Thanks to Ivan Alexandrovich Goncharov, the concept of "Oblomovism" appeared. With this word, the author denoted the state in which his main character is - smart, handsome, with a pure soul, who does not want to live the way most of his friends live. At the same time, Oblomov does not have “his own path” - he only dreams, makes unrealistic plans and at the same time does nothing at all. Life, youth, love pass him by, and it seems that there is no such force that would make him get up from the sofa.

Disputes about what Oblomovism is began immediately after the publication of the book and do not stop to this day. The source of these disputes lies, as often happens, in considering the phenomenon of Oblomovism from opposite points of view.

Oblomovism is a social evil

Since the novel was written in the era of transition from serfdom to capitalism, many contemporaries saw Oblomovism as a product of feudal relations, a brake on social development.

Dmitry Pisarev called Oblomovism "submissive, peaceful, smiling apathy", and Oblomov - pampered, spoiled, "accustomed to lordship, inaction and complete satisfaction of his physical needs."

A prominent statesman Anatoly Koni even claimed that the Oblomovs of his time "with their apathy, fear of any initiative and lazy non-resistance to evil nullify the flagrant questions of life and the needs of the country."

Oblomovism - the search for a higher meaning

However, not all critics limited themselves to such a one-sided interpretation of the concept of "Oblomovism". Many tried to consider this phenomenon from a universal standpoint, to see in it something more than pathological laziness due to social conditions. Thus, a contemporary of Goncharov, writer Alexander Druzhinin, argued that "it is impossible to know Oblomov and not love him deeply," if only because "he is positively incapable of evil deeds."

Already in Soviet times, Mikhail Prishvin wrote about the novel "Oblomov": "In this novel, Russian laziness is internally glorified and outwardly it is condemned by the image of deadly active people. No "positive" activity in Russia can withstand Oblomov's criticism: his peace is fraught with a request for the highest value, for such an activity, because of which it would be worth losing peace.

Modern critics Pyotr Vail and Alexander Genis are in solidarity with him. In their book "Native Speech: Lessons of Fine Literature" they describe Oblomov as "the only true person in the novel" who does not want to put on the roles imposed by society, defending his right to remain just a person.

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 gentleness. 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 by 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 a 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 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 did not do 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 caught fire 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 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 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 free.

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."

II. For a general bibliography on Goncharov, see the article "Goncharov". Specially 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, Aikhenwald, Protopopov, Ovsyaniko-Kulikovsky, Ivanov-Razumnik, Pereverzev (see text). Bibliography of Lenin's statements about O.: The development of capitalism in Russia (1899), Sochin., vol. III, pp. 160, 239 (3rd ed.); Uncritical Criticism (1900), Sochin., vol. III, p. 496; The 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), Composition, 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), "Composition", Volume X, p. 281; A Conversation on “Cadet-Eating” (1912), Works, Volume XVI, p. 124; Another campaign against democracy (1912), "Works", vol. XVI, p. 132; On the Food Tax (1921), "Works", vol. 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; On the new formulation of the work of the Council of People's Commissars and SRT (1922), ibid., pp. 159, 160; Publicist's Notes (1922), Works, vol. XXVII, 526 (note; sketch of two unwritten chapters); Gorbunov N.P., Memories of Lenin (Lenin on 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, "The Book and the Proletarian Revolution", 1933, VIII, 104; Zeitlin A., Literary quotations of Lenin, Moscow, 1934.

Wikipedia Ozhegov's Explanatory Dictionary

Oblomovism- a generalized common noun and figurative name for a complex of such personality traits as social passivity, impracticality, laziness, apathy, drowsiness, mental immobility, indecision. The name of this complex of devils was given by ... ... Fundamentals of spiritual culture (encyclopedic dictionary of a teacher)

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

J. razg. It is used as a symbol of sluggish indifference to the public interest, unwillingness to make any decisions or perform any actions, believing that others should do it. Explanatory Dictionary of Ephraim. T. F. Efremova. 2000... Modern explanatory dictionary of the Russian language Efremova

Oblomov, Oblomov, Oblomov, Oblomov, Oblomov, Oblomov, Oblomov, Oblomov, Oblomov, Oblomov, Oblomov, Oblomov, Oblomov (

