1. What things have become a symbol of “Oblomovism”?
The symbols of “Oblomovism” were a robe, slippers, and a sofa.
2. What turned Oblomov into an apathetic couch potato?
Laziness, fear of movement and life, inability to carry out practical activities, and the replacement of life with vague daydreaming turned Oblomov from a man into an appendage of a dressing gown and a sofa.
3. What is the function of Oblomov’s sleep in the novel by I.A. Goncharov "Oblomov"?
The chapter “Oblomov’s Dream” paints an idyll of a patriarchal serf village, in which only such an Oblomov could grow up. The Oblomovites are shown as sleeping heroes, and Oblomovka is shown as a sleepy kingdom. The dream shows the conditions of Russian life that gave rise to “Oblomovism.”
4. Can Oblomov be called a “superfluous person”?
ON THE. Dobrolyubov noted in the article “What is Oblomovism?” that the features of Oblomovism were to some extent characteristic of both Onegin and Pechorin, that is, “superfluous people.” But the “superfluous people” of previous literature were surrounded by a certain romantic aura; they seemed to be strong people, distorted by reality. Oblomov is also “superfluous,” but “reduced from a beautiful pedestal to a soft sofa.” A.I. Herzen said that the Onegins and Pechorins relate to Oblomov like fathers to their children.
5. What is the peculiarity of the composition of the novel by I.A. Goncharov "Oblomov"?
Composition of the novel by I.A. Goncharov's "Oblomov" is characterized by the presence of a double storyline - Oblomov's novel and Stolz's novel. Unity is achieved with the help of the image of Olga Ilyinskaya, which connects both lines. The novel is built on the contrast of images: Oblomov - Stolz, Olga - Pshenitsyna, Zakhar - Anisya. The entire first part of the novel is an extensive exposition, introducing the hero already in adulthood.
6. What role does I.A. play in the novel? Goncharov's "Oblomov" epilogue?
The epilogue tells about Oblomov's death, which made it possible to trace the hero's entire life from birth to the end.
7. Why does the morally pure, honest Oblomov die morally?
The habit of receiving everything from life without putting any effort into it developed apathy and inertia in Oblomov, making him a slave to his own laziness. Ultimately, the feudal system and the home education it generated are to blame for this.
8. As in the novel by I.A. Goncharov’s “Oblomov” shows the complex relationship between slavery and nobility?
Serfdom corrupts not only masters, but also slaves. An example of this is the fate of Zakhar. He is as lazy as Oblomov. During the life of the master, he is content with his position. After Oblomov's death, Zakhar has nowhere to go - he becomes a beggar.
9. What is “Oblomovism”?
“Oblomovism” is a social phenomenon consisting of laziness, apathy, inertia, contempt for work and an all-consuming desire for peace.
10. Why was Olga Ilyinskaya’s attempt to revive Oblomov unsuccessful?
Having fallen in love with Oblomov, Olga tries to re-educate him and break his laziness. But his apathy deprives her of faith in the future Oblomov. Oblomov's laziness was higher and stronger than love.
Stolz is hardly a positive hero. Although, at first glance, this is a new, progressive person, active and active, there is something of a machine in him, always dispassionate, rational. He is a schematic, unnatural person.
12. Describe Stolz from the novel by I.A. Goncharov "Ob-lomov".
Stolz is the antipode of Oblomov. He is an active, active person, a bourgeois businessman. He is enterprising and always strives for something. The outlook on life is characterized by the words: “Work is the image, content, element and purpose of life, at least mine.” But Stolz is incapable of experiencing strong feelings; he smacks of calculatedness in every step. The image of Stolz is artistically more schematic and declarative than the image of Oblomov.
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As long as there is at least one Russian left - until then
Oblomov will be remembered.
I.S. Turgenev.
The history of the human soul is perhaps more curious
and no more useful than the history of an entire people.
M.Yu. Lermontov.
Among the works of I.A. Goncharov: “Frigate “Pallada”, “Cliff”, “Ordinary History” - novel “Oblomov” occupies a special place, he is the most famous. The work was written in 1859, several years before the abolition of serfdom, so the hero’s story reflects the conflict caused by the fact that the nobility ceased to be an advanced class and lost its significant place in social development. A special feature of the novel is that I. Goncharov, for the first time in Russian literature, examined a person’s life “from cradle to grave.” His life, he himself, is the main theme of the work, which is why it is called “Oblomov,” although in the history of Russian literature not many works are named by the name of the main character. His surname belongs to the category of “speakers”, because he “ childbirth decrepit fragment”, the name Ilya reminds us of the epic hero who lay on the stove until he was 33 years old, but we know that then Ilya Muromets did so many good deeds that he is still alive in people’s memory. And our hero never got up from the couch (when we meet Oblomov, he is 32–33 years old, but nothing changes in his life). In addition, the author used the technique of repeating the name and patronymic: Ilya Ilyich. This emphasizes that the son repeats the fate of his father, life goes on as usual.
