Roman Oblomov social and moral issues. Social and moral problems of the novel by Oblomov What questions does the novel by Oblolov raise?
The history of the creation of the novel "Oblomov". Theme, idea, problems, composition.
“The story of how the sloth Oblomov lies and sleeps
and no matter how friendship or love can awaken and lift him,
god knows what a story..."
1. The idea of the novel “Oblomov.
The idea of the novel "Oblomov" arose in 1847, but the work was created slowly. In 1849 in the journal "Sovremennik" was published one chapter from the novel "Oblomov's Dream", in which he gave an amazing picture of patriarchal landlord life in terms of brightness and depth. But the bulk of the novel was written almost 10 years later, V 1857, in Marienbad (Germany), where Goncharov was treated with mineral waters. During this decade, the author not only carefully considered the whole plan of the work, but also all the plot moves and details. Subsequently, the writer noted that he "wrote almost all 3 last volumes of Oblomov within 7 weeks." Goncharov did a tremendous job. He wrote to the point of exhaustion. “I earned so much money, did so much in these two months, that another in two of his lives has not written so much.”
IN 1858Oblomov wasfinished and was not fully published until 1859.
2. Theme, the idea of the novel.
The theme is the fate of a generation that is looking for its place in society, but failed to find the right path.
Idea - to show the conditions that give rise to laziness and apathy, to trace how a person gradually goes out, turning into a dead soul. " I tried to show in Oblomov how and why our people turn prematurely into ... jelly - climate, backwater environment, drowsy life and even more private, individual for each circumstance».
3. Issues
1) In his novel, the writer showed what serfdom has a detrimental effect on life, culture, science . The consequence of these orders is stagnation and immobility in all areas of life .
2) Conditions landlord life And noble education spawn in the hero apathy, lack of will, indifference .
3) Degradation of personality and disintegration of personality.
4) Goncharov puts in the novel questions about genuine friendship, love, O humanism.
Time, depicted in the novel "Oblomov", about 40 years old.
4. Artistic merits of the novel "Oblomov" :
1) A broad picture of the life of Russia is presented.
2) Particular attention is paid to the description of the internal state of the characters: the internal monologue of the characters and the transfer of experiences through gestures, voices, movements.
3) The completeness of the disclosure of the nature of the characters is achieved through a repeating detail (for Oblomov - a dressing gown and slippers).
5. The structure of the novel:
Part 1 - Oblomov lies on the couch.
Part 2 - Oblomov goes to the Ilyinskys and falls in love with Olga, and she falls in love with him.
Part 3 - Olga sees that she made a mistake in Oblomov, and they disperse.
Part 4 - Olga marries Stolz, and Oblomov marries the owner of the house where he rents an apartment - Agafya Matveevna Noah Wheat. Lives on the Vyborg side, peace, turning into "eternal peace".
« That's all. No outside events, no obstacles... interfere with the romance. Oblomov's laziness and apathy are the only spring of action in his entire history.. ()
6. Composition
All actions unfold around the main character - Ilya Ilyich Oblomov. He unites all the characters around him. There is little action in the novel. Scene in the novel - Petersburg.
1. Exposure - the first part and 1.2 chapters of the 2nd part are tightened, the conditions for the formation of Oblomov's character are shown in great detail.
2. Tie 3 and 5 ch. Part 2 - Oblomov's acquaintance with Olga. Oblomov's feeling for Olga is growing stronger, but he doubts whether he can get rid of laziness.
3. Climax - Chapter 12 of the 3rd part. Ilya Ilyich declares his love for Olga. But he cannot sacrifice his peace, which leads to a quick break in relations.
4. Decoupling- 11, 12 chapters of the 3rd part, which show the insolvency and bankruptcy of Oblomov.
In chapter 4 of the novel - further fading of the hero. He finds ideal living conditions for himself in Pshenitsyna's house. He again in a dressing gown lies on the couch all day. The hero suffers a final collapse. Relations between Olga and Stolz.
In the epilogue – Chapter 11, part 4, Goncharov talks about the death of Oblomov, the fate of Zakhar, Stolz and Olga. This chapter explains the meaning of "Oblomovism".
