Ilya Ilyich Oblomov in the novel “Oblomov”: materials for the composition (quotes). Ilya Ilyich Oblomov in the novel "Oblomov": materials for the composition (quotations) Positive and negative qualities of Oblomov
Introduction
Goncharov's novel Oblomov is a landmark work of Russian literature of the 19th century, describing the phenomenon of Oblomovism, characteristic of Russian society. A striking representative of this social trend in the book is Ilya Oblomov, who comes from a family of landowners, whose family way was a reflection of the rules and regulations of Domostroi. Developing in such an atmosphere, the hero gradually absorbed the values and priorities of his parents, which greatly influenced the formation of his personality. A brief description of Oblomov in the novel "Oblomov" is given by the author at the beginning of the work - this is an apathetic, introverted, dreamy man who prefers to live his life in dreams and illusions, presenting and experiencing fictional pictures so vividly that he can sometimes sincerely rejoice or cry from those scenes that are born in his mind. Oblomov's internal softness and sensuality seemed to be reflected in his appearance: all his movements, even in moments of anxiety, were restrained by external softness, grace and delicacy, excessive for a man. The hero was flabby beyond his years, had soft shoulders and small plump hands, and a sedentary and inactive lifestyle was read in his sleepy look, in which there was no concentration or some basic idea.
Oblomov's life
As if a continuation of the soft, apathetic, lazy Oblomov, the novel describes the life of the hero. At first glance, his room was beautifully decorated: “There was a mahogany bureau, two sofas upholstered with silk fabric, beautiful screens with embroidered birds and fruits unprecedented in nature. There were silk curtains, carpets, several paintings, bronze, porcelain and many beautiful little things. " However, if you look closer, you can see cobwebs, dusty mirrors and long-open and forgotten books, stains on carpets, uncleaned household items, bread crumbs and even a forgotten plate with a gnawed bone. All this made the hero's room unkempt, abandoned, gave the impression that no one had lived here for a long time: the owners had long since left their homes, not having had time to clean up. To some extent, this was true: Oblomov had not lived in the real world for a long time, replacing it with an illusory world. This is especially clearly seen in the episode when his acquaintances come to the hero, but Ilya Ilyich does not even bother to stretch out his hand to greet them, and, moreover, get out of bed to meet the visitors. The bed in this case (like the dressing gown) is the borderline between the world of dreams and reality, that is, getting out of bed, Oblomov to some extent would agree to live in the real dimension, but the hero did not want this.
The influence of "Oblomovism" on Oblomov's personality
The origins of Oblomov's all-encompassing escapism, his irresistible desire to escape from reality, lie in the "Oblomov" upbringing of the hero, about which the reader learns from the description of Ilya Ilyich's dream. The character's native estate, Oblomovka, was located far from the central part of Russia, located in a picturesque, peaceful area, where there have never been strong storms or hurricanes, and the climate was calm and mild. Life in the village was measured, and time was measured not by seconds and minutes, but by holidays and ceremonies - births, weddings or funerals. The monotonous quiet nature also reflected on the character of Oblomovka residents - the most important value for them was rest, laziness and the opportunity to eat well. Labor was viewed as a punishment and people tried in every possible way to avoid it, to delay the moment of work, or to force someone else to do it.
It is noteworthy that the characterization of Oblomov's hero in childhood differs significantly from the image that appears to readers at the beginning of the novel. Little Ilya was an active child with a wonderful imagination, interested in many people and open to the world. He liked to walk and explore the surrounding nature, but the rules of Oblomov's life did not imply his freedom, so his parents gradually re-educated him in their own image and likeness, growing him as a “greenhouse plant”, protecting him from the hardships of the outside world, the need to work and learn new things. Even the fact that they gave Ilya to study was more a tribute to fashion than a real necessity, because for any slightest reason they themselves left their son at home. As a result, the hero grew up, as if closed from society, not wanting to work and relying in everything on the fact that with the emergence of any difficulties it would be possible to shout "Zakhar" and the servant would come and do everything for him.
