Oblomovism as social. Oblomovism - is it a character, a way of life or a worldview? Oblomovism is a social evil

The very concept of "Oblomovism" appeared along with the publication of Goncharov's novel "Oblomov" in 1859. The novel is socio-psychological, clearly reflecting the crisis of the feudal system and its detrimental effect on the development of a person as a person. The meaning of Oblomovism means this very influence. Since the landlords did not have to work to provide for themselves, in some estates life froze in melancholy and inactivity. People were not interested in anything, did nothing and let themselves go to such an extent that they could neither psychologically nor physically get up from the couch. Thus, the meaning of the concept of Oblomovism is spleen and apathy, which captured not a person, but an entire estate in the person of the protagonist of the novel Goncharov.

Ilya Ilyich Oblomov is a nobleman. In childhood, he was an inquisitive boy, keenly interested in the world around him and the people around him. Later - a young man who received an education and entered the service as an official in St. Petersburg. Now he is a recluse, fenced off from the whole world with a Persian robe. For days on end, Oblomov lies on the couch, whiled away the time in dreams and reflections. Neither the active businessman Stolz, nor the resolute bright Olga can stir him up. Apathy and laziness destroy the hero, lead him into a moral impasse, depriving him of hope for further development.

By the age of 32, Ilya Ilyich turned into an indifferent to everything, a driven person, chained to a small apartment on Gorokhovaya. Such a state does not allow the development of positive qualities. Unfortunately, love does not save the hero, the most beautiful feeling that pushes people to exploits and changes. Oblomov finds his place in the house of Agafya Pshenitsyna, which reminds him of his native Oblomovka. He is well aware of his spiritual fall, suffers, but cannot resist it. The hero himself gives the name "Oblomovism" to the disease that struck him and many other serf-owners throughout Russia.

The novel by I. A. Goncharov "Oblomov" was published in 1859, at a time when the issue of abolishing serfdom was extremely acute in the country, when Russian society was already fully aware of the perniciousness of the existing order. A deep knowledge of life and the accuracy of the social analysis of characters allowed the writer to find a surprisingly correct definition of the way of Russian life of that time - “Oblomovism”.
The main task of the author in the novel is to show how a person gradually dies in a person, how unadapted to life a landowner is, not used to doing anything. The main qualities of the kind, sweet Ilya Ilyich Oblomov are his inertia, apathy, and aversion to any activity. Faithful to the traditions of realism, I. A. Goncharov shows that these qualities were the result of Oblomov's upbringing, they are born of the confidence that any desire will be fulfilled and no effort is needed for this. Oblomov is a nobleman, he does not have to work for a piece of bread - hundreds of serfs Zakharov work for him on the estate and fully ensure his existence. This means that he can lie on the couch all day long, not because he was tired, but because "that was his normal state." He almost merged with his soft, comfortable dressing gown and long, wide shoes, which he masterfully hit the first time, as soon as he hung his legs off the sofa.
In his youth, Oblomov "was full of all sorts of aspirations, hopes, expected a lot from fate and himself, everything was preparing for some kind of field, for some kind of role." But time passed, and Ilya Ilyich kept getting ready, preparing to start a new life, but did not advance a single step towards any goal. In Moscow, he received a good education, but his head "was like a library, consisting of some knowledge scattered in parts." Entering the service, which had previously seemed to him in the form of some kind of family occupation, he did not even imagine that life would immediately be divided into two halves for him, one of which would consist of work and boredom, which were synonymous for him, and the other - out of peace and peaceful joy. He realized that “there must be at least an earthquake so that a healthy person does not come to the service,” and therefore he soon resigned, then stopped going out into the world and completely closed himself in the room. If Oblomov recognizes some kind of work, then only the work of the soul, since dozens of generations of his ancestors “endured labor as a punishment imposed on our forefathers, but they could not love, and where there was a case, they always got rid of it, finding it possible and proper."
There were moments in Oblomov’s life when he thought about the reasons that prompted him to lead such a life, when he asked himself the question: “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, no dense forests - there is nothing grandiose, wild and gloomy." Before us appears an idyllic picture, a series of beautiful landscapes. “Rightly and calmly the yearly cycle is completed there. A deep silence lies in the fields. Silence and tranquility of life also reign in the morals of people in that region, ”writes I. A. Goncharov. 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 takes "some
an all-consuming, invincible dream", which I. A. Goncharov makes a symbol that characterizes people like Oblomov, and which he calls "the true likeness of death." From childhood, Ilya was accustomed to the fact that he should not do anything, that for any work there is “Vaska, Vanka, Zakharka”, and at some point he himself realized that it was “much calmer” this way. That is why all the “seekers of manifestations of strength” in Ilyusha “turned inward and drooped, fading away.” Such a life deprived the hero of the novel of any initiative and gradually turned him into a slave of his position, his habits, and even a slave of his servant Zakhar.
In his article “What is Oblomovism?” N. A. Dobrolyubov wrote: “Oblomov is not a stupid apathetic figure without aspirations and feelings, but a person who is also looking for something in life, thinking about something.” He is endowed with many positive qualities, and not stupid. There is a sad truth in his judgments - also a consequence of Russian life. What are all these Sudbinskys, Volkins, Penkovs striving for? Indeed, is it worth getting up from the couch for the sake of the petty fuss that his former comrades are busy with?
In the spirit of the tradition created by Russian writers, I. A. Goncharov subjects his hero to the greatest test - the test of love. A feeling for Olga Ilyinskaya, a girl of great spiritual strength, could resurrect Oblomov. But I. A. Goncharov is a realist, and he cannot show the happy ending of the novel. “Why did everything die? Who cursed you, Ilya? What ruined you? - bitterly tries to understand Olga. And the writer gives an answer to these questions, quite accurately defining the name of this evil - Oblomovism. And not only Ilya Ilyich became its victim. "Our name is legion!" he says to Stolz. And indeed, almost all the heroes of the novel became its victims: Zakhar, Agafya Pshenitsyna, Stolz, and Olga.
The greatest merit of I. A. Goncharov lies in the fact that he surprisingly accurately portrayed the disease that struck Russian society in the middle of the 19th century, which N. A. Dobrolyubov described as “the inability to actively want something,” and pointed out the social causes of this phenomenon.

