“In Gorokhovaya Street, in one of big houses <…>Ilya Ilyich Oblomov was lying in bed in the morning in his apartment,” this is how I. A. Goncharov introduces us to the main character of the work, a gentleman a little over 30 years old, who does not know and does not want to know about work. An old, worn dressing gown (sleeping robe) and slippers are his usual attire. These are symbols of laziness and apathy, running like a red thread through the character’s entire life.

“Yes, I’m a master and I don’t know how to do anything!” - Oblomov says about himself.

N.A. Dobrolyubov understood “Oblomovism” as something social, “a sign of the times.” In his understanding, the image of Oblomov is a strictly defined type of Russian person, “spoiled” by the opportunity to shift all responsibility onto the shoulders of others. From the point of view of the critic, “Oblomovism” is an allegory of serfdom.

(Still from N. Mikhalkov's film "A few days in the life of I.I. Oblomov." Ilya Oblomov - Oleg Tabakov)

Where did “Oblomovism” come from? The reader learns about this from the chapter “Oblomov’s Dream,” which tells about Ilyusha’s childhood. The life of a serf estate is divided into two worlds: the lazy, amorphous lordly one, where there is nothing more important than tasty food and sound, like sleep, and the peasant world - filled with labor aimed at solving the everyday problems of the masters. We see a world that is ossified, closed in traditions and customs that do not encourage living aspiration and, especially, work. Why, if there is “Zakhar and 300 more Zakharovs”?

Moving away from Dobrolyubov’s concept of serfdom, one can see in “Oblomovism” a phenomenon that is often encountered in our days. Fear of being sent to " great life”, persistently nurtured by parents in their offspring, life “following the well-trodden” and beaten path of generations of following traditions and foundations. Excessive care from work and the creation of a social vacuum destroy the slightest manifestations of curiosity and the desire for independence: “Those seeking manifestations of strength turned inward and withered away.”

Oblomov's whole life is a desire to plunge into a utopia, where everything is easy and there is no need to make decisions. Ilya Ilyich does not want to leave the house, he is constantly immersed in dreams about rebuilding the estate, but dreams remain dreams, and Oblomov’s world is still limited to the sofa, because “a fairy tale is not life, and life is not a fairy tale.”

“Oblomovism” is contrition, “primitive laziness,” time spent in dreams and empty reveries. The time that is created for action.

No external force can awaken even one spark in Ilya Ilyich. Andrei Stolts’s desire to bring him back to life collapsed under the heap of fears, foundations and the notorious worn-out robe, which enveloped not only the body, but also the mind and soul of Oblomov. Olga’s desire to return Ilya to society did not come true either. Decadence consumed his essence.

("The same Oblomov - yesterday and today")

Everything that captures a person infected with Oblomovism is doomed. Everything around him is dying, because there is no fire inside, no desire to live, and not drag out existence, lying on the sofa and hiding from any “external stimuli.”

The last refuge of Ilya Ilyich was the house of Agafya Pshenitsina, where he found echoes of his “cradle” - Oblomovka, to which all his nature strove.

WHAT IS OBLOMOVSHCHINA? In his novel “Oblomov” I.A. Goncharov told us a story about “how the good-natured sloth Oblomov lies and sleeps and how neither friendship nor love can awaken and raise him...” wrote N. A. Dobrolyubov in the article “What is Oblomovism?” "God knows what important story“,” the critic notes, and nevertheless, considers Goncharov’s novel a valuable acquisition for Russian literature. Valuable because in this story “Russian life is reflected, in it a living, modern Russian type appears before us, minted with merciless severity 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 much more social significance than all our accusatory stories have.” Dobrolyubov saw in Oblomov’s type 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 a vast phenomenon of Russian life named after him? Let's try to figure it out by doing short excursion through the pages of his biography.

Ilya Ilyich Oblomov is a nobleman and has the rank of collegiate secretary. When he was twenty small years old, he came from Oblomovka, family estate, located in one of the provinces, to St. Petersburg and since then 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, if even in the features of his face there is no definite idea, any concentration, and “the dominant and main expression not only of the face, but of the whole soul” is softness. Carelessness and gentleness permeate the entire appearance of the hero. Oblomov’s portrait complements the description of his home suit, which suits “his calm features and his pampered body!” As Oblomov’s social circle narrowed, the robe acquired in his eyes “a darkness of invaluable merits: 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 acquires symbolic meaning. Oblomov loves spacious clothes: he imagines himself in a dressing gown, a spacious frock coat or jacket in his dreams. But as soon as Oblomov’s life changes, its rhythm changes, so does his clothes: when he falls in love with Olga, he stops wearing a robe, wears a housecoat, wears a light scarf around his neck, a snow-white shirt, a beautifully tailored frock coat, and a smart hat. In an attempt to keep up with life, Oblomov strives to follow fashion, but in his soul he still compares himself to an old, worn-out caftan.