The reasons for Oblomov's desire to get away from reality
The description of Oblomov, the hero of Goncharov's novel, gives a vivid idea of Ilya Ilyich as a person who is firmly fenced off from the real world and does not internally want to change. The reasons for this lie in Oblomov's childhood. Little Ilya was very fond of listening to tales and legends about great heroes and heroes that the nanny told him, and then imagine himself as one of such characters - a person in whose life a miracle will happen at one moment, which will change the current state of affairs and make the hero a cut above others. However, fairy tales are significantly different from life, where miracles do not happen by themselves, and in order to achieve success in society and a career, you must constantly work, step over the falls and persistently move forward.
Greenhouse education, where Oblomov was taught that someone else would do all the work for him, combined with the dreamy, sensual nature of the hero, led to the inability of Ilya Ilyich to deal with difficulties. This feature of Oblomov manifested itself even at the moment of the first failure in the service - the hero, fearing punishment (although, perhaps, no one would have punished him, and the matter would have been decided by a banal warning), he quits his job and does not want to face a world where everyone for himself. An alternative to harsh reality for the hero is the world of his dreams, where he imagines a wonderful future in Oblomovka, his wife and children, a pacifying calmness that reminds him of his own childhood. However, all these dreams remain only dreams; in reality, Ilya Ilyich in every possible way postpones the issues of arranging his native village, which, without the participation of a reasonable owner, is gradually being destroyed.
Why didn't Oblomov find himself in real life?
The only person who could get Oblomov out of his constant half-asleep idleness was the hero's childhood friend, Andrei Ivanovich Stolts. He was the complete opposite of Ilya Ilyich, both in external description and in character. Always active, striving forward, able to achieve any goals, Andrei Ivanovich still treasured his friendship with Oblomov, since in communication with him he found that warmth and understanding that he really lacked in his environment.
Stolz was most fully aware of the destructive influence of "Oblomovism" on Ilya Ilyich, therefore, until the last moment, he tried with all his might to pull him into real life. Once Andrei Ivanovich almost succeeded when he introduced Oblomov to Ilyinskaya. But Olga, in her desire to change the personality of Ilya Ilyich, was driven exclusively by her own egoism, and not by an altruistic desire to help a loved one. At the moment of parting, the girl tells Oblomov that she could not bring him back to life, because he was already dead. On the one hand, this is so, the hero was too deeply immersed in "Oblomovism", and in order to change his attitude towards life, it took inhuman efforts and patience. On the other hand, active, purposeful by nature, Ilyinskaya did not understand that Ilya Ilyich needed time to transform, and he could not change himself and his life with one jerk. The break with Olga became for Oblomov an even greater failure than a mistake in the service, so he finally plunges into the networks of “Oblomovism”, leaves the real world, not wanting to experience mental pain anymore.
Conclusion
The author's description of Ilya Ilyich Oblomov, despite the fact that the hero is the central character, is ambiguous. Goncharov exposes both his positive traits (kindness, tenderness, sensuality, the ability to experience and sympathize) and negative (laziness, apathy, unwillingness to decide anything on his own, refusal of self-development), depicting a multifaceted personality in front of the reader, which can cause both sympathy and disgust. At the same time, Ilya Ilyich is undoubtedly one of the most accurate depictions of a truly Russian person, his nature and character traits. This particular ambiguity and versatility of Oblomov's image allows even modern readers to discover something important for themselves in the novel, posing those eternal questions that Goncharov raised in the novel.
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The main character of the novel is Ilya Ilyich Oblomov, a landowner who, however, lives permanently in St. Petersburg. Oblomov's character is perfectly sustained throughout the novel. It is far from being as simple as it might seem at first glance. The main character traits of Oblomov are an almost painful weakness of will, expressed in laziness and apathy, then - the absence of living interests and desires, fear of life, fear of any change in general.
