Oblomov is the main problem. Essays. Attitude to work

Goncharov called the novel “Oblomov* a “novel-monograph.” He was referring to his plan to write the life story of one person, to present a deep psychological study of one biography: “I had one artistic ideal: this is the image of an honest and kind, sympathetic nature, a highly idealist, who has been struggling all his life, seeking the truth, encountering lies. at every step, deceived and falling into apathy and powerlessness.”

In the first part of the novel, the stillness of life, slumber, closed existence is not only a sign of the existence of Ilya Ilyich, it is the essence of life in Oblomovka. She is isolated from the whole world: “Neither strong passions nor brave undertakings worried the Oblomovites.” This life is full and harmonious in its own way: it is Russian nature, a fairy tale, the love and affection of a mother, Russian hospitality, the beauty of the holidays. These childhood impressions are an ideal for Oblomov, from the height of which he judges life. Therefore, he does not accept the “St. Petersburg life”; he is not attracted by either his career or the desire to get rich. Oblomov’s visitors personify three life paths that Oblomov could have gone through: becoming a spoiled dude, like Volkov; head of the department, like Sudbinsky; a writer like Penkin. Oblomov goes into contemplative inaction, wanting to preserve “his human dignity and his peace.” The image of Zakhar determines the structure of the first part of the novel. Oblomov is unthinkable without a servant, and vice versa. Both of them are children of Oblomovka.

The second and third parts of the novel are a test of friendship and love. The action becomes dynamic. Oblomov's main antagonist is his friend Andrei Stolts. The image of Stolz is important for understanding the author's intention and for a deeper understanding of the main character. Goncharov intended to show Stolz as a figure preparing progressive changes in Russia. Unlike Oblomov, Stolz is an energetic, active person, confidence is felt in his speeches and actions, he stands firmly on his feet, believes in the energy and transformative power of man. He is constantly on the move (the novel talks about his moves: Moscow, Nizhny Novgorod, Crimea, Kyiv, Odessa, Belgium, England, France) - and in this he sees happiness. German hard work, prudence and punctuality are combined in Stolz with Russian dreaminess and gentleness (his father is German and his mother is Russian). However, in Stolz the mind still prevails over the heart; he subordinates even the most subtle feelings to control. He lacks humanity, which is Oblomov’s main property. Stolz's childhood and family life are only described. We don’t know what Stolz was happy about, what he was upset about, who his friends were, who his enemies were. Stolz, in contrast to Oblomov, makes his own way in life (he graduated from university brilliantly, successfully serves, begins to run his own business, makes a house and money). The portrait of Stolz contrasts with the portrait of Oblomov: “He is entirely made up of bones, muscles and nerves.” Oblomov is “fat beyond his years,” he has a “sleepy look.” However, Stolz’s image is more multidimensional than it seems at first glance. He sincerely loves Oblomov, speaks of Oblomov’s “honest” and “faithful” heart, “which cannot be bribed by anything.” It was Stolz who the author endowed with an understanding of the moral essence of Oblomov, and it was Stolz who told the “writer” the whole life story of Ilya Ilyich. And at the end of the novel, Stolz finds peace in family well-being, he comes to where Oblomov started and where he stopped. This “reflection” of images in each other can be considered as a process of combining extremes.

The theme of love occupies an important place in the novel. Love, according to Goncharov, is one of the “main forces” of progress; the world is driven by love. The heroes are tested by love. Goncharov does not give a detailed portrait of Olga, but emphasizes that there was “no affectation, no coquetry, no lies, no tinsel, no intent.” For the first time, the outline of his ideal flashed before Oblomov. The breakup was natural, because Olga and Oblomov expected the impossible from each other. He is of selfless, reckless love, when you can sacrifice everything: “peace, word of mouth, respect.” It comes from his activity, will, energy. But Olga fell in love not with Oblomov, but with her dream. Oblomov also feels this when he writes her a letter. In the future, each of the heroes acquires a life that corresponds to his ideal. Olga marries Stolz, Oblomov finds the heartfelt love of Agafya Matveevna. In her house on the Vyborg side “he was now surrounded by such simple, kind, loving people who agreed with their existence to support his life, to help him not notice, not feel it.” The disappeared world of childhood, Oblomovka, appears again.

