Ilya Ilyich Oblomov is our indigenous folk type. "Oblomov - "our indigenous folk type" educational and methodological material on literature (Grade 10) on the topic Ilya Ilyich Oblomov - "our indigenous folk type"

LITERATURE LESSON IN THE 10TH CLASS

"OBLOMOV -" OUR INDIGENOUS TYPE"

Conducted by: teacher of Russian language and literature

Emelyanovich Olga Anatolievna

Goals: to update skills of identification author's position in the work of I.A. Goncharov "Oblomov"; to show the complexity of the author's worldview, the figurative and semantic richness of the chapter "Oblomov's Dream"; to reveal the connection between the problems of the novel and the most important issues of Russian reality mid-nineteenth century; to contribute to the formation of students' ideas about a comprehensively developed personality with a revealed civic position; be able to compare the heroes of the work.

Lesson type: problematic lesson with seminary elements.

During the classes

The history of the human soul, even the smallest soul,

almost more curious than history whole people...

M.Yu. Lermontov

Org. moment.

Work on the words of the epigraph.

Teacher: Where did these lines come from? Who owned the idea?

Children: Pechorin "A Hero of Our Time".

Teacher: Why did we choose these words as an epigraph? What will we talk about today?

Teacher: Is it possible to give an unequivocal assessment of the main character of the novel? Why is the image of the protagonist of the novel interesting for us? Can he be called a hero of his time?

The life and fate of I. I. Oblomov makes you think about the most difficult questions to live “as you need” or “as you want”? How should life be arranged so that a person does not die in it, does not hide from it, does not shrink from its touch? What is the key to a full, active life? Or is Oblomov's life and extinction an acceptable, possible, legal version of it? The novel does not provide direct answers to these questions. But a detailed and unhurried story about human life awakens consciousness, disturbs feelings.

Conversation on questions

Teacher: Ilya Ilyich Oblomov. Who is he? Hardly any Russian novel has been interpreted in such a contradictory way as this one. Let us turn to Chapter I of the first part of the novel - its original exposition. How is Oblomov's appearance, the environment surrounding him drawn?

Children (use the texts of the works): He was a man of about thirty-two or three years old, of medium height, of pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in facial features. The thought walked like a free bird across the face, fluttered in the eyes, settled on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glowed all over the face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.

Sometimes his eyes were darkened by an expression as if of weariness or boredom; but neither fatigue nor boredom could for a moment drive away from the face the gentleness that was the dominant and basic expression, not only of the face, but of the whole soul; and the soul shone so openly and clearly in the eyes, in the smile, in every movement of the head and hand. And superficially observant, cold-tempered man, glancing in passing at Oblomov, he would say: “There must be a kind man, simplicity!” A deeper and more sympathetic person, peering into his face for a long time, would walk away in pleasant thought, with a smile.

Ilya Ilyich's complexion was neither ruddy, nor swarthy, nor positively pale, but indifferent or seemed so, perhaps because Oblomov was somehow flabby beyond his years: from a lack of movement or air, or maybe that and another. In general, his body, judging by the dullness, is too white light neck, small plump arms, soft shoulders, seemed too pampered for a man.

His movements, when he was even alarmed, were also restrained by softness and laziness, not devoid of a kind of grace. If a cloud of care came over the face from the soul, the look became foggy, wrinkles appeared on the forehead, a game of doubt, sadness, fright began; but seldom did this anxiety solidify in the form of a definite idea, still more rarely did it turn into an intention. All anxiety was resolved with a sigh and faded into apathy or drowsiness.

How Oblomov's home costume went to his dead features and to his pampered body! He was wearing a dressing gown made of Persian fabric, a real oriental dressing gown, without the slightest hint of Europe, without tassels, without velvet, without a waist, very roomy, so that Oblomov could wrap himself in it twice. The sleeves, in the same Asian fashion, went from fingers to shoulder wider and wider. Although this dressing gown had lost its original freshness and in some places replaced its primitive, natural gloss with another, acquired, it still retained the brightness of oriental color and the strength of the fabric.

The dressing gown had in the eyes of Oblomov a darkness of invaluable virtues: it is soft, flexible; the body does not feel it on itself; he, like an obedient slave, submits to the slightest movement of the body.

Oblomov always went home without a tie and without a vest, because he loved space and freedom. His shoes were long, soft and wide; when, without looking, he lowered his legs from the bed to the floor, he would certainly hit them at once.

Lying down with Ilya Ilyich was neither a necessity, like a sick person or a person who wants to sleep, nor an accident, like someone who is tired, nor a pleasure, like a lazy person: it was his normal state. When he was at home - and he was almost always at home - he was always lying, and everyone was constantly in the same room where we found him, which served him as a bedroom, study and reception room. He had three more rooms, but he rarely looked in there, unless in the morning, and then not every day when a person swept his office, which was not done every day. In those rooms, the furniture was covered with covers, the curtains were lowered.

The room where Ilya Ilyich lay seemed at first glance to be beautifully decorated. There was a bureau of mahogany, two sofas upholstered in silk, beautiful screens embroidered with birds and fruits unknown in nature. There were silk curtains, carpets, a few paintings, bronzes, porcelain, and many beautiful little things.

But the experienced eye of a man of pure taste, with one cursory glance at everything that was there, would read only a desire to somehow maintain the decorum 1 of inevitable propriety, if only to get rid of them. Oblomov, of course, only bothered about this when he cleaned his office. Refined taste would not be satisfied with these heavy, ungraceful mahogany chairs, wobbly bookcases. The back of one sofa sank down, the pasted wood lagged behind in places. Exactly the same character was worn by paintings, and vases, and trifles.

The owner himself, however, looked at the decoration of his office so coldly and absent-mindedly, as if asking with his eyes: “Who dragged and instructed all this here?” From such a cold view of Oblomov on his property, and perhaps even from a colder view of the same object of his servant, Zakhar, the appearance of the office, if you look there more and more closely, struck by the neglect and negligence that prevailed in it.

On the walls, near the paintings, cobwebs saturated with dust were molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets for writing down some memoirs on them over the dust. Carpets were stained. There was a forgotten towel on the sofa; on the table, a rare morning, there was not a plate with a salt shaker and a gnawed bone that had not been removed from yesterday's dinner, and there were no bread crumbs lying around.

If not for this plate, and not for a pipe just smoked leaning against the bed, or not for the owner himself lying on it, then one would think that no one lives here - everything was so dusty, faded and generally devoid of living traces of human presence. . On the bookcases, it is true, there were two or three open books, a newspaper was lying about, and an inkstand with feathers stood on the bureau; but the pages on which the books were unfolded were covered with dust and turned yellow; it is clear that they were abandoned long ago; the number of the newspaper was last year's, and if you dipped a pen in it, only a frightened fly would have escaped with a buzz.

Teacher: What details of the portrait and the situation, the behavior of the hero show the irony of the writer?

Children: Oblomov's home suit - a spacious Asian bathrobe that fits his pampered body - is a symbol of lifestyle. Other things in the house also "scream" in Gogol's way about their belonging to the owner. In several comic episodes, Oblomov's "lying down" is depicted. It is shown how the gentleman lies on the sofa, how he tries to get up, how his foot does not fall into the shoe; listlessly looking for a letter that came from the village, but has been lost in the folds of the blanket for several days. A sofa, shoes, a bathrobe are also symbols of Oblomov's life.

Teacher: How does the decoration of the room reveal the hero?

Children: "Scalloped cobwebs" clinging to the walls near the paintings; mirrors that do not reflect objects, but can serve as "Tablets for writing on them"; stains on the carpets, a forgotten towel on the sofa - all this speaks of neglect, the hero's indifference to his life. But at the same time, at first glance, the room where Oblomov lay seemed "beautifully decorated." The reason for this duality, apparently, is that the owner has taste, means, there is an inner need to surround himself with expensive and beautiful things, but there is no desire to maintain the cleanliness and beauty of the office.

Teacher: Books can tell a lot about a person, about his mental interests, activities. And what does Oblomov read?

Children: “two or three unfolded books were lying, a newspaper was lying around, an inkwell with feathers stood on the bureau; but the pages on which the books were unfolded were covered with dust and turned yellow; it is clear that they were abandoned long ago; the number of the newspaper was last year, and if you dip a pen into it, only a frightened fly would have escaped from the inkwell.

Such an attitude to everything may indicate either depression, fatigue from life, or some kind of drama experienced by the owner of all these things. But, reading the first chapter, we will find out. That Oblomov is simply used to such decoration of his room, sometimes notices neglect and dirt, and then calls Zakhar to account. The tedious squabbles with Zakhar, so that he would at least do something, only emphasize the complete inaction of the master, who is in the grip of inertia.

Teacher: Didn’t the thought flash through your mind that somewhere we have already seen a similar domestic environment, and the image itself reminds someone?

Appearance:“His features were not devoid of pleasantness, but this pleasantness, it seemed, was too much transferred to sugar”;

Education: considers himself well-mannered, educated, noble. But in the office for two years in a row there is a book with a bookmark on the 14th page .

He shows "beautiful soul" in everything, liveliness of manners and amiable chirping in conversation. Clinging to any topic, his thoughts float away into the distance, into abstract reflections.

Character: a dreamer, and his dreams are completely divorced from reality. "How nice it would be if all of a sudden an underground passage was made from the house or a stone bridge built across the pond."

The landowner's household is handled by a drunken clerk.

Conclusion:

In this landowner there are no living desires, that force of life that moves a person, makes him perform some actions. In this sense, he is a dead soul, "neither this nor that."

He dreams of a neighbor with whom he could talk “about courtesy, about good treatment, follow some kind of science”, “how it would be really good if we could live like that together, under the same roof, or under the shade of some some elm to philosophize.

To think about real life, and even more so, this hero is not capable of making any decisions.

