Stolz's arrival at Oblomov's house. (Analysis of an episode from the second part of I.A. Goncharov’s novel “Oblomov”)

Stolz's arrival at Oblomov's house. (Analysis of an episode from the second part of I.A. Goncharov’s novel “Oblomov”)

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Introduction:

Oblomov's novel (1858) is rightfully considered the best work of I. A. Goncharov. It was created over a period of ten years and included the writer's philosophical observations and thoughts. In Oblomov, Goncharov analyzes his modern life, reflects on the characteristics of the Russian character, the properties of the Russian soul, and the meaning of life.

At the center of the novel is the image of Ilya Ilyich Oblomov, a Russian nobleman “32 years old, 33 years old ... with the absence of any specific idea, any concentration in his facial features ... gentleness was the dominant expression “... of the whole soul.

Stolz's arrival at Oblomov's house

In the third chapter of the second part of the novel, Oblomov is visited by his childhood friend Andrei Stolts. Right at the doorway, Ilya Ilyich begins to complain about his health: he has overcome stye, tormented by heartburn. Moreover, the doctor advises Oblomov to travel. For the hero it looks like death: “Who goes to America and Egypt? Is there someone who desperately needs someone who doesn't care about anything?" Stolz does not understand Oblomov’s fear. For him, an energetic and active person, his friend’s arguments are funny and incomprehensible.

As the conversation progresses, Stoltz is surprised. Oblomov tells him about his two “misfortunes”: a letter from the headman from Oblomovka and the landlady’s request to leave the apartment.

Experienced Stolz, having read the headman’s letter, immediately gets to the heart of the matter and invites his friend to act: give free peasants, open a school in the village to improve incomes. But all these proposals frighten Ilya Ilyich. How to give peasants freedom of action? Indeed, from century to century it has been established that they serve the landowners. Having learned to read and write, a man, “maybe he won’t plow…” No, all this is not for Oblomov. He wants to live in the old way, as his ancestors lived, “calmly, alienated” from life. The hero is very upset by the news of the construction of a highway near Oblomovka: now changes are inevitable. And Oblomov is the worst among them.

That's why the hero is so scared and moves to a new apartment. For Stolz, this is an instant question: “What a spoiled person: it’s difficult to leave the apartment!” Oblomov “rubbed his back and sides, tossing and turning from these troubles.” And, most importantly, there will be no result from all this. Here the hero writes a plan for the transformation of Oblomovka for a year, but he is still not ready. It seems that this plan is just an excuse that Oblomov uses to justify his inaction. Ilya Ilyich is not capable of making any changes in life; for this he needs too much effort.

Oblomov is not used to counting money. He never knows how much money he has in his pocket. This indifferent attitude towards money was conveyed to Oblomov’s servant Zakhar. Knowing that a gentleman releases things under the influence of gravity, he does not miss the opportunity to change pocket change. Although, on the other hand, Zakhar is very happy for the noble good. Because of him, he fights with Mikhail Andreevich Tarantiev, who shamelessly tries to ruin Oblomov’s clothes and does not return.

As the conversation progresses, Stolz becomes more and more surprised and indignant at the lifestyle his friend leads. It turns out that Oblomov almost never leaves the house. Only empty people come to him - Tarantyev, Alekseev, Penkin, Sudbinsky, Volkov - with whom it is not worth talking.

Oblomov has not read a single book for a long time. We even managed to sculpt the page from “Journey to Africa” where the hero stopped. Ilya Ilyich considers reading newspapers an unnecessary waste of time and health: “if you have something new, all day long you just hear about it from all sides.”

Stolz cannot believe that Oblomov came to such a life: “Have mercy, Ilya! Stolz said, looking stunned at Oblomov. - What are you doing? Like a piece of dough, curl up and lie down.

Ilya Ilyich understands this, and deep down he is sad. But the hero doesn’t want to change anything: “I tried before, it didn’t work, but now... why? It doesn’t cause anything, the soul doesn’t break, the mind sleeps peacefully! “He concluded with barely noticeable bitterness.” As a result, Oblomov admitted to Stoltz that he was “too lazy to live.”

Andrei Ivanovich cannot leave his friend in this state. He promises to provide Oblomov with “a detailed plan of what... he is going to do to himself and to you.” Stolz wants to start making changes now. He orders Zakhar, who has been lazy for too long, to dress the master: “We will have lunch somewhere on the go, and then home, at two, three and...”