As soon as I. A. Goncharov’s novel was published, Russian critics wrote its hero into the category of “superfluous” people, where Chatsky, Onegin, and Pechorin were already “listed.” The literature of the 19th century described mainly the fate of losers; obviously, there were not many of them among the nobles, it was surprising, and they wrote about it. Russian writers of the 19th century tried to understand how, despite everything being ready (at a time when the heroes of Western literature build their lives as a struggle for survival, for material well-being), Russian noble heroes turned out to be losers and at the same time were very rich people, for example, Onegin – “ heir to all his relatives" Or, in fact, “ money can not buy happiness"? Russian heroes and Russian works still arouse interest; foreign readers, including schoolchildren, are trying to understand them. What is interesting to our tenth graders? At the end of the year, a survey was conducted to determine which work of the books we had read seemed the most interesting. Most tenth graders named Goncharov’s novel “Oblomov,” and according to the program it is studied in overview, over the course of several lessons.
What could be interesting about a couch potato? When the name Ilya Oblomov is pronounced, significant additions appear in the imagination: a sofa and a robe, which, like a slave, obeyed the movement of the body. Let's follow the author and take a closer look at the facial features of his hero. “ It was a man ... of pleasant appearance, with dark gray eyes that wandered carelessly along the walls, along the ceiling, with that vague thoughtfulness that shows that nothing occupies him, nothing worries him. The carelessness passed from the face into the poses of the whole body, even into the folds of the dressing gown.…Color Ilya Ilyich’s face was neither ruddy, nor dark, nor positively pale, but indifferent... If a cloud of concern came over his face from the soul, his gaze became foggy..." But in Oblomov’s entire appearance, “the soul shone openly and clearly.” This bright soul conquers the hearts of two women: Olga Ilyinskaya and Agafya Matveevna Pshenitsyna. The light of his soul also attracts Andrei Stolts, who, having traveled around Europe, specially comes to sit on Oblomov’s wide sofa and calm his soul in conversation with him. There has never yet been a hero in Russian literature who does not leave the couch for eleven chapters. Only the arrival of Stolz brings him to his feet.
In the first chapters, the author introduces us to Oblomov’s visitors; we see that our hero has many guests. Volkov ran in to show off his new tailcoat and his new love, he was happy about both, and it’s hard to say what more, he had a whole day full of visits, and among the visits was a visit to Oblomov. Sudbinsky, a former colleague, comes to boast about his promotion (“ I'm having lunch at the lieutenant governor's”, a quick profitable marriage. Penkin asks to go on a walk with him, because... he needs to write an article about the party, “ together We will observe, if I didn’t notice, you would tell me" Alekseev and Tarantiev – “ two Oblomov's most zealous visitors" - went to see him " drink, eat, smoke good cigars" It is no coincidence that the author describes Oblomov’s guests in the second chapter, immediately after introducing the reader to the main character and his servant. He compares the hero with his acquaintances, and it seems that the author’s sympathies are on the side of Ilya Oblomov: in his human qualities he is better than the guests, he is generous, condescending, and sincere. And the fact that he does not serve in a government agency, I.A. Goncharov explains that his hero does not need to earn his daily bread: “ he has Zakhar and three hundred more Zakharovs”.
The author finds a lot of strange and repulsive things in his hero, but for some reason it is difficult to agree with the opinion of critics that Ilya Ilyich Oblomov is a “superfluous” person. How can someone who is loved by everyone around him be “superfluous”? After Oblomov’s death, Olga Ilyinskaya will plant lilacs on his grave as a sign that she remembers him. The inconsolable Agafya Matveevna often comes to his grave. His son Andrei and Stolz remember him. Why did they all love Oblomov? And was there anything to love him for? The author calls the hero's soul light. This epithet occurs again in the novel in the description of Oblomovka, where the bright river flowed. Maybe the bright river of childhood endowed his soul with warmth and radiance? What love the lines dedicated to childhood memories breathe. We see, " how the sky presses towards the earth, hugging it with love”, “the rain is like the tears of a suddenly joyful person.” For Oblomov himself, tears are evoked by memories of his mother. He is sensitive, kind, smart, but completely unsuited to life, he cannot manage his estate, he can easily be deceived. “Why am I like this?” – the hero himself suffers. And he finds the answer that it’s all to blame “ Oblomovism.” With this word Ilya Ilyich calls passivity, inability to manage men, inability to calculate income from the estate. The sofa and the robe are also symbols “ Oblomovism" A. Stolz speaks about this very clearly: “ Started with inability to put on stockings, but ended in inability to live.” Why did he change so much, because as a child he was just waiting for that hour when the whole village fell asleep in the afternoon sleep, and he “ was as if alone in the whole world”, “he was impatiently waiting for this moment from which his independent life began" How does the hero himself explain his reluctance? take an active part in life? “Life: life is good! What to look for there? These are all dead people, sleeping people, these members of the world and society are worse than me. What drives them in life? So they don’t lie down, but scurry about every day like flies, back and forth, but what’s the point? Don't they sleep sitting all their lives? Why am I more to blame than them, lying at home? What about our youth? Isn’t he asleep, walking, driving along Nevsky, dancing?”