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

Goncharov "Oblomov". Problems of the novel

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

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

Life and lifestyle

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

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

Friendship theme

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

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

Unmatched feeling

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

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

Attitude to work

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

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

Search for the meaning of life

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

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

Problems of the novel by I. A. Goncharov “Oblomov”

“Oblomov” was published in “Otechestvennye zapiski” starting in January 1859, in parts, for four months and caused a stormy response from critics. In Dobrolyubov’s article “What is Oblomovism?” The problems of the novel were considered from a sociological perspective, Oblomov’s character was interpreted as the embodiment of all the class vices of the nobility, while the philosophical aspect of “Oblomov” was left without consideration. However, the content of Goncharov's novel is much broader than criticism of the ruling class.

Of course, Goncharov examines the problem of the decline of the Russian nobility, but he does not consider it from the position of denunciation, but from the point of view of a person seeking to understand the meaning and consequences of the changes taking place in Russian society. The nobility, whose membership determined the character of Goncharov’s hero, was the bearer of high cultural traditions and at the same time retained organic ties with the people’s soil; It was the nobility that developed the Russian personality and provided its best examples in its representatives. But it turned out to be untenable in the conditions of a changed society, drawn into the race of bourgeois “progress”.

Oblomov is aware of his unsuitability for “business”, his inability for Stoltsev’s discipline and, so to speak, for an active life position. But at the same time, he is not so much aware as he feels that his stubborn opposition to “progress” is not without meaning. Should the state of internal harmony, which is so dear to the hero, be exchanged for practical benefits and career growth, cash or even public well-being? Isn’t a person’s internal state more valuable than external success in life?

That is why Oblomov so stubbornly defends the inviolability of his spiritual life, fences himself off with his ugly life and apathy from the aggressive demands of Russian reality in the mid-19th century. Undoubtedly, Oblomov’s laziness and slowness can be explained by his social origin, but the innate nobility and impeccable honesty inherent in the hero are also part of his class heritage. “Oblomovism” instantly flies away from Ilya Ilyich when the scoundrel hurts the honor of his friend and beloved. In this scene with Tarantiev, he is a knight, magnificent in his noble anger.

Stolz (in German - “proud”) appreciates the mind and soul of his friend, calls him a poet, philosopher, actor. However, behind Stolz there is a different cultural tradition, other value priorities, and therefore in his attitude towards Ilya Ilyich there is a shade of condescending disdain. The prosaic German Stolz is the heir of Protestant culture and the bearer of an individualistic type of consciousness characteristic of bourgeois civilization. The Russian dreamer Oblomov is the heir to a centuries-old communal culture and patriarchal way of life. The problem of the incompatibility of two “worlds” - the patriarchal-noble one represented by Oblomov and the bourgeois one represented by Stolz - has not only a cultural-historical, but also a philosophical aspect. If Stolz’s life scenario is determined by the question “How to live?”, then Oblomov’s philosophical search is aimed at solving the question “Why live?”

Goncharov conceived the image of Stolz with the intention of contrasting the apathetic, dreamy Oblomov with an energetic, purposeful, practical figure who would transform Russia. However, the life truth of the story made significant adjustments to the author’s artistic and ideological calculations. Against the background of Oblomov’s character, who grows organically on Russian soil, Stolz looks like a strange hero, “about whom you don’t know where he comes from and why,” as the novelist himself admitted with some bewilderment.

The fact that Stoltz failed to “outweigh” Oblomov is also evidenced by the ending of the novel: Stoltz’s activities find final completion, peace in family well-being in the Crimean estate, which, in essence, is the same Oblomovka, only arranged in the latest taste.

Are bourgeois progress and traditional values ​​developed by Russian history and culture compatible? Why does a person live? What shocks await Russia, what fate awaits it? Goncharov's novel does not answer these questions, but only poses them to the reader. For people like Stolz, such questions do not exist; people of Oblomov’s type are not ready to give answers to them. “Either I didn’t understand this life,” Oblomov admits to Stoltz, “or it’s no good…”

Oblomov understood modern reality correctly: in the era of the Stolz, life becomes more and more indifferent to man, less and less compatible with the bright principles of human nature. But the hero does not have his own word to answer the questions of his era, which requires from the thinking part of society a new “idea of ​​being,” a new “idea of ​​man.” Goncharov does not give up hope of finding such a word in Russian life.

The history of the creation of the novel "Oblomov". Theme, idea, problematic, composition.

“The story of how the sloth Oblomov lies and sleeps

and even though neither friendship nor love can awaken and raise him,

God knows what a story..."

