The completeness and complexity of Oblomov’s character summary. The completeness and complexity of the character of Oblomov’s essays on Russian literature

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The novel “Oblomov” by I. A. Goncharov has not lost its relevance and its objective meaning in our time, because it contains a universal philosophical meaning. The main conflict of the novel - between the patriarchal and bourgeois ways of Russian life - the writer reveals in the opposition of people, feelings and reason, peace and action, life and death. Using the technique of antithesis, Goncharov makes it possible to deeply understand the idea of ​​the novel and penetrate into the souls of the characters.
Ilya Oblomov and Andrei Stolts are the main characters of the work. These are people of the same class, society, time. It would seem that people of the same environment should have similar characters and worldviews. But they are completely opposite to each other. Stolz, unlike Oblomov, is shown by the writer as an active person whose reason prevails over feeling. Goncharov makes attempts to understand why these people are so different, and he looks for the origins of this in origin, upbringing and education, as this lays the foundations of the characters.
The author shows the parents of the heroes.
Stolz was brought up in a poor family. His father was German by birth, and his mother was a Russian noblewoman. We see that the family spent all day long at work. When Stolz grew up, his father began to take him to the field, to the market, and forced him to work. At the same time, he taught him the sciences, taught him the German language, that is, he instilled in his son respect for knowledge, the habit of thinking, and doing business. Then Stolz began sending his son to the city on errands, “and it never happened that he forgot something, changed it, overlooked it, or made a mistake.” The writer shows us how zealously and persistently this man develops in Andrei economic tenacity, the need for constant activity. The mother taught her son literature and managed to give him an excellent spiritual education. So, Stolz became a strong, intelligent young man.
What about Oblomov? His parents were nobles. Their life in the village of Oblomovka passed according to its own special laws. The Oblomov family had a cult of food. The whole family decided “what dishes would be for lunch or dinner.” And after lunch the whole house fell asleep and fell into a long sleep. And this is how every day passed in this family: only sleep and food. When Oblomov grew up, he was sent to study at a gymnasium. But we see that Ilyusha’s parents were not interested in their son’s knowledge. They themselves came up with excuses just to free their adored child from school; they dreamed of receiving a certificate proving that “Ilya passed all the sciences and arts.” They didn’t even let him out into the street again, because they were afraid that he would get hurt or get sick. Therefore, Oblomov grew up lazy, apathetic, and did not receive a proper education.
But let's look deeper into the characters of the main characters. Having rethought the pages I had read in a new way, I realized that both Andrei and Ilya have their own tragedy in life...

In the light of these diametrically opposed interpretations of Oblomov and Oblomovism, let us take a closer look at the text of the very complex and multi-layered content of Goncharov’s novel, in which the phenomena of fate revolve from all sides. The first part of the novel is dedicated to one simple day in the fate of Ilya Ilyich. This life is limited to the confines of one room in which Oblomov lies and sleeps. There's not much going on here outside.

But the picture is full of displacement.

Firstly, the brave man’s state of mind is constantly changing, the comic merges with the terrible, carelessness with struggle and internal torment, apathy and sleep with play and the awakening of emotions. Secondly, Goncharov, with plastic virtuosity, guesses in the household items surrounding Oblomov the temperament of their owner. Here he follows in the footsteps of Gogol.

The creator describes Oblomov's office in detail. On all things there is abandonment, traces of desolation: last year’s newspaper is lying around, there is a layer of dust on the mirrors, if someone decided to dip a pen into an inkwell, a fly would fly out of it. Ilya Ilyich’s temperament is also predicted through his boots, long, soft and wide.

At the time when the owner lowered his feet from the bed to the floor without looking, he would definitely fall into them right away. While in the second part of the novel Andrei Stolts tries to awaken the brave man to an active destiny, confusion reigns in Oblomov’s soul, and the creator conveys this through his discord with familiar things. Now either under any circumstances!, To be or not to be! Oblomov started to get up from his chair, but didn’t immediately hit his shoe and sat down again.

In addition, the image of the robe in the novel and the whole history of Ilya Ilyich’s relationship with it are symbolic. Oblomov’s robe is special, oriental, without the slightest hint of Europe. He, like an obedient slave, obeys the slightest movement of his master's body.

