Already in “Ordinary History,” the first major work of I.A. Goncharov, he became interested in the type that later immortalized his name. Already there we see indications of the enormous social danger posed by the very special living conditions of intelligent Russian society in the early and mid-19th centuries that developed under the influence of serfdom.
This danger lies in “Oblomovism,” and dreamy romanticism, familiar to us from its bearer Aduev, is only one of the elements of this latter. Goncharov gave an exhaustive image of Oblomovism in the image of Ilya Ilyich Oblomov, to whose characteristics we will now turn.
Ilya Ilyich Oblomov is one of the people who cannot but be considered attractive.
From the first pages of the novel, he appears before us as an intelligent person and at the same time with a kind heart. His intelligence is reflected in the insight with which he understands people. For example, he perfectly guessed the numerous visitors who visited him on the morning of the day on which the novel begins. How correctly he assesses both the frivolous pastime of the secular veil Volkov, flitting from one salon to another, and the troublesome life of the official-careerist Sudbinsky, who only thinks about how to secure the favor of his superiors, without which it is unthinkable to either receive a salary increase or achieve a profitable business trips, much less advance in career. And this is exactly what Sudbinsky sees as the only goal of his official activities.
He also correctly evaluates Oblomov and the people close to him. He admires Stolz and idolizes Olga Ilyinskaya. But, fully understanding their merits, he does not close his eyes to their shortcomings.
But Oblomov’s mind is purely natural: neither in childhood nor subsequently did anyone do anything for his development and upbringing. On the contrary, the lack of systematically received education in childhood, the lack of living spiritual food in adulthood, plunges him into an increasingly dormant state.
At the same time, Oblomov reveals complete ignorance of practical life. As a result, he is more than frightened by what could bring any change to his once established way of life. The manager’s demand to clean the apartment plunges him into horror; he cannot think calmly about the upcoming troubles. This circumstance for Oblomov is much more difficult than receiving a letter from the headman, in which he informs him that his income will be “about two thousand in exchange.” And this is only because the headman’s letter does not require immediate action.
Oblomov is characterized by rare kindness and humanism. These qualities are fully manifested in Oblomov’s conversation with the writer Penkin, who sees the main advantage of literature in “seething anger - the bilious persecution of vice”, in the laughter of contempt for fallen man. Ilya Ilyich objects to him and talks about humanity, about the need to create not only with his head, but with all his heart.
These properties of Oblomov are combined with his amazing spiritual purity, which makes him incapable of any pretense or any cunning, combined with his condescension towards others, for example, towards Tarantyev, and, at the same time, with a conscious attitude towards his own shortcomings , inspire love for him in almost everyone with whom his fate encounters. Simple people, like Zakhar and Agafya Matveevna, become attached to him with their whole being. And people in his circle, such as Olga Ilyinskaya and Stolz, cannot talk about him except with a feeling of deep sympathy, and sometimes even emotional tenderness.
And, despite his high moral qualities, this man turned out to be completely useless for the cause. Already from the first chapter we learn that lying down was the “normal state” of Ilya Ilyich, who, dressed in his Persian robe, putting on soft and wide shoes, spends whole days in lazy idleness. From the most cursory description of Oblomov’s pastime, it is clear that one of the main features of his psychological make-up is weakness of will and laziness, apathy and panicky fear of life.
What made Oblomov a man who, with unconscious but amazing tenacity, avoided everything that could require labor, and, with no less tenacity, gravitated towards what he saw as carefree lying on his side?
The answer to this question is the description of Oblomov’s childhood and the environment from which he came—a chapter called “Oblomov’s Dream.”
First of all, there are some reasons to consider Oblomov as one of the typical representatives of the 40s of the 19th century. He is brought closer to this era by idealism, with a complete inability to move on to practical activity, a pronounced tendency to reflection and introspection, and a passionate desire for personal happiness.
However, Oblomov also has features that distinguish him from the best, for example, Turgenev’s heroes. This includes the inertia of thought and apathy of Ilya Ilyich’s mind, which prevented him from becoming a fully educated person and developing a coherent philosophical worldview for himself.
Another understanding of Oblomov’s type is that he is predominantly a representative of the Russian pre-reform nobility. Both for himself and for those around him, Oblomov is, first of all, a “master.” Considering Oblomov from this angle alone, one must not lose sight of the fact that his lordship is inextricably linked with “Oblomovism.” Moreover, lordship is the immediate cause of the latter. In Oblomov and in his psychology, in his fate, the process of spontaneous extinction of feudal Rus', the process of its “natural death” is presented.