Although the novel says that Ilya Ilyich was not like either his father or his grandfather, many situations of Oblomov’s life are repeated in his St. Petersburg life, and it is clear that the origins of Ilya Ilyich’s character, his attitude to life and to himself must be sought in the family nest. It was in Oblomovka that he received his first concepts and impressions of life, which, “like a calm river,” flows by and in which the ideal is peace and inaction. He was developed child, but the boy’s inquisitive mind was still unable to resist the simplicity of morals, silence and stillness that reigned in Oblomovka. Since 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 the good sorceress.” And as an adult, Ilya Ilyich retains faith in miracles and unconsciously sadness about “why a fairy tale is not life, and life is not a fairy tale.” The boarding school where Ilyusha studied was not much different from 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 sought their manifestation “turned inward and faded, withering.” After studying at the boarding school, Ilyusha’s parents sent him to Moscow, “where he, willy-nilly, followed the course of study to the end.”

After completing the course of study, Oblomov goes to St. Petersburg, dreaming of success in his career, a worthy position in society, family happiness, but even in St. Petersburg he leads a lifestyle familiar to him since childhood. Ten years passed, and Oblomov “didn’t advance a single step in any field... he kept getting ready and preparing to start life, he kept drawing a pattern of his future in his mind.”

Although Ilya Ilyich does not strive for communication, people visit him every now and then different people. Some, like Volkov, Sudbinsky, Penkin, do not come often and not for long. Others - Alekseev, Tarantiev - diligently visit him. They come to eat, drink, smoke good cigars, finding at Oblomov’s “a warm, peaceful shelter and always the same, if not cordial, then indifferent welcome.” Alekseev shared “equally in agreement with his silence, and his conversation, and excitement, and way of thinking, whatever it was.” Tarantiev brought “life, movement, and sometimes news from the outside” into Oblomov’s kingdom of sleep and peace. In addition, Oblomov innocently believed that Tarantiev “was really capable of advising him of something worthwhile.”

The rest of the time, nothing disturbed the hero’s normal state, and this state was “rest” and “lying down.” In solitude and loneliness, Oblomov “loved to withdraw into himself and live in the world he created”: to imagine himself as an invincible commander, a thinker, a great artist, to solve world problems, to be imbued with sympathy for all the disadvantaged and unfortunate... And when imaginary worries became insurmountable, he became lost and began to “pray fervently, fervently, begging the sky to somehow ward off the threatening storm.” After 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 strove to realize his ideals and thoughts, but these aspirations instantly disappeared, often without even taking shape verbally. A loud call to Zakhar, without having time to turn into a request or an order, was quickly replaced by the usual thoughtful mood.

Although there were no shocks and storms in Oblomov’s real life, his fate was tragic. He understood everything about himself perfectly. In a confession to Stoltz, Ilya Ilyich admitted that he was pained “for his underdevelopment, the stop in the growth of moral forces, for the heaviness that interferes with everything.” He felt “that some good, bright beginning was buried in him, as in a grave... like gold in the depths of a mountain” and envied people who lived “so fully and widely,” but he did nothing. Behind the softness, carelessness and effeminacy there actually lies a solid and integral nature that remains true to itself. He breaks ties with those who understand life differently, and sincerely loves only Stolz. The friends were connected by romantic youthful dreams. With Stoltz, Oblomov was going to “travel the length and breadth of Europe, walk through Switzerland, burn his feet on Vesuvius, go down to Herculane.” But if for Stolz traveling 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 Stolz who awakened in his friend for some time vitality.

The attempt to fulfill the youthful dream of traveling was not crowned with success, but the “awakened vital forces” rushed to fulfill another dream - the 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 robe seemed disgusting to him, and Zakhar was stupid and unbearable, and the dust and cobwebs were unbearable.” Just as violently and passionately as his novel began, Oblomov “shakes off the dust and cobwebs” from his entire life, boldly and bravely rushes into a world full of movement, excitement, passions. Soon he confesses his love to Olga, feeling that Olga is exactly the ideal of “happiness in life.”