A very interesting statement by M.M. Prishvin regarding Oblomov: “...his peace conceals within itself a request for the highest value, for such activity, because of which it would be worth losing peace.”
Chatsky, Onegin, Pechorin, Oblomov are images of talented, bright, intelligent people, but their fate is tragic, and this brings them together. For some reason, at turning points in life, it is precisely such people who turn out to be unnecessary to society, it seems to “squeeze out” them, does not need their intelligence, talent, there is no place for them in society.
Modern life confirms what A. Griboyedov, A. Pushkin, M. Lermontov, I. Goncharov once noticed. And it’s not their fault that critics called the heroes they invented “superfluous” people.
Studying the novel by I.A. Goncharov in the 10th grade is natural, because At this time, the teenager is faced with the problem of choosing a life path.
Summary of a literature lesson in 10th grade
(exposure analysis)
Lesson objectives:
Cognitive: compose a characterization of the hero; trace the techniques for creating an image; expressive means by which the image is created; highlight plot elements using the example of the first chapter of a novel.
Developmental: compare the descriptions in the first chapter of the novel with paintings by Flemish artists of the early 17th century (development of imaginative thinking).
Educational: emphasize national features in the image of the main character, paying attention to their typicality and relevance.
Remember what the characteristics of a hero include (indirect and direct).
2. Reading and analysis of the first chapter of the novel “Oblomov”.Extracts, their systematization.
– What can be noted in the first chapter?
- The author's skill. We read the first sentence of the first chapter: “ In Gorokhovaya Street, in one of the large houses, the population of which would be equal to the entire county town, Ilya Ilyich Oblomov was lying in bed in his apartment in the morning.”
The first sentence contains seven pieces of information:
In the second sentence, the author indicates Oblomov’s age: “a man about thirty-two or three years old.” Is this a coincidence or not? At thirty-three years old, Jesus began to serve people, sacrificed himself, “thirty years and three years” Ilya Muromets sat on the stove, but then he did so many good deeds and accomplished feats that he is still remembered. What about Oblomov?
Portrait of a hero.
The author himself gives a description of the portrait of his hero; he does not trust anyone’s eyes. The portrait uses many expressive means. These are unexpected epithets: complexion indifferent, uncertain thoughtfulness, cold Human. These are personifications: with eyes, walking carelessly along the walls; from the face carelessness passed into full body poses; neither tiredness nor boredom could not not for a minute drive away softness from the face. The author used metaphors for the portrait of his hero: running onto his face cloud of worries, began game of doubt. The transfer of natural phenomena to humans was also used: the look was foggy.
What stands out in the description of appearance? “How Oblomov’s home suit went to to the calm features of his face and to his pampered body! He was wearing a robe, a real oriental robe...which, like an obedient slave, obeys the slightest movement of the body...Shoes on they were long, soft and wide; when he, without looking, lowered his legs from the bed to the floor, then he certainly got into them right away" Ilya Ilyich Oblomov “ loved the space and freedom”.
Let's look at the interior. The question immediately arises: why did the same room serve as a bedroom, an office, and a reception room?
What was in the room?
“The owner himself, however, looked at the decoration of his office so coldly and absent-mindedly, as if he was asking with his eyes: “Who brought all this here?”
One thing that stands out about the interior is that it is very detailed, there are a lot of details. Goncharov called himself a draftsman. V.G. Belinsky noted: “He is carried away by his ability to draw.” A.V. Druzhinin writes: “Like the Flemings, Goncharov is national, poetic in the smallest details, like them, he puts before our eyes the whole life of a given era and a given society.”
What do the descriptions of Goncharov and the still lifes of Dutch artists have in common? – Even small details are drawn.
Why can you compare them? – Each piece is masterfully executed.
Confirmation of this can be found in the text of the first chapter - “ silk curtains”, pattern on fabric “with embroidered with birds and fruits unprecedented in nature”; “on the table... a plate with a salt shaker and a gnawed bone and bread crumbs.”
I.A. Goncharov uses many details when describing, achieving the verisimilitude of the picture.
The hero's actions.
What is special about Oblomov’s behavior?– Thought is extinction, desire is extinction.
Attitude to life.
If you think that Oblomov does not know how you can radically change your life, then you are deeply mistaken. Here is his reasoning: “ Where to start?...outline a detailed instructions to the attorney and send him to the village, mortgage Oblomovka, buy land, send a development plan, rent out an apartment, take a passport and go abroad for six months, sell off excess fat, lose weight, refresh your soul with the air that you once dreamed of with a friend, live without a robe, without Zakhar, put on stockings yourself and take off your boots, sleep only at night, go where everyone else is going, then... then settle in Oblomovka, know what sowing and threshing is, why a man is poor and rich, go to the field , go to elections...And so all my life! Farewell, poetic ideal of life! This is some kind of forge, not life; there is always flames, chatter, heat, noise... when to live?”
