Oblomov’s quiet death is not the death of the blessed one. the entire fourth part of the novel is a description of the spiritual death of the hero before his death. and the main motive here is Oblomov’s spiritual defeat, which looks like a plunge into a new, now final “death sleep”. before us is already a living dead who does not want to think about what awaits him tomorrow (it is not without reason that it is said: “he had a presentiment of imminent death and was afraid of it”), but is only pleased that now he still has the opportunity not to worry about the final outcome of his life, about the need for repentance. The key words of the fourth part are: “peace”, “silence”, “hopelessness”, “carelessness”, “sleep”, “laziness”, “lulling”.

The hero in this part is characterized by two unequally represented states. the first is short-lived outbursts of repentance, which are “ever less common.” however, this repentance is not active, as in the novel with Olga Ilinskaya, but contemplative and therefore sad, desperate. Oblomov then “cries cold tears of hopelessness.” the second state is alarmingly named by Goncharov: “internal triumph.” this is a complete rejection of all repentance, complete self-justification and repose in sin. Goncharov writes about his hero that he will “taste temporary blessings and calm down”, that “there is no need to repent.”

self-justification lies in the fact that under his sin, under his sinful state, Ilya Ilyich provides a philosophical basis: “finally he will decide that his life not only took shape, but was created, even intended, so simply, no wonder, to express the possibility of an ideally peaceful side It fell to others, he thought, to express its disturbing sides, to move it with destructive forces: each has its own purpose!

The result of Oblomov’s life is very disappointing. he is summed up in a conversation with Stolz already at the final farewell: “I have long been ashamed of living in the world! But I cannot walk your path with you, even if” and Stolz’s words look like the final verdict: “you are dead.”

however, the novel by Oblomov is clearly imbued with the evangelical spirit. even the final spiritual death of the hero still leaves hope for the mercy of the Lord God. The author hopes for this mercy when he only hints at the image of an angel guarding Oblomov’s grave: “it seems that the angel of silence himself is guarding his sleep.” Hope is also visible in the way Ilya Ilyich is preserved in people’s memory. The widow Agafya Matveevna Pshenitsyna prays for him in church every week. Zakhar remembers him with a kind word: “God took away such a master! He lived for the joy of people... you can’t make such a master... remember, Lord, his darling in your kingdom!”

Oblomov died for the world, for people, and died spiritually. but still, without doing good, he did not do evil. from a Christian point of view, God gave him such gifts as a pure heart, meekness, poverty of spirit, crying, etc. (although all this was in an everyday, non-spiritual form). Oblomov could not overcome by the power of repentance, the will to repentance and repentance - the “sleep of death”, the “despondency” of the spiritual. in this sense, he seemed to have wasted the priceless gifts given to him by God. but still the author does not condemn him, but highlights as the final result - the possibility of God's mercy.

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1) Bazarov believes that a lot has changed after the 17th century. There is no benefit from aristocrats, their main occupation is doing nothing, their dignity and self-respect are empty words. “So you respect yourself and sit with folded hands; what is the benefit of this for the social class. You wouldn’t respect yourself and would do the same.” in the idleness and empty chatter of the bazaars he sees the basic political principle of the entire nobility living at the expense of others.

Pavel P. sees aristocracy as the main force; it once gave freedom. varistocrats have a developed sense of self-esteem, a sense of self-respect, it is important, because society is built on the individual. "they do not give up their rights, and therefore they respect the rights of others; they demand the fulfillment of duties in relation to them, and therefore they themselves use their duties."

3) Bazarov. “A person is only good because he has a bad opinion of himself.”

Our man is happy to rob himself just so he can get drunk in the tavern.

Pavel p. “He (the man) sacredly honors the legends, he is patriarchal, he cannot live without faith”

p p. "our artists are powerless to the point of disgusting"

P.P. is wrong in what modern art denies, because doesn't know him

b. does not deny nature, but sees in it only the source and field of people. activities

The character Oblomov and the author Goncharov, who created this classic type, are fully aware of what destroyed this hero, a man with a “dove soul.” The answer is “Oblomovism,” as Ilya Ilyich Oblomov explains to Olga who asked this question. But what is “Oblomovism”? Goncharov figured this out long before the end of his novel.

In 1849, that is, almost ten years before the appearance of the novel “Oblomov” in print, he published a large excerpt from it, entitled “Oblomov’s Dream,” in which he connected the phenomenon of Russian life in question with the prevailing social structure in it, with the nature and climate of the country, with the morals of its population. Let's look at each of these factors separately.