Now it was Ilya Ilyich’s turn to be horrified. To break away so quickly, go to strangers, talk to them about something - all this is very inconvenient, inconvenient. It’s better to go to Ivan Gerasimovich. He is "of course not wise, there is nothing to change with him and he thinks, but he is simple, kind, hospitable, without any complaints and will not harm your eyes!"

From these words it becomes clear that Oblomov considers the main thing for himself. Not intellectual, but spiritual life is important to him in the first place. Warmth, care, comfort, and peace of mind attract Ilya Ilyich and remind him of his happy childhood in Oblomovka.

Sitting at home, the hero creates a kind of native village. He is very sensitive to any disruption to his normal life, interference from the outside, from the big cold world, where there is no place for kindness and warmth. The changes that Stolz and Oblomov want to make will, in my opinion, be short-lived. The hero does not share his friend’s idea of ​​life as an eternal movement, a rational business. Ilya Ilyich will always strive for his Oblomovka, only there will he find peace and happiness.

First there will be a long and detailed description of a lazy life and a lazy environment. Then, like a fresh wind, Stolz rushes in and tries to change something in this sleepy existence of his friend. It is quite difficult to analyze the second part of the novel without saying a few words about the first part and its general concept. It is interesting that the first part ends with Oblomov’s dream, which seems to sum up this whole “lazy” description; and one of the heroes of this dream is Stolz’s childhood friend. The hero will wake up and in reality find a friend, but this will be the second part, in which the usual period of time will be disrupted.

The first part of the novel is devoted to one ordinary day of the hero, who spends it without leaving the couch. The author's leisurely narration depicts in detail the atmosphere of his apartment, which bears the stamp of abandonment and desolation. In the things surrounding the hero, his character is guessed. The author pays special attention to the description of Oblomov’s robe, oriental, “without the slightest hint of Europe,” spacious, wide, which dutifully repeats the movements of his body.

The image of clothing develops into a symbol that, as it were, denotes the milestones of his spiritual development. Love for Olga Ilyinskaya awakens the hero's soul to an active, active life. These changes are associated in Oblomov’s thoughts with the need to “throw off the wide dress not only from the shoulders, but also from the soul and mind.” And indeed, for some time he disappears from sight, so then the new owner of Oblomovka, Agafya Matveevna Pshenitsyna, finds him in the closet and brings him back to life.

Therefore, Oblomov’s weak attempts to change his existence fail. The hero continues to lie on the sofa, hiding from the intrusion into outside life, but it still bursts into his darkened, crowded room in the form of an unpleasant letter from an elder or a request from the owner to leave the apartment. He cannot bring himself to read the letter, he delays the search for a new apartment, but thinking about it constantly poisons his existence. “He touches life, wherever he gets it,” complains Ilya Ilyich, trying to ask his guests for help and advice.

These people from the outside world are completely different from each other, they do not have the slightest similarity test with Oblomov. They are all active, mobile and energetic. Volkov, the empty dandy Volkov, the careerist Sudbinsky, the revealing writer Penkin, Oblomov’s daring fellow countryman Tarantiev and the faceless Alekseev appear here.

Why does the writer introduce these episodic characters into the novel, who, in turn, appear on the sofa of the famous Oblomov? Probably, each of Ilya Ilyich's visitors, talking about their activities and problems, is a certain version of the active, active life that reality offers the hero instead of lying on the sofa. After the departure of each guest, the owner sums up the unique result of the conversation with him and gives him his assessment.

And this assessment is always negative. Oblomov is not at all attracted by secular success, or his career, or superficial literary accusations. Why does he so stubbornly reject these possible paths? Perhaps because he sees nothing in them but empty, unnecessary vanity. He wants something more sublime and beautiful, for which it is worth getting off the couch. Indeed, if you think about it, Oblomov’s position seems more attractive and honest.

But this does not mean that Ilya Ilyich is completely satisfied with his current situation. He realizes the poverty and emptiness of his mediocre life, his spiritual decline. The hero strictly judges himself for laziness and passivity, is ashamed of his nobility, comparing his soul with treasures littered with all kinds of garbage. A painful question arises before him: “Why am I like this?” The writer gives the answer in the chapter “Oblomov’s Dream,” which is called “the overture of the entire novel.” The hero dreams of childhood in patriarchal Oblomovka, we see the social conditions that shaped his character. The playful and inquisitive Ilyusha is not even allowed to get dressed. Working here is the privilege of the court servants, who keep a vigilant eye on the little master, anticipating all his wishes.