It was mismanaged, the business "went somehow by itself." He allows the peasants to get drunk instead of working, his clerk does not know his business and, like the landowner, does not know how and does not want to manage the household.

A boring interlocutor, from him "you will not expect any lively or even arrogant words" that, after talking with him, "you will feel deadly boredom."

The seal of dullness, scarcity, uncertainty of color lies on everything.

Teacher: What is the similarity between the depiction of Manilov in Dead Souls and Oblomov? What is the difference?

Children: “Oblomov in the image of Goncharov is not imaginary (like Manilov), but a really pleasant and really kind, gentle, frank and cordial person. And he evokes completely different (than Manilov) feelings in the people around him. N.I. Prutskov

Teacher: Together with Oblomov in Ch. I appears Zakhar. Can Zakhar be called a kind of "double" of Oblomov and why?

Children: “... an elderly man, in a gray frock coat, with a hole under his arm, from where a piece of shirt stuck out, in a gray waistcoat ... with a bare skull, like a knee, and with immensely wide and thick blond whiskers with gray hair ... ". In this portrait characteristic one can feel the irony of the author, who later explains the reasons for such an extravagant appearance: Zakhar's clothes reminded him of a livery - a uniform required to accompany his masters "to church or to visit" and served as "the only representative of the dignity of the Oblomovs' house."

Passionately devoted to his master, Zakhar, however, is a rare day when he does not lie to him about something. He also loves to drink, and always strives to "calculate" a dime from the master. Longing takes possession of him if the master or his guests eat everything that is served on the table. Zakhar loves to gossip, to invent some kind of unheard-of story about the master. “Zakhar would have died instead of the master, considering it his inevitable and natural duty ... But on the other hand, if it were necessary, for example, to sit all night near the master’s bed, without closing his eyes, and the health or even the life of the master would depend on this, Zakhar would certainly would fall asleep."

Zakharka's only duty was to sit in the hallway, waiting for the master's orders. But it rarely came to orders, and "a young, agile, gluttonous and crafty guy" all his youth dozed off in the same hallway.

“You are more Oblomov than I am,” Ilya Ilyich throws to his servant.

Teacher: What are their similarities?

Children: Oblomov and Zakhar are equally hopelessly mired in laziness, lack of spirituality, apathy.

Teacher: Why?

Children: Both Zakhar and Oblomov, each in their own way, keep in their souls the image of Oblomovka, who raised them, shaped their life, character and relationships. "Zakhar loved Oblomovka like a cat loved his attic...". He could not forget the "lordly wide and quiet life in the wilderness of the village", he brought out his personal "Oblomovism" from there, which is closely intertwined with the life of his master.

Teacher: And now the question is brewing: why in the middle of the story does the author take us to a "paradise"? (Chapter "Oblomov's Dream")

Analysis« Oblomov's dream. To do this, the class is divided into 5 groups. Each group gets its own task and its own questions.

To reveal the role of landscape in understanding the ideological content of "Oblomov's Dream"

Define role symbolic images in the description of the way of life of the Oblomovites (2 groups).

Tell about the spiritual life of the Oblomovites.

Note the features of the image of space and time in the "Dream"

1. To reveal the role of the landscape in understanding the ideological content of "Oblomov's Dream"

With what help artistic means the writer conveys the state of nature?

How do descriptions of nature reveal the state of mind of the Oblomovites, their characters, way of life?

2. Determine the role of symbolic images in describing the way of life of the Oblomovites

Find a description of the sleep of the Oblomovites. Provide citations.

With the help of what artistic means does the writer poetize this physiological state of a person.

Prove that the image of the dream has symbolic meaning.

3. Determine the role of symbolic images in describing the way of life of the Oblomovites.

Find a description of the pie, the "ritual" of making and eating it.

With the help of what artistic means does the writer poetize such a physiological state of a person.

Prove that the image of the pie has a symbolic meaning

4. Tell about the spiritual life of the Oblomovites.

Find and read quotes that reveal the attitude of the Oblomovites to education, books, on the one hand, and to signs and superstitions, on the other.

What meaning is revealed when the image of Oblomov is brought closer to the folklore images of Emelya and Ilya Muromets?

5. Note the features of the image of space and time in the "Dream"

Discuss the schematic representation of Oblomovka's spatial boundaries. Choose the most successful scheme, justify your choice. Based on the spatial images of "Sleep".

Explain the symbolic meaning of the images of the letter and the ravine.

Find a description of the passage of time in Oblomovka. Note its features, depict it schematically.

Conclusion: Oblomovka - "a blessed corner" - is a utopia.

This "wonderful land" is separated from the outside world: a guest rarely comes here, and the news rarely reaches. But in Oblomovka this is not necessary, there "people lived, thinking that it should not and cannot be otherwise, confident that all others live in exactly the same way and that it is a sin to live otherwise." "The Lord of that side did not punish either Egyptian or simple ulcers," and the Oblomovites themselves were most afraid of passions, "grandiose, wild and gloomy."

Oblomovka is characterized by Russian features. There we do not manage to see "evenings in the Swiss or Scottish taste", the peasants are engaged in the usual chores: working for the master, paying taxes. Asocial manifestations are reduced to nothing: theft is considered the most terrible villainy, and few people have seen a drunken peasant.

Oblomovka is surrounded by an invisible wall; nothing new penetrates beyond this wall. This place is similar to the city of Kalinov Ostrovsky: people do not know about the world around them, they believe in fairy tales about two-headed people and do not try to doubt it, they accept everything as the truth.

The natural landscape of Oblomovka "for fifteen miles around represented a series picturesque sketches, cheerful, smiling landscapes. "Only a ravine, overshadowed by fairy tales about him, violated this picture. The ravine was the main "mythical" object, they frightened little Ilyusha. But, however, everything in Oblomovka was subordinated to myth, fairy tale, traditions. The peasants called the pier on the Volga by "Colchis" and "Pillars of Hercules", the Oblomov family was entirely brought up on all sorts of fairy tales about the beautiful sorceress Militrina Kiribievna.

Behind the outskirts of the village, miracles begin - the bright miracles of popular imagination and the dark miracles of deadly superstition. One imperceptibly passes into another - so that it is difficult to draw a line between good and bad. Here stands the hut of Onesimus, and you can get into it only if you “beg her to stand with her back to the forest, and her front to him.” This good fairy tale, but right there, behind the nearest ditch, a terrible fairy tale begins. Little Oblomov only wants to get to the birch forest “not all around, but straight ahead, through the ditch, as he gets scared: there, they say, there are goblin, and robbers, and scary beasts". Along this groove runs the border between light and shadow: closer to the house of little Oblomov - a joyful miracle, away - fabulous horror.

The inhabitants of Oblomovka perceive the world without an account and measures. For them, there is only their own home, and then the imagination of an Oblomovist immediately jumps into an unprecedented distance - the one that is "beyond distant lands." There, “in a certain kingdom-state”, the same Oblomovka is dreaming, but only transformed. The real Oblomovka is only the first approximation to Oblomov's fairy tale; in the long evenings, the nanny tells little Ilyusha “about an unknown country”, where there are no nights, no cold, where miracles happen, where rivers of honey and milk flow, where no one does anything all year round, and day and day they only know that they are walking all good fellows, such as Ilya Ilyich, and beauties, which cannot be said in a fairy tale, nor described with a pen.

The whole life of Oblomovka was subject to traditions: the rites of baptism and burial were exactly performed, each Oblomovite followed the formula "birth - marriage - death", and even in nature "according to the calendar" the seasons changed. Everything was measured and everyday life, and rains with thunderstorms happened in known time. If something happened that was out of the ordinary, then this incident outraged the whole district. Everything traditional, fantastic in Oblomovka ceased to be ordinary, but became sacred.

According to this, the Oblomovs' house also lived. The daily routine, established by the great-grandfathers, was preserved and exactly carried out. From morning awakening to dinner, from dinner to afternoon sleep, from sleep to evening - this is how each of the Oblomovs lived. But little Ilya Oblomov, as it were, got out of this routine. He hardly remembered the words morning prayer, was frisky and inquisitive, unlike those around him, and therefore ran away at the hour of general sleep to explore the area. But a caring mother, a strict nanny, and everyone in the house did not give the child freedom, but only cared for him to be full and healthy. And so it turned out that apart from affection, care for food and fairy tales, Ilya Oblomov did not know anything. This brought in him an immeasurable love for his mother and formed the ideal of life. Oblomov wanted to live for his own pleasure, to fill his existence with dreams and reflections.

Teacher: What in the world of Oblomovka, in the life of its inhabitants, causes good feeling writer? Children: Tranquility, peace, silence, peasant labor, not forced, but for oneself, nature is all love, all poetry: “The sky there, it seems, on the contrary, presses closer to the earth, but not in order to throw stronger arrows, but except to hug her tighter, with love.” In harmony with loving mother nature - the image of "mother". Just as the “mother of the earth” takes care of those whom she sheltered, so does the “mother” take care of her son: “Mother showered him passionate kisses, then she examined him with greedy, caring eyes ... ”The son answers her with ardent reciprocity - and that adult Oblomov, who sleeps and dreams, and that little Oblomov, who dreams of him: “Oblomov, seeing his long-dead mother, and in a dream trembled from joy, from ardent love for her: he, a sleepy one, slowly floated out from under his eyelashes and became motionless two warm tears. Everything is evoked here by the thought of that native, nationally Russian, which connects with the mother earth, with its roots and origins of folk life.

Teacher: And what in the Oblomov way he cannot accept?

Children: But at the same time, in Oblomov's tale there is a chilling fear, a fear of everything new, unfamiliar. There is also dull immobility and everything that corresponds to the Russian “maybe”. Oblomovka resembles an enchanted realm, where everything has fallen into a dream, a vicious circle, where the whole rhythm of life repeats the natural rhythm, like the change of seasons. The intense, full of searching life of mankind does not concern her. Eating and sleeping are the only limits of life there. Man there is in the grip of age-old boredom and laziness.