Goncharov called the novel "Oblomov" a "monograph novel". He had in mind his intention to write the life story of one person, to present a deep psychological study of one biography: “I had one artistic ideal: this is an image of an honest and kind, sympathetic nature, an idealist in the highest degree, struggling all his life, seeking truth, meeting lies at every step, deceived and falling into apathy and impotence.
In the first part of the novel, the immobility of life, slumber, closed existence is not only a sign of the existence of Ilya Ilyich, it is the essence of life in Oblomovka. She is isolated from the whole world: "Neither strong passions, nor courageous enterprises worried the Oblomovites." This life is full and harmonious in its own way: it is Russian nature, a fairy tale, the love and caress of a mother, Russian hospitality, the beauty of holidays. These childhood impressions are an ideal for Oblomov, from the height of which he judges life. Therefore, he does not accept "Petersburg life", he is not attracted by either a career or a desire to get rich. Oblomov's visitors personify three life paths that Oblomov could go through: become a spoiled dude, like Volkov; head of department, like Sudbinsky; a writer like Penkin. Oblomov goes into contemplative inaction, wanting to preserve "his human dignity and his peace." The image of Zakhar determines the structure of the first part of the novel. Oblomov is unthinkable without a servant, and vice versa. Both of them are children of Oblomovka.
The second and third parts of the novel are a test of friendship and love. The action becomes dynamic. Oblomov's main antagonist is his friend Andrei Stoltz. The image of Stolz is important for understanding the author's intention and for a deeper understanding of the main character. Goncharov intended to show Stolz as a figure preparing progressive changes in Russia. Unlike Oblomov, Stolz is an energetic, active person, confidence is felt in his speeches and actions, he stands firmly on his feet, believes in the energy and transforming power of man. He is constantly on the move (the novel talks about his travels: Moscow, Nizhny Novgorod, Crimea, Kiev, Odessa, Belgium, England, France) - and he sees happiness in this. German industriousness, prudence and punctuality are combined in Stolz with Russian daydreaming and softness (his father is German and his mother is Russian). However, in Stolz, the mind still prevails over the heart, he subdues even the most subtle feelings under control. He lacks humanity, which is the main property of Oblomov. Stolz's childhood and family life is only told. We do not know what Stoltz was happy about, what he was upset about, who his friends were, who were his enemies. Stolz, in contrast to Oblomov, makes his own way in life (he brilliantly graduated from the university, serves with success, begins to do his own business, makes a house and money). The portrait of Stolz contrasts with the portrait of Oblomov: "He is all made up of bones, muscles and nerves." Oblomov is “flabby beyond his years”, he has a “sleepy look”. However, the image of Stolz is more multidimensional than it seems at first glance. He sincerely loves Oblomov, speaks of Oblomov's "honest" and "loyal" heart, "which you cannot bribe with anything." It was Stolz who endowed the author with an understanding of the moral essence of Oblomov, and it was Stolz who told the “writer” the whole life story of Ilya Ilyich. And at the end of the novel, Stoltz finds solace in family well-being, he comes to where he started and where Oblomov stopped. This "reflection" of images in each other can be considered as a process of joining extremes.
The theme of love occupies an important place in the novel. Love, according to Goncharov, is one of the "main forces" of progress; the world is driven by love. Heroes pass the test of love. Goncharov does not give a detailed portrait of Olga, but emphasizes that there was "no affectation, no coquetry, no lies, no tinsel, no intent" in her. For the first time, the contour of his ideal flashed before Oblomov. The gap was natural, because Olga and Oblomov expected the impossible from each other. He is selfless, reckless love, when you can sacrifice everything: "calmness, rumor, respect." She is from his activity, will, energy. But Olga fell in love not with Oblomov, but with her dream. Oblomov also feels this when he writes a letter to her. In the future, each of the heroes finds a life that corresponds to his ideal. Olga marries Stolz, Oblomov finds the heartfelt love of Agafya Matveevna. In her house on the Vyborg side, “he was now surrounded by such simple, kind, loving faces who agreed to support his life with their existence, to help him not to notice, not to feel it.” The vanished world of childhood, Oblomovka, reappears.
The novel by I. Goncharov is the greatest literary monument of the second half of the 19th century. This work reflects not only the habitual life of a person of that time, but also his worldview, thoughts, suffering, in a word, life itself! The problems in the novel "Oblomov" are so significant that it becomes necessary to talk about them again and again. Everything is very ambiguous and deep.