1. The concept of the novel “Oblomov.

The concept of the novel "Oblomov" arose in 1847, but the work was created slowly. In 1849 one was published in the Sovremennik magazine chapter from the novel "Oblomov's Dream", in which he gave an amazingly bright and deep picture of patriarchal landowner life. But the main part of the novel was written almost 10 years later, V 1857, in Marienbad (Germany), where Goncharov was treated with mineral waters. During this decade, the author not only carefully thought through the entire plan of the work, but also all the plot moves and details. Subsequently, the writer noted that he “wrote almost all of the last 3 volumes of Oblomov within 7 weeks.” Goncharov did a colossal job. He wrote until he was exhausted. “I worked so hard, did so much in these two months that no one else wrote so much in his two lives.”

IN 1858"Oblomov" wasfinished, and was fully published only in 1859.

2. Theme, idea of ​​the novel.

The theme is the fate of a generation searching for its place in society, but unable to find the right path.

Idea - show the conditions that give rise to laziness and apathy, trace how a person gradually fades away, turning into a dead soul. " I tried to show in “Oblomov” how and why our people turn prematurely into... jelly - the climate, the outback environment, the drowsy life and also private, individual circumstances for each».

3. Issues

1) In his novel the writer showed what serfdom has a detrimental effect on life, culture, and science . The consequence of these orders is stagnation and immobility in all areas of life .

2) Conditions landowner life And noble upbringing give birth to a hero apathy, lack of will, indifference .

3) Personality degradation and personality disintegration.

4) Goncharov puts in the novel questions about genuine friendship, love, O humanism.

Time, depicted in the novel "Oblomov", about 40 years old.

4. Artistic merits of the novel “Oblomov” :

1) A broad picture of life in Russia is presented.

2) Particular attention is paid to the description of the internal state of the characters: the internal monologue of the characters and the transmission of experiences through gesture, voice, and movements.

3) The full disclosure of the characters' character is achieved through repeating details (for Oblomov - a robe and slippers).

5. Structure of the novel:

Part 1 - Oblomov lies on the sofa.

Part 2 - Oblomov goes to the Ilyinskys and falls in love with Olga, and she with him.

Part 3 - Olga sees that she was mistaken about Oblomov, and they part ways.

Part 4 - Olga marries Stolz, and Oblomov marries the owner of the house where he rents an apartment - Agafya Matveevna Pshenitsy noah. Lives on the Vyborg side, peace that turns into “eternal peace.”

« That's all. No external events, no obstacles...interfere with the romance. Oblomov's laziness and apathy are the only spring of action in his entire story. ()

6. Composition

All actions unfold around the main character - Ilya Ilyich Oblomov. He unites all the characters around him. There is little action in the novel. Scene in the novel - Petersburg.

1. Exposition - the first part and 1.2 chapters of part 2 are drawn out, the conditions for the formation of Oblomov’s character are shown in great detail.

2. Tie 3 and 5 ch. Part 2 - Oblomov’s acquaintance with Olga. Oblomov’s feelings for Olga are growing stronger, but he doubts whether he can give up laziness.

3. Climax - Chapter 12 of the 3rd part. Ilya Ilyich declares his love for Olga. But he cannot sacrifice his peace, which leads to a quick break in the relationship.

4. Denouement– 11, 12 chapters of part 3, which show the insolvency and bankruptcy of Oblomov.

In chapter 4 of the novel - further decline of the hero. He finds ideal living conditions for himself in Pshenitsyna’s house. He again lies on the sofa in a robe all day long. The hero suffers a final downfall. Relationship between Olga and Stolz.

In the epilogue – Chapter 11, part 4, Goncharov talks about the death of Oblomov, the fate of Zakhar, Stolz and Olga. This chapter explains the meaning of “Oblomovism.”

Problems of the novel by I. A. Goncharov “Oblomov”. Anti-serfdom orientation

“Oblomov” is a social and everyday novel. Everyday - because the author describes in detail the life of the main character: childhood in Oblomovka, short service in St. Petersburg, lying on the sofa in an apartment on Gorokhovaya.

Being social, the novel has a strong anti-serfdom orientation: Goncharov persistently pursues the idea that serfdom spoils not only the peasants, but also the landowners themselves. Oblomov's lordly spoiling leads to absolute inactivity, laziness of mind and will, and loss of interest in life. By the time the action of the novel begins, Oblomov does not want not only to do anything, but even to get up from the couch, put on a suit, leave the house for a walk or be in society. Next to Ilya Ilyich is always his serf Zakhar, using whose example Goncharov shows the life and character of an ordinary serf servant.