But, along with these negative traits, there are also major positive ones in him: wonderful spiritual purity and sensitivity, good nature, cordiality and tenderness; Oblomov has a "crystal soul", in the words of Stolz; these traits attract the sympathy of everyone who comes into close contact with him: Stolz, Olga, Zakhar, Agafya Matveyevna, even his former colleagues who visit him in the first part of the novel. Moreover, Oblomov is far from stupid by nature, but his mental faculties are dormant, suppressed by laziness; there is in him both the desire for good and the consciousness of the need to do something for the common good (for example, for his peasants), but all these good inclinations are completely paralyzed in him by apathy and lack of will. All these traits of Oblomov's character appear vividly and prominently in the novel, despite the fact that there is little action in it; in this case, this is not a drawback of the work, since it fully corresponds to the apathetic, inactive nature of the protagonist. The brightness of the characteristics is achieved mainly through the accumulation of small, but characteristic details, vividly depicting the habits and inclinations of the person depicted; so, from one description of Oblomov's apartment and its furnishings on the first pages of the novel, one can get a fairly accurate idea of the personality of the owner himself. This method of characterization is one of Goncharov's favorite artistic techniques; that is why in his works there is such a mass of small details of everyday life, furnishings, etc.
In the first part of the novel, Goncharov introduces us to Oblomov's lifestyle, his habits, and also talks about his past, about how his character developed. During this whole part, describing one "morning" of Oblomov, he hardly leaves his bed; in general, lying on a bed or on a sofa, in a soft robe, was, according to Goncharov, his "normal state." Any activity tired him; Oblomov once tried to serve, but not for long, because he could not get used to the requirements of the service, to strict accuracy and diligence; hectic office life, writing papers, the purpose of which was sometimes unknown to him, the fear of making mistakes - all this weighed on Oblomov, and once he sent an official paper instead of Astrakhan to Arkhangelsk, he chose to retire. Since then, he lived at home, almost never leaving: neither to society, nor to the theater, almost without leaving his beloved deceased dressing gown. His time passed in lazy "crawling from day to day", in idle doing nothing or in no less idle dreams of loud exploits, of glory. This play of the imagination occupied and amused him, in the absence of other, more serious mental interests. Like any serious work requiring attention and concentration, reading tired him; therefore, he read almost nothing, did not follow life in the newspapers, content with the rumors brought to him by rare guests; the half-read book, unfolded in the middle, turned yellow and covered with dust, and in the inkwell, instead of ink, only flies were found. Every extra step, every effort of will was beyond his strength; even taking care of himself, of his own well-being, weighed down on him, and he willingly left it to another, for example, Zakhara, or relied on "maybe", on the fact that "somehow everything will work out." When he had to make some serious decision, he complained that "life touches everywhere." His ideal was a calm, peaceful life, without worries and without any changes, so that “today” was like “yesterday”, and “tomorrow” is like “today”. Everything that confused the monotonous course of his existence, every concern, every change frightened and depressed him. The letter of the headman, demanding his orders, and the need to move out of the apartment seemed to him real "misfortunes", in his own words, and he was reassured only by the fact that somehow all this would work out.
But if Oblomov's character had no other traits besides laziness, apathy, weakness, mental sleepiness, then, of course, he could not interest the reader, and Olga would not be interested in him, he could not serve as the hero of a whole extensive novel. For this, it is necessary that these negative aspects of his character be balanced by no less important positive ones that can arouse our sympathy. And Goncharov, indeed, from the very first chapters shows these personality traits of Oblomov. In order to more clearly emphasize its positive, attractive sides, Goncharov introduced several episodic persons that appear in the novel only once and then disappear without a trace from its pages. This is Volkov, an empty socialite, a dandy, looking for only pleasures in life, alien to any serious interests, leading a noisy and mobile life, but nevertheless completely devoid of inner content; then Sudbinsky, an official-careerist, all immersed in the petty interests of the office world and paperwork, and “for the rest of the world he is blind and deaf,” as Oblomov put it; Penkin, a petty writer of a satirical, accusatory trend: he boasts that in his essays he brings out weaknesses and vices to universal ridicule, seeing in this the true vocation of literature: but his smug words are rebuffed by Oblomov, who finds only slavishness in the works of the new school loyalty to nature, but too little soul, little love for the subject of the image, little true "humanity". In the stories that Penkin admires, there are no, in Oblomov's opinion, "invisible tears", but only visible, coarse laughter; depicting fallen people, the authors "forget man." “You want to write with one head! - he exclaims, - do you think that a heart is not needed for thought? No, she is fertilized by love. Stretch out your hand to a fallen person to lift him, or weep bitterly over him if he dies, and do not mock. Love him, remember yourself in him ... then I will read you and bow my head before you ... ”From these words of Oblomov it is clear that his view of the vocation of literature and his demands from the writer is much more serious and lofty than that of a professional the writer Penkin, who, in his words, "spends his thought, his soul on trifles, trades in the mind and imagination." Finally, Goncharov deduces a certain Alekseev, "a man of indefinite years, with an indefinite physiognomy," who has nothing of his own: neither his own tastes, nor his desires, nor sympathies: Goncharov introduced this Alekseev, obviously, in order to show by comparison, that Oblomov, despite all his spinelessness, is not at all impersonal, that he has his own definite moral physiognomy.