Goncharov "Oblomov". Problems of the novel
The origins of the attitude of Ilya Ilyich are very remarkable, they have their own roots. The chapter "Oblomov's Dream" shows the reasons for that deep spiritual slumber from which the main character suffered. The name of that is "Oblomovism". This terrible word is interpreted in the work as a subconscious unwillingness to live, develop activities, strive for high results and achievements.
Perhaps this character of the hero was formed as a result of the fact that in childhood he was overprotected, but this care turned out to be detrimental to development, gradually limited the mind and heart. If the weather was inclement in the yard, then mother and father not only did not let him go out into the yard for a walk, but also did not send him to study "to the German" that day. Such excessive guardianship gradually turned the boy into a pampered, unadapted creature. He was afraid of the cold, any illness and spent a lot of time at home.
Life and lifestyle
Oblomov's problems in the novel "Oblomov" are not immediately visible to the reader, but gradually open up in accordance with how the protagonist of the story begins to realize them. Ilya Ilyich lives as if in a deep sleep: he does not care about his environment, he does not want to lead an active social life - he finds it boring. At first he still went out to visit, and then the evenings got tired. Soon he left the service in the department, as she made him sad. At some point, Oblomov decided that the state that he had was enough for him, and he didn’t need to work anymore - he didn’t find it necessary.
The normal state of the hero is lying down. He rests not from physical or mental fatigue, but simply because he does not know another way of life. This is the norm for him. Ilya Ilyich looks for meaning in his every action and, before making any movement, thinks through its usefulness in advance. He quickly gets tired, he is tired of small talk. The soul longs for something sublime, the poets "hit it to the quick." The main character can be called an overly gentle and impressionable nature. The problems of Oblomov's work are piercing and deep: when you read, there is a feeling of empathy, but not condemnation.
Friendship Theme
Despite his some detachment and isolation, Oblomov has the only close friend - Andrei Stoltz. They became close as children, when they studied together at the gymnasium. However, having reached adulthood, one became an important influential person, and the other remained a naive child who tries to hide from life everywhere. Oblomov's problems in the novel "Oblomov" are revealed one after another, but gradually, more and more intriguing and captivating the reader.
Despite the obvious opposition of views, Ilya Ilyich loves Andrey very much, is sincerely attached to him. Yes, and Stolz is ready to help his friend in any case and more than once rescued him in difficult situations. The character of one complements the personality of the other. They are both individuals, self-sufficient and sincere.
Unrivaled Feeling
The problem of love in Oblomov occupies a special place. With the advent of Olga Ilyinskaya, it seemed that the life of the hero had to change. At some point, a movement towards change really began in him: he began to visit Olga, stayed there for a long time, and together with the girl they walked in the garden, listened to Casta Diva. But then everything stopped and froze: Oblomov again lay down on his favorite sofa, allowed himself to sleep after dinner and at any other time. The episode is very memorable when the hero had to go to the young lady, and he said he was sick and stayed at home. Why did it happen? Perhaps Oblomov considered himself unworthy of the love of a girl like Olga, and he lacked self-confidence.
It must have been so difficult for him to believe that he could sincerely be loved that he simply did not wait for confirmation of this truth. Or maybe the whole point is that the young lady did not seek to accept the hero as he is? As much as Olga cherished her own fantasies, so much did she love Ilya Ilyich. Recall that the girl dreamed of changing him, even made plans for how he would be transformed, which means that she was not satisfied with the former image of Oblomov. True love is far from such aspirations. It is for this reason that the tender, sublime feeling that so suddenly flared up between them, fanned by the sweet melody of "Casta Diva", did not find support for development in reality.
Attitude towards work
Oblomov's problems in the novel "Oblomov" affect all spheres of human life. Any activity, if it did not correspond to the inner impulses of Ilya Ilyich, was disgusting to him. In fact, he would much more willingly devote a day to rest than to go on a visit just because there you can meet influential people and make useful contacts.
Senseless activity did not inspire him. If there was no such object that aroused his attention in time, then the endless dream of the hero continued, only occasionally interrupted by something interesting. Herein lies the main problem of the work. Oblomov was killed not by illness, but by a genuine unwillingness to live.
