A person is largely shaped by childhood. Hence the meaning of "Oblomov's Dream" in the novel. It is no coincidence that Goncharov called it "the overture of the entire novel." Yes, this is the key to the whole work, the solution to all its mysteries.

The whole life of Ilya Ilyich passes before the reader, starting from early childhood and ending with death. It is the episode dedicated to Ilyusha's childhood that is one of the central chapters in ideological terms.

The first chapter of the novel is devoted to one single day of Ilya Ilyich. Observing his behavior and his habits, speeches and gestures, we get a certain impression about the hero. Oblomov is a gentleman, ready to lie on the couch all day long. He does not know how to work and even despises any work, is only capable of useless dreams. "Life in his eyes was divided into two halves: one consisted of work and boredom - these were synonyms for him; the other - of peace and peaceful fun." Oblomov is simply afraid of any activity. Even the dream of great love will not be able to bring him out of a state of apathy and peace. And those "two misfortunes" that initially worried Oblomov so much, eventually entered a series of restless memories. This is how his whole life went, day after day. Nothing changed in her measured movement.

Ilya Ilyich constantly dreamed. His main dream was presented in the form of a plan, and an unfinished plan. And to cherished dream realized, it is necessary not only to stop time, but even to turn it back.

Friends of Ilya Ilyich also fail to stir up the main character. Oblomov has an answer ready for all occasions, for example, this one: "Am I going through dampness? And what didn't I see there?" The habit of living at the expense of others, of obtaining the satisfaction of one's desires with the help of the efforts of strangers, led to apathetic immobility and indifference.

“Meanwhile, he painfully felt that some good, bright beginning was buried in him, as in a grave, perhaps now dead ... But the treasure was deeply and heavily littered with rubbish, alluvial rubbish.” So, entertaining himself with his usual thoughts and dreams, Oblomov slowly moves into the realm of sleep, "to another era, to other people, to another place."

It is this dream that largely explains the ambiguous image of the hero. From the room of Ilya Ilyich we find ourselves in the realm of light and sun. Light sensation, perhaps, is central in this episode. We observe the sun in all its manifestations: daytime, evening, winter, summer. Sunny spaces, morning shadows, a river reflecting the sun. After the dim illumination of the previous chapters, we find ourselves in a world of light. But first, we must overcome 3 obstacles that Goncharov put in front of us. This is an endless sea with its "mad rolls of waves", in which groans and complaints are heard as if an animal doomed to torment. Behind it are mountains, abysses. And the sky above these formidable rocks seems distant and inaccessible. And finally, the crimson glow. "All nature - and the forest, and water, and the walls of huts, and sandy hills - everything burns like a crimson glow."

After these exciting landscapes, Goncharov takes us to a small corner where " happy people lived, thinking that it should not and cannot be otherwise. "This is a land in which you want to live forever, be born there and die. Goncharov introduces us to the surroundings of the village and its inhabitants. In one phrase we can find a rather remarkable description:" Everything is quiet and sleepy in the village: the silent huts are wide open; not a soul is visible; only flies fly in clouds and buzz in stuffiness. "There we meet young Oblomov.

Goncharov in this episode reflected the worldview of the child. This is evidenced by constant reminders: "And the child watched everything and watched everything with his childish ... mind." The inquisitiveness of the child is emphasized several times by the author. But all his inquisitiveness was shattered by the endless concern for little Oblomov, with which Ilyusha was literally swaddled. "And the whole day and all the days and nights of the nanny were filled with turmoil, running around: either torture, or living joy for the child, or the fear that he would fall and hurt his nose ..." Oblomovka is a corner where calmness and imperturbable silence reigns. This is a dream within a dream. Everything around seemed to freeze, and nothing can wake up these people who live uselessly in a distant village without any connection with the rest of the world.

