The functions of the landscape in the work are different. This is the background on which the action takes place, and the characterization of the state of mind of the hero, and a kind of framing of the plot, and the creation of a special atmosphere of the story.
The first landscape appears before us in Oblomov's Dream. Pictures of nature here are given in the spirit of a poetic idyll. The main function of these landscapes is psychological, we find out in what conditions the main character grew up, how his character was formed, where he spent his childhood. The Oblomov estate is a "blessed corner", a "wonderful land", lost in the outback of Russia. Nature there does not strike us with luxury and pretentiousness - it is modest and unpretentious. There is no sea, high mountains, rocks and abysses, dense forests. The sky there huddles “closer ... to the earth ... like a parent’s reliable roof”, “the sun ... shines brightly and hotly for about six months ...”, the river runs “merrily”: it “spills into a wide pond, then“ strives with a quick thread ”, then barely "Crawls over rocks" The stars there "friendly" and "friendly" blink from heaven, the rain "gush briskly, plentifully, jump merrily, like large and hot tears of a suddenly overjoyed person", thunderstorms "are not terrible, but only beneficial."
The seasons in this region are correlated with peasant labor, with the natural rhythm of human life. “According to the calendar, spring will come in March, dirty streams will run from the hills, the earth will thaw and smoke with warm steam; the peasant throws off his short fur coat, goes out into the air in one shirt and, covering his eyes with his hand, admires the sun for a long time, shrugging his shoulders with pleasure; then he will pull a cart that has been turned upside down ... or he will examine and kick the plow lying idly under a canopy, preparing for ordinary labors. Everything in this natural cycle is reasonable and harmonious. Winter "does not tease with unexpected thaws and does not oppress in three arcs with unheard-of frosts ...", in February, "you can already feel the soft wind of the approaching spring in the air." But summer is especially wonderful in this region. “There you need to look for fresh, dry air, drunk - not with lemon and not with laurel, but simply with the smell of wormwood, pine and bird cherry; there to look for clear days, slightly burning, but not scorching rays of the sun and for almost three months a cloudless sky.
Peace, tranquility, deep silence lie in the fields, quietly and sleepily in scattered villages not far from each other. In the master's estate, everyone sinks into a deep sleep after a varied, plentiful dinner. Life flows lazily and slowly. The same silence and tranquility reign there in human manners. The range of people's concerns does not go beyond simple everyday life and its rituals: christenings, name days, weddings, funerals. Time is counted in Oblomovka "on holidays, on seasons, on various family and domestic occasions." The land there is "fertile": the Oblomovites do not need to work hard, they endure labor "as a punishment."
It was in this region that the hero's childhood passed, here in the long winter evenings he listened to the nurse's tales, epics, scary stories. In this atmosphere of the unhurried course of life, his character was formed. Little Ilyusha loves nature: he wants to run into the meadows or to the bottom of the ravine, play snowballs with the boys. He is curious and observant: he notices that the shadow is ten times larger than Antipas himself, and the shadow of his horse covered the entire meadow. The child wants to explore the world around him, “to rush and redo everything himself,” but his parents caress and cherish him, “like an exotic flower in a greenhouse.” Thus, those who seek manifestations of power turn inward, droop and wither. And gradually the hero absorbs this unhurried rhythm of life, its lazily measured atmosphere. And gradually he becomes the Oblomov that we see in St. Petersburg. However, one should not think that this phrase carries only a negative semantic connotation. And Oblomov's "pigeon tenderness" and his moral ideals - all this was also shaped by the same life. Thus, the landscape here has a psychological function: it is one of the components that form the character of the hero.