Searching for the meaning of life
Ilya Ilyich is so arranged that his soul was constantly looking for an invisible source of inspiration. He perceived going to work as hard labor and soon left it. But even being at home, he did not find anything important for himself, did not occupy his imagination with anything, which in fact demanded from him an intense inner thought. Not finding a lofty idea that could serve for years, the hero's mind got bored and gradually began to focus on sleep. Ilya Ilyich fell asleep not only physically, but for a long time also did not wake up with his soul. The problems in the novel "Oblomov" are really urgent, they make you think about a lot. The novel will be especially useful to read for those people who, in adulthood, are still looking for their own unique path.
Thus, the problems of Oblomov in the novel "Oblomov" are considered with extraordinary skill. The literary talent that I. Goncharov possessed gave rise to a wonderful work that does not lose its relevance today.
The problems of the novel by I. A. Goncharov "Oblomov". Anti-serf orientation
"Oblomov" is a social and everyday novel. Household - because the author describes in detail and in detail the life of the protagonist: childhood in Oblomovka, a short service in St. Petersburg, lying on the couch in an apartment on Gorokhovaya.
Being social, the novel has a bright anti-serf orientation: Goncharov persistently pursues the idea that serfdom spoils not only the peasants, but also the landowners themselves. Oblomov's lordly pampering leads to absolute inactivity, to laziness of the mind and will, to a loss of interest in life. By the time the action of the novel begins, Oblomov does not want to not only do anything, but even get up from the couch, put on a suit, leave the house for a walk or be in society. Next to Ilya Ilyich is constantly his serf Zakhar, on the example of which Goncharov shows the life and character of an ordinary serf servant.
Goncharov understands that the patriarchal landlord Russia, somewhat idealized by him, is fading into the past, and with it the truly beautiful features of the estate life - hospitality, unselfishness, broad kindness - are leaving Russian life. Oblomov, brought up in the best traditions of the manor culture, demonstrates generosity, spiritual sensitivity, tolerance towards others. The positive character traits of the protagonist are revealed by comparing Ilya Ilyich and the secular man Volkov, the successful official Sudbinsky, the journalist Penkin. Such "energetic people" are occupied with empty worries - dinners for useful acquaintances, a career, acquisitiveness, insincerity. It is enough to recall Sudbinsky's reasoning about the upcoming marriage, when all he has to say about his party is: ". father is a real state councilor; gives ten thousand, the apartment is state-owned. He gave us a whole half, twelve rooms; state-owned furniture, heating, lighting too: you can live. Or Penkin's story about his article, which talks about "trafficking, about the emancipation of women, about the beautiful April days that have fallen to our lot, and about the newly invented composition against fires" and even about realism in literature.
Oblomov is completely different from the people of this circle, but for some reason he continues to communicate with them, although they have practically no common topics for conversation. Against the background of these heroes, whom Goncharov positioned as typical representatives of the metropolitan society, it becomes clearly visible that the protagonist of the novel has many positive qualities. He has a mind, he is meek, kind and truthful. To a sufficient extent, there is also selfishness in him, which is manifested in his relationship with Olga. Goncharov also notes that Oblomov is an internally conservative person, but perhaps this is precisely what helps him feel all the unnaturalness of St. Petersburg life. He tried to serve, but could not explain to you why it was necessary, he tried to shirk his work in every possible way, and in the end he resigned.
Despite the fact that Oblomov was brought up in the traditions of the nobility, he is very gentle with people below him. This can be seen in the example of Oblomov's relationship with Zakhar, his servant. Comparing the images of the gentleman and the serf, the reader can see that they, like the images of Oblomov and Stolz, are diametrically opposed to each other. Zakhar is forced to solve petty everyday issues, live in the real world and take care of the household, while Oblomov lives in an ideal world, draws up a “plan” and other projects abstracted from reality.
In Chapter VIII of the first part, the Potters collide these two worlds. Zakhar tells the gentleman that "the manager sent again just now" and they are "ordered to move out next week." Oblomov does not accept the idea of moving, as he understands that this will require a lot of energy from him and is generally associated with a large number of difficulties that are quite tangible for him. He imagines the move with horror: “…everything is out of place: pictures on the walls, on the floor, galoshes on the bed, boots in one knot with tea and lipstick […] Everything seems to be arranged. you look, something is left: hang curtains, pin pictures - it will pull out the whole soul, you won’t want to live. Oblomov's whole being opposes this thought, he even forbids Zakhar to remind him of this. But when the servant again speaks to the master about the need to vacate the apartment, he explodes and calls Zakhar "poisonous."