Having read the chapter to the end, we realize that the only reason for the meaninglessness of Oblomov's life, his passivity and apathy. Ilya's childhood is his ideal. There in Oblomovka, Ilyusha felt warm, reliable and very protected, and how much love ... This ideal doomed him to an aimless further existence. And the way there is already booked for him. Oblomovism is the embodiment of sleep, unrealizable aspirations, stagnation.

When Ilya Ilyich grew up, very little changed in his life. Instead of a nanny, Zakhar runs after him. And since in childhood all sorts of Ilyusha's desires to run out into the street, to play with the guys were stopped immediately, it becomes unsurprising that the measured lifestyle that Oblomov leads in more mature years. "Ilya Ilyich could neither get up, nor go to bed, nor be combed and shod ..." Oblomov is of little interest to the current estate with its chaos and destruction. If he wanted to, he would have been there a long time ago. In the meantime, he lives on Gorokhovaya Street, depends on the owner of the house and is afraid of stingy neighbors.

Living together with Pshenitsyna is a continuation of life in Oblomovka. Time is cyclical and goes against the idea of ​​progress. "Oblomov's Dream" is an attempt by the author to understand the essence of Oblomov. It was this episode that created the poetic appearance of the hero and helped the hero enter the hearts of people. This episode is like a poem. You will not find a single superfluous word in it. “In the type of Oblomov and in all this Oblomovism,” Dobrolyubov wrote, “we see something more than just the successful creation of a strong talent; we find in him a work of Russian life, a sign of the times.”

Only that in a man is firmly and reliably absorbed into his nature in his first period of life.

Ya.A.Komensky

« blessed corner of the earth"

"...what a wonderful land!"

"...wonderful country..."

I part of sleep. Blessed corner.

• What does Ilya Ilyich dream about?
• Describe the morning that Oblomov dreamed about?
• What is noon, evening?
• Why do you think landscape sketches are so detailed?
• What is the purpose of the author's use of landscape?

II part of sleep. Wonderful country.

• "Then Oblomov dreamed of another time ...". What time is it?

• How does the boy Ilyusha appear before us?

III part of sleep. Oblomov is 13-14 years old.

• How did Ilya Ilyich see himself?
• What new characters does Oblomov meet?
• List the events from their lives (Zakhar, Stolz, teaching, imp)
• How do Oblomovka and its inhabitants appear before us?

• What role does the chapter "Oblomov's Dream" play in the whole novel?

• Record your findings.

The whole life of Oblomovka was subject to traditions:

the rites of baptism and burial were accurately performed, each Oblomovite followed the formula "birth - marriage - death",

even in nature "at the direction of the calendar" the seasons changed.

Oblomov

They knew that eighty versts from them there was a "province", that is, a provincial town, but few went there; then they knew that further away, there, Saratov or Nizhny; they heard that there is Moscow and St. Petersburg, that the French or Germans live beyond St. Petersburg, and then the dark world began for them, as for the ancients, unknown countries inhabited by monsters, people with two heads, giants; darkness followed there - and finally everything ended with that fish that holds the earth on itself.

The fish held by the earth

dark world - unknown countries

French, Germans

metropolitan cities

provincial cities

manor

Oblomov

Labor as punishment

Unwillingness to act

Unsettled life

blessed land

Unpreparedness for difficulties

indifference and

peace

Feeling safe

- What in the world of Oblomovka, in the patriarchal life of its inhabitants, evokes a good feeling in the writer?

Calm, peace, silence, peasant labor, not forced, but for oneself, nature is all love, all poetry: “The sky there, it seems, on the contrary, presses closer to the earth, but not in order to throw stronger arrows, but perhaps to hug her tight, with love.” In harmony with loving mother nature - the image of "mother". Just as the “mother of the damp earth” takes care of those whom she sheltered, so does the “mother” take care of her son: “The mother showered him with passionate kisses, then examined him with greedy, caring eyes ...” The son answers her with ardent reciprocity - and that adult Oblomov, who sleeps and sees a dream, and that little Oblomov, who dreams of him: “Oblomov, seeing his long-dead mother, and in a dream trembled with joy, with ardent love for her: he, a sleepy one, slowly floated out from under his eyelashes and two warm tears became motionless. Everything is evoked here by the thought of that native, nationally Russian, which connects with the mother earth, with its roots and origins of folk life.