Finally, it is possible to consider Oblomov as a national type, to which Goncharov himself was inclined.
But, speaking about the presence of Oblomov’s negative traits in the character of a Russian person, it should be remembered that such traits are not the only ones inherent in Russians. An example of this is the heroes of other literary works - Lisa Kalitina from “The Noble Nest”, who has a selfless character, Elena from “On the Eve”, striving to do active good, Solomin from “Novi” - these people, also being Russian, are absolutely not similar to Oblomov.
Oblomov's characterization plan
Introduction.
Main part. Characteristics of Oblomov
1) Mind
a) Relationship with friends
b) Assessment of loved ones
c) Lack of education
d) Ignorance of practical life
e) Lack of perspective
2) Heart
a) Kindness
b) Humanity
c) Mental purity
d) Sincerity
d) “Honest, true heart”
3) Will
a) Apathy
b) Lack of will
Moral death of Oblomov. “Oblomov’s Dream,” as her explanation.
Conclusion. Oblomov as a social and national type.
a) Oblomov, as a representative of the 40s of the 19th century
- Similarities.
— Features of difference.
b) Oblomov, as a representative of the pre-reform nobility.
c) Oblomov as a national type.
Ivan Aleksandrovich Goncharov worked on the novel “Oblomov” for ten years. The characterization of the main character is so convincingly presented by the classic that it went beyond the scope of the work, and the image became a household name. The quality of the author's elaboration of the characters in the story is impressive. All of them are integral, possessing the features of people contemporary to the writer.
The topic of this article is the characteristics of the heroes of Oblomov.
Ilya Ilyich Oblomov. Sliding on the plane of laziness
The central image of the book is the young (32-33 years old) landowner Ilya Ilyich Oblomov, a lazy, imposing dreamer. He is a man of average height, with dark gray eyes, pleasant facial features, and childishly pampered plump hands. The person living in the St. Petersburg apartment on the Vyborg side is ambiguous. Oblomov is an excellent conversationalist. By his nature, he is not capable of causing harm to anyone. His soul is pure. He is educated and has a broad outlook. At any given time, his face reflects a continuous stream of thoughts. It would seem that we are talking about if not for the enormous laziness that has taken possession of Ilya Ilyich. Since childhood, numerous nannies took care of him in small ways. “Zakharki da Vanya” from the serfs did any work for him, even small ones. His days pass in idleness and lying on the sofa.
Trusting them, Oblomov signed an enslaving agreement for his Vyborg apartment, and then paid fake “moral damages” to Agafya’s brother Mukhoyarov in the amount of ten thousand rubles through a fake loan letter. Ilya Ilyich's friend Stolz exposes the scoundrels. After this, Tarantiev “goes on the run.”
People close to Oblomov
Those around him feel that he is a sincere person, Oblomov. The characterization is a characterization, but the protagonist’s self-destruction through laziness does not prevent him from having friends. The reader sees how a true friend Andrei Stolts is trying to snatch Oblomov from the tight embrace of doing nothing. After Oblomov’s death, he became, according to the latter’s will, an adoptive father for his son Andryusha.
Oblomov has a devoted and loving common-law wife - the widow Agafya Pshenitsyna - an unrivaled housewife, narrow-minded, illiterate, but honest and decent. Outwardly she is plump, but well-behaved and hard-working. Ilya Ilyich admires it, comparing it to a cheesecake. The woman breaks off all relations with her brother Ivan Mukhoyarov, having learned about his low deception of her husband. After the death of her common-law husband, a woman feels that “the soul has been taken out of her.” Having given her son to be raised by the Stolts, Agafya simply wants to follow her Ilya. She is not interested in money, as can be seen from her refusal of the income due from Oblomov’s estate.
Ilya Ilyich is served by Zakhar - an unkempt, lazy, but idolizing his master and a loyal servant of the old school to the end. After the master's death, the former servant prefers to beg, but remains near his grave.
More about the image of Andrei Stolts
Often the topic of school essays is Oblomov and Stolz. They are opposite even in appearance. Tawny, dark, with sunken cheeks, it seems that Stolz consists entirely of muscles and tendons. He has a rank behind him and a guaranteed income. Later, while working in a trading company, he earned money to buy a house. He is active and creative, he is offered interesting and lucrative work. In the second part of the novel, it is he who tries to bring Oblomov together with Olga Ilyinskaya, introducing them. However, Oblomov stopped building a relationship with this lady because he was afraid to change housing and engage in active work. Disappointed Olga, who planned to re-educate the lazy man, left him. However, Stolz’s image is not ideal, despite his constant creative work. He, as the opposite of Oblomov, is afraid to dream. Goncharov put an abundance of rationality and rationalism into this image. The writer believed that he had not finalized the image of Stolz. Anton Pavlovich Chekhov even considered this image negative, the judgment that he was “too pleased with himself” and “thinks too well of himself.”