"As long as at least one Russian remains, Oblomov will be remembered until then." I. S. TURGENEV 1848 - 1848 - the first version of "Oblomov's Dream" March 1849 - March 1849 - the first publication of "Oblomov's Dream" 1852 - 1852 - the work was interrupted due to travel November 29, 1855 - November 29, 1855 - the first part of the novel is almost finished June - July 1857 - "Marienbad miracle": the novel is almost completed January - April 1859 - January - April 1859 - the magazine "Domestic Notes" introduces readers to the new novel by I. A. Goncharov “Without any exaggeration, we can say that at the present moment in all of Russia there is not a single city where Oblomov is not read, Oblomov is not praised, Oblomov is not arguing about” - this is how he assessed the appearance of the novel critic A. V. Druzhinin.

“The story of how the good-natured sloth Oblomov lies and sleeps, and no matter how friendship or love can awaken and raise him, is not God knows what an important story. But Russian life is reflected in it, it presents us with a living, modern Russian type, minted with merciless rigor and correctness ... "N. A. Dobrolyubov 1859 FIRST RESPONSES" Oblomov and Oblomovism: it was not for nothing that these words spread all over Russia and became words forever rooted in our speech. They explained to us a whole range of phenomena of modern society, they put before us a whole world of ideas, images and details, until recently we were not fully conscious, appearing to us as if in a fog ... "A. V. Druzhinin 1859

STORY FEATURES “It's really stretched out, if you will. In the first part, Oblomov lies on the couch: in the second part he goes to the Ilyinskys and falls in love with Olga, and she falls in love with him; in the third, she sees that she was mistaken in Oblomov, and they disperse; in the fourth, she marries Stolz, and he marries the mistress of the house where he rents an apartment. That's all. No external events, no obstacles (except perhaps the opening of the bridge across the Neva, which stopped Olga's meetings with Oblomov), no extraneous circumstances interfere with the novel. Oblomov's laziness and apathy are the only spring of action in his entire history. N. A. Dobrolyubov “What is Oblomovism?”

“Almost nothing attracted him from home, and every day he settled more firmly and permanently in his apartment ... He was not used to movement, to life, to crowds and bustle ...” WHAT DETAILS OF OBLOMOV’S PORTRAIT WOULD YOU NOTE? DOES THE INTERIOR HELP TO CREATE THE IMAGE?

OBLOMOV'S VISITORS 1. "Appearance" of Mr. Visitor portrait. 2. "Don't come, don't come... you're out of the cold!" 3. Conversation and invitation to Ekateringof. 4. Refusal of Ilya Ilyich. 5. "I have two misfortunes ..." 6. The visitor's refusal to listen to Oblomov. 7. Reflection of the hero about the "unfortunate" visitor. WHAT IS THE GENERAL SCHEME OF ALL VISITS? REMEMBER IN WHICH GENUINE DID THE AUTHOR USE THE SAME TECHNIQUE?

“WHY AM I LIKE THIS? "(Oblomov's Dream, Part 1, Chapter IX) 1. Restore the composition of the dream: highlight the main thematic parts. 2. Indicate the positive and negative features of life in Oblomovka. 3. Compare Ilyusha at 7 years old and at 14: what changes have occurred in the hero and why? 4. Does our attitude towards Oblomov change after reading this chapter?

“The norm of life was ready and taught to them by their parents, and they adopted it, also ready, from grandfather, and grandfather from great-grandfather, with the covenant to observe its integrity and inviolability ... What did they have to think about and what to worry about ..? Nothing is needed: life, like a calm river, flowed past them ... "HOW ILYUSHA BECAME ILYA ILYICH