Goncharov understands that patriarchal landowner Russia, somewhat idealized by him, is becoming a thing of the past, and along with it, the truly wonderful features of estate life are leaving Russian life - hospitality, selflessness, broad kindness. Oblomov, brought up in the best traditions of estate culture, demonstrates generosity, emotional sensitivity, and tolerance towards others. The positive character traits of the protagonist are revealed when comparing Ilya Ilyich and the socialite Volkov, the successful official Sudbinsky, and the journalist Penkin. Such “energetic people” are occupied with empty worries - dinners for useful acquaintances, careers, money-grubbing, insincerity. Suffice it to recall Sudbinsky’s reasoning about his upcoming marriage, when all he has to say about his party is: “. father active state councilor; He gives ten thousand, the apartment is government-owned. He gave us a whole half, twelve rooms; The furniture is official, heating, lighting too: you can live.” Or Penkin’s story about his article, which talks about “trade, about the emancipation of women, about the wonderful April days that befell us, and about the newly invented composition against fires” and even about realism in literature.

Oblomov is completely different from the people of this circle, but for some reason he continues to communicate with them, although they have practically no common topics of conversation. Against the background of these heroes, whom Goncharov positioned as typical representatives of metropolitan society, it becomes clearly visible that the main character of the novel has many positive qualities. He has intelligence, he is meek, kind and truthful. There is also a fair amount of egoism in him, which manifests itself in his relationship with Olga. Goncharov also notes that Oblomov is an internally conservative person, but maybe this is what helps him feel all the unnaturalness of St. Petersburg life. He tried to serve, but could not explain to you why it was necessary, tried in every possible way to avoid work, and in the end he resigned.

Despite the fact that Oblomov was brought up in the traditions of nobility, he treats people below him very gently. This can be seen in the example of Oblomov’s relationship with Zakhar, his servant. By comparing the images of the master and the serf, the reader can see that they, like the images of Oblomov and Stolz, are diametrically opposed to each other. Zakhar is forced to solve small everyday issues, live in the real world and do housework, while Oblomov lives in an ideal world, draws up a “plan” and other projects abstract from reality.

In Chapter VIII of the first part, Goncharov collides these two worlds. Zakhar tells the master that “the manager has just sent him again” and they are “ordered to move out next week.” Oblomov does not accept the idea of ​​moving, because he understands that it will require a lot of energy from him and is generally associated with a large number of quite tangible difficulties for him. He imagines the move with horror: “... everything is out of place: pictures by the walls, on the floor, galoshes on the bed, boots in the same bundle with tea and lipstick […] It seems that everything is in place. You look, there’s something left: hanging curtains, pinning up pictures - it will drain your entire soul, you won’t want to live.” Oblomov’s entire being resists this thought; he even forbids Zakhar to remind him of this. But when the servant again talks to the master about the need to vacate the apartment, he explodes and calls Zakhar “poisonous.”

After Zakhar said that “others, they say, are no worse than us, but they move, so we can.”, Oblomov brings down on Zakhar all the rage that has accumulated in him during his chaotic life in St. Petersburg: Ilya Ilyich does not understand how a serf dares comparing him with someone, he tries to assert his exclusivity, prove his superiority, reproaching Zakhar and trying in every possible way to shame him.

The issue of moving is not the only one in the novel that allows us to show the conflict between the pragmatic world of Zakhar and the abstract world of Oblomov. Goncharov emphasizes this conflict using different ways. For example, a conversation about food prices once again shows the down-to-earth nature of the serf and the ignorance of the master. Oblomov, who is completely unaware of the prices of food, having learned how much money he owes to the butcher, the baker and the greengrocer, first accuses Zakhar of eating everything, and then falls into real indignation.

But, despite this, Zakhar and Ilya Ilyich are inseparable, they already truly depend on each other and are very similar to each other in many ways. Zakhar is characterized by firmness: in some way he perceives Oblomov as a child, therefore in a narrow range of issues he has undoubted authority over his owner, for example, he does not allow Oblomov to lend Tarantyev a tailcoat, because he has not yet returned the gloves and vest.

Goncharov says about Zakhara that he “belonged to two eras, and both put their stamp on him. From one he inherited boundless devotion to the Oblomov family, and from the other, later, sophistication and corruption of morals.” Zakhar is distinguished by his lack of development, inability to do anything really well, an aggressive reaction to every order of the master and at the same time sincere devotion to his master. By comparing all these qualities in one person, Goncharov created a typical hero and created a collective image, with the help of which the author shows how harmful lord-peasant relations are for both sides.

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