At a time when love for Olga Ilyinskaya temporarily awakens the brave man to an active destiny, his determination is associated with the robe: This means, Oblomov thinks, suddenly throwing off the wide robe not only from his shoulders, but also from his soul, from his mind... But in the moment of the decline of love, like a terrible omen, the threatening image of a robe flashes in the novel. Oblomov’s new owner, Agafya Matveevna Pshenitsyna, informs that she has pulled out a robe from the closet and plans to wash and clean it.

The communication of Oblomov’s inner experiences with the things that belong to him creates a comic effect in the novel. It's not anything big, but the boots and robe that characterize his inner struggle. The brave man’s long-standing habit of the deceased Oblomov’s fate is revealed, his attachment to everyday things and dependence on them.

But Goncharov is not unique here.

He picks up and develops the Gogolian technique of reifying man, familiar to us from Dead Souls. Let us find in our memory, for example, descriptions of the offices of Manilov and Sobakevich. The peculiarity of Goncharov’s brave man lies in the fact that his temperament is in no way limited or exhausted by this.

Along with the everyday environment, the influence of the novel includes much broader connections that have an effect on Ilya Ilyich.

The very concept of the environment that shapes human temperament is expanded immensely by Goncharov. Already in the first part of the novel, Oblomov is not only a comic brave: behind the humorous episodes, other, deeply dramatic principles slip through. Goncharov uses the internal monologues of a brave man, from which we will determine that Oblomov is a complex and living person.

He plunges into youthful memories, reproaches stir within him for a mediocre fate.

Oblomov is ashamed of his own lordship, as a person, he rises above him. A painful question arises before the brave man: Why am I like this? The answer to it is contained in Oblomov’s famous Dream. The events that influenced the temperament of Ilya Ilyich in his youth and youth are revealed here.

The living, poetic picture of Oblomovka is part of the soul of the brave man himself. It includes the Russian nobility, despite the fact that Oblomovka is far from being limited to nobility. The concept of Oblomovism includes the entire patriarchal way of Russian fate, not only with its negative, but also with its deeply poetic sides.

Ilya Ilyich’s broad and soft temperament was influenced by Central Russian nature with the soft outlines of sloping hills, with the slow, leisurely flow of lowland rivers, which either spill into wide ponds, or flow like a swift thread, or crawl slightly over the pebbles, as if lost in thought. This nature, alien to the wild and grandiose, promises a person a long life and a calm and unnoticeable death, like a dream.

Nature here, like a tender mother, takes care of the silence and measured composure of a person’s entire life. And at the same time there is a special harmony with the peasant fate with a rhythmic sequence of everyday life and holidays. And also thunderstorms are not terrible, but beneficial (*32) in that place: they invariably occur at the same set time, not forgetting very rarely Ilya’s day, as if to create a legendary legend among the people.

There are no terrible storms or destruction in that region. The stamp of unhurried restraint also lies on the characters of people nurtured by Russian mother nature.

The creations of the people's poetic imagination match nature. Later, Oblomov dreamed of a second time: on an endless winter evening, he hesitantly huddles close to his nanny, and she whispers to him about some unknown side, where there are neither nights nor cold, where miracles happen, where rivers of honey and milk flow, where no one knows anything. he doesn’t do it all year round, and every day they only know that all the good fellows are walking, such as Ilya Ilyich, and beautiful women, which you can’t describe in a fairy tale. Oblomovism includes Goncharov’s affection and boundless love, with which Ilya Ilyich was surrounded and nurtured from childhood. His mother showered him with passionate kisses, watched with greedy, caring eyes to see if his eyes were cloudy, if anything hurt, if he was dozing peacefully, if he woke up at night, if he tossed about in his sleep, if he had a fever.

What comes to me is the poetry of rural solitude, and pictures of generous Russian hospitality with a huge pie, and Homeric joy, and the beauty of peasant holidays to the sounds of the balalaika... It is not only slavery and lordship that shape the temperament of Ilya Ilyich. There is something in him from the fairy-tale Ivanushka, a smart sloth who distrusts everything calculating, active and offensive.

Let others be nervous, plan, scurry and jostle, boss and fawn. And he lives normally and unhurriedly, like the epic brave man Ilya Muromets, he sits for thirty years and three years. Here the Kaliki, passing by, come to him in a modern St. Petersburg guise, calling him on a journey across the sea of ​​\u200b\u200blife.