CRITICS WRITE "So," Oblomov "is" a big fairy tale. It is not difficult to guess that in this case, Oblomov's Dream should rightfully be considered its core. "Dream" is a figurative and semantic key to understanding the whole work, the ideological and artistic center of the novel. The reality depicted by Goncharov extends far beyond Oblomovka, but the true capital of the "sleepy kingdom" is, of course, the family estate of Ilya Ilyich ... "Yu. M. Loshchits" Imperfect Man "1996" Oblomov's Dream "is a magnificent episode will remain in our literature. In my opinion, a dream is nothing more than an attempt by Goncharov himself to understand the essence of Oblomov and Oblomovism. Goncharov, apparently, felt, as I felt, for example, when reading a novel, that Oblomov was sweet and sympathetic to him. A. V. Druzhinin "Oblomov". Roman by A. I. Goncharov 1859

Homework Part II Part II Message-representation of Stolz Message-representation of Stolz Dispute Oblomov and Stolz (chapters 3-4). Criticism about Stolz. Oblomov and Olga Oblomov and Olga

Introduction

Ivan Goncharov for the first time in his novel "Oblomov" introduces a new concept for Russian literature "Oblomovism", which he designated a special social trend, characteristic, first of all, for the Russian people, concluded in complete lack of will, apathy, constant laziness and excessive daydreaming, when illusions replace real life, and the person degrades. The very word "Oblomovism" came from the name of the protagonist of the work - Oblomov and the name of his native village - Oblomovka, which was the focus of everything that led to the gradual extinction of Ilya Ilyich as a person, his complete isolation from the world and final escapism. The image of Oblomov and “Oblomovism” in Goncharov’s novel is a reflection of the process of gradual change, “breaking down” of a person who is instilled with unnatural values ​​and desires, which ultimately leads to tragic consequences - gaining a false meaning of life, fear of the real world and the early death of the hero.

Oblomovka and "Oblomovism"

The roots of the appearance of "Oblomovism" in Oblomov lie in the childhood of the hero - Ilya Ilyich grew up in a remote village - Oblomovka, literally cut off from the real world and the center of Russia. The Oblomov estate is located in a picturesque, quiet, peaceful area, where the climate pleased with its moderation and tranquility, where there were no heavy rains, hurricanes or winds, a raging sea or majestic mountains, instead of which gentle hills spread, even the sky "closer to the earth", “to hug her tighter, with love: it spread so low overhead, like a parent’s reliable roof, in order to protect, it seems, the chosen corner from all kinds of adversity.”

Everything here promised "a calm, long-term life to the yellowness of the hair and an imperceptible, sleep-like death." Even the seasons changed each other according to the calendar, without destroying the crops with spring snows - everything in Oblomovka went according to its usual way, not changing for decades. In such a semblance of paradise on earth, Oblomov and the Oblomovites developed, even protected by nature from all sorts of hardships, experiences and losses.

People in Oblomovka lived from rite to rite - from birth to wedding and from wedding to funeral. The pacifying nature pacified their temper, making them quiet, harmless and indifferent to everything: the most terrible atrocities in the village were associated with the theft of peas or carrots, and once they found a dead person from a neighboring village, they decided to forget about it, since the life of other communities was not theirs. touched, which means the dead person is not their problem. A similar situation was with a letter from a neighboring estate, where the beer recipe was described, but the Oblomovites were afraid to open it right away, fearing bad news that could disturb the usual calm of the village. They did not like work in Oblomovka, considering it a duty and trying to do the job as quickly as possible or even shift it onto the shoulders of another. On the estate, all the work was done by the courtyards, who, as can be seen from the example of Zakhar, were also not the most responsible and hardworking people, but at the same time remained devoted servants of their bar.

The days of the Oblomovites passed in calmness and idleness, and the most important event was the choice of dishes for dinner, when everyone offered their own options, and then everyone consulted, approaching the menu with particular seriousness: “care for food was the first and main life concern in Oblomovka. After the meal, everyone fell into a sleepy state, sometimes they carried on lazy meaningless conversations, but more often they were completely silent, gradually falling asleep: “it was some kind of all-consuming, invincible dream, a true likeness of death,” which little Ilya observed from year to year, gradually adopting model of behavior and values ​​of parents.

Oblomov's childhood in Oblomovka

As a child, Ilya was an inquisitive, active child who tried his best to learn about the world around him. He wanted, like the other guys, to run through the fields, climb trees, walk where it was forbidden, or, climbing into the hayloft, admire the river and magnificent landscapes from a height. Oblomov liked to watch animals, to inspect the surrounding area. However, overprotective parents, who from infancy surrounded Ilya with continuous care and control, forbade the boy to actively interact with the world and study it, instilling in him completely different, "Oblomov" values ​​​​and behavior patterns: constant laziness, unwillingness to work and study, weak will and fear of the real peace.