WHAT IS OBLOMOVSHINA? In his novel "Oblomov" I.A. Goncharov told us the story of “how the good-natured sloth Oblomov lies and sleeps, and no matter how friendship or love can awaken and raise him ...” - wrote N. A. Dobrolyubov in the article “What is Oblomovism?”. “God knows what an important story,” the critic notes, and nevertheless, considers Goncharov’s novel a valuable acquisition for Russian literature. Valuable, because this story “reflected Russian life, it presents us with a living, modern Russian type, minted with merciless rigor and correctness; it expressed a new word of our own development, pronounced clearly and firmly, without despair and without childish hopes, but with a full consciousness of the truth. This word is Oblomovism; it serves as a key to unraveling many phenomena of Russian life, and it gives Goncharov's novel a much more social significance than all our accusatory stories have. Dobrolyubov saw in the type of Oblomov and in Oblomovism something more than just the successful creation of a strong talent, he saw in him "a work of Russian life, a sign of the times."

So who is this Oblomov and why is such an extensive phenomenon of Russian life named after him? Let's try to figure it out by taking a short tour of the pages of his biography.

Ilya Ilyich Oblomov - a nobleman, has the rank of collegiate secretary. When he was in his early twenties, he came from Oblomovka, a family estate located in one of the provinces, to Petersburg, and since then he has lived in the capital without a break. We learn that once, in his youth, he "was full of various aspirations, he kept hoping for something, he expected a lot both from fate and from himself." But what exactly was he waiting for? Apparently, nothing concrete, even if in the features of his face there is no definite idea, no concentration, and "the dominant and basic expression not only of the face, but of the whole soul" is softness. Carelessness and gentleness permeate the whole appearance of the hero. Oblomov's portrait complements the description of his home costume, which goes so "to the dead features of his face and to his pampered body!". As Oblomov's circle of secular communication narrowed, the dressing gown acquired in his eyes “the 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.