Teacher: How did our ideas about the hero expand after meeting Oblomov's Dream?

Children: We will find out how Oblomov was brought up: in love, but also in the constant limitation of his own will.

In "Oblomov's Dream" there are also important comparisons of Oblomov with the heroes of Russian fairy tales and epics. Ilya Oblomov and Ilya Muromets, who, like the hero of the novel, sat in jail for 33 years, but then passers-by came, gave Muromets drink of living water, and he set off to perform feats. There is something similar in the fate of Oblomov

Outcome: Thus, Oblomov's dream gives us an explanation of how Ilya Oblomov turned from a cheerful, frisky little boy into a man who does not want to know anything and no one except his office and lackey Zakharka.

The serene Oblomov way of life had a detrimental effect on Zakhar, as well as on his master. Zakhar is the same product of the serfdom as Oblomov. This type of servant is brought out in the novel quite naturally. He not only sets off his master, but also shows that "Oblomovism" is a mass phenomenon. Both the master and the servant are subject to the same vices despite their differences. social status they repeat and complement each other. Life, built on the model of Oblomovka, deprived them of their spiritual development, caused the devastation of the soul, made them closely dependent on each other: just as Oblomov “could neither get up, nor go to bed, nor be combed and shod, nor dine without the help of Zakhar, so Zakhar could not imagine another master, except for Ilya Ilyich, another existence, how to dress, feed him, be rude to him, dissemble, lie, and at the same time inwardly revere him. Indicative in this regard is the fate of Zakhar after the death of his master. Zakhar, who was not accustomed to work, could not stay at any job, and he could not find a gentleman like Oblomov. The life of Oblomov is tragic, but the life of his servant is also tragic.

Teacher: How did dreams and reality collide in Oblomov's life in St. Petersburg?

Children: Oblomov, a nobleman by birth, a collegiate secretary with a rank, has been living without a break for the twelfth year in St. Petersburg ... After the death of his father and mother, he became the only owner of three hundred and fifty souls ... Then he was still young, and if one cannot say that he was alive , then, at least, more alive than now; he was also full of various aspirations, kept hoping for something, expected a lot both from fate and from himself; everything was preparing for the field, for the role - first of all, of course, in the service, which was the purpose of his arrival in Petersburg ... Finally, in the long term ... family happiness flashed and smiled at his imagination ... But the days went by, days, years followed years ... thirty years had passed, and he had not moved a single step in any field and was still standing ... in the same place where he had been ten years ago. But he was still... getting ready to start life. Life in his eyes was divided into two halves; one consisted of work and boredom - these were synonyms for him; the other - from peace and peaceful fun .... Brought up in the bowels of the province ... he was so imbued with a family principle that the future service seemed to him in the form of some kind of family activity, such as, for example, lazy writing in the parish notebook and expense, as his father did. He believed that ... visiting a government office is by no means an obligatory habit that must be adhered to daily ... But how upset he was when he saw that there had to be at least an earthquake in order not to come to the service of a healthy official ... All this brought fear and great boredom to him. "When to live?" he said. Ilya Ilyich suffered from fear and longing in the service, even with a kind, condescending boss. God knows what would have happened to him if he had fallen for a strict and exacting one! Oblomov served somehow for two years, ”and then an incident occurred that forced him to leave the service. Once he sent some necessary paper instead of Astrakhan to Arkhangelsk, was afraid that he would have to answer, “went home and sent a medical certificate” about the illness, and then resigned. “Thus ended - and then was not resumed - his state activity. The role in society was successful for him better. In the first years of his stay in St. Petersburg ... his dead features revived more often, his eyes shone with the fire of life for a long time, rays of light, hope, strength poured out of them. But he was afraid of love, shunned women. “His soul was still pure and virgin; she may have been waiting for her love ... and then, over the years, it seems, she stopped waiting and despaired. Ilya Ilyich parted even more coldly from the crowd of friends. .. Almost nothing attracted him from home, and every year he settled more firmly and more permanently in his apartment. At first it became hard for him to stay dressed all day, then he was too lazy to dine at a party ... Soon the evenings got tired of him: he had to put on a tailcoat, shave every day ”

Teacher: What role do his meetings and dialogues with visitors-guests play for understanding Oblomov and the life around him?

Children: Each of Oblomov's visitors is some kind of social function. Volkov - a type of amorous, fluttering on balls and theaters boyfriend; Sudbinsky is an official to the marrow of his bones, Penkin is an example of an unprincipled journalist, Alekseev is a man without own opinions and will, Tarantiev is a gloomy extortionist and rude. Oblomov's statement about his guests is a consistent criticism of an incomplete, narrowly focused, functional existence ..

Teacher: How is he superior to his guests?

Children: Visitors who often come to Oblomov call him with them, but they cannot dispel his drowsiness, apathy, awaken him to a new, active life. These heroes are active only at first glance, each of them is busy with some specific business, but, in essence, their life is meaningless and empty. Against their background, Oblomov looks like a sage who does not want to take part in the meaningless fuss. And in this there is a hidden comparison of Oblomov with Diogenes, who walked the streets with a lantern and was looking for a Man.

He himself is not capable of any activity ... but it still does not follow by far that other people, under other conditions, could not move Oblomov to an idea and a good deed. A child by nature and by the conditions of his development, Ilya Ilyich left behind in many respects the purity and simplicity of a child, precious qualities in an adult, qualities that in themselves, in the midst of the greatest practical confusion, often reveal to us the realm of truth and at times make an inexperienced, dreamy eccentric and above the prejudices of his age, and above the whole crowd of businessmen who surround him.

Conclusion: Thus, we see Oblomovka in miniature and here - the same vicious circle, the same stopped life. The circle is also directly related to the name of Ilya Ilyich and, consequently, to the name of the village where he spent his childhood. Although in the literature about Goncharov there are other opinions about the origin of the surname of the protagonist of the novel "Oblomov" - from another archaic word "Oblomon", which means sleep. But even more clearly in the name of Ilya Ilyich comes through the meaning of the FRAGRANCE. The name of the protagonist of the novel also contains the meaning of a fragment of serfdom, because the novel was created in the post-reform era and was its bright, brilliant embodiment.

Reflection.

Grading

Homework

Give a comparative description of Oblomov and his friends.

Literature abstract on the topic:

Ilya Ilyich Oblomov « indigenous

our folk type"

11th grade students of school No. 763

Palaeva Maria.

Moscow, 2001.

Introduction Page 3

"Oblomovism"national

feature of the Russian people Page 4

3. Oblomov and Stolz Page 8

4. Oblomov and Olga Page 11

5. Oblomov and Agafya

Matveevna Page 15

6. Conclusion Page 17

7. List of used

literature Page 18

Introduction.

Some people find Goncharov's novel Oblomov boring. Yes, indeed, the entire first part of Oblomov lies on the couch, receiving guests, but here we get to know the hero. In general, there are few intriguing actions and events in the novel that are so interesting to the reader. But Oblomov is "our people's type", and it is he who is a bright representative of the Russian people.

Therefore, the novel interested me. In the main character, I saw a particle of myself. Do not think that Oblomov is a representative of only Goncharov's time. And now Oblomovites live among us, because in this novel Russian laziness is glorified. And many of us would be happy to lie on the couch, like Ilya Ilyich, if there was such an opportunity.

In my abstract, I consider main question"What is Oblomovism?" and I'm trying to make out all the features of Oblomov's character in his relationship with Olga Ilyinskaya, Agafya Matveevna and Stolz.

"Oblomovshchina" - national

trait Russian people.

The story of how the good-natured sloth Oblomov lies and sleeps and how neither friendship nor love can awaken and raise him is a rather boring story. But Russian life is reflected in it, it presents us with a living, modern Russian type, minted with merciless rigor and correctness, a new word of our social development, pronounced clearly and firmly, is reflected in it. Word is Oblomovism; it serves as a key to unraveling many phenomena of Russian life.

The concept of "Oblomovism" includes a whole patriarchal way of Russian life, not only with its negative, but also with its deeply poetic sides. The wide and soft character of Ilya Ilyich was influenced by the Central Russian nature with the soft outlines of gently sloping hills, with the slow, unhurried course of lowland rivers. This nature simply disposes a person to rest.

The protagonist of the novel, Ilya Ilyich Oblomov, is sincere, gentle, he has not lost his precious moral quality conscience. Already on the first page of this work, the author drew the reader's attention to main feature your hero:

“The soul shone so openly and clearly in his eyes, in his smile, in every movement of his head, his hands.”

It is clear that Oblomov is not a dull, apathetic nature, without aspirations and feelings, but a person who is also looking for something in his life, thinking about something. But vile habit to receive the satisfaction of his desires not from his own efforts, but from others - developed in him an apathetic immobility and plunged him into a miserable state of moral slavery. This slavery is so intertwined with the nobility of Oblomov, so they mutually penetrate each other and are conditioned by one another, that it seems there is not the slightest possibility of drawing any kind of boundary between them.

Oblomov - master; “he has Zakhar and another three hundred Zakharov,” in the words of the author. Ilya Ilyich explains the advantage of his position to Zakhar in this way:

“Do I rush about, do I work? I don't eat much, do I? skinny or miserable looking? Am I missing something? It seems to submit, there is someone to do! I have never pulled a stocking over my legs, as I live, thank God! Will I worry? from what to me? .. And to whom do I say this? Haven't you followed me since childhood? You know all this, you saw that I was brought up tenderly, that I never endured cold or hunger, I didn’t know need, I didn’t earn bread for myself and in general I didn’t do dirty work.

And Oblomov speaks the absolute truth. The whole history of his upbringing confirms his words. From an early age, he sees in his house that all domestic work is done by lackeys and maids, and papa and mama only order and scold for bad performance. And now he already has the first concept that it is more honorable to sit with folded hands than to work ... All further development is going in this direction.