The nature of that blessed corner of the earth where Oblomov spent his childhood does not know “anything grandiose, wild and gloomy.” The climate also corresponds to the peaceful nature. The annual cycle takes place here correctly and calmly: winter, uninterrupted by thaws, lasts just as long as it needs; spring is coming quickly, and during it there is no need to be afraid of sudden blizzards; In the summer, there are clear days for almost three months, the rays of the sun only slightly burn, but do not scorch with unbearable heat. Terrible storms are unheard of. An enthusiastic dreamer and poet may become homesick in this area. Meanwhile, a quiet life is precisely Oblomov’s ideal.

The silence and peace that reigned in nature extended to the morals of the population. The interests of the residents were entirely focused on themselves, since there were no relations with the population of other areas. The disappearance of a pig or chicken was interpreted as an event of national importance. Comparative material security, which guaranteed a piece of daily bread, developed an amazing carelessness. The living embodiment of such carelessness is the peasant Onisim Suslov, whose hut has been hanging over a ravine since time immemorial, threatening to fall every minute. It would seem that the chicken is afraid to enter it, but Onesimus does not even think about the danger.

The morals of the surrounding population were passed on to the inhabitants of the Oblomov estate, which created the good-natured and apathetic Ilya Ilyich. Eating and sleeping with complete idleness - such is the life of Oblomov’s parents and all his household. The whole house consulted about dinner: everyone proposed his own menu, even the elderly aunt was invited to advice. After dinner, sleep followed, during which there was not a single waking soul in the house. The predominance of physical needs, such as food and sleep, led to the fact that mental demands became dull and, finally, completely disappeared. The underdevelopment of the “Oblomovites” reached colossal limits: for example, except for old Oblomov, everyone confused the names of the months and the order of numbers; but they knew a great variety of all sorts of signs and slavishly believed in them. There was absolutely nothing for the Oblomovites to talk about with each other, since, according to the author’s ironic conclusion, their mental treasures were mutually exhausted, and they received little news. No matter how pathetic and wretched such a life was, they did not want another, because another life would be associated with diversity, change and chance, and the inhabitants of the Oblomov estate were afraid of this like fire. How great was their fear of any news is shown by the episode with the receipt of the letter, an extraordinary event in Oblomov’s life.

The picture of their life will be quite complete if we add that among the Oblomovites there was not even a serious interest in farming. They began to repair a structure that had fallen into disrepair no earlier than it was absolutely necessary. The bridge, for example, was repaired only when Antip fell from it into a ditch along with a horse and a barrel. There is no need to prove that such a well-fed and idle life was possible only during serfdom, when everything was paid for and paid for by the work of “three hundred Zakhars.”

This is the environment in which Ilya Ilyich Oblomov spent his childhood years. The author strongly emphasizes that this environment should have had a huge impact on the formation of the hero’s mental and moral being. Suffice it to recall the upbringing of little Ilyusha in his parents' home. From birth, an old, devoted nanny was assigned to him, whose duties included “looking after” the child. This observation consisted of a tireless struggle against manifestations of liveliness and independence in the boy’s character. The nanny could not influence the mental development of the child. And she fed his imagination only with her ego-softening tales about good fellows, very similar to Ilya Ilyich.

Most fairy tales featured a kind sorceress who patronized her favorite and, in the end, married him to an unheard-of beauty, Militrisa Kirbityevna. Little Ilyusha, under the impression of such fairy tales, began to be drawn to a wonderful land, where he did not have to work and where his Militris was waiting for him. The influence of the parents not only was not a counterbalance to the influence of the nanny, but, on the contrary, strengthened it. Ilyusha’s mother provided the child to the old woman only partly: in her free time from household chores, she made sure that the sun did not burn her son’s head, that he did not run into a ravine, and the like. Even more than the nanny, the mother softened the child’s pride: not embarrassed by the presence of her son, she loved to talk with the household about his future, and made him the hero of some brilliant epic she created.

When Ilya Ilyich grew from a child into a youth, the basis of his upbringing changed little, despite the fact that instead of a nanny, the serf boy Zakharka was now constantly with him. As soon as Ilyusha wakes up, Zakharka is already standing by the bed and, as a nanny used to do, pulls on his stockings and puts on his shoes, and Ilyusha, already a fourteen-year-old boy, only knows that he is holding out one or the other leg for him. And Zakharka is not the only one at his disposal; as soon as he blinks, three or four servants rush to fulfill his desire. It is not surprising that Ilyusha, like a greenhouse plant, grew slowly and sluggishly. The only thing that could overcome the influence of such an upbringing was the teaching at the boarding school of the efficient and energetic German Stolz, who managed the neighboring estate.