What can you say about the author’s attitude towards his hero? In what ways is this revealed? Here he wakes up in the morning, “ and the mind has not yet come to the rescue”. “However, it is necessary to give justice to Ilya Ilyich’s care for his affairs. Based on the first unpleasant letter from the headman, received several years ago, he had already begun to create in his mind a plan for various changes" The author makes fun of his hero using irony.
“...a cold beauty who maintains her character.” (Page 96)
“What should he do now? Go forward or stay? This Oblomov question was deeper for him than Hamlet’s.”(Page 168)
“This is some kind of forge, not life; there is always flames, chatter, heat, noise, ... when"
Tenth graders wrote down the following phrases from I.A. Goncharova:
I.A. Goncharov. Selected works. – M.: Fiction, 1990 – 575 pp. (Teacher’s book).
Goncharov's novel "Oblomov" is a socio-psychological novel written in the 19th century. In the work, the author touches on a number of social and philosophical problems, including issues of human interaction with society. The main character of the novel, Ilya Ilyich Oblomov, is an “extra person” who does not know how to adapt to a new, rapidly changing world, to change himself and his views for the sake of a bright future. That is why one of the most acute conflicts in the work is the opposition to the passive, inert hero of an active society, in which Oblomov cannot find a worthy place for himself.
In Russian literature, this type of hero as an “extra person” appeared in the early 20s of the 19th century. This character was characterized by alienation from the usual noble environment and, in general, the entire official life of Russian society, since he felt boredom and his superiority (both intellectual and moral) over the others. The “superfluous person” is filled with mental fatigue, can talk a lot but do nothing, and is very skeptical. Moreover, the hero is always the heir to a good fortune, which he, however, does not try to increase.
And indeed, Oblomov, having inherited a larger estate from his parents, could easily have settled matters there long ago so that he could live in complete prosperity with the money he received from the farm. However, mental fatigue and boredom overwhelming the hero prevented him from starting any business - from the banal need to get out of bed to writing a letter to the headman.
Ilya Ilyich does not associate himself with society, which Goncharov vividly depicted at the beginning of the work, when visitors come to Oblomov. Each guest for the hero is like a cardboard decoration with which he practically does not interact, putting a kind of barrier between others and himself, covering himself with a blanket. Oblomov does not want to go on visits like others, to communicate with hypocritical and uninteresting people who disappointed him even during his service - when he came to work, Ilya Ilyich hoped that everyone there would be the same friendly family as in Oblomovka, but he encountered with a situation where every person is “for himself.” Discomfort, the inability to find one’s social calling, the feeling of uselessness in the “neo-Oblomov” world leads to the hero’s escapism, immersion in illusions and memories of Oblomov’s wonderful past.
In addition, the “extra” person always does not fit into his time, rejecting it and acting contrary to the rules and values dictating to him the system. In contrast to Pechorin and Onegin, who gravitate towards the romantic tradition, always striving forward, ahead of their time, or the character of enlightenment Chatsky, rising above a society mired in ignorance, Oblomov is an image of the realistic tradition, a hero striving not in front, for transformations and new discoveries (in society or in his soul), to a wonderful distant future, but focused on the past that is close and important to him, “Oblomovism.”
If in the matter of time orientation Oblomov differs from the “extra heroes” who preceded him, then in matters of love their fates are very similar. Like Pechorin or Onegin, Oblomov is afraid of love, afraid of what may change and become different or negatively influence his beloved - even to the point of degradation of her personality. On the one hand, parting with lovers is always a noble step on the part of the “superfluous hero”, on the other hand, it is a manifestation of infantilism - for Oblomov it was an appeal to Oblomov’s childhood, where everything was decided for him, they took care of him and everything was allowed.
The “superfluous man” is not ready for fundamental, sensual love for a woman; for him, it is not so much the real beloved that is important, but a self-created, inaccessible image - we see this both in Onegin’s feelings for Tatyana that flared up years later, and in illusory, “spring” feelings Oblomov to Olga. The “superfluous person” needs a muse - beautiful, unusual and inspiring (for example, like Pechorin’s Bella). However, not finding such a woman, the hero goes to the other extreme - he finds a woman who would replace his mother and create the atmosphere of distant childhood.
Oblomov and Onegin, who are different at first glance, equally suffer from loneliness in the crowd, but if Evgeny does not give up social life, then for Oblomov the only way out is to immerse himself in himself.
The “superfluous man” in Oblomov is perceived by other characters differently than similar heroes in previous works. Oblomov is a kind, simple, honest person who sincerely wants quiet, calm happiness. He is attractive not only to the reader, but also to the people around him - it’s not for nothing that his friendship with Stolz has not stopped since his school years and Zakhar continues to serve the master. Moreover, Olga and Agafya sincerely fell in love with Oblomov precisely for his spiritual beauty, dying under the pressure of apathy and inertia.