Thus, a comparison with these episodic persons shows that Oblomov mentally and morally stood above the people around him, that he understood the insignificance and illusion of those interests with which they were carried away. But Oblomov not only could, but also knew how "in his clear, conscious moments" to critically treat the surrounding society and himself, admit his own shortcomings and it is hard to suffer from this consciousness. Then memories of the years of his youth awakened in his memory, when he was at the university with Stolz, studied science, translated serious scientific works, was fond of poetry: Schiller, Goethe, Byron, dreamed of future activities, of fruitful work for the common good. Obviously, at this time, Oblomov was also influenced by the idealistic hobbies that prevailed among Russian youth in the 1930s and 1940s. But this influence was fragile, because Oblomov's apathetic nature was unusual for a prolonged passion, as systematic hard work was unusual. At the university Oblomov was content with the fact that he had assimilated passively ready-made conclusions of science, without thinking them over on his own, without defining their mutual relationship, without bringing them into a harmonious connection and system. Therefore, “his head was a complex archive of dead deeds, persons, eras, figures, unrelated political, economic, mathematical and other truths, tasks, statements, etc. It was like a library, consisting of some scattered volumes in different parts knowledge. The teaching had a strange effect on Ilya Ilyich: he had a whole abyss between science and life, which he did not try to cross. "He had life by itself, and science by itself." Knowledge divorced from life, of course, could not be fruitful. Oblomov felt that he, as an educated person, needed to do something, he was aware of his duty, for example, to the people, to his peasants, he wanted to arrange their fate, improve their situation, but everything was limited only by many years of pondering the plan of economic reforms, and the actual management of the economy and the peasants remained in the hands of the illiterate headman; and the conceived plan could hardly be of practical importance in view of the fact that Oblomov, as he himself admits, did not have a clear understanding of village life at all, did not know "what corvée is, what rural labor is, what does a poor peasant mean, what is rich."
Such ignorance of real life, with a vague desire to do something useful, brings Oblomov closer to the idealists of the 40s, and especially to "superfluous people", as they are portrayed by Turgenev.
Like “superfluous people”, Oblomov was sometimes imbued with the consciousness of his powerlessness, his inability to live and act, at the moment of such consciousness “he felt sad and painful for his underdevelopment, a stop in the growth of moral forces, for the heaviness that hindered everything; and envy gnawed at him that others lived so fully and widely, and it was as if a heavy stone had been thrown on the narrow and pitiful path of his existence ... then a good, light beginning, maybe now, is already dead, or it lies like gold in the depths of the mountains, and it would be high time for this gold to be a walking coin. " The consciousness that he was not living as it should wandered vaguely in his soul, he suffered from this consciousness, sometimes wept bitter tears of impotence, but could not decide on any change in his life, and soon calmed down again, which contributed to his apathetic nature, incapable of a strong uplifting spirit. When Zakhar inadvertently decided to compare him with "others", Oblomov was severely offended by this, and not only because he felt offended in his lordly pride, but also because in the depths of his soul he realized that this comparison with "others" tended far from in his favor.