At this very moment, we suddenly and unexpectedly feel that domestic sympathies are on the side of the lazy Ilya Ilyich. How does St. Petersburg fate tempt Oblomov, where are his friends calling him? The capital's dandy Volkov promises him secular success, the civil servant Sudbinsky - a bureaucratic career, the writer Penkin - obscene literary denunciation.

“I’m stuck, my dear friend, I’m stuck up to my ears,” Oblomov complains about the fate of the civil servant Sudbinsky. “And blind, and deaf, and dumb for everything else in the world.” And he will come out into the public, will eventually manage his affairs and will grab ranks... And how little (*33) a person is needed here: his intelligence, his ashes, his emotions - what is this for?

Where is the man here? What does it crush and crumble into? - Oblomov denounces the vacuum of Volkov’s social bustle. - ... Yes, in ten places in one day - unfortunate! - he concludes, turning over on his back and rejoicing that he does not have such thoughts and empty desires, that he does not rush around, but lies here, preserving his own peace and human dignity.

In the life of business people, Oblomov does not see a field that meets the highest purpose of a person. So isn’t it better to remain an Oblomovite, but retain humanity and kindness of heart, than to be a vain careerist, an active Oblomov, callous and heartless? So Oblomov’s friend Andrei Stolz finally lifted the couch potato from the sofa, and Oblomov for some time indulges in the life into which Stolz plunges headlong.

one time, returning from somewhere late, he especially rebelled against this fuss. “For whole days,” Oblomov grumbled, putting on a robe, “you don’t take off your boots: your feet itch!” I don’t like this fate of yours in St. Petersburg! - he continued, lying down on the sofa. Which one do you like? - Stolz asked a question. “Not like here.” “Why didn’t you like it here?” - Everything, the eternal running around, the eternal game of crappy passions, especially greed, interrupting each other's roads, gossip, gossip, clicking on each other, this looking from head to toe; If you listen to what they are talking about, your head will spin and you will become stupefied.

I think people look so smart, with such an advantage on their face; All you hear is: This one was given this, that one took the rent. - For goodness sake, for what? - someone shouts. This one was played a day ago in the club; he takes three hundred thousand! Boredom, boredom, boredom!.. Where is the man here? Where is his integrity? Where did he disappear, how did he exchange for every little thing?

Oblomov lies on the sofa not only because as a master he can do nothing, but also because as a person he does not want to live at the expense of his own moral advantage. His idleness is also perceived in the novel as a denial of bureaucracy, bourgeois businessmanship and secular vanity. Oblomov's laziness and inaction are caused by his quickly negative and rightly skeptical attitude towards the interests and life of modern practically active people.

Oblomov - the image of the main character in Goncharov’s novel

The completeness and complexity of Oblomov's character.

In the light of these diametrically opposed interpretations of Oblomov and Oblomovism, let us take a closer look at the text of the very complex and multi-layered content of Goncharov’s novel, in which the phenomena of life “revolve from all sides.” The first part of the novel is dedicated to one ordinary day in the life of Ilya Ilyich. This life is limited to the confines of one room in which Oblomov lies and sleeps. Externally, very little happens here. But the picture is full of movement. Firstly, the hero’s state of mind is constantly changing, the comic merges with the tragic, carelessness with internal torment and struggle, sleep and apathy with the awakening and play of feelings. Secondly, Goncharov, with plastic virtuosity, guesses in the household items surrounding Oblomov the character of their owner. Here he follows in the footsteps of Gogol. The author describes Oblomov's office in detail. All things show abandonment, traces of desolation: last year’s newspaper is lying around, there is a layer of dust on the mirrors, if someone decided to dip a pen into an inkwell, a fly would fly out of it. The character of Ilya Ilyich is guessed even through his shoes, long, soft and wide. When the owner, without looking, lowered his feet from the bed to the floor, he certainly fell into them immediately. When in the second part of the novel Andrei Stolts tries to awaken the hero to an active life, confusion reigns in Oblomov’s soul, and the author conveys this through his discord with familiar things. “Now or never!”, “To be or not to be!” Oblomov started to get up from his chair, but didn’t immediately hit his shoe and sat down again.”