In the scenes of love between Oblomov and Olga Ilyinskaya, pictures of nature acquire a symbolic meaning. So, a lilac branch becomes a symbol of this nascent feeling. Here they are on the path. Olga plucks a lilac branch and gives it to Ilya. And in response, he notices that he loves lilies of the valley more, since they are closer to nature. And Oblomov involuntarily asks for forgiveness for the confession that escaped from him, attributing his feelings to the action of music. Olga is upset and discouraged. She drops a lilac branch on the ground. Ilya Ilyich, on the other hand, picks it up and on the next date (for dinner with the Ilyinskys) comes with this branch. Then they meet in the park, and Oblomov notices that Olga is embroidering the same lilac branch. Then they talk, and hope for happiness appears in Ilya's soul. He confesses to Olga that "the color of life has fallen." And she again plucks a branch of lilac and gives it to him, designating with it the “color of life” and her annoyance. Trust and understanding appear in their relationship - Oblomov is happy. And Goncharov compares his condition with a person's impression of an evening landscape. “Oblomov was in that state when a person had just watched the setting summer sun with his eyes and enjoyed its ruddy traces, not taking his eyes off the dawn, not looking back where the night comes from, thinking only about the return of warmth and light for tomorrow.”
Love sharpens all the feelings of the characters. Both Ilya Ilyich and Olga become especially sensitive to natural phenomena, life opens up to them with its new, unexplored sides. So, Oblomov notices that, despite the external silence and peace, everything in nature is boiling, moving, bustling. “Meanwhile, in the grass everything was moving, crawling, fussing. There are ants running in different directions so troublesome and fussy, they collide, scatter, hurry ... Here is a bumblebee buzzing near a flower and crawling into its cup; here flies are clustered in a heap near a drop of juice that has come out on a crack in a linden tree; here a bird somewhere in the thicket has been repeating the same sound for a long time, maybe calling another. Here are two butterflies, spinning around each other in the air, headlong, as in a waltz, rush around the tree trunks. The grass smells strongly; an incessant crack is heard from it ... ". In the same way, Olga discovers the hitherto unnoticed secret life of nature. “The same trees in the forest, but a special meaning appeared in their noise: living harmony reigned between them and her. Birds do not just chirp and chirp, but all say something to each other; and everything speaks around, everything corresponds to her mood; the flower blossoms, and she hears as if his breath.
When Oblomov begins to have doubts about the truth of Olga's feelings, this novel seems to him a monstrous mistake. And again the writer compares Ilya's feelings with natural phenomena. “What wind suddenly blew on Oblomov? What clouds did he inflict?<…>He must have had supper or lay on his back, and the poetic mood gave way to some kind of horror. It often happens to fall asleep in the summer on a quiet, cloudless evening, with twinkling stars, and think how beautiful the field will be tomorrow with bright morning colors! How fun it is to go deep into the thicket of the forest and hide from the heat!.. And suddenly you wake up from the sound of rain, from gray sad clouds; cold, damp ... "Oblomov's experiences may be far-fetched, he still loves Olga, but subconsciously begins to realize the impossibility of this union, to foresee the end of the relationship. And Olga begins to understand the same thing with her unmistakable female intuition. She notices that "the lilacs ... moved away, disappeared!". Love ends with summertime.
Autumn pictures of nature intensify the atmosphere of the distance of the characters from each other. They can no longer meet so freely in the forest or parks. And here we note the plot-forming significance of the landscape. Here is one of the autumn landscapes: “The leaves flew around, everything is visible through and through; crows in the trees cry so unpleasantly ... ". Oblomov offers Olga not to rush to announce the news of the wedding. When he finally parted with her, snow falls and thickly covers the fence, wattle fence, ridges in the garden. "The snow fell in flakes and thickly covered the ground." This landscape is also symbolic. The snow here seems to bury the possible happiness of the hero.
At the end of the novel, the author draws pictures of southern nature, depicting the life of Olga and Stolz in the Crimea. These landscapes deepen the character of the characters, at the same time they are given in contrast with Oblomov's Dream in the novel. If the sketches of nature in "Oblomov's Dream" were detailed, and in places poetic, the author allegedly dwelled on characteristic phenomena and details with pleasure, then in the finale Goncharov limited himself only to describing the impressions of the characters. “Often they plunged into silent wonder at the ever new and shining beauty of nature. Their sensitive souls could not get used to this beauty: earth, sky, sea - everything awakened their feeling ... They did not meet the morning indifferently; could not stupidly plunge into the dusk of a warm, starry, southern night. They were awakened by the eternal movement of thought, the eternal irritation of the soul and the need to think together, feel, speak! ..». We see the sensitivity of these heroes to the beauty of nature, but is their life the writer's ideal? The author avoids an open answer.