Love filled Oblomov’s life with meaning. He dreams of traveling abroad, intends to leave with Olga to his green paradise - Oblomovka, but... suddenly inflamed with love passion, Oblomov just as suddenly sobers up. When the poetic time in love has passed and “a strict story has begun: a ward, then a trip to Oblomovka, building a house, a mortgage to the council, building a road, an endless discussion of cases with men... reaping, threshing... the caring face of the clerk... a court hearing,” love becomes her “summer, blooming poem” ends with duty. Having delved into the “practical side of the wedding issue,” Oblomov sees in it “an official step towards significant and serious reality and a number of strict responsibilities,” 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 while 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 calm, the hostess’s constant worries 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 worries, so the wedding with Olga is postponed. Their romantic love did not stand the test of real life, but during that year, the period for which the wedding was postponed, Pshenitsyna’s house became for Ilya Ilyich that blessed paradise to which he had always strived.

After Stoltz manages to settle matters in Oblomovka, Oblomov regularly receives income, and peace and silence reign in Pshenitsyna’s house. As in Oblomovka, in the newfound corner of paradise there is talk about holidays, cuisine, and food. As in Oblomovka, here the master can sit without moving from his place, and may “the sun not rise tomorrow, whirlwinds will 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 cobwebs have been 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 suffering, as if a watch had stopped and they had forgotten to wind it.” This is how his life ended ingloriously...

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

N.A. wrote superbly about the exceptional typicality of Oblomovism. Dobrolyubov, but in the novel itself its vitality and prevalence are shown quite convincingly. Stolz speaks angrily about it, and Oblomov’s own confession testifies to it: “Am I alone? Look: Mikhailov, Petrov, Semenov, Alekseev, Stepanov... you can’t count them: 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; it manifested itself 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 free.

The Oblomov principle, as we have seen, lives in Zakhara, at the hero’s house, in social salons, in the life of the widow Pshenitsyna... That is why the word and concept “Oblomovism”, according to D.I. Pisarev, will never “die in our literature”, “will penetrate the language and come into general use.”

What is "Oblomovism"?

I. A. Goncharov's novel "Oblomov" is a socio-psychological novel, depicting the destructive influence of the noble-landowner environment on the human personality. "Oblomov" appeared when serfdom more and more revealed his inadequacy. 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 most intimate strings of the “Russian soul” with the artist’s pen. The writer created a hero who, oddly enough, embodies 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 important place occupies 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, morals, customs, views. In the chapter “Oblomov’s Dream” the author depicts the stillness, the soporific peace and silence of the “peaceful corner”. “The annual circle is completed there correctly and calmly”; “neither terrible storms nor destruction can be heard in that region”; “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 “baibak”, an apathetic and inert creature, whose life was limited to an apartment on Gorokhovaya Street, a robe made of Persian fabric and lying on the sofa. This condition kills positive people in Oblomov human qualities, of which there are many. He is honest, humane, smart. The writer more than once emphasizes the “dove’s meekness” in him. Stolz recalls that once, about ten years ago, he had spiritual ideals. He read Rousseau, Schiller, Goethe, Byron, studied mathematics, studied English language, thought about the fate of Russia, wanted to serve his homeland. Stolz reproaches Oblomov: “In this same corner lie your plans to “serve” until 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. Last meeting 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 his wrong lifestyle, calls for change. But the outcome of the conversation differs significantly: at the beginning of the novel, Ilya Ilyich succumbs to the persuasion of his friend and goes out into the world, but in the finale he remains in his familiar place.

The German Stolz is “constantly on the move.” His credo is active life position, distrust of the “dream, the mysterious, the mysterious.” Stolz's character is associated with the new, bourgeois-entrepreneurial reality and embodies the traits of a businessman. Andrei Ivanovich is hardworking, smart, honest, noble, but he works not for a high goal, but for the sake of personal success. To Oblomov’s question: “For what are you working?” - he finds nothing to say except: “For the work itself, for nothing else.” Stolz is not up to it positive hero, because he is “weak, pale - the idea peeks out of him too nakedly.”

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

Oblomov’s tragedy is not in the lack of universal education and not in the desolation of his family estate. The break with Olga Ilyinskaya led to him losing the content of his life. Were associated with Olga best moments life of Ilya Ilyich. This loss brings 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."