The costume in the hero's biography takes on a symbolic meaning. Oblomov loves spacious clothes: in a dressing gown, a spacious frock coat or jacket, he imagines himself in dreams. But as soon as Oblomov's life changes, its rhythm, his clothes also change: when he falls in love with Olga, he stops wearing a dressing gown, walks in a home coat, wears a light scarf around his neck, a snow-white shirt, a beautifully tailored frock coat, a smart hat. In an attempt to keep up with life, Oblomov seeks to follow fashion, but in his heart he still compares himself to a dilapidated, worn-out caftan.

Although the novel says that Ilya Ilyich did not look like either his father or grandfather, many situations of Oblomov's life are repeated in his Petersburg life, and it is clear that the origins of Ilya Ilyich's character, his attitude to life and himself must be sought in the family nest. It was in Oblomovka that he received the first concepts and impressions about life, which, “like a calm river”, flows past and in which the ideal is peace and inaction. He was a developed child, but the boy's inquisitive mind was still unable to resist the simplicity of morals, the silence and immobility that reigned in Oblomovka. From childhood, Oblomov "will forever have the disposition to lie on the stove, walk around in a ready-made, unearned dress and eat at the expense of a good sorceress." And as an adult, Ilya Ilyich retains faith in miracles and unconsciously sad about "why a fairy tale is not life, and life is not a fairy tale." The boarding school in which Ilyusha studied was not much different from his parents' house. Both at home and in the boarding house, he was cherished, “like an exotic flower in a greenhouse, and just like the last one under glass, he grew slowly and sluggishly,” and therefore the forces that were looking for their manifestation “turned inward and drooped, withering.” After studying at the boarding school, the parents sent Ilyusha to Moscow, "where he, willy-nilly, followed the course of study to the end."

After graduating from the course, Oblomov goes to St. Petersburg, dreaming of success in the official field, a worthy position in society, family happiness, but in St. Petersburg he leads a lifestyle familiar from childhood. Ten years passed, and Oblomov "did not advance a single step in any field ... everything was going and preparing to start life, he kept drawing in his mind the pattern of his future."

Although Ilya Ilyich does not strive for communication, various people visit him every now and then. Some, like Volkov, Sudbinsky, Penkin, do not come often and not for a long time. Others - Alekseev, Tarantiev - diligently visit him. They come to eat, drink, smoke good cigars, finding Oblomov's "warm, quiet shelter and always the same, if not cordial, then indifferent reception." Alekseev shared "equally according to his silence, and his conversation, and excitement, and way of thinking, whatever it may be." Tarantiev, on the other hand, brought "life, movement, and sometimes lead from outside" to Oblomov's realm of sleep and rest. In addition, Oblomov innocently believed that Tarantiev "is really capable of telling him something worthwhile."

The rest of the time, nothing disturbed the hero’s usual state, and this state was “peace” and “lying down”. In solitude and loneliness, Oblomov “loved to withdraw into himself and live in the world he created”: imagine himself an invincible commander, thinker, great artist, solve world problems, feel sympathy for all the destitute and unfortunate ... And when imaginary worries became insurmountable, he was lost and began to "pray fervently, fervently, imploring heaven to avert somehow a threatening storm." After the prayer, he became "calm and indifferent to everything in the world", entrusting the care of his fate to heaven. Only in his dreams was Oblomov truly happy: he felt "a vague desire for love, quiet happiness." True, returning to reality, he sought to fulfill his ideals and thoughts, but these aspirations instantly vanished, often without even taking shape verbally. A loud appeal to Zakhar, not having time to turn into a request or an order, was quickly replaced by the usual thoughtful mood.

Although in Oblomov's real life there were no upheavals and storms, his fate is tragic. He perfectly understood everything about himself. In a confession to Stolz, Ilya Ilyich admitted that he was in pain "for his underdevelopment, the halt in the growth of moral forces, for the heaviness that interferes with everything." He felt that “some kind of good bright beginning was buried in him, as in a grave… like gold in the bowels of a mountain” and envied people who live “so fully and widely”, but he never did anything. Behind the softness, carelessness and effeminacy, there is actually a solid and whole nature, which is true to itself. He breaks ties with those who understand life differently, and sincerely loves only Stolz. Friends were connected by romantic youthful dreams. With Stolz, Oblomov was going to "travel along and across Europe, walk through Switzerland, burn his feet on Vesuvius, go down to Herculaneus." But if for Stolz the journey is not a feat, but a simple and familiar thing, then Oblomov made in his life "the only trip from his village to Moscow." And, nevertheless, it was Stoltz who awakened the vitality in his friend for some time.