The image of the robe in the novel and the whole story of Ilya Ilyich’s relationship to it are also symbolic. Oblomov’s robe is special, oriental, “without the slightest hint of Europe.” He, like an obedient slave, obeys the slightest movement of his master’s body. When love for Olga Ilyinskaya temporarily awakens the hero to an active life, his determination is associated with the robe: “This means,” Oblomov thinks, “suddenly throwing off the wide robe not only from his shoulders, but also from his soul, from his mind...” But in At the moment of the decline of love, like an ominous omen, the threatening image of a robe flashes in the novel. Oblomov’s new owner, Agafya Matveevna Pshenitsyna, reports that she took the robe out of the closet and is going to wash and clean it.

The connection between Oblomov’s inner experiences and the things that belong to him creates a comic effect in the novel. Not anything significant, but shoes and a robe characterize his internal struggle. The hero's long-standing habit of the deceased Oblomov's life is revealed, his attachment to everyday things and dependence on them. But here Goncharov is not original. He picks up and develops the Gogolian technique of reifying man, known to us from Dead Souls. Let us recall, for example, the descriptions of the offices of Manilov and Sobakevich.

The peculiarity of Goncharov’s hero is that his character is in no way exhausted or limited by this. Along with the everyday environment, the action of the novel includes much broader connections that influence Ilya Ilyich. The very concept of the environment that shapes human character is expanded immensely by Goncharov. Already in the first part of the novel, Oblomov is not only a comic hero: behind the humorous episodes, other, deeply dramatic principles slip through. Goncharov uses the hero’s internal monologues, from which we learn that Oblomov is a living and complex person. He plunges into youthful memories, reproaches for a mediocre life are stirring in him. Oblomov is ashamed of his own lordship, as a person, he rises above him. The hero is faced with a painful question: “Why am I like this?” The answer to it is contained in the famous “Oblomov’s Dream”. The circumstances that influenced the character of Ilya Ilyich in childhood and youth are revealed here. The living, poetic picture of Oblomovka is part of the soul of the hero himself. It includes the Russian nobility, although Oblomovka is far from being limited to nobility. The concept of “Oblomovism” includes the entire patriarchal way of Russian life, not only with its negative, but also with its deeply poetic sides.

The broad and gentle character of Ilya Ilyich was influenced by Central Russian nature with the soft outlines of sloping hills, with the slow, leisurely flow of lowland rivers, which either spill into wide ponds, or rush in a fast thread, or crawl slightly over the pebbles, as if lost in thought. This nature, shunning the “wild and grandiose,” promises a person a calm and long-term life and an imperceptible, sleep-like death. Nature here, like an affectionate mother, takes care of the silence and measured tranquility of a person’s entire life. And at the same time, there is a special “mode” of peasant life with a rhythmic sequence of everyday life and holidays. And even thunderstorms are not terrible, but beneficial there: they “occur constantly at the same set time, almost never forgetting Ilya’s day, as if in order to support a well-known tradition among the people.” There are no terrible storms or destruction in that region. The stamp of unhurried restraint also lies on the characters of people nurtured by Russian mother nature.

In the light of the diametrically opposed interpretations of Oblomov and Oblomovism, let us take a closer look at the text of the very complex and multi-layered content of Goncharov’s novel, in which the phenomena of life “revolve from all sides.” The first part of the novel is dedicated to one ordinary day in the life of Ilya Ilyich. This life is limited to the confines of one room in which Oblomov lies and sleeps. Externally, very little happens here. But the picture is full of movement. Firstly, the hero’s state of mind is constantly changing, the comic merges with the tragic, carelessness with internal torment and struggle, sleep and apathy with the awakening and play of feelings. Secondly, Goncharov, with plastic virtuosity, guesses in the household items surrounding Oblomov the character of their owner.

Here he follows in the footsteps of Gogol. The author describes Oblomov's office in detail. All things show abandonment, traces of desolation: last year’s newspaper is lying around, there is a layer of dust on the mirrors, if someone decided to dip a pen into an inkwell, a fly would fly out of it. The character of Ilya Ilyich is guessed even through his shoes, long, soft and wide. When the owner, without looking, lowered his feet from the bed to the floor, he certainly fell into them immediately. When in the second part of the novel Andrei Stolts tries to awaken the hero to an active life, confusion reigns in Oblomov’s soul, and the author conveys this through his discord with familiar things. “Now or never!”, “To be or not to be!” Oblomov started to get up from his chair, but didn’t immediately hit his shoe and sat down again.”