Olga Ilyinskaya - woman of the future
The image of Olga Ilyinskaya is strong, complete, beautiful. Not a beauty, but surprisingly harmonious and dynamic. She is deeply spiritual and at the same time active. met her singing the aria "Casta diva". This woman turned out to be capable of stirring up even such a guy. But re-educating Oblomov turned out to be an extremely difficult task, no more effective than training woodpeckers; laziness took deep roots in him. In the end, Oblomov is the first to give up his relationship with Olga (due to laziness). A characteristic of their further relationship is Olga’s active sympathy. She marries the active, reliable and faithful Andrei Stolz, who loves her. They have a wonderful, harmonious family. But the astute reader will understand that the active German “does not reach” the spiritual level of his wife.
Conclusion
A string of Goncharov’s images passes before the eyes of the reader of the novel. Of course, the most striking of them is the image of Ilya Ilyich Oblomov. Having wonderful prerequisites for a successful, comfortable life, he managed to ruin himself. At the end of his life, the landowner realized what had happened to him, giving this phenomenon the capacious, laconic name “Oblomovism.” Is it modern? And how. Today's Ilya Ilyichs, in addition to their dream flight, also have impressive resources - computer games with stunning graphics.
The novel did not reveal the image of Andrei Stolts to the extent intended by Ivan Aleksandrovich Goncharov. The author of the article considers this to be natural. After all, the classic depicted two extremes in these heroes. The first is a useless dream, and the second is a pragmatic, unspiritual activity. It is obvious that only by combining these qualities in the right proportion will we get something harmonious.
Oblomov's character
Roman I.A. Goncharov's "Oblomov" was published in 1859. It took almost 10 years to create it. This is one of the most outstanding novels of classical literature of our time. This is how famous literary critics of that era spoke about the novel. Goncharov was able to convey realistically objective and reliable facts about the reality of the layers of the social environment of the historical period. It must be assumed that his most successful achievement was the creation of the image of Oblomov.
He was a young man of about 32-33 years old, of average height, with a pleasant face and an intelligent look, but without any definite depth of meaning. As the author noted, the thought walked across the face like a free bird, fluttered in the eyes, dropped onto half-open lips, hid in the folds of the forehead, then completely disappeared and a carefree young man appeared in front of us. Sometimes one could read boredom or fatigue on his face, but still there was a gentleness of character and the warmth of his soul. Throughout Oblomov’s life, he has been accompanied by three attributes of bourgeois well-being - a sofa, a robe and shoes. At home, Oblomov wore an oriental, soft, roomy robe. He spent all his free time lying down. Laziness was an integral trait of his character. Cleaning in the house was carried out superficially, creating the appearance of cobwebs hanging in the corners, although at first glance one might think that the room was well cleaned. There were two more rooms in the house, but he did not go there at all. If there was an uncleaned plate from dinner with crumbs everywhere, a half-smoked pipe, you would think that the apartment was empty, no one lived in it. He was always surprised by his energetic friends. How can you waste your life like this, scattered on dozens of things at once? His financial condition wanted to be better. Lying on the sofa, Ilya Ilyich was always thinking about how to correct him.
The image of Oblomov is a complex, contradictory, even tragic hero. His character predetermines an ordinary, uninteresting fate, devoid of the energy of life and its bright events. Goncharov pays his main attention to the established system of that era, which influenced his hero. This influence was expressed in Oblomov’s empty and meaningless existence. Helpless attempts at revival under the influence of Olga, Stolz, marriage to Pshenitsyna, and death itself are defined in the novel as Oblomovism.
The very character of the hero, according to the writer’s plan, is much larger and deeper. Oblomov's dream is the key to unlocking the entire novel. The hero moves to another era, to other people. A lot of light, a joyful childhood, gardens, sunny rivers, but first you have to overcome obstacles, an endless sea with raging waves and groans. Behind it are rocks with abysses, a crimson sky with a red glow. After the exciting landscape, we find ourselves in a small corner where people live happily, where they want to be born and die, it cannot be otherwise, so they think. Goncharov describes these residents: “Everything in the village is quiet and sleepy: the silent huts are wide open; not a soul in sight; Only flies fly in clouds and buzz in the stuffy atmosphere.” There we meet young Oblomov. As a child, Oblomov could not dress himself; servants always helped him. As an adult, he also resorts to their help. Ilyusha grows up in an atmosphere of love, peace and excessive care. Oblomovka is a corner where calm and undisturbed silence reigns. It's a dream within a dream. Everything around seems to have frozen, and nothing can wake up these people who live uselessly in a distant village without any connection with the rest of the world. Ilyusha grew up on fairy tales and legends that his nanny told him. By developing daydreaming, the fairy tale tied Ilyusha more to the house, causing inaction.