An attempt to fulfill a youthful dream of traveling was not successful, but the "awakened vitality" rushed to fulfill another dream - a dream of love.

Stolz introduced Ilya to Olga Ilyinskaya, and the rhythm of his life changed. Oblomov seemed to see himself and his life from the outside and was horrified. “And the dressing gown seemed disgusting to him, and Zakhar is stupid and unbearable, and the dust with cobwebs is unbearable.” Just as violently and passionately as his novel began, Oblomov “shakes off the dust and cobwebs” from his whole life, boldly and courageously rushes into a world full of movement, excitement, passions. Soon he confesses his love to Olga, feeling that Olga is exactly the ideal of "the happiness of life."

Love filled Oblomov's life with meaning. He dreams of traveling abroad, intends to leave with Olga for his green paradise - Oblomovka, but ... suddenly lit up with love passion, Oblomov just as suddenly sobers up. When the poetic time passed in love and “a strict story began: a chamber, then a trip to Oblomovka, building a house, a mortgage to the council, laying a road, an endless review of cases with peasants ... reaping, threshing ... the caring face of a clerk ... a hearing in court," love becomes debt and ends her "summer, flowering poem." Having delved into the "practical side of the question of the wedding," Oblomov sees in it "an official step towards a significant and serious reality and a number of strict duties," and this depresses him.

Time passes, while waiting for the attorney's report on the state of his affairs, Oblomov is looking for an apartment in St. Petersburg, closer to the Ilyinskys, and for the time being, until an apartment is found, he settles in the house of Agafya Matveevna Pshenitsyna. Life in this house reminds the hero of life in his beloved Oblomovka. Silence and tranquility, the constant worries of the hostess about the kitchen in which she reigns, lead Oblomov to despair. He understands that life with Olga does not promise him "peaceful happiness and peace." He needs at least a temporary respite from constant shocks and anxieties, so the wedding with Olga is postponed. Their romantic love did not stand the test of real life, but in the year for which the wedding was postponed, Pshenitsyna's house became for Ilya Ilyich that heavenly blessed corner to which he always aspired.

After Stolz manages to settle things in Oblomovka, Oblomov regularly receives income, and peace and silence reign in Pshenitsyna's house. As in Oblomovka, in the newfound paradise, there is talk about holidays, cuisine, food. As in Oblomovka, here the master can sit without moving, and let "the sun not rise tomorrow, whirlwinds cover the sky, a stormy wind will rush from the ends of the universe, and soup and roast will appear on his table, and his linen will be clean and fresh, and the web is removed from the wall ... ".

The loving eye of Agafya Matveevna's wife vigilantly guarded every moment of Ilya Ilyich's life, but "eternal peace, eternal silence and lazy crawling from day to day quietly stopped the machine of life." Oblomov "died, apparently, without pain, without torment, as if a clock that had been forgotten to start had stopped." So ingloriously ended his life ...

According to D.I. Pisarev, "Oblomov ... embodies that mental apathy, which Mr. Goncharov gave the name of Oblomovism." “This apathy ... is expressed in the most diverse forms and is generated by the most diverse causes; but everywhere in it the terrible question plays the main role: “Why live? Why work?" - a question to which a person often cannot find a satisfactory answer. This unresolved question, this unsatisfied doubt, exhausts one's strength, destroys one's activity; a person gives up, and he gives up work, not seeing a purpose in it ... ”The reason for apathy lies partly in the external position of a person, partly in the image of his mental and moral development. In terms of his outward position, Oblomov is a gentleman: “he has Zakhar and another three hundred Zakharov”, which provide him with a carefree idle life.