Stolz immediately entered into a stubborn struggle with the education system of the Oblomovites, who, having agreed to subject Ilyusha to school teaching only because without him it was impossible to achieve the embroidered uniform of an official, in every possible way opposed Stolz in his attempts to subject the boy to the strict regime of his boarding school. German perseverance might have overcome the influence of Oblomov’s followers on Ilyusha if the latter had not found an ally in the person of Stolz’s son, Andrei, who became so attached to Ilyusha that he did translations for him and gave him lessons. This freed Ilyusha from the need to work, and work was the only means of fighting “Oblomovism.”

The influence of the latter was strengthened by the fact that Ilya Ilyich, who from childhood had observed the serfdom, in which such a sharp line was drawn between “people” and “masters” that a yard boy, for complaining about Ilyusha’s mistreatment of him, received beaters instead of fair satisfaction, felt himself as a master. In this regard, his quarrel with Zakhar, who dared to say that since “others are changing apartments, then why not Ilya Ilyich too,” is extremely characteristic. Oblomov became extremely indignant and blasted Zakhar:

“Another works tirelessly,” he says, “runs around, fusses, never works, never eats, another bows, another asks, humiliates himself.” What about me? Well, decide what you think, the other one is me, huh?.. Am I rushing about, am I working? I don’t eat enough, or what? Skinny or pitiful-looking? Am I missing anything? It seems that there is someone to give it to? I have never pulled a stocking over my feet as I live, thank God. Will I worry? What do I need? And who am I telling this to? Haven't you been following me since childhood? You know all this, you saw that I was brought up tenderly, that I did not endure cold or hunger, I knew no need, I did not earn my own bread, and in general I did not do dirty work.

Oblomov's consciousness darkened so much that pride appeared from the advantage of doing nothing. Oblomov is indignant at the mere comparison of him with others.

Serfdom was the foundation of such a life. Zakhars and hundreds of Zakhars made it unnecessary to show their own initiative, their own activities. There was no need for life's struggle. Hence - complete helplessness, fear of life.

Conclusion:
Goncharov is a great master of the episode, revealing the true essence of the hero’s character. Oblomov’s dream is the writer’s desire to penetrate the secret of the soul, fully reveal the image, analyze the hero’s actions, and show his worldview. Sleep is a special human state. The feelings experienced during a dream-vision are of particular significance: they exactly translate the feelings that a person experiences in real life. The comprehensive picture of the dream shows a collective image of Oblomovka, this society in which there is no place for everything active, progressive, and thinking. Oblomov's dream is a key event, a sample episode, this is the line beyond which a true understanding of the novel begins.

Article outline

I. Introduction
Time of appearance of the excerpt “Oblomov’s Dream”.
His place in the novel

II. Main part
Oblomov as the cause of “Oblomovism”.
a) Nature:
- lack of “grand, wild and gloomy”,
- no struggle with nature,
- lack of poetic impressions.

b) Climate.

c) Morals of the population:
- pettiness,
- limited interests,
- carelessness,
- absence of accidents.

d) Estate:
- predominance of physical needs,
- underdevelopment,
- fear of change,
- attitude towards the economy,
- the reasons for it.

e) Oblomovka’s influence on Oblomov.
- childhood,
- adolescence.

III. Conclusion. Oblomov and “others”.

Roman I.A. Goncharov’s “Oblomov” was published in 1859 in the journal “Otechestvennye zapiski”. The writer worked on the novel during a period of revitalization of public life associated with preparations for the reform of the abolition of serfdom in Russia. In his work, Goncharov criticizes the foundations of serfdom and reveals the theme of spiritual impoverishment and degradation of the local nobility.

At the center of the novel “Oblomov” is the complex and contradictory image of the landowner Ilya Ilyich Oblomov. His character and thinking were influenced by the environment in which he was raised and spent his childhood.

From an early age, the hero was instilled with traits that later became known as “Oblomovism.” Little Ilyusha grew up as a spoiled child, completely unsuited to independent life. He is used to everything being done for him, and his destiny is “idleness and peace.” In Ilyusha, any attempts at activity were consistently suppressed. The stillness of life, dormancy, a secluded way of life is not only a sign of the hero’s existence, but also the essence of life in Oblomovka, which is separated from the whole world: “Neither strong passions nor brave undertakings worried the Oblomovites.” Inactivity and lack of life goals are what characterize Oblomovka’s life.