The landscape is simple and modest, painting a picture of the local cemetery at the end of the novel. Here the motif of the lilac branch reappears, which accompanied the hero at the culminating moments of his life. “What happened to Oblomov? Where is he? Where? - In the nearest cemetery, under a modest urn, his body rests between the bushes, in a lull. Lilac branches, planted by a friendly hand, doze over the grave, and the wormwood smells serenely. It seems that the angel of silence itself guards his sleep.
Thus, the pictures of nature in the novel are picturesque and varied. Through them, the author conveys his attitude to life, love, reveals the inner world and mood of the characters.
"Oblomov's dream". The origins of one person and the whole country. By the end of the first part, Oblomov is ready to change his former life. The hero is forced by external circumstances (the need to move, a decrease in the profitability of the estate). However, inner motives are more important. But before we see the results of Ilya Ilyich's efforts to rise from the sofa, Goncharov introduces a specially titled novel about the hero's childhood - "Oblomov's Dream". The author seeks to find an answer to Oblomov's tormenting question, why "a heavy stone is thrown at<…>path of his existence", who "stole<…>treasures brought to him as a gift by peace and life.
Literary heroes often have dreams... A dream helps us to understand the character's character, predict the future fate or reveal the author's philosophical thoughts. So Oblomov is not just dozing. Sleep draws us ideal hero. But the ideal is not abstract: it was once embodied in the parental home, in Oblomovka. So sleep is there at the same time memory happy childhood, it is seen through the prism of excited tenderness (especially the image of the late mother). However, both this ideal and this memory are more real for Oblomov than the present. Having fallen asleep in a sad dream, "disturbed" by life's worries in St. Petersburg, which was alien to him, Ilya Ilyich woke up as a seven-year-old boy - "it is easy, fun for him." Goncharov's hero is physically present in the capital, but his soul is curled up here, dead. Spiritually the character is still lives in his native Oblomovka.
In Oblomovka, as in Grachi, people with a patriarchal consciousness live. “The norm of life was taught to them ready-made by their parents, and they accepted it, also ready-made, from grandfather, and grandfather from great-grandfather ... As what was done under the fathers and grandfathers, it was done under the father of Ilya Ilyich, so, perhaps, now in Oblomovka. That is why any manifestation of personal will and interests, even the most innocent, like a letter, fills the souls of the Oblomovites with horror.
Even time flows differently in Oblomovka. “They kept track of time by holidays, by seasons<...>, never referring to months or numbers. Perhaps this was due to<…>everyone confused both the names of the months and the order of numbers. To the linear flow of events - from number to number, from event to event - they preferred a circular, or cyclical, time according to the seasons of the year, according to recurring church holidays. And this is the guarantee of universal stability.
Nature itself seems to support them: "No terrible storms, no destruction can be heard in that land,"<…>no poisonous reptiles are found there, locusts do not fly there; there are no roaring lions or roaring tigers…” The relatively mild climate makes it superfluous to resist nature, the readiness to repel its attacks (as we would say, “cataclysms”). Nature helps to live in Peace, “at random”: “Just as one hut fell on the cliff of a ravine, it has been hanging there since time immemorial, standing with one foot in the air and propped up by three poles. Three or four generations quietly and happily lived in it. It seems that the chicken was afraid to enter it, and there lives with his wife Onisim Suslov, a respectable man who does not stare at full height in his dwelling. But maybe the peasant Onesimus simply does not have the money to repair his home? The author introduces a paired episode: the same thing happens in the manor's yard, where the dilapidated gallery "suddenly collapsed and buried a hen with chickens under its ruins ...". “Everyone was amazed that the gallery had collapsed, and on the eve they wondered how it had been holding up for so long!” And here this “maybe” psychology manifests itself: “Oblomov< …>will take care of the thought of an amendment: he will call for a carpenter, ”and that will end.