When Stolz asks Zakhar what Oblomov is, he replies that this is a "master". This is a naive but accurate definition. Oblomov is, indeed, a representative of the old serf lordship, "master", that is, a person who "has Zakhar and three hundred more Zakharov," as Goncharov himself puts it about him. Using Oblomov as an example, Goncharov thus showed how perniciously serfdom was reflected on the nobility itself, hindering the generation of energy, perseverance, initiative, work habits. In the old days, compulsory civil service supported these essential qualities for life in the service class, which gradually began to stall since the compulsory service was abolished. The best people among the nobility have long since realized the injustice of this order of things, created by serfdom; the government, starting with Catherine II, wondered about its abolition, literature, in the person of Goncharov, showed its perniciousness for the nobility itself.
“It began with the inability to put on stockings, and ended with the inability to live,” Stolz aptly put it about Oblomov. Oblomov himself is aware of his inability to live and act, his inability, the result of which is a vague, but painful fear of life. In this consciousness lies the tragic trait in Oblomov's character, sharply separating him from the previous "Oblomovites". Those were whole natures, with a solid, albeit ingenuous, outlook on the world, alien to any doubts, any inner duality. In contrast to them, it is precisely this duality that exists in Oblomov's character; it was brought into him by the influence of Stolz and the education he received. For Oblomov, it was already psychologically impossible to lead the same calm and self-satisfied existence as his fathers and grandfathers led, because deep down he still felt that he did not live as he should and how “others” like Stolz live. Oblomov already has a consciousness of the need to do something, to be useful, to live not for himself alone; he also has a sense of his duty to the peasants, whose labors he uses; he develops a "plan" for a new structure of village life, which takes into account the interests of the peasants, although Oblomov does not at all think about the possibility and desirability of the complete abolition of serfdom. Until the end of this "plan", he does not consider it possible to move to Oblomovka, but of course, nothing comes of his work, because he lacks neither knowledge of rural life, nor persistence, nor diligence, nor real conviction of the expediency of the "plan itself. ". Oblomov at times grieves deeply, agonizes in the consciousness of his unsuitability, but is not able to change his character. His will is paralyzed, every action, every decisive step scares him: he is afraid of life, as in Oblomovka they were afraid of a ravine, about which there were various unkind rumors.
Ilya Ilyich Oblomov, the protagonist of the novel by I. A. Goncharov, is a collective image of Russian landowners. It presents all the vices of the noble society of the times of serfdom: not just laziness and idleness, but taking it for granted.
Ilya Ilyich whole days
He spends in inaction: he does not even have a civil service, does not go to the theater, does not go to visit. It would seem that a person who lives such a useless life can only be called a negative hero. But even at the beginning of the novel, Goncharov makes us understand that this is not so: Oblomov mentions Andrei Stolz, his childhood friend, who more than once rescued Ilya Ilyich and settled his affairs. If Oblomov did not represent anything of himself as a person, then with such a lifestyle, he would hardly have retained such a close friendship with Stolz.
What made the German take care of Oblomov and try to “save” him from “Oblomovism” even after so many years of vain attempts? The first part of the novel, the scene of Oblomov's meeting with “friends”, will help to understand this. All of them continue to visit Ilya Ilyich, but each for his own needs. They come, talk about their life, and leave without listening to the owner of the hospitable house; so Volkov leaves, Sudbinsky also leaves. Leaves the writer Penkin, who tried to advertise his article, which undoubtedly caused success in society, but did not interest Oblomov at all. Alekseev leaves; he seems to be a grateful listener, but a listener without his own opinion; a listener who cares not about Oblomov himself, not the speaker's personality, but his presence. Tarantiev also leaves - he generally came to benefit from the kindness of Ilya Ilyich.
But at the same time, one can notice one feature of Oblomov - he not only receives guests, but also notices their shortcomings. A life of inaction made Oblomov reasonable and calm; he looks at everything from the outside and notices all the vices of his generation, which young people usually take for granted. Oblomov sees no point in haste, he does not care about ranks and money; he knows how to reason and realistically assess the situation. Ilya Ilyich did not have a passion for reading, therefore he did not know how to argue beautifully and intelligently about politics or literature, but at the same time he subtly noticed the real state of affairs in society. Lying on the couch became not only Oblomov's vice, but also his salvation from the “rottenness” of society - having renounced the bustle of the world around him, Ilya Ilyich came in his reflections to true values.