The image of the robe in the novel and the whole story of Ilya Ilyich’s relationship to it are also symbolic. Oblomov’s robe is special, oriental, “without the slightest hint of Europe.”...

In the light of the diametrically opposed interpretations of Oblomov and Oblomovism, let us take a closer look at the text of the very complex and multi-layered content of Goncharov’s novel, in which the phenomena of life “revolve from all sides.” The first part of the novel is dedicated to one ordinary day in the life of Ilya Ilyich. This life is limited to the confines of one room in which Oblomov lies and sleeps. Externally, very little happens here. But the picture is full of movement. Firstly, the hero’s state of mind is constantly changing, the comic merges with the tragic, carelessness with internal torment and struggle, sleep and apathy with the awakening and play of feelings. Secondly, Goncharov, with plastic virtuosity, guesses in the household items surrounding Oblomov the character of their owner. Here he follows in the footsteps of Gogol. The author describes Oblomov's office in detail. All things show abandonment, traces of desolation: last year’s newspaper is lying around, there is a layer of dust on the mirrors, if someone decided to dip a pen into an inkwell, a fly would fly out of it. The character of Ilya Ilyich is guessed even through his shoes, long, soft and wide. When the owner, without looking, lowered his feet from the bed to the floor, he certainly fell into them immediately. When in the second part of the novel Andrei Stolts tries to awaken the hero to an active life, confusion reigns in Oblomov’s soul, and the author conveys this through his discord with familiar things. “Now or never!”, “To be or not to be!” Oblomov started to get up from his chair, but didn’t immediately hit his shoe and sat down again.”

The image of the robe in the novel and the whole story of Ilya Ilyich’s relationship to it are also symbolic. Oblomov’s robe is special, oriental, “without the slightest hint of Europe.” He, like an obedient slave, obeys the slightest movement of his master’s body. When love for Olga Ilyinskaya temporarily awakens the hero to an active life, his determination is associated with the robe: “This means,” Oblomov thinks, “suddenly throwing off the wide robe not only from his shoulders, but also from his soul, from his mind...
Oblomov’s new owner, Agafya Matveevna Pshenitsyna, reports that she took the robe out of the closet and is going to wash and clean it.

The connection between Oblomov’s inner experiences and the things that belong to him creates a comic effect in the novel. Not anything significant, but shoes and a robe characterize his internal struggle. The hero's long-standing habit of the deceased Oblomov's life is revealed, his attachment to everyday things and dependence on them. But here Goncharov is not original. He picks up and develops Gogol’s method of reifying man, known to us from “Dead Souls.” Let us recall, for example, the descriptions of the offices of Manilov and Sobakevich.

The peculiarity of Goncharov’s hero is that his character is in no way exhausted or limited by this. Along with the everyday environment, the action of the novel includes much broader connections that influence Ilya Ilyich. The very concept of the environment that shapes human character is expanded immensely by Goncharov. Already in the first part of the novel, Oblomov is not only a comic hero: behind the humorous episodes, other, deeply dramatic principles slip through.

Only a comic hero: behind the humorous episodes, other, deeply dramatic principles slip through. Goncharov uses the hero’s internal monologues, from which we learn that Oblomov is a living and complex person. He plunges into youthful memories, reproaches for a mediocre life are stirring in him. Oblomov is ashamed of his own lordship, as a person, he rises above him. The hero is faced with a painful question: “Why am I like this?” The answer to it is contained in the famous “Oblomov’s Dream”. The circumstances that influenced the character of Ilya Ilyich in childhood and youth are revealed here. The living, poetic picture of Oblomovka is part of the soul of the hero himself. It includes the Russian nobility, although Oblomovka is far from being limited to nobility. The concept of “Oblomovism” includes the entire patriarchal way of Russian life, not only with its negative, but also with its deeply poetic sides.