The feudal system of Russia not only condemns the Russian people to a beggarly and helpless position, but also cripples the soul of a growing nobleman, killing his beautiful inclinations of character. In Oblomov they often see only the destructive influence of serfdom and slavery. But he has many attractive qualities generated by the same patriarchal environment. This is his kindness, critical attitude towards himself, deep analytical mind, honesty, breadth of soul, desire for something higher. Ilyusha Oblomov was brought up in Russian folk tales and epics, surrounded by love and affection. It grows in the bosom of soft Central Russian nature, which promises a person peace and quiet. Therefore, vanity and prudence are organically alien to him.

He is looking for reason, will, feeling in life. And such a beautiful, all-encompassing feeling as love for Olga Ilyinskaya illuminates Oblomov’s life, awakens his soul, and instills hope for happiness. But if he loves sincerely and tenderly, then calculation and vanity clearly prevail in Olga’s feelings. She set herself a difficult and noble goal - to awaken a sleeping soul to life.

Maybe Ilya Ilyich feels it. For him, love becomes a test that he cannot tolerate.

But Oblomov’s main character is his friend Andrei Stolts in the novel. This nature is completely opposite to the sloth and Ilya the sloth. The author introduces us in detail to the origin, upbringing, education and current activities of this hero. It would seem that he embodies the best human qualities: hard work, intelligence, energy, honesty, nobility, but it was not without reason that critics of different times noted the sketchiness of his image, the unconvincingness of his ideas and actions.

Conclusion

Despite all his merits, Andrei Stolts is perceived as a successful, energetic businessman, a representative of the new bourgeois way of life, which replaces the patriarchal bastard.

Of course, this historical path of development of the country is inevitable. It is the Stolts who lead a backward country to civilization, and the Oblomovs lie on the sofa. But in a conversation with a friend, Ilya Ilyich gives a surprisingly accurate and precise assessment of the world of industrialists, where Stolz persistently tries to present it.

He calls traffickers dead people, sleeping people who only imitate activity, interest, violent activity, through which hopeless boredom is visible.

So what is Oblomovism? There is much more to this concept than meets the eye. It covers the entire patriarchal way of life in Russia with its laziness, idleness, drowsiness, combined with kindness, love and poetry.

Moreover, Stoltsev's thriving working and cultural life is a modernized bourgeois version of Oblomovism. That is, this concept can be used to designate the state as a whole, which stops in its development, focusing on personal interests, which means it is inferior.

Stolz's arrival at Oblomov's house. (Analysis of an episode from the second part of I. A. Goncharov’s novel “Oblomov”)