Goncharov also refers fairy tales, epics, scary stories about the dead, werewolves, etc. to the historical origins of the "Oblomovism". The writer sees in Russian folklore not just "traditions of antiquity deep." This is evidence of a certain stage in the development of human society: “The life of a person of that time was terrible and unfaithful; it was dangerous for him to go beyond the threshold of the house: the beast would kill him, the robber would kill him, the evil Tatar would take away everything from him, or the man would disappear without a trace, without any trace. Man faced the paramount task: to survive physically, to feed himself. That is why a cult reigns in Oblomovka food, the ideal of a well-fed, plump child - “one has only to look at what pink and weighty cupids the local mothers carry and lead along with them.” Of paramount importance for people are not individual events (love, career), but those that contribute to the continuation of the Family - births, funerals, weddings. This meant not the personal happiness of the newlyweds, but the opportunity through the eternal ritual to confirm the eternity of the Family: “They ( Oblomovites) with a beating heart with excitement, they expected a ceremony, a ceremony, and then,<...>getting married<...>man, they forgot the man himself and his fate ... "
Lack of understanding of the laws of the surrounding world leads to the flowering of fantasy: “Our poor ancestors lived by touch; they did not inspire and did not restrain their will, and then they naively marveled or were horrified at the inconvenience, evil, and interrogated the reasons from the mute, obscure hieroglyphs of nature. Intimidating themselves with real and imaginary dangers, people perceived the distant world as initially hostile, and tried their best to hide from it in their House. Goncharov was sure that all the countries of the world had gone through the "Oblomov" period. The writer found signs of Oblomov's timid isolation on the Japanese islands. But how did Oblomovka preserve its former way of life through the centuries and decades? In its own way, it was also located on distant islands - “peasants<...>they carried bread to the nearest pier to the Volga, which was their Colchis and the Pillars of Hercules<…>and had no further contact with anyone." "Oblomov's Dream" tells about the impenetrable Russian wilderness. Just two centuries ago, the Volga, Trans-Volga lands were the last outpost of civilization (almost like a frontier in America). Further stretched already spaces inhabited by semi-savage uncivilized tribes - Kazakhs, Kirghiz.
The reluctance to look beyond the redistributions of Oblomovka was a kind of commandment: “Happy people lived, thinking that it should not and cannot be otherwise, confident that<…>to live otherwise is a sin. But the Oblomovites not only did not want, they did not feel the need to go beyond the brink of a self-sufficient little world. “They knew that eighty versts from them was a “province”, that is, a provincial city<…>, then they knew that further away, there, Saratov or Nizhny; heard that there is Moscow and St. Petersburg, that the French or Germans live beyond St. Petersburg, and then the<…>a dark world, unknown countries inhabited by monsters…” Alien, unfamiliar things can be hostile, and anyone born within the small world of Oblomovka is provided with love and affection. There are no internal conflicts and tragedies. Even death, surrounded by many ancient rites, appears as a sad, but not a dramatic episode in the endless flow of generations. Here the features of the earthly paradise, fairy tales are preserved. According to the laws of a fairy tale, all important philosophical questions about the meaning of being are either not raised, or resolved satisfactorily by the fathers and grandfathers (in Oblomovka, an undeniable cult of Home, Family, Peace reigns). On the other hand, all ordinary objects and phenomena take on truly fabulous, grandiose dimensions: “imperturbable calm”, gigantic meals, heroic dreams, terrible thefts (“once two pigs and a chicken suddenly disappeared”). And here is what is interesting: another modern researcher V.A. Nedzvetsky suggested that the idea to describe the life and customs of the patriarchal people of the Hobbits came to Tolkien after reading the book of the Russian writer. So far, this is a hypothesis and, therefore, does not claim to be absolute certainty. But it is also impossible to discount the fact that foreign writers beloved by all took lessons from Russian literature.