Sometimes he thought about the reasons that prompted him to lead such a life, and asked himself: “Why am I like this?” In the climactic chapter of the novel The Dream of Oblomov, the writer answers this question. He creates a picture of a provincial landowner's life and shows how lazy hibernation is gradually becoming a normal state of a person.

In a dream, Oblomov is transferred to the estate of his parents Oblomovka, “to a blessed corner of the earth”, where there is no “sea, no high mountains, rocks, abysses, nor dense forests there is nothing grandiose, wild and gloomy. Oblomov sees himself as a little boy, seeking to look into the unknown, ask more questions and get answers to them. But only concern for food becomes the first and main concern of life in Oblomovka. And the rest of the time is occupied by "some kind of all-consuming, invincible dream." That is why all the “seekers of manifestations of strength” in Ilyusha “turned inward and drooped, fading away.”

But Oblomov is not just lying on the couch, looking at the ceiling. He dreams. And as soon as his dreams collide with reality, Ilya Ilyich is lost, as was the case with his Oblomovka estate. His dreams will never come true, because he won't even lift a finger to make them come true. He always hopes maybe...

But this problem is not only Oblomov, but the entire Russian people. If we remember our folk tales, then we will understand the reason for the failure of the dreams of Ilya Ilyich. In almost all of our fairy tales, the heroes achieve nothing with their labor, then a pike, then a goldfish fulfill all desires. So we still dream of a magic wand.

But Oblomov is no more idle than all the other Oblomov brothers; only he does not more frankly try to cover up his idleness even by talking in society and walking along Nevsky Prospekt.

“Light, society! You are right, on purpose, Andrei, sending me into this world and society in order to discourage being there! .. there is nothing deep, touching the living.

You will enter the hall and not stop admiring how symmetrically the guests are seated, how quietly and thoughtfully they sitbehind the cards. All of these are dead. Why am I more guilty than them, lying at home and not infecting my head with triplets and jacks.

Oblomov and Stolz.

Oblomov and Stolz are the main characters of the novel. Goncharov contrasts Stolz with Oblomov. Thanks to this comparison, the features of "Oblomovism" are even more revealed to us.

Stoltz grew up in a poor family, where all days were spent at work. From childhood, he was accustomed to work and firmly knew that it was possible to achieve something in life only through hard work. Work for Stolz was part of his life, a pleasure. He did not shun even the most menial work. His life is full of action. For Oblomov, it was a burden. He was not accustomed to work and did not see the point in work. Oblomov from childhood was surrounded by the tender care of his parents and nanny, and Stoltz was brought up in an atmosphere of constant mental and physical labor. Ideal

Oblomov's happiness is complete peace of mind and good food.

Ilya Ilyich Oblomov - "our indigenous folk type"

Abstract of a student of the 11th grade of school No. 763 Palaeva Maria.

Moscow, 2001.

Introduction.

Some people find Goncharov's novel Oblomov boring. Yes, indeed, the entire first part of Oblomov lies on the couch, receiving guests, but here we get to know the hero. In general, there are few intriguing actions and events in the novel that are so interesting to the reader. But Oblomov is “our people's type”, and it is he who is a bright representative of the Russian people.

In my essay, I consider the main question “What is Oblomovism?” and I'm trying to make out all the features of Oblomov's character in his relationship with Olga Ilyinskaya, Agafya Matveevna and Stolz.

"Oblomovism" - national trait Russian people.

The story of how the good-natured sloth Oblomov lies and sleeps and how neither friendship nor love can awaken and raise him is a rather boring story. But Russian life is reflected in it, it presents us with a living, modern Russian type, minted with merciless rigor and correctness, a new word of our social development, pronounced clearly and firmly, is reflected in it. This word is Oblomovism; it serves as a key to unraveling many phenomena of Russian life.

The protagonist of the novel, Ilya Ilyich Oblomov, is sincere, gentle, he has not lost a precious moral quality - conscience. Already on the first page of this work, the author drew the reader's attention to the main feature of his hero:

“The soul shone so openly and clearly in his eyes, in his smile, in every movement of his head, his hands.”

It is clear that Oblomov is not a dull, apathetic nature, without aspirations and feelings, but a person who is also looking for something in his life, thinking about something. But the vile habit of obtaining the satisfaction of his desires not from his own efforts, but from others, developed in him an apathetic immobility and plunged him into a miserable state of moral slavery. This slavery is so intertwined with the nobility of Oblomov, so they mutually penetrate each other and are conditioned by one another, that it seems there is not the slightest possibility of drawing any kind of boundary between them.

Oblomov - master; “he has Zakhar and another three hundred Zakharov,” in the words of the author. Ilya Ilyich explains the advantage of his position to Zakhar in this way:

And Oblomov speaks the absolute truth. The whole history of his upbringing confirms his words. From an early age, he sees in his house that all domestic work is done by lackeys and maids, and papa and mama only order and scold for bad performance. And now he already has the first concept ready - that it is more honorable to sit with folded arms than to work ... All further development is going in this direction.

In a dream, Oblomov is transferred to the estate of his parents Oblomovka, "to a blessed corner of the earth", where there is "no sea, no high mountains, rocks, abysses, no dense forests - there is nothing grandiose, wild and gloomy." Oblomov sees himself as a little boy, seeking to look into the unknown, ask more questions and get answers to them. But only concern for food becomes the first and main concern of life in Oblomovka. And the rest of the time is occupied by "some kind of all-consuming, invincible dream." That is why all the “seekers of manifestations of strength” in Ilyusha “turned inward and drooped, fading away.”

But this problem is not only Oblomov, but the entire Russian people. If we recall our folk tales, then we will understand the reason for the failure of the dreams of Ilya Ilyich. In almost all of our fairy tales, the heroes achieve nothing with their labor, then a pike, then a goldfish fulfill all desires. So we still dream of a magic wand.

But Oblomov is no more idle than all the other Oblomov brothers; only he is more frank - he does not try to cover up his idleness even by talking in society and walking along Nevsky Prospekt.

“Light, society! You are right, on purpose, Andrei, sending me into this world and society in order to discourage being there! .. there is nothing deep, touching the living.

You will enter the hall and not stop admiring how symmetrically the guests are seated, how quietly and thoughtfully they sit - at the cards. All of these are dead. Why am I more guilty than them, lying at home and not infecting my head with triplets and jacks.

Oblomov and Stolz.

Oblomov and Stolz are the main characters of the novel. Goncharov contrasts Stolz with Oblomov. Thanks to this comparison, the features of "Oblomovism" are even more revealed to us.

Goncharov tried to combine in Stolz German industriousness, prudence and punctuality with Russian dreaminess and softness, with philosophical reflections on the high destiny of man. But it didn't work out. His activities sometimes become worthless fuss. His practicality is far from high ideals and is aimed at personal well-being and bourgeois comfort. In Stolz, the mind prevails over the heart. He accuses Oblomov of idleness and tries to "stir up" him, to force him to work. But does Oblomov need this? Even in his youth, he dreamed of “serving until he was strong, because Russia needs hands and heads to develop inexhaustible sources” ... Once he already entered the service, which seemed to him in the form of some kind of family occupation, and, disappointed, applied resign. Oblomov realized that work is boredom, not idleness, and all his idylls about a “friendly, close family” were destroyed by cruel reality. But he also became convinced of the senselessness of the service, where everyone is in a hurry to “lower” the case faster, without even delving into it, and “with fury they grab onto something else, as if all the power is in it ...” All this constituted a single system where labor was focused on personal comfort and career. Stoltz was a part of this system. He did not just want to "lift Oblomov off the couch", but to make him look like himself, becoming also part of this system. This is what Oblomov was afraid of, so all Stolz's attempts to "stir up" him were unsuccessful. In the life that Stoltz Oblomov offers him, he does not see a field that meets the highest purpose of man. Oblomov recognized only the work of the soul, practicality is not characteristic of him, he does not need a career. He has everything, and he prefers to lie on the couch and indulge in dreams of the mindless mechanical activities of Stolz. And even now he “is not alien to universal human sorrows, the pleasures of lofty thoughts are available to him,” and although he does not scour the world for a gigantic deed, he nevertheless dreams of world-wide activity, nevertheless looks with contempt at laborers and speaks with fervor :

"No, I will not waste my soul

At the ant work of people ... "

In the conflict between Oblomov and Stolz for social and moral issues another, historical and philosophical meaning also shines through. Sadly funny Oblomov challenges modern civilization with its idea of historical progress. Oblomov is ready to leave the vain circle of history. He dreams that people will calm down and calm down, give up the pursuit of illusory comfort, stop playing technical games and begin to enjoy a simple, unassuming life.

Oblomov and Olga.

The main plot situation in the novel is the relationship between Oblomov and Olga Ilyinskaya. Here Goncharov follows the path that had become traditional in Russian literature by that time: checking the values of a person through his intimate feelings, his passions. It is Holguin's look at her lover that helps to see Oblomov, the way the author wanted to show him. At one time, Chernyshevsky wrote about how the moral weakness of a person who turned out to be unable to respond to a strong feeling of love reveals his social inconsistency. Oblomov does not oppose this conclusion, but reinforces it even more. Olga Ilyinskaya is characterized by the harmony of the mind, heart, will, active goodness. The impossibility for Oblomov to understand and accept this high moral standard of life turns into an inexorable sentence to him as a person. In the novel, Ilya Ilyich’s suddenly flared-up feeling of love, fortunately mutual, is poeticized in such a way that hope may arise: Oblomov will be reborn as a person in full. The inner life of the hero began to move. Love discovered in him the properties of spontaneity, which then resulted in a strong spiritual impulse, in passion. Together with a feeling for Olga, Oblomov awakens an active interest in spiritual life, in art, in the mental demands of the time. Olga sees in Oblomov intelligence, simplicity, gullibility, the absence of all those secular conventions that are just as alien to her. She feels that there is no cynicism in Ilya, but there is a constant desire for doubt and sympathy. And it is in Olga, and not in Stolz, that one can see "a hint of a new Russian life"; one can expect a word from her that will burn and dispel the “Oblomovism”.