But, alas, no matter how Oblomov reasoned about how to live, no matter how he reproached himself for lying on the couch, he still could not push himself to take any action, and Oblomov's ideas remained inside him. Therefore, Ilya Ilyich cannot be called a positive hero, just as one cannot be called a negative one.
Stolz, in contrast to Oblomov, is a man of action. He thinks narrowly and cynically, not allowing himself free thoughts and dreams. Stolz clearly thinks through the plan, assesses his capabilities, and only then makes a decision and follows it. But he cannot be called a positive or negative hero. Both Stolz and Oblomov are two different types of people, a driving and thinking force, who are able to support humanity only together. I believe that the essence of the Oblomov novel is not to eradicate Oblomovism, but to channel its strengths into acting hands. During serfdom, "Oblomovism" was strong: the inaction and laziness of the landowners, leaving work to the peasants and knowing only fun in life. But now, I think, the big problem is the "Stolts", people who are actively acting, but not able to think as deeply as Oblomov.
In society, both the Oblomovs, who are able to make the right decisions, and the Stolts, who implement these decisions, are important. And only with an equal presence of both those and others is it possible to improve society.
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Oblomov's character
Roman I.A. Goncharov's "Oblomov" was published in 1859. It took almost 10 years to create it. It is one of the most prominent novels in classical literature of our time. This is how famous literary critics of that era spoke of the novel. Goncharov was able to convey realistically, objectively and reliable facts of the reality of the layers of the social environment of the historical period. Presumably, his most successful achievement was the creation of the image of Oblomov.
He was a young man of 32-33 years old, of average height, with a pleasant face and intelligent eyes, but without any definite depth of meaning. As the author noted, the thought walked across the face as a free bird, fluttered in the eyes, dropped to half-open lips, hid in the folds of the forehead, then completely disappeared and a careless young man appeared in front of us. Sometimes on his face one could read boredom or fatigue, but still there was a softness of character and the warmth of his soul in him. All his life Oblomov is accompanied by three attributes of bourgeois well-being - a sofa, a robe and shoes. At home Oblomov wore an oriental soft roomy robe. He spent all his free time lying down. Laziness was an integral part of his character. The house was cleaned superficially, creating the appearance of cobwebs hanging in the corners, although at first glance one might think that a well-tidied room. There were two more rooms in the house, but he did not go there at all. If an uncleaned dinner plate with crumbs were everywhere, a half-smoked pipe, one would think that the apartment was empty, no one lived in it. He was always amazed at his energetic friends. How can you waste your life, being scattered over dozens of cases at once. His financial condition wished to be the best. Lying on the sofa, Ilya Ilyich always thought of how to correct him.
Oblomov's image is a complex, contradictory, even tragic hero. His character predetermines an ordinary, not interesting fate, devoid of the energy of life, its bright events. Goncharov draws his main attention to the prevailing system of that era, which influenced his hero. This influence was expressed in the empty and meaningless existence of Oblomov. Helpless attempts to revive under the influence of Olga, Stolz, marriage to Pshenitsyna, and death itself are defined in the novel as Oblomovism.
The very character of the hero, as conceived by the writer, is much larger and deeper. Oblomov's dream is the key to the whole novel. The hero moves to another era, to other people. A lot of light, joyful childhood, gardens, sunny rivers, but first you have to go through obstacles, an endless sea with raging waves and groans. Behind him are rocks with abysses, a crimson sky with a red glow. After the exciting landscape, we find ourselves in a small corner where people live happily, where they want to be born and die, it cannot be otherwise, they think so. Goncharov describes these inhabitants: “Everything in the village is quiet and sleepy: the silent huts are wide open; not a soul is visible; some flies fly in clouds and buzz in the stuffy atmosphere. " There we meet young Oblomov. As a child, Oblomov could not get dressed himself, he was always helped by servants. As an adult, he also uses their help. Ilya grows up in an atmosphere of love, peace and excessive care. Oblomovka is a corner where calmness and imperturbable silence reign. This is a dream within a dream. Everything around seemed to stand still, and nothing could wake up these people who uselessly live in a distant village without any connection with the rest of the world. Ilyusha grew up on fairy tales and legends that his nanny told him. Developing dreaminess, the fairy tale tied Ilya more to the house, causing inaction.