By the time Goncharov wrote these lines, Oblomovka had not yet disappeared from the map of Russia. The flesh disappeared, but the spirit remained. The rules of being Oblomovka are too adapted to the way of Russian life, the worldview of a Russian person. Druzhinin believed that "Oblomov's Dream"<…>bound him with a thousand invisible bonds to the heart of every Russian reader. The old world was the custodian of eternal values, carefully separating good from evil. Here love reigns, here everyone is provided with warmth and affection. In addition, the “Oblomov” world is an inexhaustible source of poetry, from which Goncharov generously drew colors throughout his entire career. The writer often resorts to fabulous comparisons, contrasts, formulas (to enter the hut to Onesimus, you must ask stand back to the forest, and front to it; frightened Ilyusha " neither alive nor dead rushes "to the nanny; when the gallery collapsed, “they began to reproach each other for something that hadn’t occurred to them for a long time: to one - to remind, to another - to order to correct, to the third - to correct"). The researcher Yu. Loshchits called the writer's creative method fabulous realism.
Only one thing disturbs the Russian writer in this primordial moral way of Oblomovka. This is disgust, an organic rejection of any kind of labor; anything that requires a little bit of effort. “They endured labor as a punishment imposed on our forefathers, but they could not love, and where there was a case, they always got rid of it, finding it possible and proper.” It may seem that the writer had in mind the lordly Russia. Indeed, if the old Oblomovs can concentrate their worries on thinking about and eating dinner, the peasants have to work, and the plowman "huddles on a black field, sweating all over." But the ideal of happiness as laziness and doing nothing is common to them. This is evidenced by the symbolic images of a house threatening to collapse, a universal dream, or a “gigantic” holiday cake. The pie was consumed by everyone as evidence of belonging to the lordly way of life. That is why fairy tales about heroes like Emelya, who managed to “achieve everything without laboring at the command of the pike,” are so popular among all the inhabitants of the corner.
In the midst of this "blessed" peace, a small man grows. The troubles of the mother, the "business" conversations of the father with the servants, the daily routine of the manor house, weekdays and holidays, summer and winter - everything, like frames of a film, flashes before the eyes of a child. Everyday episodes are interspersed with remarks: "And the child listened", "the child sees ...", "and the child watched and observed everything." Again, as in Ordinary History, Goncharov appears in the guise of a teacher. He comes to a bold conclusion for his time. The upbringing of a child does not begin with purposeful efforts, but with an early, almost unconscious assimilation of the impressions of the environment. Goncharov draws his hero as a living, active child, striving to explore the gallery, ravine, grove, who earned the nickname "yula" from the nanny. But the influence of terrible fairy tales, the loving despotism of the parents led to the fact that the boy's vitality "drooped, withering." In the light of such a sad conclusion, the episodes of Ilyusha’s interrupted pranks literally sound like “laughter through tears”: “At home they already despaired of seeing him, considering him dead;<…>the joy of the parents was indescribable<…>. They gave him mint to drink, elderberry there, and raspberries in the evening<…>, and one thing could be useful for him: to play snowballs again. And, of course, let's not forget about the famous stockings that Oblomov Jr. put on first by the nanny, then by Zakhar. Again, the elders inspire him with the norm of idleness; as soon as the boy forgets before doing something himself, a parental reminiscent voice is heard: “And Vanka, and Vaska, and Zakharka for what?”
Teaching, which also requires mental efforts and restrictions, also falls into the category of hated labor. Which modern schoolchild does not understand such, for example, lines: “As soon as he ( Ilyusha) wakes up on Monday, he is already attacked by melancholy. He hears the sharp voice of Vaska, who shouts from the porch:
Antipka! Pawn the skewbald: take the barchonka to the German!
His heart flutters.<…>And not like the mother will look at him intently on Monday morning and say:
Something your eyes are not fresh today. Are you healthy? - and shakes his head.
The crafty boy is healthy, but he is silent.
Sit at home this week, - she will say, - and there - what God will give.