In relation to women, all Oblomovites behave in the same shameful way. They do not know how to love at all and do not know what to look for in love, just like in life in general. They are not averse to flirting with a woman as long as they see her as a doll moving on springs; they are not averse to enslaving themselves female soul...how! this is very pleased with their lordly nature! But as soon as things come to something serious, as soon as they begin to suspect that what is really before them is not a toy, but a woman who can also demand respect for her rights from them, they immediately turn into the most shameful flight.

Oblomov wants to possess a woman without fail, he wants to force all kinds of sacrifices from her as proof of love. You see, he did not at first hope that Olga would marry him, and timidly proposed to her. And when she told him that he should have done this long ago, he was embarrassed, he was not satisfied with Olga's consent. He began to torture her, did she love him enough to be able to become his mistress! And he was annoyed when she said that she would never follow this path; but then her explanation and the passionate scene reassured him ... But still, in the end, he chickened out to the point that he was afraid to show himself even in front of Olga, pretended to be sick, covered himself with a drawn bridge, made it clear to Olga that she could compromise him. And all because she demanded from him determination, action, something that was not part of his habits. Marriage in itself did not frighten him, but Olga wanted him to arrange affairs for the estate before marriage; it would have been a sacrifice, and he, of course, did not make this sacrifice, but was a real Oblomov. Meanwhile, he is very demanding. It occurred to him that he was not good enough and generally not attractive enough for Olga to fall in love with him. He begins to suffer, does not sleep at night, finally arming himself with energy and writing a long message to Olga.

All Oblomovites love to humiliate themselves; but they do this for the purpose of having the pleasure of being refuted and of hearing praise for themselves from those before whom they reproach themselves.

Oblomov, having written a libel on himself to Olga, felt “that it’s not hard for him anymore, that he is almost happy” ... He concludes his letter with Onegin’s moralizing: “Let the story with me, he says, serve as a guide in future, normal love ". Ilya Ilyich, of course, could not stand himself at the height of humiliation in front of Olga: he rushed to spy what impression the letter would make on her, saw that she was crying, was satisfied and could not resist not to appear before her at such a critical moment. And she proved to him what a vulgar and miserable egoist he was in this letter, written "out of concern for her happiness." Here he finally gave in, as all Oblomovites do, however, when they meet a woman who is superior to them in character and development.

Olga constantly thinks not only about her feelings, but also about the influence on Oblomov, about her “mission”:

“And all this miracle will be done by her, so timid, silent, whom no one has obeyed until now, who has not yet begun to live!”

And this love for Olga becomes a duty. She expects activity, will, energy from Oblomov; in her view, he should become like Stolz, but only retaining the best that is in his soul. Olga loves that Oblomov, whom she herself created in her imagination, whom she sincerely wanted to create in life.

"I thought that I would revive you, that you could still live for me - and you died a long time ago."

Olga hardly pronounces all this with a harsh sentence and asks a bitter question:

“Who cursed you, Ilya? What did you do? What ruined you? There is no name for this evil…”

“Yes,” Ilya replies. - Oblomovism!

Oblomov and Agafya Matveevna.

After some time, in the fate of Oblomov, another woman meets who loves him with selfless, sacrificial love, and takes all the care of him - this is the widow Agafya Matveevna. What role does she play in Oblomov's life? Remembering her image, it is safe to say that she is the living embodiment of his ideal. She attracts Oblomov with her continuous activity. There is some Russian beauty in it. Agafya Matveevna, unlike Olga, does not shine with a special mind and does not know how to sing "Casta Diva" so wonderfully, but, having fallen in love with

Oblomov once, she is ready to give him her whole life. Agafya Matveevna is much simpler than Olga, but only with this woman does Oblomov find his human happiness. In the house on the Vyborg side, Agafya Matveevna takes on all the household chores of Ilya Ilyich. For Ilya Ilyich, this was the realization of his dream. He begins to live the way he likes: lying on the couch, eating, drinking, sleeping has become much more pleasant and more convenient than forever "spinning" in the service, like Sudbinsky, than writing accusatory articles, like Penkin. His life flowed calmly, without external disturbances and anxieties.

"It is as if an invisible hand has planted him, like a precious plant, in the shade from the heat, under the roof from the rain, and takes care of him and cherishes him."

In essence, we can say that the house on the Vyborg side is the same Oblomovka. And Agafya Matveevna is the same Zakhar.

“The faithful eye of the hostess looked after the fish, so that, God forbid, it would not be digested, the greens in the salad were the freshest. The dust from the mirror and from the chairs has been swept away. The room was always clean with a fresh morning smell."

What could make the master fall in love with a simple woman, the widow of a collegiate assessor, who knew nothing but how to make the life of a loved one very comfortable? It seems to me that after Ilya Ilyich broke up with Olga Ilyinskaya, Ilya Oblomov's heart was broken. But it would be unfair to say that Oblomov died for all noble and great purposes, burying himself alive on the Vyborg side. Everything seemed to be overgrown, flooded, covered with a touch of time in it. Only one thing remained untouched in Ilya, pure and clear, as it had been for many years. This miracle was the soul of Oblomov, not dusty and transparent, like a crystal vessel, inside which living water. Love in Oblomov's life was both tragic and beautiful. The tragedy lies in his break with Olga Ilyinskaya, which led him to inner experiences. And she is beautiful because he finally found happiness together with Agafya Matveevna, but, and his happiness lies in peace and humility. As a result of their love, little Andryushka is born, whom Stolz takes in for his upbringing, and, probably, will make the "future" Stolz out of him, directing all his forces to mechanical labor, which Oblomov was so afraid of.

Conclusion.

I believe that the novel "Oblomov" shows not only a lazy gentleman, but a man brought up in Russian traditions. A man who abandoned mechanical labor and secular communication, and preferred to lie on the couch in order to maintain his honesty and spontaneity.

Oblomov is not only a representative of that time, but also of ours. In it we see ourselves, the features of the Russian people.

Goncharov, who was able to understand and show us our "Oblomovism", could not, however, not pay tribute to the common delusion: he decided to bury the "Oblomovism", to say a laudatory tombstone to her. “Farewell, old Oblomovka, you have outlived your life,” he says through the mouth of Stolz, and is not telling the truth. All of Russia, which has read or will read Oblomov, will not agree with this. No, Oblomovka is our direct homeland, its owners are our educators.

I.S. Turgenev was right when he said: “as long as at least one Russian remains, Oblomov will be remembered until then.”

And Oblomov has been living in us for more than a century.

Bibliography

N.G. Bykova, V.Ya. Linkov. Literature: schoolchild's handbook. M .: Philological Society "Slovo", Company "Key" - "S", TKO, "Ast", Center for the Humanities at the Faculty of Journalism of Moscow State University named after M.V. Lomonosov, 1995. - 576p.

AND ABOUT. Rodion, T.M. Pimenov. All works school curriculum V summary. - M .: "Rodin and company", TKO AST, 1997. - 616 p.

Article by N.A. Dobrolyubov "What is Oblomovism?". "Domestic Notes" No. 5. 1859.

Other works on the topic:

The image of Oblomov consists, as it were, of parts. There is Oblomov, a moldy, almost ugly, greasy, clumsy piece of meat. There is Oblomov in love with Olga Oblomov who is deeply touching and sympathetic in his sad comedy.

In the novel by I. A. Goncharov Oblomov, the complex relationship between slavery and lordship is exposed. There is a story about two opposite types of people who differ in concepts of the world for one world, an abstract ideal for another, material and practical.

Oblomov and Stolz in Ivan Goncharov's novel 8220 Oblomov 8221 In 1859 the great Russian writer Ivan Aleksandrovich Goncharov published his second novel Oblomov. It was a very difficult time for Russia, when society was divided into two parts: a minority and a majority. The minority are those who understood the need to abolish serfdom, those who were not satisfied with life ordinary people in Russia.

Roman I.A. Goncharov "Oblomov" was published in 1859 in the journal "Domestic Notes". The writer worked on the novel during the period of revival public life connected with the preparations for the reform on 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.

Oblomov and Stolz The protagonist of Goncharov's novel is Ilya Ilyich Oblomov, a very peculiar person by nature. From the first part of the work, we learn about the life and order in his house. Oblomov spends most of his time in bed, constantly dreaming, “floating in the clouds”, not wanting to return to the sinful earth, making plans for the future, without thinking about the present.

Autumn evening. There is no one at home, and I am reading Goncharov's novel. Strange all the same hero - Ilya Ilyich Oblomov. He patiently endures all the blows of fate, resigns himself to constant crop shortages in the village and Zakhar's laziness, to the fact that he is constantly deceived, robbed, and abused by his inherent kindness. He does not seek to achieve wealth, fame, position in society.

A person should not be selfish, take care only of himself. He must constantly strive for something, improve. Otherwise, his life becomes pale, dull. He must act, even if he understands that he will perish, if he knows that he is doomed. This is his greatness.

In the novel "Oblomov" I.A. Goncharov reflected a part of contemporary reality, showed the types and images characteristic of that time, explored the origins and essence of contradictions in Russian society in the middle of the 19th century.

Oblomov's personality is far from ordinary, although other characters treat him with slight disrespect. For some reason, they read it almost flawed compared to them. This was precisely the task of Olga Ilyinskaya - to wake up Oblomov, to force him to prove himself as an active person.

Roman I.A. Goncharov's "Oblomov" permeates the pathos of social criticism. The clash of two heroes (Ilya Oblomov and Andrei Stolz), two opposing lifestyles can be viewed in a broad public context.