The energetic Stolz tried to bring Oblomov out of his state of deadening calm and to include him in life. Unfortunately, nothing came of this, because Ilya Ilyich was too firmly rooted in peace: “I’ve grown to this hole with a sore spot: try to tear it off - there will be death.”

Oblomov understands his spiritual decline, - the stronger it emotional drama. “He painfully felt that some good, bright beginning was buried in him, as in a grave, perhaps now dead, or it lay like gold in the depths of a mountain... But the treasure was buried deep and heavily with rubbish, alluvial 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...”, “There is,” he said barely audibly... “Oblomovism!”

Perhaps the features positive for Goncharov managed to be embodied in Olga Ilyinskaya. Olga is an independent, strong, determined person. She is characterized by a desire for an active and meaningful life. Therefore, having fallen in love with Oblomov, she is imbued with the desire to revive him, save him from spiritual and moral ruin. Realizing that Oblomov will not be able to shake off his apathy and laziness, she irrevocably breaks with him. Farewell words, with which Olga addresses 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 don’t want anything more; you are ready for everything cooing life under the roof... yes, I’m not like that: that’s not enough for me...” It’s interesting that Olga becomes Stolz’s wife. But, naturally, 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 public importance The novel "Oblomov" is that it shows Russian life, creates a "modern Russian type" and in one word defines the characteristic phenomenon of noble-serfdom reality: "This word is Oblomovism; it serves as the key to unraveling many phenomena of Russian life."

Dobrolyubov showed that the image of Oblomov is a socio-psychological type that embodies the features of a landowner of the pre-reform period. The state of lordship gives rise to moral slavery in him: “... the vile habit of receiving satisfaction of his desires not from his own efforts, but from others, developed in him an apathetic immobility and plunged him into a pitiful state of moral slavery. This slavery is intertwined with Oblomov’s lordship, since they penetrate each other into each other and one is conditioned by the other.” The Oblomovs are all those whose words are at odds with deeds, who in words only wish for the best and are not able to translate their desire into action.

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

II. For a general bibliography about Goncharov, see the article “Goncharov”. Especially about “Oblomov” and O.: Saltykov-Shchedrin M. E., Letters 1845-1889, Edited by N. V. Yakovlev, Guise, M. - L., (1925), pp. 10-11; articles by Dobrolyubov, Pisarev, Herzen, Druzhinin, Grigoriev, Merezhkovsky, Aikhenvald, Protopopov, Ovsyaniko-Kulikovsky, Ivanov-Razumnik, Pereverzev (see text). Bibliography of Lenin’s statements about O.: Development of capitalism in Russia (1899), “Works,” vol. III, pp. 160, 239 (3rd ed.); Uncritical Criticism (1900), Sochin., vol. III, p. 496; Agrarian program of Russian Social Democracy (1902), Sochin., vol. V, p. 121; Political agitation and the “class point of view” (1902), Sochin., volume IV, p. 354; One step forward, two steps back (1904), “Works,” volume VI, pp. 310-311; Party organization and party literature (1905), “Sochin.”, vol. VIII, p. 388; “You will hear the judgment of a fool...” (1907), “Works,” volume X, p. 281; Conversation about “cadet-eating” (1912), “Works”, volume XVI, p. 124; Another March on Democracy (1912), Works, vol. XVI, p. 132; On the food tax (1921), "Works", volume XXVI, p. 338; On the International and Domestic Situation (1922), Works, Volume XXVII, pp. 177, 178, 179; XI Congress of the RCP (b) (1922), “Works”, volume XXVII, p. 241; ABOUT new production works of SNK and STO (1922), ibid., pp. 159, 160; Notes from a Publicist (1922), Works, vol. XXVII, 526 (note; draft of two unwritten chapters); Gorbunov N.P., Memoirs of Lenin (Lenin about Oblomovism and the selection of people), Partizdat, Moscow - Leningrad, 1933; an incomplete bibliography of Lenin’s statements about Oblomovism is given in the work - Marx, Engels, Lenin and Stalin on art and literature, “Book and Proletarian Revolution”, 1933, VIII, 104; Tseytlin A., Literary Quotes Lenin, Moscow, 1934.