What is the reason that from the very appearance of the novel in print, critics defined Oblomov as a “superfluous person,” because the hero of realism, unlike the characters of romanticism, is a typified image that combines the features of an entire group of people? By portraying Oblomov in the novel, Goncharov wanted to show not just one “extra” person, but an entire social stratum of educated, wealthy, intelligent, sincere people who could not find themselves in the rapidly changing, new Russian society. The author emphasizes the tragedy of the situation when, unable to change with circumstances, such “Oblomovs” slowly die, continuing to hold tightly to long-gone, but still important and soul-warming memories of the past.
It will be especially useful for 10th graders to familiarize themselves with the above arguments before writing an essay on the topic “Oblomov and the “extra people”.”
Work test
"Oblomov" met with unanimous acclaim, but opinions about the meaning of the novel were sharply divided. N. A. Dobrolyubov in the article “What is Oblomovism?” I saw in Oblomov the crisis and collapse of old feudal Rus'. Ilya Ilyich...
Eternal images are characters from literary works that have gone beyond the scope of the work. They are found in other works: novels, plays, stories. Their names have become household names, often used as epithets, indicating certain qualities...
Morning... Slowly and reluctantly Oblomovka woke up. Here “everything breathed primitive laziness, simplicity of morals.” “Caring for food was the first and main concern of life.” Tomorrow everything should be like today. Everything should be as the ancestors bequeathed. Life flowed...
Goncharov’s novel “Oblomov” must be re-read whenever a person begins to become overwhelmed by excessive laziness and daydreaming. Very often people are overly lenient with themselves, so they don’t pay attention to small and large weaknesses that...
The ideological and thematic content of the novel is largely determined by how the concept of “Oblomovism” is interpreted and in what relation to it the image of the central character is understood. ON THE. Dobrolyubov in the article “What is Oblomovism?” gave a definition of this concept...
Before we begin our discussion on the topic: do Russia need the Oblomovs? I want to talk about I.S. Goncharov and his great work. I.S. Goncharov is a writer of the second half of the 19th century. The author wrote his novel in 1859 and published it in the magazine "Domestic...
The main character of the novel by the Russian writer I. A. Goncharov, Oblomov, can be called an “extra” person for several reasons.
One of them is quite obvious. The novel was published shortly before the great peasant reform. Compared to all the characters, and especially in contrast to the active, very active and purposeful Stolz, the lazy Oblomov appears to the reader as a clear couch potato, an extra, completely stupid person.
Due to his particularly gentle noble upbringing, Oblomov is not capable of any real action. While everyone is working and achieving some goals, Oblomov is in a state of stagnation. He is petrified, lies on the sofa and does nothing. That's why he died so soon. An unnecessary person ended his life, was unable to accomplish any great deeds, did not do anything useful.
On the other hand, Oblomov is not a lazy person. He is possessed by a certain inaction, non-action. Lying on the sofa is his usual, normal, completely normal state. Inaction, in essence, is neither bad nor good. This is, first of all, the absence of evil. Oblomov is a man
who is trying to reduce the extent of his presence in the world, a person who is deprived of a stimulus for action, like any resident of Oblomovka, by the way. He perceives everything that happens around him very reverently. Oblomov is tormented by thoughts about the purpose of man in the world, about the meaning of existence without motivation for action. Oblomov is an extra person. He is destined to live in this world, where all events have taken place once and for all, where all problems have already been solved, where you “live”, in the most poetic sense of the word.
Thus, Oblomov, I think, can still be called an “extra” person. He is not like everyone else, he understands life differently and does not want to bend to the world in which everyone else exists. That is why Oblomov dies early, unable alone, misunderstood, to overcome a world full of vulgarity and lies.
(1
ratings, average: 5.00
out of 5)
The main character of the novel by I. A. Goncharov is Ilya Ilyich Oblomov - a kind, gentle, kind-hearted person, capable of experiencing feelings of love and friendship, but unable to step over himself - get up from the couch, engage in any activity and even settle his own affairs. But if at the beginning of the novel Oblomov appears before us as a couch potato, then with each new page we penetrate more and more into the hero’s soul - bright and pure.
In the first chapter we meet insignificant people - acquaintances of Ilya Ilyich, surrounding him in St. Petersburg, busy with fruitless bustle, creating the appearance of action. In contact with these people, Oblomov’s essence is revealed more and more. We see that Ilya Ilyich has such an important quality that few people have, like conscience. With each line, the reader gets to know Oblomov’s wonderful soul, and this is precisely why Ilya Ilyich stands out from the crowd of worthless, calculating, heartless people, concerned only with their own person: “The soul shone so openly and easily in his eyes, in his smile, in every movement of his head and hands.” .
Having excellent internal qualities, Oblomov is also educated and smart. He knows what constitutes the true values of life - not money, not wealth, but high spiritual qualities, a flight of feelings.