Oblomov's dream describes the hero's childhood, his upbringing. All this helps to find out the character of Oblomov. The Oblomovs' life is passivity and apathy. Childhood is his ideal. There, in Oblomovka, Ilyusha felt warm, reliable and very protected. This ideal and doomed him to aimless further existence.
The clue to the character of Ilya Ilyich in his childhood, from where straight threads stretch to the adult hero. The character of the hero is an objective result of the conditions of birth and upbringing.
bummer romance lazy character
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term paper, added 06/16/2012
The central problem of Lermontov's novel "A Hero of Our Time". Features of the composition and the plot of the work. The origins of the Pechorin individualism. Life attitudes and moral principles of the protagonist, character traits. The meaning of the image of Pechorin.
The novel "Oblomov", which was written by Ivan Goncharov, became one of the key in the literature of the 19th century, and such a concept as "Oblomovism", perfectly revealed by Goncharov in the novel, reflected in the best possible way the character of society at that time. When we consider the characterization of Ilya Ilyich Oblomov, the protagonist of the novel, the concept of "Oblomovism" will become even more understandable.
So, Ilya Oblomov was born into the family of a landowner with her way of life and accepted norms. The boy grew up, absorbing the environment and the spirit of life of the landowners. He began to consider as his priorities what he learned from his parents, and, of course, his personality was formed precisely in such circumstances.
Brief description of Oblomov Ilya Ilyich
Already at the beginning of the novel, the author introduces us to the image of Oblomov. This is an apathetic introvert who indulges in his dreams and lives with illusions. Oblomov can draw a picture in his imagination so brightly and vividly, having invented it, that he himself often cries or from the heart rejoices in those scenes that in fact do not exist.
Oblomov's appearance in the novel "Oblomov" seems to reflect his inner state, his soft and sensual character traits. We can say that his body movements were smooth, graceful and gave off some kind of tenderness unacceptable for a man. Oblomov's characteristic is pronounced: he had soft shoulders and small chubby hands, had long been flabby and led an inactive lifestyle. And Oblomov's gaze - always sleepy, devoid of concentration - testifies to him brighter than anything else!
Oblomov in everyday life
From considering the image of Oblomov, we move on to describing his life, which is important to understand when studying the characteristics of the protagonist. At first, reading the description of his room, one gets the impression that it is beautifully tidied up and cozy: there is a nice wooden bureau, and sofas with silk upholstery, and hanging carpets with curtains, and pictures ... But now we take a closer look at the decoration of Oblomov's room and we see cobwebs, dust on the mirrors, dirt on the carpet, and even an uncleaned plate with a gnawed bone on it. In fact, his dwelling is unkempt, abandoned and unkempt.
Why is this description and its analysis so important for us in the characterization of Oblomov? Because we draw an essential conclusion about the main character: he does not live in reality, he plunged into a world of illusions, and his life is of little concern. For example, meeting acquaintances, Oblomov not only does not greet them with a handshake, but does not even deign to even get out of bed.
Conclusions about the main character
Of course, the upbringing of Ilya Ilyich played an important role in the formation of his image, because he was born in the distant Oblomovka estate, which was famous for its peaceful life. Everything there was calm and measured, from the weather to the very way of life of local residents. These were lazy people who were constantly on vacation and dreaming of hearty food from morning to evening. But the image of Oblomov, which we see when we start reading the novel, is very different from the characterization of Oblomov in childhood.
When Ilya was a child, he was interested in everything, thought and imagined a lot, lived actively. For example, he loved to look at the world around him with its diversity, to go for walks. But Ilya's parents raised him according to the principle of a "greenhouse plant", they tried to protect him from everything, even from labor. How did this boy eventually grow up? What they sowed grew. Oblomov, being an adult, did not respect work, did not want to communicate with anyone, and preferred to solve difficulties by calling a servant.
Turning to the childhood of the protagonist, it becomes clear why the image of Oblomov was formed exactly like that, who is to blame for this. Yes, because of such upbringing and the nature of Ilya Ilyich, which in itself was very sensual with a good imagination, he was practically unable to solve problems and strive for something high.