Wikipedia Ozhegov's Explanatory Dictionary

Oblomovism- a generalized common noun and figurative name for a complex of personal traits such as social passivity, impracticality, laziness, apathy, drowsiness, mental immobility, indecisiveness. This complex of traits got its name from... ... Fundamentals of spiritual culture (teacher's encyclopedic dictionary)

See Goncharov... encyclopedic Dictionary F. Brockhaus and I.A. Efron

J. colloquial Used as a symbol of sluggish indifference to public interest, reluctance to make any decisions or perform any actions, believing that others should do this. Ephraim's explanatory dictionary. T. F. Efremova. 2000... Modern Dictionary Russian language Efremova

Oblomovism, Oblomovism, Oblomovism, Oblomovism, Oblomovism, Oblomovism, Oblomovism, Oblomovism, Oblomovism, Oblomovism, Oblomovism, Oblomovism, Oblomovism (

The concept of “Oblomovism” in I. A. Goncharov’s novel “Oblomov”

lyrics Pushkin Lermontov Goncharov

In the novel "Oblomov", Goncharov touched upon the problems that time has brought forward, and showed the real state of the Russian noble society V post-reform period in Russia.

The novel “Oblomov” is a novel about a hero and about the phenomenon that gave birth to this hero - “Oblomovism”.

The study of Oblomovism in all its manifestations made Goncharov’s novel immortal. Main character-- Ilya Ilyich Oblomov, a hereditary nobleman, a smart, intelligent young man who received a good education and dreamed in his youth of selfless service to Russia. To understand the reasons for the emergence of such a phenomenon as Oblomovism, you need to remember “Oblomov’s Dream”. In it, Ilya Ilyich sees his parents, his family estate and its entire way of life. It was a way of life that did not change for decades; everything seemed to have frozen, fallen asleep in this estate; life went slowly, measuredly, lazily and sleepily. Nothing disturbed the life of Oblomovka. When describing the life of a landowner’s estate, Goncharov often uses the words “silence”, “stagnation”, “peace”, “sleep”, “silence”. They very accurately convey the very atmosphere of the house, where life proceeded without change and excitement from breakfast to lunch, from afternoon nap to evening tea, from dinner - again until the morning, where the most memorable event was how Luka Savelich unsuccessfully slid down a hill in winter on a sled and hurt his forehead. We can say that the life of the Oblomovites was defined by one word - “stagnation”, this was the typical existence of a Russian provincial landowner estate, and Goncharov did not invent it: he himself grew up in such a family.

Goncharov is stern and adamant in analyzing the fate of his hero, although the writer does not gloss over his good qualities. “It started with the inability to put on stockings and ended with the inability to live.”

Oblomovism is not only Ilya Ilyich Oblomov himself. This is the fortress Oblomovka, where the hero began his life and was raised; this is “Vyborg Oblomovka” in the house of Agafya Matveevna Pshenitsyna, where Oblomov ended his inglorious career; this is the serf Zakhar, with his slavish devotion to the master, and a host of swindlers, crooks, hunters of other people's pie (Tarantyev, Ivan Matveevich, Zaterty), scurrying around Oblomov and his gratuitous income. The serf system, which gave rise to such phenomena, spoke with all its content of Goncharov’s novel, was doomed to destruction, its destruction became an urgent requirement of the era.

She could not awaken Oblomov’s interest in life and the love of the beautiful girl, Olga Ilyinskaya. “The Poem of Love” with its passions, ups and downs seems to the hero “a very difficult school of life.” Oblomov is afraid of those high qualities of the soul that he must possess in order to become worthy of love girls. Olga, trying in vain to save her lover, asks him: “What ruined you? There is no name for this evil...” - “There is... Oblomovism,” answers Ilya Ilyich. Oblomov is much more satisfied with another version of the relationship. He finds his “ideal” in the person of Agafya Matveevna Pshenitsa, who, without demanding anything from the object of her love, tries to indulge him in everything.

Perhaps the origins of the tragedies of both heroes lie in their upbringing. The reason for Stolz’s unnaturalness is his “correct”, rational, burgher upbringing.

Life, similar to a dream, and a dream, similar to death - this is the fate of the main character of the novel.

Oblomov’s “pigeon soul” resolutely denies the world of false activity, hostile to man, life, nature - first of all, the world of active bourgeois affairs, the world of all predation and meanness. But this soul itself, as Goncharov shows, in its weakness acts as an element hostile to life. In this contradiction lies real immortality tragic image Oblomov.

The concept of “Oblomovism” has become a common noun to denote all kinds of inertia, inertia and stagnation.