So why does such an intelligent and educated person not want to work? The answer is simple: Ilya Ilyich, just like Onegin, Pechorin, Rudin, does not see the meaning and purpose of such work, such life. He doesn't want to work like that. “This unresolved question, this unsatisfied doubt depletes strength, ruins activity; a person gives up and gives up work, not seeing a goal for it,” Pisarev wrote.
Goncharov does not introduce a single extra person into the novel - all the characters reveal Oblomov to us more and more with every step. The author introduces us to Stolz - at first glance, an ideal hero. He is hardworking, prudent, practical, punctual, he managed to make his way in life, made capital, earned respect and recognition in society. Why does he need all this? What good did his work bring? What is their purpose?
Stolz’s task is to get settled in life, that is, to gain sufficient livelihood, family status, rank, and, having achieved all this, he stops, the hero does not continue his development, he is content with what he already has. Can such a person be called ideal? Oblomov cannot live for the sake of material well-being, he must constantly develop and improve his inner world, and in this one cannot reach the limit, because the soul knows no boundaries in its development. It is in this that Oblomov surpasses Stolz.
But the main storyline in the novel is the relationship between Oblomov and Olga Ilyinskaya. It is here that the hero reveals himself to us from the best side, his most cherished corners of his soul are revealed. Olga awakens the best qualities in the soul of Ilya Ilyich, but they do not live in Oblomov for long: Olga Ilyinskaya and Ilya Ilyich Oblomov were too different. She is characterized by harmony of mind and heart, will, which the hero is not able to understand and accept. Olga is full of vital energy, she strives for lofty art and awakens the same feelings in Ilya Ilyich, but he is so far from her way of life that he soon again exchanges romantic walks for a soft sofa and a warm robe. It would seem that what Oblomov is missing, why doesn’t he marry Olga, who accepted his proposal. But no. He doesn't act like everyone else. Oblomov decides to break off relations with Olga for her own good; he acts like many characters we know: Pechorin, Onegin, Rudin. They all leave their beloved women, not wanting to hurt them. “In relation to women, all Oblomovites behave in the same shameful manner. They do not know how to love at all and do not know what to look for in love, just like in life in general. “- writes Dobrolyubov in his article “What is Oblomovism?”
Ilya Ilyich decides to stay with Agafya Matveevna, for whom he also has feelings, but completely different than for Olga. For him, Agafya Matveevna was closer, “in her ever-moving elbows, in her caring eyes stopping at everyone, in her eternal walk from the kitchen to the pantry.” Ilya Ilyich lives in a cozy, comfortable house, where everyday life always comes first, and the beloved woman would be a continuation of the hero himself. It would seem that the hero would live happily ever after. No, such a life in Pshenitsyna’s house was not normal, long, healthy, on the contrary, it accelerated Oblomov’s transition from sleeping on the sofa to eternal sleep - death.
Reading the novel, you involuntarily ask the question: why is everyone so drawn to Oblomov? It is obvious that each of the heroes finds in him a piece of goodness, purity, revelation - everything that people so lack. Everyone, starting with Volkov and ending with Agafya Matveevna, searched and, most importantly, found what they needed for themselves, for their hearts, souls. But Oblomov did not belong anywhere, there was no such person who would truly make the hero happy. And the problem lies not in the people around him, but in himself.
Goncharov in his novel showed different types of people, all of them passed before Oblomov. The author showed us that Ilya Ilyich has no place in this life, just like Onegin and Pechorin.
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1. What things have become a symbol of “Oblomovism”?
The symbols of “Oblomovism” were a robe, slippers, and a sofa.
2. What turned Oblomov into an apathetic couch potato?
Laziness, fear of movement and life, inability to carry out practical activities, and the replacement of life with vague daydreaming turned Oblomov from a man into an appendage of a dressing gown and a sofa.
3. What is the function of Oblomov’s sleep in the novel by I.A. Goncharov "Oblomov"?
The chapter “Oblomov’s Dream” paints an idyll of a patriarchal serf village, in which only such an Oblomov could grow up. The Oblomovites are shown as sleeping heroes, and Oblomovka is shown as a sleepy kingdom. The dream shows the conditions of Russian life that gave rise to “Oblomovism.”
4. Can Oblomov be called a “superfluous person”?
ON THE. Dobrolyubov noted in the article “What is Oblomovism?” that the features of Oblomovism were to some extent characteristic of both Onegin and Pechorin, that is, “superfluous people.” But the “superfluous people” of previous literature were surrounded by a certain romantic aura; they seemed to be strong people, distorted by reality. Oblomov is also “superfluous,” but “reduced from a beautiful pedestal to a soft sofa.” A.I. Herzen said that the Onegins and Pechorins relate to Oblomov like fathers to their children.
5. What is the peculiarity of the composition of the novel by I.A. Goncharov "Oblomov"?
Composition of the novel by I.A. Goncharov's "Oblomov" is characterized by the presence of a double storyline - Oblomov's novel and Stolz's novel. Unity is achieved with the help of the image of Olga Ilyinskaya, which connects both lines. The novel is built on the contrast of images: Oblomov - Stolz, Olga - Pshenitsyna, Zakhar - Anisya. The entire first part of the novel is an extensive exposition, introducing the hero already in adulthood.