Since the time of Mitrofanushka, enlightenment has taken a step forward: “The old people understood the benefits of enlightenment, but only its external benefits ...” The need to work at least in order to make a career stumbled over a truly fabulous dream to achieve everything “at the command of a pike.” The “Oblomov’s” decision comes to try to deftly circumvent the rules, “stones and obstacles scattered along the path of enlightenment and honor, without bothering to jump over them<…>. learn lightly<…>, in order only to comply with the prescribed form and somehow get a certificate in which it would be said that Ilyusha passed all the sciences and arts". In the fabulous Oblomovka, even this dream came true to some extent. "Son of Stolz ( teachers) spoiled Oblomov, either suggesting lessons to him, or making translations for him. The German boy was not spared the charm of Oblomovka, he was captivated by the "pure, bright and good beginning" of Ilya's character. What more could you want? But such relationships give advantages to Andrey. This is the "role of the strong" that Stoltz occupied under Oblomov "both physically and morally." Nobility and slavery, according to Dobrolyubov, are two sides of the same coin. Not knowing how to work, one has to give one's independence to the will of another (as Zakhar later did). Stolz himself, with a famous formulation, will sum up the harsh result of Oblomovka's educational methods: "It began with the inability to put on stockings, and ended with the inability to live."
Ilya Ilyich Oblomov is one of the most controversial literary heroes. Immediately after the release of the novel, Goncharov's contemporaries branded the protagonist as an inveterate sloth and a purely negative character. However, over time, the view of him has changed, although a complete rethinking of the image of Oblomov is yet to come.
In all the ups and downs of life that come his way, Oblomov takes the passive side. He walks away, turns away from reality. From all everyday joys and fears, deeds and news, he prefers to plunge into dreams, fantasies and ... sleep. Oblomov's dream is that best, ideal (for Oblomov) world into which he seeks to get.
Descriptively, Oblomov's dream represents his past, his childhood. Through a dream, we are shown the house - Oblomovka, the young years of the hero, his family and environment. Father - Ilya Ivanovich, a landowner, a kind man, even good-natured. Mother is a loving and affectionate, caring hostess. Numerous aunts and uncles, guests and distant relatives who fill the house.
All, without exception, people in Oblomovka are simple and kind, do not suffer from diseases of the soul, do not worry about the meaning of life. Everyone living in this “blessed land” is only interested in themselves and their own interests. “Happy people lived, thinking that it should not be otherwise, confident that all others live in the same way and that it is a sin to live otherwise.”
Nature is especially intoxicating in that region. It fully corresponds to the way of life of the people of Oblomovka. Summers are hot and stuffy, filled with the aroma of wormwood, winters are harsh and frosty, but predictable and constant. Spring comes in due time, generous warm rains, thunderstorms fall at the same time ... Everything in Oblomovka is clear, simple and somehow sincere. Even "the sky presses closer to the earth in order to hug it stronger, with love." What kind of character can be brought up in such a paradise?
(Little Ilyusha with a nanny in the vivid dreams of an adult Oblomov)
To understand a person - find out what he dreams about and what he dreams about. In this sense, Oblomov's dream vividly and exhaustively gives us the opportunity to get to know the hero. One can argue for a long time whether Oblomov's life was good, whether Oblomov's life was correct, but one thing remains unchanged. His soul. “A soul as pure as crystal” - this is how everyone who had the opportunity to look into the heart and soul of Oblomov remembers him. Stolz, Olga, Agafya Matveevna, Zakhar - until the end of their lives they keep a bright memory of their friend. So can a purely negative character evoke such feelings in different, dissimilar people?
Is the life shown to us in Oblomov's dream bad? To some, it will seem primitive and boring, someone will consider it the ideal of peaceful existence and being. Most people would probably lean towards the first category. Even the author seems to favor another, "active and fulfilling life", the one presented to us by Stoltz.
"The time will come, and vigorous steps will be heard .. - it is thousands of Stoltsev who will appear under Russian names, the old Oblomovka will leave." But then came, Goncharov's prediction came true and the time came when everyone became entrepreneurs and businessmen. But people are still looking for the meaning of life, they are also dissatisfied with what fate gives them. Only now the Oblomovs are not waiting for the Stolts, but the Stolts are looking for kind, sincere Oblomovs. When will they finally meet? When will they be able to combine their strengths and abilities in order to create not a dream, but a real, real, beneficial life?
Oblomov's dream is not an ideal, not the perfection of life, not the goal of being, to which one must strive. However, it is not necessary to deny it, to throw it out as unnecessary.