After Zakhar said that “others, they say, are no worse than us, but they move, so we can.”, Oblomov unleashes on Zakhar all the rage that has accumulated in him during his chaotic life in St. Petersburg: Ilya Ilyich does not understand how a serf dares to compare him with someone, he tries to assert his exclusivity, prove his superiority, reproaching Zakhar and trying in every possible way to shame him.
The question of moving is not the only one in the novel that allows showing the conflict between the pragmatic world of Zakhar and the abstract world of Oblomov. Goncharov highlights this conflict in a variety of ways. For example, a conversation about food prices once again shows the earthiness of the serf and the ignorance of the master. Oblomov, who is completely unaware of food prices, having learned how much money he owes to the butcher, baker and greengrocer, first accuses Zakhar of having eaten everything, and then falls into real indignation.
But, despite this, Zakhar and Ilya Ilyich are inseparable, they are already truly dependent on each other and are very similar to each other in many ways. Zakhar is characterized by firmness: in some way he perceives Oblomov as a child, therefore, in a narrow circle of issues, he has undoubted authority over his master, for example, he does not allow Oblomov to lend Tarantiev's tailcoat, because he has not yet returned the gloves and vest.
Goncharov says about Zakhar that he “belonged to two eras, and both put their stamp on him. From one, he inherited boundless devotion to the Oblomovs' house, and from the other, later, refinement and corruption of morals. Zakhar is characterized by underdevelopment, inability to do anything really high quality, aggressive reaction to every order of the master and at the same time sincere devotion to his master. Comparing all these qualities in one person, Goncharov brought out a typical hero, created a collective image, with the help of which the author shows how detrimental the lord-peasant relations are for both sides.
Searched here:
- problems in the romance of bummers
- bummer problems
- problems of the romance of Oblolov
In the novel "Oblomov" (1856), I. A. Goncharov set out to depict the life story of one nobleman. He wanted to show a kind and sympathetic person who is looking for the truth, but at every step he meets a lie and therefore falls into apathy.
Oblomov is a multi-polar personality who embodies sharp opposites: a passive life position in society and an active one within himself, the appearance of a sleepy, “moldy” hero at the beginning and touching and sympathetic in the second part of the novel. The image of Oblomov, with its inconsistency, brought out the same ambiguous conclusions in criticism. Ilya Ilyich is dear to A. V. Druzhinin as a person, gentle and gentle, capable of deeds of true love and mercy under other circumstances of life and other development. N. A. Dobrolyubov, on the other hand, saw in Oblomov an apathetic and spineless person with one invariable quality - disgust from serious activity.
The first part of the novel "Oblomov" is devoted to describing all the details of the life of the protagonist of the novel, Ilya Ilyich Oblomov, in his St. Petersburg house, which, in essence, is nothing more than part of Oblomovka's native estate, where Ilya Ilyich spent his childhood. Oblomovka is a certain edge, fenced off from the whole world, an almost impassable corner where no one knows the news about what is happening in the world. This is a golden dream, a fairy tale and dream of Ilya Ilyich. Silence and imperturbable calm reign there. There are no robberies, no murders, no terrible accidents in Oblomovka. “Neither strong passions, nor strong enterprises” worried the Oblomovites. No one knew there whether he was poor or rich, because he had nothing to compare with. Oblomovka is the ideal of childhood with which Ilya Ilyich approaches his life.
Sitting on a sofa in a St. Petersburg house, Oblomov seemed to have returned to his native place. Lying down becomes his normal state. The seal of desolation and negligence is visible on everything that surrounds Oblomov: stains on the carpet, a forgotten towel on the sofa, a plate not removed from yesterday's dinner, bread crumbs, a book always open on the same page.
Oblomov's servant Zakhar is like his master in all his actions: he does not like fuss, does not want to work, and often lies on the couch. As Oblomov is tied to an old dressing gown, so Zakhar does not try to change either his way of life or his suit brought from the village. He is the same product of Oblomovka as his master.