- And what in the Oblomov way he cannot accept?

But at the same time, in Oblomov's tale there is a shackling fear, a fear of everything new, unfamiliar. There is also dull immobility and everything that corresponds to the Russian “maybe”. Oblomovka resembles an enchanted kingdom, where everything has fallen into a dream, vicious circle where the whole rhythm of life repeats the natural rhythm, like the change of seasons. The intense, full of searching life of mankind does not concern her. Eating and sleeping - only this is the life there. Man there is in the grip of age-old boredom and laziness.

“Why did everything die? – suddenly, raising her head, she asked.

Who cursed you, Ilya? What ruined you? There is no name for this evil...

"Yes," he said in a barely audible voice.

She looked at him questioningly, her eyes full of tears.

- Oblomovism ! he whispered….

• “Oblomovism” is, first of all, the absence of a lofty goal in life, neglect of work, the desire for peace, the substitution of living things for dreams, an indifferent attitude to public life.

The ideological core of the novel

• “I tried to show in Oblomov how and why people in our country turn prematurely into ... jelly - the climate, the backwater environment, the drowsy life, and also private, individual for each circumstance.”
• I.A. Goncharov

Ideological orientation

• With this novel, the writer showed how the conditions of landlord life and noble education give rise to apathy, lack of will, and indifference in the hero.

The idea of ​​the novel

• main topic the novel is the fate of a generation that is looking for its place in society, history, but failed to find the right path.

The main theme of the novel

The concept of "Oblomovism"

Oblomovka -

contemplative flow of life, the fulfillment of bliss, love, affection, kindness. The poetry of village life is devoid of fuss, nobility reigns here.

Oblomov –

“He doesn’t have such empty desires and thoughts… he lies right here, maintaining his human dignity and his peace.”

"Oblomovism" - this concept characterizes the patriarchal way of Russian life, with its negative and deeply poetic sides.

The dream reveals the hero's ideas about the ideal. Childhood forms a person, lays the moral foundation, life principles.

The noble estate is the cradle in which idle, apathetic, weak-willed people were brought up.

Goncharov dealt a blow to the entire fortress system.

The meaning of "Oblomov's Dream" in the composition of the novel

"Goncharov sought to portray the national nature of the Russian man, his folk properties, regardless of one or another social status."

Critical responses

• about true friendship, love,
• about humanism
• about the equality of women,
• about true happiness
• condemns noble romanticism.

The novel asks questions

• “As long as there is at least one Russian left, Oblomov will be remembered until then”
• I.S. Turgenev

I.A. Goncharov "Oblomov"

The history of the human soul, even the smallest soul, is perhaps more curious than the history of an entire nation. M.Yu. Lermontov

"Oblomov's Dream" is one of the perfect works of Russian literature. Already in the literary reviews of 1849, it was this "episode" that, more often than finished works, was named among the best publications. Indeed, "Oblomov's Dream", being, according to its creator, "the key or overture" of the novel (VIII, 473), has the completeness of an independent work: "it can be called a separate story."

