Oblomov sleep analysis. Where to start analyzing Oblomov? Sleep is the starting point

The chapter “Oblomov’s Dream” from Ivan Aleksandrovich Goncharov’s novel “Oblomov” begins with a masterful description of a noble estate, one of thousands of its kind in pre-revolutionary Russia. Beyond the great Russian river Volga slumbered the patriarchal Oblomovka, a quiet, provincial estate, where life flowed sluggishly and out of habit, and where news hardly penetrated at all. And the description of the nature of this “blessed corner”, and the morals of the inhabitants, and the cycle of their ordinary day - everything is reduced by the writer into one image of “silence”, “stillness” or “sleep”. There were no mental interests in the life of the Oblomovites. Their real understanding and perception of life was a naive fiction.

The main concern in Oblomovka was food. And if this serene life had its solemn days and events, then these days differed from ordinary ones only in the more satisfying treat.

In Oblomovka and the bar, serfs, servants, and, finally, nature itself are under the power of “sleep”. And after lunch, everyone and everything in Oblomovka plunged into real, physical sleep. Little Ilyusha perceived this afternoon sleep, “an all-consuming, invincible sleep,” “a true likeness of death,” as the norm of life, in which there was no spirituality. The only form of spiritual life were fairy tales, legends, stories that the nanny whispered to little Ilyusha.

The atmosphere of Oblomovka’s existence undoubtedly left its mark on the character of the novel’s protagonist, Ilya Ilyich. He grew up as a normal child - healthy, lively and inquisitive. He wanted to run, jump, play with the village boys, but the adults did not allow him to do this, worried about him. Ilyusha wanted to do everything himself, but his parents taught him to think that there are servants who will do everything. Gradually the boy got used to this idea. Educational supervision over Ilya came down to protecting him from vivid impressions and consisted of endless “no” and “no”. As a result, “his seeking manifestations of strength turned inward and faded, withering,” a passive character was formed. The whole situation in Oblomovka’s life and the constant inhibition of all the impulses of Ilyusha’s activity and ebullient nature led to the fact that Ilya, endowed by nature with an “ardent head, a humane heart,” a high soul and ebullient energy, turned into a hero spending the best years of his life in “sleep”, in dreams, in inaction. Goncharov shows that this childhood environment, the guardianship of elders, the desire to protect him from possible problems, closeness from real life and fear of real life, this dependence on serf servants (he can’t even get dressed without Zakhar (the former Zakharka!)!) gave birth to in Oblomov, selfishness and cowardice, laziness and apathy remained in Ilya Ilyich until the end of his life. And neither the friendship of Andrei Stoltz, who is trying to stir up Oblomov, turn him towards an active life; neither his love for Olga Ilyinskaya (who first stirred up his “sleepy kingdom” and made his old feelings and dreams flare up) could overcome his life’s apathy. And all this ultimately led him to the Vyborg side of St. Petersburg - this capital Oblomovka, where he finally plunges into spiritual, and ultimately into eternal sleep! Material from the site

Thus, the role of the chapter “Oblomov’s Dream” is very important in revealing the character of the main character: it shows the stages of the transformation of an ordinary noble boy Ilyusha, lively and playful, into Ilya Oblomov. The chapter “Oblomov’s Dream” made it possible for the critic A.V. Druzhinin to assert that “Oblomov, without his “Dream”, would have been an unfinished creation, not dear to any of us...”.

From I. A. Goncharov’s novel “Oblomov” the word “Oblomovism” came from (“...one word, but how poisonous!”).

It is not without reason that N.A. Dobrolyubov believed that in I.A. Goncharov’s novel a “modern Russian type” was identified, and the novel itself is a “sign” of the current socio-political state of Russia in the second half of the 19th century.

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On this page there is material on the following topics:

• analysis of the chapter of Oblomov's dream briefly
• a brief retelling of Oblomov's dream
• Oblomov's egoism
• Oblomov's dream summary of the chapter
• Oblomov's dream in summary

Lesson topic: “Oblomov’s Dream”

The purpose of the lesson: analyze “Oblomov’s Dream”, identifying those aspects of the life of Oblomov’s followers that influenced the formation of the hero’s dual nature (on the one hand, poetic consciousness, on the other – inactivity, apathy); work on the development of coherent speech of students, expressive reading, education in children of an active life position, a sense of responsibility for their future.

Equipment : portrait of I.A. Goncharov, Microsoft PowerPoint presentation.

I. Introductory stage:

Teacher's word: Today we have to get acquainted with a very significant chapter in the context of the novel, which is called “Oblomov’s Dream.” In addition, we will find out the compositional features of its use, identify the features of the life of the Oblomovites, which influenced the formation of the character of Ilya Ilyich.

II. Analysis of the work:

What does the title of the work say?

the name of the main character, included in the title, emphasizes the peculiarity of his place in the poetic world of the work, emphasizing the interest that his life position represents for the author.

Where is this position, the essence of the hero’s relationship to the world, most fully revealed?

In the chapter "Oblomov's Dream"

Let's remember which works we studied earlier contained a dream?

A.S. Pushkin “Eugene Onegin” - Tatyana’s dream; from: A.S. Pushkin “The Captain’s Daughter” - a dream of Petrusha Grinev; from: “Ballads” by V. Zhukovsky.

What do you think is the function of sleep in these works, and why do the authors use them?