N.A. splendidly wrote about the exceptional typicality of Oblomovism. Dobrolyubov, but in the novel itself its vitality and prevalence are shown quite convincingly. Stoltz speaks angrily about her, and Oblomov’s own confession testifies to her: “Am I alone? Look: Mikhailov, Petrov, Semyonov, Alekseev, Stepanov ... you can’t count: our name is legion! Oblomovism was found not only in the village on the Volga, but also in other places of feudal Russia, and in the capital; she manifested herself not only in the behavior of the bar, but also in the inertia of officials, serfs, people of intelligent professions who would gladly leave their occupations if everything that they earn with their labor went to them for nothing.

The Oblomov principle, as we have seen, lives in Zakhara, visiting the hero, in secular salons, in the life of the widow Pshenitsyna ... That is why the word and concept of "Oblomovism", according to D.I. Pisarev, will never "die in our literature", "penetrate into the language and enter into general use."

The novel by I. A. Goncharov "Oblomov" is a socio-psychological novel depicting the destructive influence of the nobility and landlord environment on the human personality. "Oblomov" appeared when the feudal system more and more revealed its failure. Goncharov worked on this work for many years. The novel was published in 1859 in the journal Otechestvennye Zapiski and immediately attracted the attention of readers.

Goncharov, like few others, managed to touch the innermost strings of the "Russian soul" with the artist's pen. The writer created a character who embodies, oddly enough, the main features of the Russian national character, although not in the most attractive form, but at the same time evoking love and sympathy. Goncharov's merit lies in the fact that he revealed the socio-historical reasons for the emergence of such a character as Oblomov. That is why in the novel an important place is occupied by the image of those conditions and the environment in which the formation of his hero took place.

The writer with amazing depth reproduced the life of a provincial noble estate, the life of middle-class landowners, their psychology, mores, customs, views. In the chapter "Oblomov's Dream", the author draws immobility, lulling the peace and silence of a "peaceful corner". "The annual cycle is being performed there correctly and calmly"; "neither terrible storms nor destruction can be heard in that land"; "life, like a calm river, flowed past them" such phrases characterize the life of the hero and his environment.

By the age of 32, Ilya Ilyich Oblomov had turned into a "babaka", an apathetic and inert creature, whose life was limited to an apartment on Gorokhovaya Street, a dressing gown made of Persian fabric and lying on a sofa. Such a state kills positive human qualities in Oblomov, of which there are many in him. He is honest, humane, smart. The writer repeatedly emphasizes in it "pigeon meekness." Stolz recalls that once, about ten years ago, he had spiritual ideals. He read Rousseau, Schiller, Goethe, Byron, studied mathematics, studied English, thought about the fate of Russia, wanted to serve his homeland. Stolz reproaches Oblomov: “In the same corner lie your plans to“ serve ”as long as you have strength, because Russia needs hands and heads to develop inexhaustible sources.”

The ideological confrontation between Andrei Ivanovich and Ilya Ilyich is one of the main semantic elements of Oblomov. The last meeting of the two friends mirrors their first meeting in the novel. Their dialogue develops in the following generalized form: Stolz's questions about health, Oblomov's complaints, Stolz's reproaches about the wrong way of life, calls for change. But the outcome of the conversation differs significantly: at the beginning of the novel, Ilya Ilyich succumbs to the persuasion of a friend and goes out into the world, but in the finale he remains in his familiar place.

The German Stolz is "incessantly on the move". His credo is an active life position, distrust of the "dream, the enigmatic, the mysterious." The character of Stolz is associated with a new, bourgeois-entrepreneurial reality and embodies the features of a businessman. Andrei Ivanovich is hardworking, intelligent, honest, noble, but he does not work for a lofty goal, but for personal success. To Oblomov's question: "What are you working for?" he finds nothing to say except: "For the labor itself, for nothing else." Stolz does not pull on a positive hero, because he is "weak, pale an idea peeps out of him too nakedly."

It is very important that we actually look at what is happening through the eyes of Stolz. But after all, this character does not represent the author's position at all, and he does not convince us of everything. In essence, Oblomov is a mystery even for the author himself.