The genre nature of the ninth chapter is so complex, and its meaning is so ambiguous, that the emergence of more and more new interpretations seems natural. Created during the heyday of the “natural school”, “Dream” bears some signs of “physiology”: another exotic corner is described, this time far from the capital, in the depths of Russia, almost in Asia. For the realists of the 40s, who assert themselves in a dispute with the romantics, the understanding of the relationship between man and the environment was seen as of paramount importance. The social determinism of the psyche became the key to the fate of a person, and the complex issue of the relationship between the original and acquired in a particular person, the responsibility of this person to himself and to life faded into the background (sometimes ignored). The idea of ​​Goncharov, the author of Oblomov's Dream, also included the problematics of the environment: “Oblomovism ... not everything happens through our own fault, but from many, from ourselves, “causes beyond our control”! She surrounded us like air, and prevented (and still interferes in part) to follow the path of her destination ... ”- concluded Goncharov at the end of his life (VIII, 321). It is these "independent reasons" that predetermined the fate of the hero, and reveals the "Dream". At the same time, the idea of ​​the chapter was much broader than the problems of the environment. “As if some summers make old, but nature itself, and circumstances? I tried to show in Oblomov how and why our people turn before their time into ... jelly - climate, environment, stretch, backwater, dense life - and also private individual for each circumstance ”(VII, 165). In these confessions from "An Extraordinary History" - the quintessence of "Oblomov's Dream", and in many ways the entire novel. Life is taken in temporal dynamics, the question of age-related changes is raised. It is obvious that Goncharov takes into account the circumstances common to the mass of people, but other factors are no less (and perhaps more!) Significant for the writer: natural, psychological, individual ... The latter can complicate the picture so much that the signs external environment will look "relative".

Goncharov did not at all seek to give Oblomov's Dream the character of a genuine dream (usually with bizarre, surreal signs). "He describes the world into which Oblomov's dream takes us, and not the dream itself."

"Oblomov's Dream" is a chapter of the novel and a chapter that is not mechanically inserted into it, but is an organic part of the work. It retrospectively explains what has already been shown on the pages of the first part and predicts, to a certain extent, further events. “Oblomov’s Dream” tells about the birth of an “idyll man” from an ordinary normal child, and how the fate of such a person develops in big world, says the novel "Oblomov" itself. In the story of Ilyusha's childhood, Ilya Ilyich is always present, as he appears in the first part of the novel. The two ages are constantly compared to highlight the author's leading thought.

A simplified "prototype" of Oblomov's idyll is seen in the scene in the eighth chapter, when Ilya Ilyich plunged into poetic dreams of life on an estate built according to his plan: "A helpful dream carried him, easily and freely, far into the future" (IV, 62). But this future repeats the past, as it appears in The Dream, because the idyll knows no difference in time: it ignores not only differences, but time itself: "there will be eternal summer, eternal fun, sweet food and sweet laziness" (IV, 62). In his daydreams, Oblomov sees a “heavenly, desirable life” among friends in the bosom of nature, which immediately evokes memories of the works of sentimentalists, for example, in the poetic genre of a friendly message. Here is the pastoral landscape: “fields turn yellow in the distance, the sun sets behind the familiar birch forest and blushes a mirror-smooth pond, steam rises from the fields, it becomes cool, twilight comes, the peasants go home in droves” (IV, 62). In the house - a family idyll: at the table "the queen of everything around, his deity ... a woman, a wife!" His little ones frolic around. Here is a friendly idyll - a small colony of friends, everyday meetings at dinner, at dances ... Portraits of happy and healthy people: "clear faces, without worries and wrinkles, laughing, round, with a bright blush, with a double chin and an unfading appetite" (IV, 62). The idyllic vision of Ilya Ilyich is interrupted by the intrusion of reality: “Ah!. What a disgrace this metropolitan noise!