However, Ilyusha’s character is shaped not only by lordship. Life in Oblomovka is full and harmonious in its own way: it is Russian nature, the love and affection of a mother, Russian hospitality, the colors of the holidays. These childhood impressions are an ideal for Oblomov, from the height of which he judges life. Therefore, the hero does not accept “Petersburg life”: he is not attracted by either his career or the desire to get rich.

Until the age of fifteen, Ilya studied very reluctantly at the boarding school. Studying science and reading books tired him. After boarding school, he “followed the course of science to the end” in Moscow. Oblomov came to St. Petersburg with the goal of succeeding in public service and establishing a family life. Ilya Ilyich served somehow for two years and left the service. For him it was an unnecessary and meaningless burden.

Having quit his service and isolated himself from society, Oblomov indulged in dreams. Now “almost nothing attracted him from home, and every day he settled more and more firmly in his apartment.” Gradually, spiritual needs in Oblomov died, humane impulses became fruitless, and sound judgments turned into sleepy muttering. The hero gradually sank into complete mental passivity and apathy. Goncharov writes: “Oblomov...could not comprehend his life and therefore was burdened and bored by everything he had to do.”

He decided that it was better to remain an “Oblomovite”, but to retain his humanity and kindness of heart, than to be a vain careerist, callous and heartless. About St. Petersburg life, Ilya Ilyich says: “All the time running around, the eternal game of crappy passions, especially greed, interrupting each other’s paths, gossip, gossip, clicking at 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.”

Thus, Oblomov was a kind, meek, intelligent person who received a good education. In his youth, he was full of progressive ideas and a desire to serve Russia. His childhood friend Andrei Stolts characterizes Oblomov this way: “This is a crystal, transparent soul.” However, the positive character traits of Ilya Ilyich are replaced by such qualities as lack of will and laziness. Life with its worries and worries, constant work frightens the hero, and he wants to sit out in a quiet apartment.

In an apartment on Gorokhovaya Street, Oblomov lies on the sofa, not only because, as a master, he can do nothing, but also because he does not want to live at the expense of his moral dignity. The hero rejoices that he “doesn’t poke around, but lies here, preserving his human dignity and his peace!”

Oblomov's laziness and inactivity are caused by his negative attitude towards the life and interests of people contemporary to the hero. This is the tragedy of Oblomov’s life. Sometimes Ilya Ilyich wants to give up Oblomov’s habits. He rushes to action, but these desires quickly fade away. And before us is again a couch potato yawning from boredom and lying on the sofa. Apathy and laziness extinguish all his noble impulses.

Thus, Goncharov depicts the struggle of good inclinations in Oblomov with lordly habits and laziness. The hero does not seek to change his life. He values ​​peace most of all, having no strength or desire to fight. He retreats before life's problems and difficulties.

However, Ilya Ilyich is ashamed of his own lordship, as a person towering above him. He is tormented by the question: “Why am I like this?” When Stolz tries to awaken in Oblomov the desire to live and work, reproaching him for the paralysis of his mind and will, Ilya Ilyich admits: “I know everything, I understand everything, but there is no willpower.” The hero lives by the principle: “It would be nice if this happened by itself somehow imperceptibly.”

Love for Olga Ilyinskaya temporarily transforms Oblomov. This is how the hero is described in a state of love: “The foggy, sleepy face instantly transformed, the eyes opened, the colors began to play on the cheeks; thoughts began to move, desire and will sparkled in the eyes.” But the fear of losing peace makes Oblomov give up his love for Olga. “Oblomovism” turns out to be even stronger than love. This is the true tragedy!

Subsequently, Ilya Ilyich finds his “ideal” in the heartfelt love of Agafya Matveevna Pshenitsyna, who does not demand anything from him, indulging him in everything. In her house, “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. Food and relaxation are all Ilya Ilyich’s activities.

Oblomov’s dignity lies in the fact that he condemned himself and was aware of his inevitable spiritual death. Olga asks him in anguish: “What ruined you, Ilya? There is no name for this hell...” Ilya Ilyich answered her: “There is - Oblomovism!” Oblomov suffers from the fact that he does not see a goal in life and does not find an application for his strength.

The writer showed Oblomov’s path to realizing his worthlessness, insolvency, and, ultimately, to the disintegration of his personality. Destruction of the essence of human nature.

So, the hero of the novel was destroyed by Oblomovism. This phenomenon is not an individual feature of Oblomov, but, as Dobrolyubov puts it, “it serves as the key to unraveling many phenomena of Russian life.” The critic concludes: “There is a significant part of Oblomov in each of us, and it is too early to write a funeral eulogy for us.”