This nature, shunning the “wild and grandiose,” promises a person a calm and long-term life and an imperceptible, sleep-like death. Nature here, like an affectionate mother, takes care of the silence and measured tranquility of a person’s entire life. And at the same time, there is a special “mode” of peasant life with a rhythmic sequence of everyday life and holidays. And even thunderstorms are not terrible, but beneficial there: they “occur constantly at the same set time, almost never forgetting Ilya’s day, as if in order to support a well-known legend among the people.” There are no terrible storms or destruction in that region. The stamp of unhurried restraint also lies on the characters of people nurtured by Russian mother nature.

The creations of the people's poetic imagination match nature. “Then Oblomov dreamed of another time: on an endless winter evening he timidly clings to his nanny, and she whispers to him about some unknown side, where there are neither nights nor cold, where miracles happen, where rivers of honey and milk flow, where no one he doesn’t do anything all year round, and all he knows every day is that all the good fellows, such as Ilya Ilyich, and beauties are walking, no matter what a fairy tale can describe.”

Goncharov’s “Oblomovism” includes boundless love and affection, with which Ilya Ilyich has been surrounded and nurtured since childhood. “The mother showered him with passionate kisses,” looked “with greedy, caring eyes to see if his eyes were cloudy, if anything hurt, if he slept peacefully, if he woke up at night, if he tossed about in his sleep, if he had a fever.” .

This also includes the poetry of rural solitude, and pictures of generous Russian hospitality with a gigantic pie, and Homeric fun, and the beauty of peasant holidays to the sounds of the balalaika...

There is something in him from the fairy-tale Ivanushka, a wise sloth who distrusts everything calculating, active and offensive. Let others fuss, make plans, scurry and jostle, boss and servile others. And he lives calmly and carelessly, like the epic hero Ilya Muromets, he sits for thirty years and three years.

Here, in the modern St. Petersburg guise, “walking men” come to him, calling him on a journey across the sea of ​​\u200b\u200blife.

t appear to him in the modern St. Petersburg guise of “walking men”, calling him on a journey across the sea of ​​\u200b\u200blife. And then we suddenly involuntarily feel that our sympathies are on the side of the “lazy” Ilya Ilyich. How does St. Petersburg life tempt Oblomov, where do his friends invite him? The capital's dandy Volkov promises him secular success, the official Sudbinsky - a bureaucratic career, the writer Penkin - vulgar literary denunciation.

“I’m stuck, dear friend, up to my ears,” Oblomov complains about the fate of the official Sudbinsky. “And blind, and deaf, and dumb for everything else in the world. And he will go out into the public, will eventually manage his affairs and will grab ranks... But how little of a person is needed here: his intelligence, his soul, his feelings - why is that?

“Where is the man here? What does it crush and crumble into? - Oblomov denounces the emptiness of Volkov’s social vanity. -... Yes, ten places in one day - unfortunate!” - he concludes, “turning over on his back and rejoicing that he does not have such empty desires and thoughts, that he does not rush around, but lies here, maintaining his human dignity and his peace.”

In the life of business people, Oblomov does not see a field that meets the highest purpose of a person. So isn’t it better to remain an Oblomovite, but retain humanity and kindness of heart, than to be a vain careerist, an active Oblomov, callous and heartless? So Oblomov’s friend Andrei Stolts finally lifted the couch potato from the sofa, and Oblomov for some time indulges in the life into which Stolts plunges headlong.

“One day, returning from somewhere late, he especially rebelled against this vanity.

“Which one do you like?” asked Stolz. “Not like here.” “What exactly didn’t you like here?” - “Everything, the eternal running around, the eternal game of trashy passions, especially greed, interrupting each other’s paths, gossip, gossip, clicking on each other, this looking from head to toe; , people look so smart, with such dignity on their faces; all you hear is: “This one was given this, that one got the rent.” “For mercy, for what?” someone shouts, “This one lost yesterday in the club; three hundred thousand! “Boredom, boredom, boredom!.. Where is the man here? Where did he disappear, how did he exchange himself for every little thing?”

Oblomov lies on the sofa not only because as a master he can do nothing, but also because as a person he does not want to live at the expense of his moral dignity. His “doing nothing” is also perceived in the novel as a denial of bureaucracy, secular vanity and bourgeois businessmanship. Oblomov's laziness and inactivity are caused by his sharply negative and rightly skeptical attitude towards the life and interests of modern practically active people.