The idyll in Oblomov's Dream is much more complex, since the chapter itself as a whole is a skillfully built building (there is no hint of improvisation in the text - I will accept a genuine dream). With Goncharov, everything is verified, thought out: the conditions “experimentally pure” are taken in order to successfully conduct a study of the circumstances of the birth of such a phenomenon as the “idyll man”. The world of Oblomovka is metaphorically designated by Goncharov as a blessed corner, a peaceful corner, a chosen corner. The very word "corner" indicates the smallness of space and its isolation from the world. Definitions emphasize its charm - "wonderful land". The Dream opens with a landscape, as is customary in this genre. Nature is the widest frame of human life. The paintings in The Dream move from big to small: from the natural world to life in Oblomovka, and then to the world of Ilyusha. All the attributes of the landscape are scrupulously presented in their special idyllic incarnation, so different from the romantic one. The sky, among the romantics, is “remote and inaccessible”, with thunderstorms and lightning (a reminder of the transcendental), here it is likened to a parental reliable roof, it does not oppose the Earth, but clings to it. The stars, usually cold and inaccessible, "blink in a welcoming and friendly way from the sky." The sun with a "clear smile of love" illuminates and warms this little world, and "the whole country ... smiles with happiness in response to the sun" (IV, 80 - 81). The moon is the source of mysteries and inspiration, here it is called the prosaic word "month": it looks like a copper basin. The “common language of man and nature”, characteristic of the idyll, is expressed in the domestication of nature, depriving it of both scale and spirituality. All the signs of nature, in contrast to the “wild and grandiose” (sea, mountains), are deliberately understated: not mountains, but hills, a bright river (not a river!) Runs over pebbles (recall the “corner” again). The picture of inanimate nature ends (a kind of prologue to a description in the same spirit - living) with a direct author's word-conclusion. This corner is a sought-after refuge for people of a special breed and destiny: “A heart exhausted by worries or completely unfamiliar with them asks to hide in this corner forgotten by everyone and live in happiness unknown to anyone. Everything promises there a calm, long-term until the yellowness of the hair and an imperceptible, sleep-like life” (IV, 80). The definition of “a heart completely unfamiliar with unrest” is applicable to the inhabitants of Oblomovka. To this life, where silence, peace and imperturbable tranquility rule, the arrival of people who are tired of life, broken by it, is also possible. But, most likely, their arrival will be temporary. Boredom certainly accompanies a spiritually developed person in such a world (I remember Raisky in Malinovka).

The limitation of an idyllic life to a few everyday realities is revealed in the description of one day of seven-year-old Ilyusha. The exact indication of age is an important element of Goncharov's novel, and even idyllic timelessness does not erase this feature. Seven is a sacred figure in Russian mythology, for Goncharov it is the age of a child’s conscious understanding of the world and people, when he stands out from the “choir” and finds his “voice”. The world of a child and the world of adults from the first moment of the description of Ilyusha's "childhood" are given in comparison, often in opposition. Ilyusha's day begins with awakening, motherly caresses and morning prayers. His world is poetic, presented in the context of a poetic landscape: “A magnificent morning, it’s cool in the air ... in the distance, a field with rye seems to be burning with fire, and the river glistens and sparkles in the sun so much that it hurts the eyes” (IV, 87). And in the Oblomovs' house, the morning begins in an ordinary way - with a discussion and preparation of dinner, since "taking care of food was the first and main life concern in Oblomovka." It was she who stood at the center of their “such a full, ant-like” life, the symbol of which is a gigantic pie. Just as pie is universal food (from hosts to coachmen), so sleep after dinner is “an all-consuming, invincible sleep, a true likeness of death” (IV, 89). Common food, simultaneous sleep - a sign of the Oblomov world, reflecting its indivisibility, its archaic community.

Spatial isolation and self-isolation provide Oblomovka with all the advantages of an island country before the invention of the sail (like the southern islands inhabited by natives in the Pallada Frigate). A situation of relative safety was created in a vast and unknown world (opportunities to hide from it). Moreover, even a mood of self-satisfaction was born, since “there was nothing even to compare their life-being with them ...”, it was recognized that “to live differently is a sin.” The “other world” was perceived with wariness and fear, even natural curiosity was suppressed by these feelings. The eventlessness of life (“life, like a calm river, flowed past them”), attached to their native corner, determined the cyclical movement of time, day after day, homeland, wedding, funeral ... “their life was teeming with these fundamental and inevitable events that set endless food their minds and hearts" ((IV, 98) (the word "swarmed" resembles ants, a comparison with which emphasizes the naturalness and "collectivity" of life in Oblomovka). Between these events there was a soothing apathy of repetition: "They will be bitten by longing if there is no tomorrow like today, and the day after tomorrow like tomorrow” (IV, 105).