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Oblomov’s quiet death is not the death of the blessed one. the entire fourth part of the novel is a description of the spiritual death of the hero before his death. and the main motive here is Oblomov’s spiritual defeat, which looks like a plunge into a new, now final “death sleep”. before us is already a living dead who does not want to think about what awaits him tomorrow (it is not without reason that it is said: “he had a presentiment of imminent death and was afraid of it”), but is only pleased that now he still has the opportunity not to worry about the final outcome of his life, about the need for repentance. The key words of the fourth part are: “peace”, “silence”, “hopelessness”, “carelessness”, “sleep”, “laziness”, “lulling”.

The hero in this part is characterized by two unequally represented states. the first is short-lived outbursts of repentance, which are “ever less common.” however, this repentance is not active, as in the novel with Olga Ilinskaya, but contemplative and therefore sad, desperate. Oblomov then “cries cold tears of hopelessness.” the second state is alarmingly named by Goncharov: “internal triumph.” this is a complete rejection of all repentance, complete self-justification and repose in sin. Goncharov writes about his hero that he will “taste temporary blessings and calm down”, that “there is no need to repent.”

self-justification lies in the fact that under his sin, under his sinful state, Ilya Ilyich provides a philosophical basis: “finally he will decide that his life not only took shape, but was created, even intended, so simply, no wonder, to express the possibility of an ideally peaceful side It fell to others, he thought, to express its disturbing sides, to move it with destructive forces: each has its own purpose!

The result of Oblomov’s life is very disappointing. he is summed up in a conversation with Stolz already at the final farewell: “I have long been ashamed of living in the world! But I cannot walk your path with you, even if” and Stolz’s words look like the final verdict: “you are dead.”

however, the novel by Oblomov is clearly imbued with the evangelical spirit. even the final spiritual death of the hero still leaves hope for the mercy of the Lord God. The author hopes for this mercy when he only hints at the image of an angel guarding Oblomov’s grave: “it seems that the angel of silence himself is guarding his sleep.” Hope is also visible in the way Ilya Ilyich is preserved in people’s memory. The widow Agafya Matveevna Pshenitsyna prays for him in church every week. Zakhar remembers him with a kind word: “God took away such a master! He lived for the joy of people... you can’t make such a master... remember, Lord, his darling in your kingdom!”

Oblomov died for the world, for people, and died spiritually. but still, without doing good, he did not do evil. from a Christian point of view, God gave him such gifts as a pure heart, meekness, poverty of spirit, crying, etc. (although all this was in an everyday, non-spiritual form). Oblomov could not overcome by the power of repentance, the will to repentance and repentance - the “sleep of death”, the “despondency” of the spiritual. in this sense, he seemed to have wasted the priceless gifts given to him by God. but still the author does not condemn him, but highlights as the final result - the possibility of God's mercy.

Reply posted by: Guest

Throughout the novel, Gogol treats Andriy with sympathy. understanding and sadness. he recognizes Andriy’s right to love, the episode of the meeting with the lady is painted in light colors and evokes sympathy for the couple, but it’s not like Andriy raised the sword on his own.

Reply posted by: Guest

Best friends, a hare and a squirrel, lived in the same forest. They walked every day, frolicked on the forest edge, I don’t know grief! One day, the squirrel’s mother asked her to go to the neighboring forest to the crow and ask her for ingredients for a delicious holiday pie. The squirrel asked: “Are there no animals in our forest that have these ingredients?” - “No, the squirrel cannot be found in our forest. ..so go to the neighboring forest,” said mom.

The squirrel, without hesitation, called the hare with her so that it would not be so sad on the road. So they set off on the road. They walked.. walked.. walked. After a while they got completely lost, they decided to look. Wandering through the expanses of the neighboring forest, We met a sparrow. “You don’t know how we can find a crow?” asked the squirrel. “I know!” said the sparrow. After the sparrow explained how to get to the crow’s house, our friends set off. But there was more waiting for them along the way. one misfortune! they came across a cunning and treacherous fox. They got scared, and at that time the fox began to slowly approach them. The hare whispered something in the squirrel’s ear and they rushed away. Until the fox came to their senses and the trail disappeared, but the traces remained. Then the cunning one decided to follow these, but not here that was, the hare so skillfully confused his tracks that he returned the fox to the beginning of her journey. Well, at this time our heroes got to the crow’s house, took from her the very ingredients that the squirrel’s mother asked for, and returned home.