IN early XIX century, a number of works appear in Russian literature, the main problem of which is the conflict between man and society, the environment that brought him up. The most outstanding of them were "Eugene Onegin" by A.S. Pushnin and "Hero of Our Time" M.Yu. Lermontov. This is how a special literary type is created and develops - the image " extra person”, a hero who has not found his place in society, not understood and rejected by his environment.

The meaning of the Oblomov-Stolz opposition in the novel by I.A. Goncharov "Oblomov" Author: Goncharov I.A. I think the meaning of the opposition in this novel is to characterize the protagonist in the most understandable, open, and profound way.

The theme of love in the novel by I. A. Goncharov "Oblomov" Author: Goncharov I.A. The novel by I. A. Goncharov “Oblomov” shows three love stories: Oblomov and Olga, Oblomov and Agafya Matveevna, Olga and Stolz. They all have a different attitude to love, they have different goals in life, different views on life itself, but they have something in common - the ability to love.

Mini-composition "Oblomov and his entourage" Author: Goncharov I.A. Oblomov is a backwardness that hinders historical progress. Oblomov is sincere, gentle, his conscience is not lost; subjectively he is incapable of doing evil. Story line draws the spiritual desolation of the hero, there is nobility and slavery in him - he is a slave to his sofa, laziness.

"Oblomov's Dream" is a special chapter of the novel. "Oblomov's Dream" tells about the childhood of Ilya Ilyich, about his influence on the character of Oblomov. In Oblomov's Dream, his native village of Oblomovka, his family, the way they lived on the Oblomov estate, are shown. Oblomovka is the name of two villages owned by the Oblomovs.

In 1858 I.A. Goncharov completed his work on the novel Oblomov and published it in the first four issues of the Otechestvennye Zapiski magazine. I would like to tell you about the main character of this novel Oblomov and his servant Zakhara.

The works of I.A. Goncharov received wide popularity among readers. The novel “Oblomov” was and is especially popular. The main characters of the novel "Oblomov" are Ilya Ilyich Oblomov and Andrei Stolz.

Oblomov and Stolz (based on the novel "Oblomov" by I.A. Goncharov) Author: Goncharov I.A. Oblomov and Stolz In 1852, I.A. Goncharov wrote the novel Oblomov. The main theme of the novel is the fate of a generation that is looking for its place in society, history, but failed to find the right path.

What is the tragedy of Oblomov's life? (Based on the novel "Oblomov" by I.A. Goncharov) Author: Goncharov I.A. What is the tragedy of Oblomov's life? The pinnacle of Ivan Alexandrovich Goncharov's work is the novel Oblomov, written in 1859. The novel is unusually rich in content. It conveys the life of Russia in the middle of the 19th century.

Author: Goncharov I.A. One of the outstanding works literature XIX century is the novel by I. A. Goncharov “Oblomov”. The work was a kind of mirror of its era. "Oblomov" became a "book of results" for Russian society. That is why Dobrolyubov welcomed Goncharov's work. The novel revealed the terrible power of tradition, showed such an existence in which “the norm of life was ready and taught ... by parents, and they accepted it, also ready, from grandfather, and grandfather from great-grandfather ...”.

Andrei Stolz as a "man of action". (Based on the novel by I.A. Goncharov "Oblomov" In the late 50s of the XIX century, the novel by Ivan Aleksandrovich Goncharov "Oblomov" was born.

Sobelman Vladimir Ilyich is a prominent specialist, scientist and teacher in the field of programming. Vladimir Ilyich belongs to a galaxy of talented mathematicians who have connected their lives with computer technology and programming.

MUNICIPAL BUDGET GENERAL EDUCATIONAL

INSTITUTION SECONDARY SCHOOL № 29 R. P. CHUNSKY

CHUNSKY DISTRICT, IRKUTSK REGION

LITERATURE LESSON IN THE 10TH CLASS

« OBLOMOV - "OUR INDIGENOUS PEOPLE TYPE"

Conducted by: teacher of Russian language and literature

Emelyanovich Olga Anatolievna

R. P. CHUNSKY, 2015

Goals: to show the complexity of the author's worldview, the figurative and semantic richness of the chapter "Oblomov's Dream"; to reveal the connection between the problems of the novel and the most important issues of Russian reality in the middle of the 19th century; contribute to the formation of students' ideas about a comprehensively developed personality with a revealed civic position.

Lesson type: problematic lesson with elements of a seminar.

During the classes.

And what do I care about human joys and misfortunes ...

M.Yu. Lermontov

Org. moment.

Work on the words of the epigraph.

Teacher: Where did these lines come from? Who owned the idea?

Children: Pechorin "A Hero of Our Time"

Teacher: Why did we choose these words as an epigraph? What will we talk about today?

Teacher: Is it possible to give an unequivocal assessment of the main character of the novel? Why is the image of the protagonist of the novel interesting for us? Can he be called a hero of his time?

Conversation on questions

Teacher: Ilya Ilyich Oblomov. Who is he? Hardly any Russian novel has been interpreted in such a contradictory way as this one. Let's turn to chapter I of the first part of the novel - its original exposition. How is Oblomov's appearance, the environment surrounding him drawn?

Children (use texts of works):He was a man of about thirty-two or three years of age, of medium height, of pleasant appearance, with dark gray eyes, but with no definite idea, no concentration in his features. The thought walked like a free bird across the face, fluttered in the eyes, settled on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glowed all over the face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.

Sometimes his eyes were darkened by an expression as if of weariness or boredom; but neither fatigue nor boredom could for a moment drive away from the face the gentleness that was the dominant and basic expression, not only of the face, but of the whole soul; and the soul shone so openly and clearly in the eyes, in the smile, in every movement of the head and hand. And a superficially observant, cold person, glancing casually at Oblomov, would say: “There must be a kind man, simplicity!” A deeper and more sympathetic person, peering into his face for a long time, would walk away in pleasant thought, with a smile.

Ilya Ilyich's complexion was neither ruddy, nor swarthy, nor positively pale, but indifferent or seemed so, perhaps because Oblomov was somehow flabby beyond his years: from a lack of movement or air, or maybe that and another. In general, his body, judging by the dull, too white light of the neck, small plump hands, soft shoulders, seemed too pampered for a man.

Lying down with Ilya Ilyich was neither a necessity, like a sick person or a person who wants to sleep, nor an accident, like someone who is tired, nor a pleasure, like a lazy person: this was his normal state. When he was at home - and he was almost always at home - he was always lying, and everyone was constantly in the same room where we found him, which served him as a bedroom, study and reception room. He had three more rooms, but he rarely looked in there, unless in the morning, and then not every day when a person swept his office, which was not done every day. In those rooms, the furniture was covered with covers, the curtains were lowered.

If not for this plate, and not for a pipe just smoked leaning against the bed, or not for the owner himself lying on it, then one would think that no one lives here - everything was so dusty, faded and generally devoid of living traces of human presence . On the bookcases, it is true, there were two or three open books, a newspaper was lying about, and an inkstand with feathers stood on the bureau; but the pages on which the books were unfolded were covered with dust and turned yellow; it is clear that they were abandoned long ago; the number of the newspaper was last year's, and if you dipped a pen in it, only a frightened fly would have escaped with a buzz.

Teacher: What details of the portrait and the situation, the behavior of the hero show the irony of the writer?

Teacher: How does the decoration of the room reveal the hero?

Children: "Scalloped cobwebs" clinging to the walls near the paintings; mirrors that do not reflect objects, but can serve as "Tablets for writing on them"; spots on the carpets, a forgotten towel on the couch - all this speaks of neglect, the hero's indifference to his life. But at the same time, at first glance, the room where Oblomov lay seemed "beautifully decorated." The reason for this duality, apparently, is that the owner has taste, means, there is an inner need to surround himself with expensive and beautiful things, but there is no desire to maintain the cleanliness and beauty of the office.

Teacher: Books can tell a lot about a person, about his mental interests, activities. And what does Oblomov read?

Children: “There were two or three open books, a newspaper was lying around, an inkwell with feathers stood on the bureau; but the pages on which the books were unfolded were covered with dust and turned yellow; it is clear that they were abandoned long ago; the number of the newspaper was last year, and if you dip a pen into it, only a frightened fly would have escaped from the inkwell.

Teacher: Didn’t the thought flash through your mind that somewhere we have already seen a similar domestic environment, and the image itself reminds someone?

Appearance: “His features were not devoid of pleasantness, but this pleasantness, it seemed, was too much transferred to sugar”;

Education: considers himself well-mannered, educated, noble. But in the office for two years in a row there is a book with a bookmark on the 14th page.

He shows "beautiful soul" in everything, liveliness of manners and amiable chirping in conversation. Clinging to any topic, his thoughts float away into the distance, into abstract reflections.

Character: a dreamer, and his dreams are completely divorced from reality. "How nice it would be if all of a sudden an underground passage was made from the house or a stone bridge built across the pond."

The landowner's household is handled by a drunken clerk.

Conclusion:

In this landowner there are no living desires, that force of life that moves a person, makes him perform some actions. In this sense, he is a dead soul, "neither this nor that."

To think about real life, and even more so to make any decisions, this hero is not capable.

A boring interlocutor, from him "you will not expect any lively or even arrogant words" that, after talking with him, "you will feel deadly boredom."

The seal of dullness, scarcity, uncertainty of color lies on everything.

Teacher: What is the similarity between the depiction of Manilov in Dead Souls and Oblomov? What is the difference?

Teacher: Together with Oblomov in Ch. I appears Zakhar. Can Zakhar be called a kind of "double" of Oblomov and why?

Children: “... an elderly man, in a gray frock coat, with a hole under his arm, from where a piece of shirt stuck out, in a gray waistcoat ... with a bare skull, like a knee, and with immensely wide and thick blond whiskers with gray hair ... ". In this portrait description, one can feel the irony of the author, who later explains the reasons for such an extravagant appearance: Zakhar's clothes reminded him of a livery - a uniform required to accompany his masters "to church or to visit" and served as "the only representative of the dignity of the Oblomovs' house."