Introduction The nature of Oblomovka Four pores of love Conclusion
Goncharov's work "Oblomov" is a socio-psychological novel written in the middle of the 19th century. The book tells about the fate of the Russian tradesman Ilya Ilyich Oblomov, a person with a fine mental organization, who was unable to find his own place in the rapidly changing world of contemporary Russia. A special role in revealing the ideological meaning of the novel is played by the image of nature by the author - in Oblomov, landscapes are a reflection of the inner world
hero, are closely related to his feelings and experiences.
The most striking landscape of the novel is the nature of Oblomovka, perceived by the reader through the prism of Ilya Ilyich's dream. Quiet, remote from the hustle and bustle of cities, the nature of the village attracts with its calmness and serenity. There are no dense, frightening forests, no restless sea, no high distant mountains or windy steppes, no fragrant flower beds, only the smell of field grass and wormwood - according to the author, a poet or a dreamer would hardly be satisfied with the unpretentious landscape of this area.
The soft, harmonious nature of Oblomovka
did not require the peasants to work, which created a special, lazy mood of life in the whole village - the measured flow of time was interrupted only by the change of seasons or weddings, birthdays and funerals, which just as quickly faded into the past, replaced by the tranquility of a pacifying nature.
Oblomov's dream is a reflection of his childhood impressions and memories. Dreamy Ilya, from an early age, perceived the world through the beauty of the sleepy landscapes of Oblomovka, wanted to explore and learn about the world around him, but the excessive guardianship of his parents led to the fading of the active principle in the hero and contributed to the gradual absorption of that “Oblomov’s” measured rhythm of life, which for him, already an adult , has become the only correct and pleasant.
Nature in the novel "Oblomov" performs a special semantic and plot load. First of all, it reflects the state of the hero. The symbol of the tender feeling between Olga and Oblomov is the fragile branch of lilac, which the girl gives to Ilya Ilyich, to which he replies that he loves lilies of the valley more, and the upset Olga drops the branch. But on the next date, as if having accepted the feelings of the girl, Oblomov comes with the same branch. Even at the moment when Ilya Ilyich tells the girl that “the color of life has fallen”, Olga again plucks a lilac branch for him as a symbol of spring and the continuation of life. During the heyday of their relationship, the quiet summer nature seems to favor their happiness, its secrets, special meanings are revealed to the lover. Describing Oblomov's condition, the author compares his happiness with the beauty of a delightful summer sunset.
Nature appears completely different at the moments when Oblomov begins to doubt the bright future of their love, comparing them with rainy weather, a gray sky covered with sad clouds, dampness and cold.
At the same time, Olga notices that the lilac has already departed - as if their love has also departed. The distance of the heroes is emphasized by the image of the autumn landscape, flying leaves and unpleasantly screaming ravens, when the heroes can no longer hide behind fresh green foliage, comprehending the secrets of wildlife and their own souls. The parting of the lovers is accompanied by a snowfall, under which Oblomov falls - spring love, the symbol of which was a tender lilac branch, finally dies under a snow cover of cold.
The love of Oblomov and Olga seems to be part of that distant, familiar Ilya Ilyich “Oblomov” life. Starting in spring and ending in late autumn, their feelings become part of the natural flow of time of living nature, the change of seasons from birth and flourishing to fading and death, followed by a new birth - Oblomov's love for Agafya and Olga for Stolz.
At the end of the novel, the author describes the landscape of a modest cemetery where Oblomov is buried. As a reminder of the hero’s wonderful feeling, a lilac planted by friends grows near the grave, and it smells of wormwood, as if the hero had returned to his native Oblomovka again.
The landscape in the novel "Oblomov" performs the leading semantic and plot-forming functions. A subtle sense of nature, the flow of its natural time and inspiration from each of its manifestations in the work is available only to the reflective, dreamy Oblomov and Olga in love. After marriage, when depicting the life of a girl with Stolz in the Crimea, Olga unconsciously loses the ability to feel every manifestation of nature that she had during her relationship with Oblomov. The author seems to be trying to show the reader that, despite the speed of the urbanized world, a person is not subject to the natural change in the cycles of nature - fluid and changing throughout human life.