The world of Oblomovka is integral, but in its delimitation, earthiness, closedness - incomplete. This little world is for a body disposed towards peace, but not for a soul craving impressions and movement: “... in another place, people’s bodies quickly burned out from the volcanic work of an internal, spiritual fire, just as the soul of the Oblomovites peacefully, without interference, drowned in a soft body” ( IV, 96-97). Oblomov's little world in its smallness, passivity and spiritual primitiveness is opposed to the World. During the day, both seem to be equally busy with the hustle and bustle of survival ("the prosaic side of life"). But when darkness falls, in “minutes of the general solemn silence of nature”, the “poetic” one makes itself felt in the World: “the creative mind works harder, poetic thoughts boil hotter ... passion flares up in the heart more vividly or longing aches more painfully ... in a cruel soul it is calmer and stronger the seed of criminal thought is ripening. There is none of this in Oblomovka, where "everyone rests so soundly and calmly" (IV, 92). The answer to the question why life was given seemed clear to the Oblomovites (it was simply given): “In the spring they will be surprised and delighted that long days are coming. And ask why they need these long days. So they themselves do not know” (IV, 101). This meaninglessness is legitimized by the repetition of such a life from generation to generation: not reason, but tradition, habit - the main argument in this little world, irrationally absurd in essence. Oblomovites, being inside their little world, do not feel their own inferiority, but the author of the novel sees it. He recognizes the peculiar charm of this little world that has fallen out of history and rejected geography, painting it with the pleasure of a true artist. Nevertheless, not only is there no emotion in Oblomovka's paintings, irony is easily captured in them. Not without reason, already at the time of the publication of The Dream, there was a disapproving recognition of the “ironic tone of colors”:

“If only cordial, albeit unreasonable, kindness, unsociable simplicity still lives in these backwoods, then they cannot be bullied like children in diapers, who, despite their unreason, are sweet, which is proved by Oblomov's Dream. At the same time, it is impossible to accept the point of view that Oblomovka "was originally created as a satire on an idyll", because, among other things, satire is alien to the very nature of Goncharov's talent (his element is humor-irony). Much more acceptable is the assumption of Goncharov's "involuntary overturn of the idyllic genre" and the emergence of "a kind of dystopian perspective" as a result.

The obvious ambivalence of the image of Oblomovka (an idyll-dystopia) is set off, for example, by the unambiguity of the satirical image of Malinov in A.I. Herzen (1841). This county town is the same Oblomovka, only devoid of any poetry, moreover, seen with the angry look of a “person from the side”. The hero-narrator ends up in this “worst city in the world” after the university in the capital: “Poor, miserable life! I can’t get used to it ... Patients in an insane asylum are less senseless. Absurdity has grown in the absence of movement, instead thoughtlessly reproduced traditions dominate: “And this world of absurdity has been extremely consistently established, like Japan, and any change in it is impossible to this very moment, because it grows firmly on the past and is true to its soil” ( IV, 86). As a result, "suffocating monotony" reigns in this little world. Another source of meaninglessness: “All life is reduced to material needs: money and conveniences are the limit of desires, and the whole life is spent to achieve money. The ideal side of the life of the Malinovites is ambition, childish, microscopic ambition" (IV, 86 - 87). The very isolation from civilization is not so much geographical as spiritual: “Humanity can walk back and forth, Lisbon can fall through, states can arise, Goethe’s poems and Bryullov’s paintings can appear and disappear - the Malinovites will not notice this” (IV, 87). The most general definition for the life of the Malinovites is "complete non-existence."