“You are more Oblomov than I am,” Ilya Ilyich throws to his servant.

Teacher: What are their similarities?

Children: Oblomov and Zakhar equally hopelessly mired in laziness, lack of spirituality, apathy.

Teacher: Why?

Teacher: And now the question is brewing: why in the middle of the story the author takes us to a "paradise"? (Chapter "Oblomov's Dream")

Analysis " Oblomov's dream. To do this, the class is divided into 5 groups. Each group gets its own task and its own questions.

To reveal the role of landscape in understanding the ideological content of "Oblomov's Dream"
Determine the role of symbolic images in describing the way of life of the Oblomovites (2 groups).
Tell about the spiritual life of the Oblomovites.
Note the features of the image of space and time in the "Dream"

1. To reveal the role of the landscape in understanding the ideological content of "Oblomov's Dream"

How does the author describe the nature of Oblomovka? Provide citations.
What literary means does the writer use to convey the state of nature?
How do descriptions of nature reveal the state of mind of the Oblomovites, their characters, way of life?

2. Determine the role of symbolic images in describing the way of life of the Oblomovites

Find a description of the sleep of the Oblomovites. Provide citations.

With the help of what artistic means does the writer poetize this physiological state of a person.
Prove that the dream image has a symbolic meaning.

3. Determine the role of symbolic images in describing the way of life of the Oblomovites.

Find a description of the pie, the "ritual" of making and eating it.
With the help of what artistic means does the writer poetize such a physiological state of a person.
Prove that the image of the pie has a symbolic meaning

4. Tell about the spiritual life of the Oblomovites.

Find and read out quotes that reveal the attitude of the Oblomovites to education, books, on the one hand, to signs and superstitions, on the other.
What meaning is revealed when the image of Oblomov is brought closer to the folklore images of Emelya and Ilya Muromets?

5. Note the features of the image of space and time in the "Dream"

Discuss the schematic representation of Oblomovka's spatial boundaries. Choose the most successful scheme, justify your choice. Based on spatial images of "Sleep".
Explain the symbolic meaning of the images of the letter and the ravine.
Find a description of the passage of time in Oblomovka. Note its features, depict it schematically.

Conclusion: Oblomovka - "a blessed corner" - is a utopia.

The natural landscape of Oblomovka "for about fifteen miles around represented a series of picturesque sketches, cheerful, smiling landscapes." Only the ravine, overshadowed by tales about him, broke this picture. The ravine was the main "mythical" object, they frightened little Ilyusha. But, by the way, everything in Oblomovka was subordinated to myth, fairy tale, traditions. The peasants called the pier on the Volga "Colchis" and "Pillars of Hercules", the whole Oblomov family was brought up on all sorts of fairy tales about the beautiful sorceress Militrina Kiribityevna.

Outside the outskirts of the village, miracles begin - the bright miracles of popular imagination and the dark miracles of deadly superstition. One imperceptibly passes into another - so that it is difficult to draw a line between good and bad. Here stands the hut of Onesimus, and you can get into it only if you “beg her to stand with her back to the forest, and her front to him.” This is a good fairy tale, but right there, behind the nearest ditch, a terrible fairy tale begins. Little Oblomov only wants to get to the birch forest “not all around, but straight ahead, through the ditch, as he gets scared: there, they say, there are goblin, and robbers, and terrible animals.” The border between light and shadow runs along this groove: closer to the house of little Oblomov - a joyful miracle, away - fabulous horror.

The inhabitants of Oblomovka perceive the world without an account and measures. For them, there is only their own home, and then the Oblomov’s imagination immediately jumps into an unprecedented distance - the one that is “beyond distant lands”. There, “in a certain kingdom-state”, the same Oblomovka is dreaming, but only transformed. The real Oblomovka is only the first approximation to Oblomov's fairy tale; in the long evenings, the nanny tells little Ilyusha “about an unknown country”, where there are no nights, no cold, where miracles happen, where rivers of honey and milk flow, where no one does anything all year round, and day and day they only know that they are walking all good fellows, such as Ilya Ilyich, and beauties, which cannot be said in a fairy tale, nor described with a pen.

The whole life of Oblomovka was subject to traditions: the rites of baptism and burial were exactly performed, each Oblomovite followed the formula "birth - marriage - death", and even in nature "according to the calendar" the seasons changed. Everything was measured: both everyday life and rains with thunderstorms happened at certain times. If something happened that was out of the ordinary, then this incident outraged the whole district. Everything traditional, fantastic in Oblomovka ceased to be ordinary, but became sacred.

According to this, the Oblomovs' house also lived. The daily routine, established by the great-grandfathers, was preserved and exactly carried out. From morning awakening to dinner, from dinner to afternoon sleep, from sleep to evening - this is how each of the Oblomovs lived. But little Ilya Oblomov, as it were, got out of this routine. He hardly remembered the words of the morning prayer, was frisky and inquisitive, unlike those around him, and therefore ran away to explore the area during the hour of general sleep. But a caring mother, a strict nanny, and everyone in the house did not give the child freedom, but only cared for him to be full and healthy. And so it turned out that apart from affection, care for food and fairy tales, Ilya Oblomov did not know anything. This brought in him an immeasurable love for his mother and formed the ideal of life. Oblomov wanted to live for his own pleasure, to fill his existence with dreams and reflections.

Teacher: What in the world of Oblomovka, in the life of its inhabitants, evokes a good feeling for the writer? Children:Calm, peace, silence, peasant labor, not forced, but for oneself, nature is all love, all poetry: “The sky there, it seems, on the contrary, presses closer to the earth, but not in order to throw stronger arrows, but perhaps to hug her tight, with love.” In harmony with loving mother nature - the image of "mother". Just as the “mother of the damp earth” takes care of those whom she shelters, so does the “mother” take care of her son: “The mother showered him with passionate kisses, then examined him with greedy, caring eyes ...” The son answers her with ardent reciprocity - and that adult Oblomov, who sleeps and sees a dream, and that little Oblomov, who dreams of him: “Oblomov, seeing his long-dead mother, and in a dream trembled with joy, with ardent love for her: he, a sleepy one, slowly floated out from under his eyelashes and two warm tears became motionless. Everything is evoked here by the thought of that native, nationally Russian, which connects with the mother earth, with its roots and origins of folk life.

Teacher: And what in the Oblomov way he cannot accept?

Children: But at the same time, in Oblomov's tale there is a shackling fear, a fear of everything new, unfamiliar. There is also dull immobility and everything that corresponds to the Russian “maybe”. Oblomovka resembles an enchanted realm, where everything has fallen into a dream, a vicious circle, where the whole rhythm of life repeats the natural rhythm, like the change of seasons. The intense, full of searching life of mankind does not concern her. Eating and sleeping - only this is the life there. Man there is in the grip of age-old boredom and laziness.

Teacher: How did our ideas about the hero expand after meeting Oblomov's Dream?

Children: We will find out how Oblomov was brought up: in love, but also in the constant limitation of his own will.

Outcome: Thus, Oblomov's dream gives us an explanation of how Ilya Oblomov turned from a cheerful, frisky little boy into a man who does not want to know anything and no one except his office and lackey Zakharka.

The serene Oblomov way of life had a detrimental effect on Zakhar, as well as on his master. Zakhar is the same product of the fortress system as Oblomov. This type of servant is brought out in the novel quite naturally. He not only sets off his master, but also shows that "Oblomovism" is a mass phenomenon. Both the master and the servant are subject to the same vices despite their different social status, they repeat and complement each other. Life, built on the model of Oblomovka, deprived them of their spiritual development, caused the devastation of the soul, made them closely dependent on each other: just as Oblomov “could neither get up, nor go to bed, nor be combed and shod, nor dine without the help of Zakhar, so Zakhar could not imagine another master, except for Ilya Ilyich, another existence, how to dress, feed him, be rude to him, dissemble, lie, and at the same time inwardly revere him. Indicative in this regard is the fate of Zakhar after the death of his master. Zakhar, who was not accustomed to work, could not stay at any job, and he could not find a gentleman like Oblomov. The life of Oblomov is tragic, but the life of his servant is also tragic.

Teacher: How did dreams and reality collide in Oblomov's life in St. Petersburg?

Children: Oblomov, a nobleman by birth, a collegiate secretary with rank, has been living in St. Petersburg for the twelfth year without a break ... After the death of his father and mother, he became the sole owner of three hundred and fifty souls ... Then he was still young, and if it cannot be said that he was alive, then at least livelier than now; he was also full of various aspirations, kept hoping for something, expected a lot both from fate and from himself; everything was preparing for the field, for the role - first of all, of course, in the service, which was the purpose of his arrival in Petersburg ... Finally, in the long term ... family happiness flashed and smiled at his imagination ... But the days went by, days, years followed years ... thirty years had passed, and he had not moved a single step in any field and was still standing ... in the same place where he had been ten years ago. But he was still... getting ready to start life. Life in his eyes was divided into two halves; one consisted of work and boredom - these were his synonyms; the other - from peace and peaceful fun .... Brought up in the bowels of the province ... he was so imbued with a family principle that the future service seemed to him in the form of some kind of family activity, such as, for example, lazy writing in the parish notebook and expense, as his father did. He believed that ... visiting a public place is by no means an obligatory habit that must be adhered to

Every day... But how upset he was when he saw that there must be at least an earthquake in order not to come to the service of a healthy official... All this brought fear and great boredom to him. "When to live?" he said. Ilya Ilyich suffered from fear and longing in the service, even with a kind, condescending boss. God knows what would have happened to him if he had fallen for a strict and exacting one! Oblomov served somehow for two years, ”and then an incident occurred that forced him to leave the service. Once he sent some necessary paper instead of Astrakhan to Arkhangelsk, was afraid that he would have to answer, “went home and sent a medical certificate” about the illness, and then resigned. “Thus ended - and then did not resume - his state activity. The role in society was successful for him better. In the first years of his stay in St. Petersburg ... his dead features revived more often, his eyes shone with the fire of life for a long time, rays of light, hope, strength poured out of them. But he was afraid of love, shunned women. “His soul was still pure and virgin; she may have been waiting for her love ... and then, over the years, it seems, she stopped waiting and despaired. Ilya Ilyich parted even more coldly from the crowd of friends ... Almost nothing drew him out of the house, and every year he settled more firmly and more permanently in his apartment. At first it became hard for him to stay dressed all day, then he was too lazy to dine at a party ... Soon the evenings got tired of him: he had to put on a tailcoat, shave every day ”

Teacher: What role do his meetings and dialogues with visitors-guests play for understanding Oblomov and the life around him?