The tragedy of Oblomov is not in the absence of general education and not in the desolation of his family estate. The break with Olga Ilyinskaya led to the loss of the content of his life. The best moments of the life of Ilya Ilyich were connected with Olga. This loss leads him to the house of Agafya Pshenitsyna. At the end of the novel, Oblomov "... was a complete and natural reflection of peace, contentment and serene silence."

Energetic Stolz tried to bring Oblomov out of a state of dead rest, to include him in life. Unfortunately, nothing came of this, because Ilya Ilyich had grown too strong to rest: "I have grown to this pit with a sore spot: try to tear it off - there will be death."

Oblomov understands his spiritual fall, the stronger his spiritual drama. “He painfully felt that some good, bright beginning was buried in him, as in a grave, perhaps now dead, or it lies like gold in the bowels of a mountain ... But the treasure is deeply and heavily littered with rubbish, superficial rubbish". Oblomov also understands the reasons for his spiritual death. When Olga asked him: "Why did everything die?.. Who cursed you, Ilya?.. What ruined you? There is no name for this evil..."

Perhaps, Goncharov managed to embody positive features in Olga Ilyinskaya. Olga nature is independent, strong, resolute. It is characterized by the desire for an active and meaningful life. Therefore, having fallen in love with Oblomov, she is imbued with a desire to revive him, to save him from spiritual and moral death. Realizing that Oblomov will not be able to throw off apathy and laziness, she irrevocably breaks with him. The farewell words that Olga addresses to Oblomov speak of her high demands on the one she loves: "You are meek, honest, Ilya; you are gentle ... dove, you hide your head under your wing and do not want anything more; you I’m ready to coo all my life under the roof ... yes, I’m not like that: that’s not enough for me ... ”It is interesting that Olga becomes Stolz’s wife. But, of course, this marriage does not bring her happiness.

The unconscious motives and aspirations that determine Oblomov's behavior are a kind of "abyss". In many ways, Oblomov's personality remains unsolved.

N. A. Dobrolyubov in the article "What is Oblomovism?" gave a brilliant and still unsurpassed analysis of the novel. He notes that the social significance of the novel "Oblomov" lies in the fact that it shows Russian life, created the "modern Russian type" and in one word defined the characteristic phenomenon of the nobility and serf reality: "This word is Oblomovism; it serves as a key to unraveling many phenomena of Russian life.

Dobrolyubov showed that the image of Oblomov is a socio-psychological type, embodying the features of a landowner of the pre-reform period. The state of nobility gives rise to moral slavery in him: "... the vile habit of obtaining satisfaction of his desires not from his own efforts, but from others developed in him apathetic immobility and plunged him into a miserable state of moral slavery. This slavery is intertwined with Oblomov's nobility, as they mutually penetrate into each other and one is conditioned by the other. The Oblomovs are all those whose words disagree with their deeds, who in words only want the best and are not able to translate their desire into action.

This is the genius of Goncharov, that in his wonderful work he raised one of the most important questions of Russian life. Answering this question means changing life radically for the better.

1. The plot outline of the novel "Oblomov".
2. Stolz is the antipode of Oblomov.
3. The meaning of the novel by I. L. Goncharov in our time.

The novel by I. A. Goncharov "Oblomov" was completed in 1857, at a time when new social relations began to replace the serfdom era. In Russia, the “third estate”, the bourgeois class, began to emerge. The development of industry dictated a different rhythm of life, but the old semi-feudal relations, "nobility" hampered the development of the new.

These problems worried I. A. Goncharov when he was working on the novel. He was interested in "nobility" from a social and psychological point of view. We are talking about the "lordship of the soul." The plot outline of the work is as follows. In the first part, Ilya Oblomov lies on the couch. In the second part, he falls in love with Olga Ilinskaya. In the third part, Olga realizes that she made a mistake in Oblomov. In the final part, Olga marries Oblomov's friend Andrei Stolz, and Ilya Ilyich marries the mistress of the house in which he rents an apartment. The summary of the novel fits in a few lines. But the events are not so important. It is important that they are absent. This is a work about the fact that neither love, nor friendship, nor work awaken the protagonist of the novel, Ilya Ilyich Oblomov, to vigorous activity.