Oblomov’s dream describes the hero’s childhood and upbringing. All this helps to recognize Oblomov’s character. The life of the Oblomovs is passivity and apathy. Childhood is his ideal. There in Oblomovka, Ilyusha felt warm, reliable and very protected. This ideal doomed him to a further aimless existence.
The solution to the character of Ilya Ilyich in his childhood, from where direct threads stretch to the adult hero. The character of a hero is an objective result of the conditions of birth and upbringing.
Oblomov novel laziness character
Traits of national character in the image
I. I. Oblomova
In 1859, one of the most remarkable works of I. A. Goncharov, “Oblomov,” was published. This novel was received ambiguously by readers: some praised it and read it, others scolded it and expressed all sorts of disdain. The critics also disagreed; each gave his own assessment of the novel and did not want to agree with someone else’s. But meanwhile the novel sold out, and soon all of St. Petersburg knew and discussed “Oblomov.”
The work stirred up a new wave in the ocean that was raging in Russia at that time: whether to have a true Russian character and way of life or to try to imitate a foreign style. People agreed that, indeed, Goncharov cast Oblomov in too unattractive a light.
What are Traits of national character in the image of Ilya Ilyich Oblomov, around which there were so many disputes and discussions? The main character of the novel is a slow, unusually lazy person. He was never in a hurry, liked to put things off, and was in no hurry to do today what could be done tomorrow. His favorite pastime was sleeping; eating came in second place. Ilya Ilyich woke up at lunchtime, and only extraordinary events could pull him out of his comfortable bed. Oblomov spent his entire day in inaction and peace, he did not go anywhere, was not interested in anything, and his measured, drawn-out life would have flowed from day to day, if not for his acquaintances and friends who occasionally visited him.
Traits of national character in the image of Oblomov Goncharov, exaggerating a little, showed it unusually accurately. Let us at least remember Oblomov’s spiritual qualities. According to the author of the novel, Ilya Ilyich had a pure heart, to which all sorts of dirt did not stick, and a soul as transparent as crystal. Oblomov was a very kind, gentle person. His house was always open to visitors: both close friends and ordinary acquaintances. Ilya Ilyich’s bread and salt also knew no bounds; he never refused people, even those unpleasant to him: Oblomov always treated Tarantiev, although it was very difficult. assume that they were close acquaintances..
It is these qualities that have distinguished the Russian people from time immemorial. Foreigners traveling around Russia were always amazed by the breadth of the soul of Russians, their generosity, kindness and openness.
In Oblomov there is another amazing feature inherent in all Russian people, without exception, - this is the hope of “maybe”. Who among us has never used this magic word? Ilya Ilyich hopes that perhaps the matter of moving to another apartment will be settled by itself, perhaps the headman himself will improve Oblomovka’s financial situation.
Where do these come from? National Character Traits in the Russian character? Goncharov gives the answer to this question in the chapter “Oblomov’s Dream,” which, it seems to me, is the key to the entire novel. From childhood, Ilya Ilyich was brought up in conditions where it was easier to say a few words than to do the deed himself. As a child, Ilya Ilyich observed nature and tried to do something with his own hands, but his parents carefully protected him from any work and from making independent decisions. All his life, Ilya Ilyich felt hidden powers within himself, but could not release them and use them for the good of Russia or at least for his own good. In Oblomov, the stereotype of a happy life is firmly established - peace, renunciation of all activities. For Ilya Ilyich, a cozy robe and a soft feather bed become symbols of happiness.
Oblomov could not stand the test of his sincere, ardent love for Olga Ilyinskaya. At first, when their attraction to each other flared up into passion, Ilya Ilyich changed greatly for the better: he forgot about his dressing gown, his afternoon nap... Oblomov began to often appear in society, dress smartly, often met with Olga, and it seemed that he had changed forever , the former life is buried. But as soon as a serious situation arose that required decisive action from Ilya Ilyich (it was necessary to propose to Olga, rent a new apartment, put things in order on the estate, etc.), Oblomov did not find the strength to fulfill his plans and sank again: stopped seeing Olga, returned to his old friends - a robe and a sofa, began to sleep during the day again and finally moved to the Vyborg side, where he hid from society, like a hermit.