Children: Each of Oblomov's visitors represents some kind of social function. Volkov - a type of amorous, fluttering to balls and theaters boyfriend; Sudbinsky is an official to the marrow of his bones, Penkin is an example of an unprincipled journalist, Alekseev is a man without his own opinion and will, Tarantiev is a gloomy extortionist and rude. Oblomov's statement about his guests is a consistent criticism of an incomplete, narrowly focused, functional existence.

Teacher: How is he superior to his guests?

Conclusion: Thus, we see Oblomovka in miniature and here - the same vicious circle, the same stopped life. The circle is also directly related to the name of Ilya Ilyich and, consequently, to the name of the village where he spent his childhood. Although in the literature about Goncharov there are other opinions about the origin of the surname of the protagonist of the novel "Oblomov" - from another archaic word "Oblomon", which means sleep. But even more clearly in the name of Ilya Ilyich comes through the meaning of the FRAGRANCE. The name of the protagonist of the novel also contains the meaning of a fragment of serfdom, because the novel was created in the post-reform era and was its bright, brilliant embodiment.

Reflection.
Grading
Homework

Give a comparative description of Oblomov and his friends.

Page:

Ilya Ilyich Oblomov - "our indigenous folk type"

In my essay, I consider the main question "What is Oblomovism?" and I'm trying to make out all the features of Oblomov's character in his relationship with Olga Ilyinskaya, Agafya Matveevna and Stolz.

The story of how the good-natured sloth Oblomov lies and sleeps and how neither friendship nor love can awaken and raise him is a rather boring story. But Russian life is reflected in it, it presents us with a living, modern Russian type, minted with merciless rigor and correctness, a new word of our social development, pronounced clearly and firmly, is reflected in it. This word is Oblomovism; it serves as a key to unraveling many phenomena of Russian life.

The protagonist of the novel, Ilya Ilyich Oblomov, is sincere, gentle, he has not lost the precious moral quality - conscience. Already on the first page of this work, the author drew the reader's attention to the main feature of his hero: "The soul shone so openly and clearly in his eyes, in his smile, in every movement of his head, his hands."

It is clear that Oblomov is not a dull, apathetic nature, without aspirations and feelings, but a person who is also looking for something in his life, thinking about something. But the vile habit of obtaining the satisfaction of his desires not from his own efforts, but from others, developed in him an apathetic immobility and plunged him into a miserable state of moral slavery. This slavery is so intertwined with the nobility of Oblomov, so they mutually penetrate each other and are conditioned by one another, that it seems there is not the slightest possibility of drawing any kind of boundary between them.

Oblomov - master; "he has Zakhar and another three hundred Zakharov," in the words of the author. Ilya Ilyich explains the advantage of his position to Zakhar in this way: “Do I rush around, do I work? I don’t eat enough, or what? I’m thin or miserable in appearance? stockings on my feet, how I live, thank God! Will I begin to worry? why should I? .. And to whom do I say this? Haven't you been following me since childhood? You know all this, you saw that I was brought up tenderly, I never endured cold or hunger, I did not know the need, I did not earn my own bread, and in general I did not do dirty work.

And Oblomov speaks the absolute truth. The whole history of his upbringing confirms his words. From an early age, he sees in his house that all domestic work is done by lackeys and maids, and papa and mama only order and scold for bad performance. And now he already has the first concept ready - that it is more honorable to sit with folded arms than to work ... All further development is going in this direction.

Sometimes he thought about the reasons that prompted him to lead such a life, and asked himself: "Why am I like this?" In the climactic chapter of the novel "Oblomov's Dream" the writer answers this question. He creates a picture of a provincial landowner's life and shows how lazy hibernation is gradually becoming a normal state of a person.

In a dream, Oblomov is transferred to the estate of his parents Oblomovka, "to a blessed corner of the earth", where there is no "sea, no high mountains, rocks, abysses, no dense forests - there is nothing grandiose, wild and gloomy." Oblomov sees himself as a little boy, seeking to look into the unknown, ask more questions and get answers to them. But only concern for food becomes the first and main concern of life in Oblomovka. And the rest of the time is occupied by "some kind of all-consuming, invincible dream." That is why all "seeking manifestations of strength" in Ilyusha "turned inward and drooped, fading away."

But Oblomov is no more idle than all the other Oblomov brothers; only he is more frank - he does not try to cover up his idleness even by talking in society and walking along Nevsky Prospekt.

"Light, society! You are right, on purpose, Andrey, sending me into this world and society in order to discourage being there! .. there is nothing deep, touching the living. You enter the hall and do not stop admiring how symmetrically the guests are seated, how they sit quietly and thoughtfully - at the cards. All these are dead men. Why am I more guilty than them, lying at home and not infecting my head with threes and jacks. "

Oblomov and Stolz are the main characters of the novel. Goncharov contrasts Stolz with Oblomov. Thanks to this comparison, the features of "Oblomovism" are even more revealed to us.

Goncharov tried to combine in Stolz German industriousness, prudence and punctuality with Russian dreaminess and softness, with philosophical reflections on the high destiny of man. But it didn't work out. His activities sometimes become worthless fuss. His practicality is far from high ideals and is aimed at personal well-being and bourgeois comfort. In Stolz, the mind prevails over the heart. He accuses Oblomov of idleness and tries to "stir up" him, to force him to work. But does Oblomov need this? Even in his youth, he dreamed of "serving until he was strong, because Russia needs hands and heads to develop inexhaustible sources" ... Once he already entered the service, which seemed to him in the form of some kind of family occupation, and, disappointed, resign. Oblomov realized that work is boredom, not idleness, and all his idylls about a "friendly, close family" were destroyed by cruel reality. But he also became convinced of the senselessness of the service, where everyone is in a hurry to "lower" the case faster, without even delving into it, and "with fury they grab onto something else, as if all the power is in it ..." All this constituted a single system, where work was directed to personal comfort and career. Stoltz was a part of this system. He did not just want to "lift Oblomov off the couch", but to make him look like himself, becoming also part of this system. This is what Oblomov was afraid of, so all Stolz's attempts to "stir up" him were unsuccessful. In the life that Stoltz Oblomov offers him, he does not see a field that meets the highest purpose of man. Oblomov recognized only the work of the soul, practicality is not characteristic of him, he does not need a career. He has everything, and he prefers to lie on the couch and indulge in dreams of the mindless mechanical activities of Stolz. And even now he is "not a stranger to universal human sorrows, the pleasures of lofty thoughts are available to him," and although he does not scour the world for gigantic deeds, he still dreams of world-wide activity, nevertheless he looks with contempt at laborers and speaks with fervor :

"No, I will not waste my soul

At the ant work of people ... "

In the conflict between Oblomov and Stolz, behind social and moral problems, another, historical and philosophical meaning shines through. Sadly funny Oblomov challenges modern civilization with its idea of historical progress. Oblomov is ready to leave the vain circle of history. He dreams that people will calm down and calm down, give up the pursuit of illusory comfort, stop playing technical games and begin to enjoy a simple, unassuming life.

The main plot situation in the novel is the relationship between Oblomov and Olga Ilyinskaya. Here Goncharov follows the path that had become traditional in Russian literature by that time: checking the values of a person through his intimate feelings, his passions. It is Holguin's look at her lover that helps to see Oblomov, the way the author wanted to show him. At one time, Chernyshevsky wrote about how the moral weakness of a person who turned out to be unable to respond to a strong feeling of love reveals his social inconsistency. "Oblomov" does not oppose this conclusion, but reinforces it even more. Olga Ilyinskaya is characterized by the harmony of the mind, heart, will, active goodness. The impossibility for Oblomov to understand and accept this high moral standard of life turns into an inexorable sentence to him as a person. In the novel, Ilya Ilyich’s suddenly flared-up feeling of love, fortunately mutual, is poeticized in such a way that hope may arise: Oblomov will be reborn as a person in full. The inner life of the hero began to move. Love discovered in him the properties of spontaneity, which then resulted in a strong spiritual impulse, in passion. Together with a feeling for Olga, Oblomov awakens an active interest in spiritual life, in art, in the mental demands of the time. Olga sees in Oblomov intelligence, simplicity, gullibility, the absence of all those secular conventions that are just as alien to her. She feels that there is no cynicism in Ilya, but there is a constant desire for doubt and sympathy. And it is in Olga, and not in Stolz, that one can see "a hint of a new Russian life"; one can expect a word from her that will burn and dispel "Oblomovism".

In relation to women, all Oblomovites behave in the same shameful way. They do not know how to love at all and do not know what to look for in love, just like in life in general. They are not averse to flirting with a woman as long as they see her as a doll moving on springs; they are not averse to enslaving a woman's soul for themselves ... how! this is very pleased with their lordly nature! But as soon as things come to something serious, as soon as they begin to suspect that what is really before them is not a toy, but a woman who can also demand respect for her rights from them, they immediately turn into the most shameful flight.