life and a son. However, Ilya Ilyich does not return to the real world, he remains in his illusions, which become more important and significant for him than real happiness next to the woman who adores him. In fairy tales, the hero must pass three tests, after which he will be expected to fulfill all his desires, otherwise the hero will die. Ilya Ilyich does not pass a single test, giving in first to failure in the service, and then to the need to change for the sake of Olga. Describing Oblomov’s life, the author seems to be ironizing about the hero’s excessive faith in an unrealizable miracle for which there is no need to fight.

Conclusion

At the same time, the simplicity and complexity of Oblomov’s character, the ambiguity of the character himself, the analysis of his positive and negative sides, allow us to see in Ilya Ilyich the eternal image of an unrealized personality “out of his time” - a “superfluous person” who failed to find his own place in real life, and therefore left into the world of illusions. However, the reason for this, as Goncharov emphasizes, is not a fatal combination of circumstances or the difficult fate of the hero, but the incorrect upbringing of Oblomov, who is sensitive and gentle in character. Raised as a “houseplant,” Ilya Ilyich turned out to be unadapted to a reality that was harsh enough for his refined nature, replacing it with the world of his own dreams.

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