Moving to the Vyborg side and meeting Agafya Pshenitsyna played a tragic role in Oblomov’s fate: he completely sank, and nothing, not even friendship with Stolz and love for Olga, could pull him out of the hole where Ilya Ilyich fell.
After reading “Oblomov”* I thought for a long time about the Russian character, compared myself, my relatives and acquaintances with the hero of the novel and, I must admit, I was surprised to find very similar features in everyone. Oblomov lives in every Russian people to one degree or another. There are many positive and many negative traits in the character of Ilya Ilyich; “his image reflects the typical Russian national character, although not without some exaggerations. And for a very long time Russian people will suffer from their inherent contemplation, which results in fruitless daydreaming, but I want to believe that, despite all the vicissitudes of fate, they will carry through the years their open, kind heart and soul, pure as crystal.
Oblomov's character
Roman I.A. Goncharov's "Oblomov" was published in 1859. It took almost 10 years to create it. This is one of the most outstanding novels of classical literature of our time. This is how famous literary critics of that era spoke about the novel. Goncharov was able to convey realistically objective and reliable facts about the reality of the layers of the social environment of the historical period. It must be assumed that his most successful achievement was the creation of the image of Oblomov.
He was a young man of about 32-33 years old, of average height, with a pleasant face and an intelligent look, but without any definite depth of meaning. As the author noted, the thought walked across the face like a free bird, fluttered in the eyes, dropped onto half-open lips, hid in the folds of the forehead, then completely disappeared and a carefree young man appeared in front of us. Sometimes one could read boredom or fatigue on his face, but still there was a gentleness of character and the warmth of his soul. Throughout Oblomov’s life, he has been accompanied by three attributes of bourgeois well-being - a sofa, a robe and shoes. At home, Oblomov wore an oriental, soft, roomy robe. He spent all his free time lying down. Laziness was an integral trait of his character. Cleaning in the house was carried out superficially, creating the appearance of cobwebs hanging in the corners, although at first glance one might think that the room was well cleaned. There were two more rooms in the house, but he did not go there at all. If there was an uncleaned plate from dinner with crumbs everywhere, a half-smoked pipe, you would think that the apartment was empty, no one lived in it. He was always surprised by his energetic friends. How can you waste your life like this, scattered on dozens of things at once? His financial condition wanted to be better. Lying on the sofa, Ilya Ilyich was always thinking about how to correct him.
The image of Oblomov is a complex, contradictory, even tragic hero. His character predetermines an ordinary, uninteresting fate, devoid of the energy of life and its bright events. Goncharov pays his main attention to the established system of that era, which influenced his hero. This influence was expressed in Oblomov’s empty and meaningless existence. Helpless attempts at revival under the influence of Olga, Stolz, marriage to Pshenitsyna, and death itself are defined in the novel as Oblomovism.
The very character of the hero, according to the writer’s plan, is much larger and deeper. Oblomov's dream is the key to unlocking the entire novel. The hero moves to another era, to other people. A lot of light, a joyful childhood, gardens, sunny rivers, but first you have to overcome obstacles, an endless sea with raging waves and groans. Behind it are rocks with abysses, a crimson sky with a red glow. After the exciting landscape, we find ourselves in a small corner where people live happily, where they want to be born and die, it cannot be otherwise, so they think. Goncharov describes these residents: “Everything in the village is quiet and sleepy: the silent huts are wide open; not a soul in sight; Only flies fly in clouds and buzz in the stuffy atmosphere.” There we meet young Oblomov. As a child, Oblomov could not dress himself; servants always helped him. As an adult, he also resorts to their help. Ilyusha grows up in an atmosphere of love, peace and excessive care. Oblomovka is a corner where calm and undisturbed silence reigns. It's a dream within a dream. Everything around seems to have frozen, and nothing can wake up these people who live uselessly in a distant village without any connection with the rest of the world. Ilyusha grew up on fairy tales and legends that his nanny told him. By developing daydreaming, the fairy tale tied Ilyusha more to the house, causing inaction.
Oblomov’s dream describes the hero’s childhood and upbringing. All this helps to recognize Oblomov’s character. The life of the Oblomovs is passivity and apathy. Childhood is his ideal. There in Oblomovka, Ilyusha felt warm, reliable and very protected. This ideal doomed him to a further aimless existence.
The solution to the character of Ilya Ilyich in his childhood, from where direct threads stretch to the adult hero. The character of a hero is an objective result of the conditions of birth and upbringing.
Oblomov novel laziness character
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