6. What role does I.A. play in the novel? Goncharov's "Oblomov" epilogue?
The epilogue tells about Oblomov's death, which made it possible to trace the hero's entire life from birth to the end.
7. Why does the morally pure, honest Oblomov die morally?
The habit of receiving everything from life without putting any effort into it developed apathy and inertia in Oblomov, making him a slave to his own laziness. Ultimately, the feudal system and the home education it generated are to blame for this.
8. As in the novel by I.A. Goncharov’s “Oblomov” shows the complex relationship between slavery and nobility?
Serfdom corrupts not only masters, but also slaves. An example of this is the fate of Zakhar. He is as lazy as Oblomov. During the life of the master, he is content with his position. After Oblomov's death, Zakhar has nowhere to go - he becomes a beggar.
9. What is “Oblomovism”?
“Oblomovism” is a social phenomenon consisting of laziness, apathy, inertia, contempt for work and an all-consuming desire for peace.
10. Why was Olga Ilyinskaya’s attempt to revive Oblomov unsuccessful?
Having fallen in love with Oblomov, Olga tries to re-educate him and break his laziness. But his apathy deprives her of faith in the future Oblomov. Oblomov's laziness was higher and stronger than love.
Stolz is hardly a positive hero. Although, at first glance, this is a new, progressive person, active and active, there is something of a machine in him, always dispassionate, rational. He is a schematic, unnatural person.
12. Describe Stolz from the novel by I.A. Goncharov "Ob-lomov".
Stolz is the antipode of Oblomov. He is an active, active person, a bourgeois businessman. He is enterprising and always strives for something. The outlook on life is characterized by the words: “Work is the image, content, element and purpose of life, at least mine.” But Stolz is incapable of experiencing strong feelings; he smacks of calculatedness in every step. The image of Stolz is artistically more schematic and declarative than the image of Oblomov.
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Maslov Kirill, 10g1
Is Oblomov a good person? Can a good person be superfluous?
In Russian literature of the second half of the 19th century you can find many interesting heroes. But, it seems to me, the most colorful and controversial is Ilya Ilyich Oblomov, the main character of the novel of the same name by I. A. Goncharov.
“How many people, so many opinions,” says popular wisdom. Everyone can evaluate Ilya Ilyich in accordance with their feelings. I think Oblomov is a good person. This opinion was formed after assessing the relationship of the main character with other characters in the novel.
Oblomov cannot be imagined outside the sofa. The essence of Ilya Ilyich is clearly manifested in the house where he lives with his old servant. The main character treats Zakhar well and in a friendly manner, whom he has known since childhood. Sometimes he makes “pathetic scenes”, but doesn’t go any further. Even having noticed the old man's theft, he does not pay special attention to it. Lazy Oblomov knows that he cannot exist alone, and that is why he loves Zakhar for his patience.
Since early childhood, Andrei Ivanovich Stolts has been a friend of the main character. What could be interesting for the energetic and independent Stolz in Oblomov? Andrei Ivanovich appreciates Ilya Ilyich for his intelligence, simplicity, tenderness and sincerity and “pulls” the hero out of various kinds of “scrapes”. For this, Oblomov loves and respects Stolz immensely. In addition, Andrei Ivanovich introduces Ilya Ilyich to Olga Ilyinskaya.
Oblomov does not pursue low goals in his relationship with the young lady. Everything in his soul happens simply and naturally. If Oblomov’s thoughts and phrases spoken to Olga belonged to someone else, they could be considered vulgarity and pretense. But we understand the sincerity of Ilya Ilyich: “Olga understood that the word had escaped from him” and that it was “the truth.” Ilyinskaya herself, who at first only wanted to rise in her own and others’ eyes with the help of the hero, falls in love with such a meek, decent, somewhat naive man. He really is “different”. Ilya Ilyich thinks about strangers, even if it is unprofitable for him. Consider just one letter from the hero to Olga: “You cannot love me.” In order, God forbid, not to disappoint an inexperienced girl in her feelings, he is even ready to give up his love: “This is not the one you were waiting for, about whom you dreamed.” Oblomov thinks first of all about strangers, he is afraid that they will be disappointed in him.
This is the defining line of Ilya Ilyich’s relationship with other characters in Oblomov. His house is very rarely empty. Everyone enjoys the company of the hero. Oblomov does not refuse anyone anything: whoever needs advice, gives advice; anyone who needs something to eat will be invited to dinner. Tarantiev always takes from Ilya Ilyich everything he needs: a tailcoat His simplicity gives some a reason to cheat, but it seems that God himself is on the side of the hero. Oblomov comes out of every scrape safely. They forced me to sign a “loan letter” Stolz saved, they sent a swindler to the estate Stolz saved, the relationship with Olga did not work out, Stolz did not help found Agafya Matveevna. Nothing can distract Ilya Ilyich from “peace and peaceful fun.”