In Oblomovka's paintings, which combine scrupulous realistic details with almost symbolic ones, a deep intention gradually emerges: to maximize the interpretation of the image of the estate (village) to transform it into the image of an entire country. It is not for nothing that in the statements of Goncharov himself, Oblomovka and Russia repeatedly become synonymous (and it is no coincidence that the images from the "Dream" so influenced the "world of Russia" in the "Pallada Frigate" - chapter two). Oblomovka is a country that never left the late Middle Ages, rejecting the reforms of Peter the Great and the shifts towards Europe and Civilization that followed them, it remained in Asia in its historiosophical interpretation (hence, in the "Pallada Frigate" parallel between Oblomov's Russia and feudal Japan). Spatial isolation (isolation from life outside the estate and surrounding villages), fear of the world beyond the marked borders (the story of receiving a letter), cautious hostility to strangers (the episode of finding a stranger near the village) correlate with xenophobia characteristic of semi-Tatar Muscovy. Time in Oblomovka goes in circles in the spirit of a specific Russian progress-regression: “timelessness” is subordinated to everyday life, sleepy, unchanging ... At the stylistic level, this feature is manifested in the fact that different “grammatical forms and types are combined in one phrase: transitions from the past to the present and from the future to the past they emphasize that time in Oblomovka does not really matter. Oblomov's unconscious preference for tradition at the expense of any, the most innocent innovation (the ideal: to live as our ancestors lived) is formed by a cautious expectation of any shift - a formidable surprise that can disturb such a valued "peace" - a blessed interval between implicitly brewing catastrophes. In the nanny’s stories, a vivid memory of those times when the mentality of the Oblomovites was laid down: “The life of a person of that time was terrible and unfaithful, it was dangerous for him to go beyond the threshold of the house: he was about to be locked up by a beast, slaughtered by a robber, robbed of everything by an evil Tatar, or a person will disappear without a trace, without any traces ”(IV, 93). The very communality of Oblomov's life (the ant collectivity), its opposition to the individual origin genetically ascend (in the context of history) to the need for joint defense against almost insurmountable, unfavorable circumstances erected by History and Geography: the severity of the climate, the openness (bareness) of the flat space towards the enemy, internal strife “Relegated to the extreme corner of the earth, to the cold and dark side - the Russian people, the Russian people lived passively, in a slumber they experienced their dramas to themselves - and apathetically accepted the life that circumstances imposed on them” (IV, 161) - these words of Goncharov are caught those "tribal features" of the nation (passivity, apathy), overcoming which on the paths of Civilization was comprehended by the artist as a primary task.