The visitors who come to Oblomov personify the three life paths that the main character could take. He could become a man of the world, spending his life in thoughtless fun, in balls and pleasure trips, like Volkov. Could Ilya Ilyich go to the service and become the head of the department, like Sudbinsky, who is busy only trying to keep up with all the changes in the clerical business. Is it necessary to write now in letters “accept assurances”? The path of Penkin, who became something like a writer, was also open to Oblomov. It would seem that all these people are much more active than Ilya Ilyich lying on the sofa - they are in a hurry somewhere, in a hurry. What are they doing? What are they really doing? Never mind. In essence, their activities are no more important for society than Ilya Ilyich's lying on the couch.
Nothing disturbs the calm course of Oblomov's life. But the appearance of an old friend of the active German Andrey Stolz makes the Russian master worry. Stolz wants to wake Oblomov from hibernation. He persuades him to go on a trip. Oblomov almost agrees, but at the last minute, despite the fact that an old friend is waiting for him in Pariah, he stays. Stolz is energetic and active. He believes that a person should work. He is constantly busy with some business: either he goes somewhere, or he participates in some enterprises. This is happiness for him. Stolz's mother is Russian, and therefore the German industriousness and organization of his father are combined in his character with the Russian romanticism and daydreaming of his mother. Stolz is opposed in the novel to Oblomov in everything. If Oblomov has soft features, a “sleepy look”, and he is flabby beyond his years, then Stolz is all “composed of bones and nerves”. Ilya Ilyich is a gentleman who has his own estate and does not need to work. Stolz, on the other hand, makes his own way in life. He graduated from the university, enjoys success in the service, gradually earns decent money and his own house.
I. A. Goncharov explained why he did not put the Russian in opposition to Ilya Ilyich. The thing is that the writer set out to portray the stagnation, the swamp of Russian life. Therefore, comparing the Russian Oblomov with an active and energetic Russian person, he would have fallen into contradiction, since his goal was to draw the image of an inactive Russian gentleman typical of Russia at that time, and depict his family estate Oblomovka as the whole of Russia in miniature. Oblomov's worldview, according to Goncharov, is a product of the real life of a Russian landowner. Ilya Ilyich is a product of the sleepy kingdom of Oblomovka. He doesn't have to work. He is a baron. Moreover, a Russian master. That is why the Russian Oblomov is opposed by the German Stolz.
However, the image of Stolz is not as simple as it seems at first glance. He sincerely loves Oblomov and wants to help him. Stolz knows and understands Ilya Ilyich well. For example, he speaks more than once about his faithful and kind heart and generous soul. It is Stolz, like no one else, who understands the moral essence of Oblomov. It is he who tells the "writer" the life story of his closest friend. But Goncharov emphasizes another very important detail. At the end of the novel, Stolz finds solace in family well-being and practically approaches where Oblomov left off.
The theme of love occupies a very important place in the novel. Goncharov saw in love the main force that drives the world. Olga Ilyinskaya was Oblomov's ideal. She tried to stir him up, to awaken him, but neither of them came out of their romance. Olga, it would seem, loved Ilya Ilyich, but, apparently, she loved her dream in him, her ideal, and not the real Oblomov, who actually existed. As a result, each of the heroes finds his love: Olga marries Stolz, and Oblomov calms down with Agafya Matveevna Pshenitsyna. In essence, Ilya Ilyich in her house again finds his Oblomovka.
Russian critic Dobrolyubov highly appreciated this novel by Goncharov. In his opinion, in the work of Goncharov about how Oblomov lies and sleeps, the whole Russian life was reflected, the phenomenon that the critic defined as “Oblomovism”. Oblomov himself is neither stupid nor apathetic, but Russian life has made him so. Oblomov is among such "superfluous" people as Onegin and Pechorin. But they were strong natures, while Oblomov was a soft and weak person. It is unlikely that he will want and be able to do something, even if circumstances change.
Goncharov's novel was not unequivocally received by critics. If you look at the image of Oblomov more closely, then behind his nobility and apathy, you can also see the moral challenge of a person of modern life. What can change his activity? The reader sees what his friends are doing, understands what end Stoltz comes to. And if Dobrolyubov saw in the novel a crisis and the collapse of feudal Russia, and considered Oblomov himself the last in a series of “superfluous” people, then many other critics emphasized the kindness of Ilya Ilyich. And in a cruel world, this alone deserves respect.