Deprived of the need to fight for his desires, getting everything he wants at the first request, Oblomov is used to idleness. He did not have to decide or do anything on his own - there were always parents who “knew better” what their son needed, or servants who were ready to bring him any food, help him get dressed or clean up the rooms. Ilya was raised as an exotic "indoor flower", protecting him from the outside world with all his might and sheltering him in the pacifying nest of Oblomovka. Parents did not even demand academic success from their son, since they did not consider science to be something really important and useful, they often left him at home on holidays or in bad weather. That is why studying at school, and then at the institute, became for Oblomov something like an indication of parents, and not the realization of his own will. In the classroom, Ilya Ilyich was bored, he did not understand how the knowledge gained could be applied in later life, in particular, in Oblomovka.

The destructive influence of fairy tales on Oblomov's life

In the novel, Ilya Ilyich appears as a very sensitive, dreamy person who knows how to see beauty and subtly experience any manifestations of the outside world. In many ways, the formation of these qualities in the hero was influenced precisely by the picturesque nature of Oblomov and the fairy tales that his nanny told the boy. Myths and legends carried Oblomov into a completely different world - a fantastic world, beautiful and full of miracles: “He involuntarily dreams of Militris Kirbityevna; everything pulls him in that direction, where they only know that they are walking, where there are no worries and sorrows; he always has the disposition to lie on the stove, walk around in a ready-made, unearned dress and eat at the expense of a good sorceress. Even in adulthood, realizing that "milk rivers" do not exist, Ilya Ilyich "unconsciously sad sometimes, why is a fairy tale not life, and life is not a fairy tale." That is why in Oblomov continued to live that, instilled with fairy tales, the feeling of being abandoned in a terrifying and frightening world, where you need to blindly make your way forward, not seeing a goal or a road, from which only a true miracle can save.

The fabulous, magical world of legends and myths becomes an alternative reality for Oblomov, and already in adulthood he himself invents a fairy tale for himself about a future life in heavenly Oblomovka, about endless calm family happiness, prosperity and tranquility. However, the tragedy of Ilya Ilyich does not even consist in total escapism, fear of society, unwillingness to do anything and fight for his happiness, and not in the understanding that he has already replaced real life with an illusory one. Before his death, for Oblomov, his dreams are more real and important than his son, wife, friend and people around him, even more important than himself, because in his dreams everything is in order with health, he is full of strength and energy. However, Goncharov himself in the novel briefly gives the reader one of the explanations for this substitution: “or maybe sleep, the eternal silence of a sluggish life and the absence of movement and any real fears, adventures and dangers forced a person to create another, unrealizable world in the natural world, and in it to look for revelry and fun to idle imagination or unraveling the ordinary chains of circumstances and the causes of the phenomenon outside the phenomenon itself”, emphasizing that life itself should be a continuous striving forward, and not an endless sleep in the “comfort zone”.

Conclusion

The concept of "Oblomovism" in the novel "Oblomov" is introduced by Goncharov not as a single characteristic of life motives and personality traits of the protagonist, but as a typical and especially attractive phenomenon for Russian society - the archetype of Emelya the Fool, lying on the stove and waiting for his finest hour. According to the author himself, this is “an evil and insidious satire on our great-grandfathers, and maybe even on ourselves” - a fairy tale that everyone wants to believe in, but which has nothing to do with reality, where in order to achieve heights it is necessary to stand up with stoves and work, work on yourself. On the example of Oblomov, Goncharov showed how excessive care and guardianship, protection from stress and loss, leading to complete disappointment in real life and replacing it with illusions, can adversely affect a sensitive, dreamy person.

The characteristics of the concept of “Oblomovism”, the history of its appearance and the connection with the main character of the novel will be useful to 10 classes during the preparation of an essay on the topic “Oblomov and “Oblomovism” in the novel “Oblomov”.

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