First there will be a long and detailed description of a lazy life and a lazy environment.
Then, like a fresh wind, Stolz will burst in and try to change something in this sleepy existence of his friend. It is quite difficult to analyze the second part of the novel without saying a few words about the first part and its general concept. It is interesting that the first part ends with Oblomov’s dream, which seems to sum up this whole “lazy” description; and one of the heroes of this dream is Stolz’s childhood friend. The hero will wake up and find his friend in reality, but this will be the second part, in which Ilya’s usual flow of time will be disrupted. The first part of the novel is devoted to one ordinary day of the hero, who spends it without leaving the couch. The author's leisurely narration depicts in detail the furnishings of his apartment, which bears the stamp of abandonment and desolation. In the things surrounding the hero, his character is guessed. The author pays special attention to the description of Oblomov’s robe, oriental, “without the slightest hint of Europe,” spacious, wide, which obediently follows the movements of his body. The image of the robe grows into a symbol that, as it were, denotes the milestones of his spiritual evolution. Love for Olga Ilyinskaya awakens the hero’s soul to an active, active life. These changes are associated in Oblomov’s thoughts with the need to “throw off the wide robe not only from the shoulders, but also from the soul and mind.” And indeed, for some time he disappears from sight, so that then the new owner of Oblomovka, Agafya Matveevna Pshenitsyna, finds him in the closet and brings him back to life. So, Oblomov’s weak attempts to change his existence fail. The hero continues to lie on the sofa, hiding from the intrusion of outside life, but it still bursts into his darkened, sealed room in the form of an unpleasant letter from the headman or a demand from the owner to move out of the apartment. He cannot bring himself to read the letter, he puts off searching for a new apartment, but thoughts about this constantly poison his existence. “It touches life, it gets you everywhere,” complains Ilya Ilyich, trying to turn to his guests for help and advice. These people from the outside world are completely different from each other, there is not the slightest resemblance in them to Oblomov. They are all active, mobile and energetic. Here appear the empty dandy Volkov, the careerist Sudbinsky, the denunciatory writer Penkin, Oblomov’s impudent fellow countryman Tarantyev, and the faceless Alekseev. Why does the writer introduce these episodic characters into the novel, who appear in turn at Oblomov’s famous sofa? Probably, each of Ilya Ilyich’s visitors, talking about their activities and problems, represents one or another version of an active, active life that reality offers the hero instead of lying on the sofa. After each guest leaves, the owner sums up the conversation with him and gives him his assessment. And this assessment is always negative. Oblomov is not at all attracted by secular success, career, or superficial literary denunciation. Why does he so stubbornly reject these possible paths? Maybe because he doesn’t see anything in them except empty, unnecessary vanity. He wants something more sublime and beautiful, for which it is worth getting off the couch. And indeed, when you think about it, Oblomov’s position seems more attractive and honest. But this does not mean at all that Ilya Ilyich is completely satisfied with his current position. He realizes the squalor and emptiness of his mediocre life, his spiritual fall. The hero strictly judges himself for laziness and passivity, is ashamed of his lordship, comparing his soul to a treasure littered with all sorts of rubbish. A painful question arises before him: “Why am I like this?” The writer gives the answer to it in the chapter “Oblomov’s Dream,” which is called “the overture of the entire novel.” The hero dreams of his childhood in patriarchal Oblomovka, we see the social conditions that shaped his character. The playful and inquisitive Ilyusha is not even allowed to dress himself. Labor here is the privilege of the courtyard servants, who vigilantly watch over the little barich, preventing all his desires. The serfdom of Russia not only condemns the Russian people to a miserable and powerless position, but also cripples the soul of a growing nobleman, killing his wonderful inclinations of character. In Oblomov they often see only the destructive influence of serfdom and lordship. But he has many attractive qualities generated by the same patriarchal environment. This is his kindness, critical attitude towards himself, deep analytical mind, honesty, breadth of soul, desire for something higher. Ilyusha Oblomov was brought up on Russian folk tales and epics, surrounded by love and affection. It grows in the bosom of soft Central Russian nature, which promises a person peace and quiet. Therefore, vanity and prudence are organically alien to him. He is looking for intelligence, will, and feelings in life. And such a wonderful, all-encompassing feeling as love for Olga Ilyinskaya illuminates Oblomov’s life, awakening his soul, instilling hope for happiness. But if he loves sincerely and tenderly, then calculation and vanity clearly prevail in Olga’s feelings. She set herself a difficult and noble goal - to awaken a sleeping soul to life. Maybe Ilya Ilyich feels this. For him, love becomes a test that he cannot withstand. But the main antipode character of Oblomov in the novel is his friend Andrei Stolts. This nature is completely opposite to the lazy and slacker Ilya. The author introduces us in detail to the origin, upbringing, education and current activities of this hero. It would seem that he embodies the best human qualities: hard work, intelligence, energy, honesty, nobility, but critics of different times, not without reason, noted the sketchiness of his image, the unconvincingness of his ideas and activities. Despite all his merits, Andrei Stolts is perceived as a successful, energetic businessman, a representative of the new bourgeois way of life, which is replacing the patriarchal Oblomovs. Of course, this historical path of development of the country is inevitable. It is the Stolts who lead a backward country to civilization, while the Oblomovs lie on the sofa. But in a conversation with a friend, Ilya Ilyich gives a surprisingly accurate and apt assessment of the world of industrialists, into which Stolz is persistently trying to introduce him. He calls businessmen dead, sleeping people who only imitate activity, interest, vigorous activity, through which hopeless boredom peeks through. So, what is Oblomovism? This concept is much broader than it seems at first glance. It includes the entire patriarchal way of Russian life with its laziness, idleness, drowsiness, combined with kindness, love, and poetry. In addition, the prosperous working and cultural life of the Stolts represents a modernized bourgeois version of Oblomovism. That is, this concept can be used to designate a state in general that stops in its development, focusing on personal interests, and therefore is inferior.