The first part of the novel is devoted to a detailed description of Oblomov's lifestyle. The protagonist lies on the couch all day and languidly quarrels with Zakhar (with his servant). “On the walls, near the paintings, a cobweb saturated with dust was molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve ... for writing down on them, in the dust, some notes for memory ... on the table a rare morning, not removed from yesterday's dinner, there was not a plate with a salt shaker and a gnawed Bread crumbs didn’t lie like a bone ... one would think that no one lives here - everything was so dusty, faded and, in general, was devoid of traces of human presence.

Friends cannot take Oblomov out for a walk: he excuses himself, looking for all sorts of excuses to lie down on the couch at home. Everything that happens around, Ilya Ilyich learns from other people's words, but despite this, his judgments are very reasonable. He is not engaged in housekeeping, his affairs are extremely confused. Oblomov hopes that everything will be resolved by itself and is waiting for the arrival of his friend Andrei Stolz, who will help deal with all the problems.

The writer is trying to understand the reason for the characters of such people as Oblomov and Stolz. We learn about their childhood years, about how and under the influence of what their life views were formed. Oblomov, who grew up surrounded by mothers and nannies, absorbed the idea that it was better and easier not to work. And to receive all the blessings of life at the expense of others. N. A. Dobrolyubov in his article “What is Oblomovism?” said that the character of Oblomov was formed by "Zakhar and 300 more Zakharov." The laziness of the soul, which has ingrained itself in the protagonist of the novel, guides all his actions. When Ilya Ilyich came to the city to apply for a position, he played for time, negligently coped with his duties. After that, he "falls ill" and does not appear in the service. Stolz's attempts to awaken Oblomov also ended unsuccessfully, but even the love for Olga Ilyinskaya that arose in the heart of Ilya Ilyich cannot bring him out of his state of sleep.

The image of Oblomov is opposed to the image of Andrei Stolz. His upbringing was fundamentally different from the upbringing of Ilya Ilyich. The German father taught his son from an early age to be responsible for his own actions. I told him that only hard work, work brings both personal and social well-being. Recall that episode when his father puts him out of the house “into the people”, Andrei turns to rich acquaintances not for help, but as an equal to equals. He earns his own "one hundred thousand income and a two-story stone house." I. A. Goncharov embodied in the image of Stolz his ideal of an active and at the same time rich inwardly person. According to the writer, this symbiosis of German practicality and Russian spirituality should replace the lordly loafers.

I. A. Goncharov saw the danger of "Oblomovism", as it penetrated into Russian life. As noted by N.A. Dobrolyubov, “it has long been noted that all the heroes of the most wonderful Russian stories and novels suffer from the fact that they do not see a goal in life and do not find a decent activity for themselves. As a result, they feel bored and disgusted with any business, in which they are strikingly similar to Oblomov. We are reminded of the characters of Eugene Onegin, Grigory Pechorin. They take on a lot, but achieve nothing worthwhile. They do not know how to love, they do not know what to look for in love and in life. The only difference between them and Oblomov is that Goncharov laid his hero on the sofa, put on an old dressing gown and assigned Zakhar to him, who took care of his master.

In his work, Goncharov, in the image of Oblomov, showed the Russian human type, showed the style of Russian life, one of the characteristic aspects of its reality. The writer raises the image of his hero to the level of a symbol, deducing from it a social phenomenon that is detrimental to a person - “Oblomovism”, which stifles any undertakings, the efforts of the individual suppresses the will of a person. So after all, “Oblomovism” is an innate or acquired state of mind? Purchased, of course. After all, human life consists in action, in the desire to introduce something new, in the desire to give meaning to one's life, in the end, in an attempt to accelerate the process of development of both one's existence and the development of society. These are the natural needs of people. But all these aspirations and qualities can perish if they are not developed, if you do not work on yourself. And this is not easy, it is a constant process of movement of thought. And although we understand that I. A. Goncharov sincerely pities his hero, sympathizes with him, but the future belongs to such heroes as Andrei Stolz. By the way, the writer himself said that the image of Stolz "is not alive, but just an idea." Nevertheless, the novel "Oblomov" caused and causes a lot of controversy among readers, because the problems that the author solved are topical even in our mobile difficult time.