"Oblomov's Dream" is a kind of semantic and compositional key to the entire novel. The dream of the inhabitants of Oblomovka, a heroic, powerful dream - this is what largely caused Oblomov's inability to real activity, something that did not allow the potential of his crystal, "pigeon" soul to come true.
The ninth part of Goncharov's novel "Oblomov" begins in a very peculiar way. The author describes that "blessed corner of the earth" to which Oblomov's dream takes us. It is said about this corner that “there is nothing grandiose, wild and gloomy”, that is, there is no sea, mountains, rocks, abysses and dense forests. All this could cause some trouble, inconvenience to the inhabitants of the region.
In this piece of paradise, everything is saturated with love, tenderness, care. I.A. Goncharov argues that if, for example, there was a sea, peace would be impossible, not like in Oblomovka. There is silence, calmness, there are no mental torments that could arise due to the presence of any element. Everything is silent, as if frozen in time, in its development. Everything is created for the convenience of a person, so that he does not bother himself with anything. Nature there, as it were, made a schedule for itself and strictly follows it.
Of course, this chapter is of great importance, it helps to penetrate into inner world Oblomov, it is better to get to know him, to understand his condition. After all, a lot depends on the upbringing of a person, on the environment in which he lived in childhood. Here we clearly see that in Oblomovka, parents and in general everyone around them suppressed all the aspirations, impulses of Ilyusha to do something on their own. At first the boy did not like it, but then he got used to being so carefully taken care of, surrounded by unlimited love and care, protected from the slightest danger, from work and from worries.
Around him, Oblomov sees only "peace and silence", complete calm and serenity - both in the inhabitants of Oblomovka and in nature itself.
In Oblomov's Dream, Oblomovka's isolation from the outside world is clearly visible. A clear example of this is the case of a peasant in a ditch, whom the inhabitants of Oblomovka refused to help just because he was not from here. There is a contrast between the way people treat each other in this village, with what tenderness and concern they take care of each other, and how indifferent they are to people who live outside their world. The principle by which they act sounds something like this - excessive isolation and fear of everything new.
This, to a certain extent, shaped Oblomov's position: "Life is enough." He believes that life "touches" him everywhere, does not allow him to exist peacefully in his little world, the hero cannot understand why this is happening, because everything is different in Oblomovka. This habit, which consists in the fact that life is possible in a state isolated from the outside world, remains with him from childhood for the rest of his life. Throughout its existence, it has been trying to isolate itself from the outside world, from any of its manifestations. It is not for nothing that I.A. Goncharov describes his main character in such a way that one gets the impression that there is no external life for Oblomov, as if he had already died physically: or not the owner himself, lying on it, then one would think that no one lives here - everything was so dusty, faded and generally devoid of traces of human presence. It was obvious that Oblomov was trying to create the same atmosphere as in Oblomovka, since the furniture in the room was solely in order to "observe the appearance of inevitable propriety", and everything else was created for convenience, to take at least a bathrobe and slippers, which are detailed are described by Goncharov in order to show how much everything makes life easier for the owner. In the end, Oblomov still finds his piece of paradise, reaches the long-awaited peace, living with Pshenitsyna, who, as it were, fences him off from outside life, just like Oblomov's parents in childhood, she surrounds him with care, attention, affection, perhaps at first without being aware of it. She intuitively understands what he is striving for and provides him with everything necessary for life. Oblomov realized that he had nothing more to strive for: “Looking, pondering his life and more and more settling in it, he finally decided that he had nowhere else to go, nothing to look for, that the ideal of his life had come true.”
Thanks to Pshenitsyna, that unconscious fear of life that Oblomov had, again, since childhood, disappeared. A vivid confirmation of this can be considered the case described in the chapter "Oblomov's Dream", when a letter from an old acquaintance arrives in Oblomovka.
The inhabitants of the house did not dare to open it for several days, trying to overcome the feeling of fear. This feeling of fear appeared due to the habit of isolation: people were afraid that their peace and serenity would be disturbed, because the news is not only good ...
As a result of all these fears in childhood, Oblomov was afraid to live. Even when Ilya Ilyich fell in love with Olga and was about to get married, unconscious fear, fear of change made itself felt. In addition, the constant feeling of being chosen, instilled in Oblomov at home, prevented him from participating in a kind of “competition”, which is any life ... He could not work, because in the service he would have to prove his superiority, and in relations with Zakhar Oblomov without difficulty flattered his vanity by the fact that he was an "original nobleman" and had never once put a stocking on his legs himself.
From all of the above, it follows that because of the fear of life, because of all the restrictions set for him in childhood, Oblomov could not live a full-fledged external life. He was also greatly disappointed in the service. After all, he thought that he would live as in a second family, that in the service - the same small, cozy little world as in Oblomovka.
Ilya Ilyich, as it were, was pulled out of greenhouse conditions, from the realm of sweet sleep, and placed in conditions acceptable
mine for the people of Stolz's warehouse. And when, finally, thanks to Pshenitsyna, he finds himself in familiar conditions, then there is, as it were, a connection between times, a connection between his childhood and the current time of his thirty-three years of life.
The role of "Oblomov's Dream" in understanding the meaning of the novel is enormous, since the whole conflict of external and internal life, the root of all events lies in Oblomov's childhood, in the village of Oblomovka.