Goncharov showed an intelligent, calm, decent, simple, at the same time capable of love, sincere, somewhat naive hero, for whom “lying down is a way of life.”
Can a person endowed with such qualities be bad? I think not. Moreover, I have never seen such a wonderful hero in any work of literature.
You might think that if a uniquely positive character exists, he will definitely be “superfluous”, but it only seems so. Oblomov left behind a living reminder of Andryushenko. After the death of Ilya Ilyich, Agafya Matveevna thought about her aimless life. Olga was formed as a person as a result of Oblomov’s influence. It is not for nothing that both Agafya Matveevna and the Stoltsy spouses remember the already deceased hero every day. A good person, especially if he is Oblomov, cannot live without a trace. What could happen if all good people were redundant? Our world would be filled with the results of the actions of scoundrels and scoundrels. But we see that this is not so. Therefore, I believe that a good person cannot be superfluous.
At the beginning of the 19th century, a number of works appeared in Russian literature, the main problem of which was the conflict between man and society, the environment that raised him. The most outstanding of them were “Eugene Onegin” by A.S. Pushnina and “Hero of Our Time” by M.Yu. Lermontov. This is how a special literary type is created and developed - the image of a “superfluous person”, a hero who has not found his place in society, is misunderstood and rejected by his environment. This image changed as society developed, acquiring new features, qualities, features, until it reached its most vivid and complete embodiment in the novel by I.A. Goncharov "Oblomov".
Goncharov’s work is the story of a hero who does not have the makings of a determined fighter, but has all the data to be a good, decent person. The writer “wanted to ensure that the random image that flashed before him was elevated to a type, giving it a generic and permanent meaning,” wrote N.A. Dobrolyubov. Indeed, Oblomov is not a new face in Russian literature, “but before it was not presented to us as simply and naturally as in Goncharov’s novel.”
Why can Oblomov be called a “superfluous man”? What are the similarities and differences between this character and his famous predecessors - Onegin and Pechorin?
Ilya Ilyich Oblomov is a weak-willed, lethargic, apathetic nature, divorced from real life: “Lying... was his normal state.” And this feature is the first thing that distinguishes him from Pushkin’s and, especially, Lermontov’s heroes.
The life of Goncharov’s character is rosy dreams on a soft sofa. Slippers and a robe are integral companions of Oblomov’s existence and bright, precise artistic details that reveal Oblomov’s inner essence and outer lifestyle. Living in an imaginary world, fenced off by dusty curtains from real reality, the hero devotes his time to making unrealistic plans and does not bring anything to fruition. Any of his undertakings suffers the fate of a book that Oblomov has been reading for several years on one page.
However, the inaction of Goncharov’s character was not raised to such an extreme degree as that of Manilov from the poem by N.V. Gogol’s “Dead Souls”, and, as Dobrolyubov correctly noted, “Oblomov is not a stupid, apathetic nature, without aspirations and feelings, but a person who is also looking for something in his life, thinking about something...”.
Like Onegin and Pechorin, Goncharov’s hero in his youth was a romantic, thirsting for an ideal, burning with the desire for activity, but, like them, Oblomov’s “flower of life” “bloomed and did not bear fruit.” Oblomov became disillusioned with life, lost interest in knowledge, realized the futility of his existence and literally and figuratively “lay down on the sofa,” believing that in this way he could preserve the integrity of his personality.
So the hero “laid away” his life, without bringing any visible benefit to society; “slept through” the love that passed him by. One can agree with the words of his friend Stolz, who figuratively noted that Oblomov’s “troubles began with the inability to put on stockings and ended with the inability to live.”
Thus, the main difference between the “superfluous man” of Oblomov and the “superfluous people” of Onegin and Pechorin is that the latter denied social vices in action - real deeds and actions (see Onegin’s life in the village, Pechorin’s communication with the “water society”) , while the first one “protested” on the sofa, spending his entire life in immobility and inaction. Therefore, if Onegin and Pechorin are “moral cripples” largely due to the fault of society, then Oblomov is mainly due to the fault of his own apathetic nature.
In addition, if the type of “superfluous person” is universal and characteristic not only of Russian, but also foreign literature (B. Constant, A. de Musset, etc.), then, considering the features of the social and spiritual life of Russia in the 19th century, it can be noted that that Oblomovism is a purely Russian phenomenon, generated by the reality of that time. It is no coincidence that Dobrolyubov saw in Oblomov “our indigenous, folk type.”
So, in the novel by I.A. Goncharov’s “Oblomov”, the image of the “superfluous man” receives its final embodiment and development. If in the works of A.S. Pushkin and M.Yu. Lermontov reveals the tragedy of one human soul that has not found its place in society, while Goncharov depicts an entire phenomenon of Russian social and spiritual life, called “Oblomovism” and incorporating the main vices of one of the characteristic types of noble youth of the 50s of the 19th century.