1. Dream - as revealing the spiritual state of the hero, a means of psychological analysis.

2. A dream is like an idyll, a dream.

3. Dream - as a prediction of the future.

Which of the following functions does a dream perform in the work of I.A. Goncharova?

1. A dream is a revelation of the hero’s spiritual state, while it acquires a special symbolic meaning: a dream is a symbol of the hero’s entire life position, his spiritual sleep.

2. Dream - shows the hero’s dream, but its paradox is that it is directed not to the future, but to the past. The hero dreams of Oblomovka, in his dream a distinctly idyllic image of her is created.

What is the composition of this chapter?

How many parts does it consist of (relatively speaking)? How did you determine this?

(“Oblomov’s Dream” consists of 4 parts:

1. “Blessed Corner of the Earth” (exhibition).
2. Seven-year-old Oblomov in his parents' house. Schedule. Raising a boy. Perception of the surrounding world.
3. Wonderful country. Nanny's Tales.
4. Oblomov is 13-14 years old. Oblomov's education. Oblomovites' views on life).

How does this arrangement of parts of the novel's chapter help us understand the character of the hero?

(Each part is a series of vivid episodes from Oblomov’s childhood, completely different in theme, but connected by a common idea, the task of the writer: to show the origins of the hero’s character; how nature, the way of life of the family, views on life and education influenced the formation of the character of the main character.)

By what means is the idyllic image of Oblomovka created?(Work on the text based on homework.)

1. We note the use of oral folk art in creating the image of Oblomovka:

a) a special spatio-temporal organization characteristic of Russian fairy tales; the isolation of Oblomovka from the rest of the world, the perception of the rest of the space by the Oblomovites as alien and fantastic;

b) the presence of one’s own magical power (sleep) and one’s own law in this world (idleness);

c) favorite heroes of this magical world - Emelya, Militrisa Kirbitevna, Ilya Muromets.

2. Reflection of the ancient idea of ​​the “golden age” in the life of Oblomovites(in our work we rely on the knowledge that students of the special course “World Artistic Culture” received):

a) calmness, absence of bad inclinations among Oblomovites;

b) spiritual generosity;

c) naturalness;

d) abundance;

e) youth, beauty, longevity; death in Oblomovka is perceived as a natural transition from one type of sleep to another - eternal sleep.

3. Features of the Christian image of Eden, paradise in the chapter “Oblomov’s Dream”: Oblomovka -

a) a world of abundance;

b) a world of eternal warmth, sun (winter, thanks to supplies and a warm stove, is perceived as an extended summer);

c) a world where it is clear to everyone that work is God’s punishment for excessive curiosity.

What image is central in the chapter “Oblomov’s Dream”, uniting all its fragments?

The image of the mother (as mother-woman and mother-nature) unites all the elements of the chapter and creates the image of the native space, where everything is warmed by maternal love, care, where everything lives according to the laws of following the traditions of the fathers (pay attention to the semantic load of the hero’s name: Ilya Ilyich - a sign of repetition of the father, his life).

Thus, Oblomovka in the hero’s mind acquires the features of an absolute ideal, Oblomovka is a utopian dream.

What additional reading does the image of Oblomovka receive in the context of the struggle of ideas of the mid-19th century in Russia, which was discussed in class?

Oblomovka in this context is perceived as an idyllic model of patriarchal Russia.

So, Oblomov’s moral ideal is an integral harmonious personality, the social ideal is a patriarchal, unchanging Russia. This is precisely what explains the poeticization of the patriarchal way of life, its aestheticization.

However, does the ideal of the hero coincide with the ideal of the author?

Oblomovka, a model of patriarchal Russia, is the ideal hero. The author, admiring the naturalness and good-heartedness of patriarchal relations, sees their inferiority (in this regard, we pay attention to the semantics of the hero’s surname: Oblomov is a “fragment”, part of the whole. Not harmony, not a whole, but a part of the whole, a fragment of harmony.

Teacher's word: So, you and I have reflected in our table the opposite sides of Oblomovka’s life. And more often than not, the hero of the novel was assessed only taking into account one side that influenced his life. Here are two statements from critics, which side did they take in Oblomov?

N. Dobrolyubov: “In Goncharov’s book we see a living modern Russian type, minted with merciless rigor and correctness. What are the features of Oblomov’s character? In complete inertia, resulting from apathy towards everything that is happening in the world...”

A.V. Druzhinin: “The sleepy Oblomov, a native of the sleepy and yet poetic Oblomovka, is free from moral diseases... He is not infected with everyday depravity. A child by nature and according to the conditions of his development, Ilya Ilyich largely left behind him the purity and simplicity of a child, which place the dreamy eccentric above the prejudices of his age.”

Which of these researchers do you think is right?

IV. Homework.The image of Stolz in the novel: family, upbringing, education, portrait features, lifestyle, value guidelines (part 2, chapters 1 – 4) Ilya Oblomov Andrey Stolts

Description of appearance, origin, V upbringing and education, c ate arrival in St. Petersburg, about lifestyle, and deal (norm) of life, test of love, and then life

In Goncharov's novel "Oblomov" the chapter "Oblomov's Dream" is the ninth chapter of the first part. There are 4 parts in total. We invite you to get acquainted with the summary of the chapter “Oblomov’s Dream”, as well as read other materials on the novel presented at the end of the article.

Oblomov dreamed of a wonderful land. In that land there was neither a sea capable of bringing sadness to a person, nor mountains and terrible abysses, above which the sky seems so distant, as if it had retreated from people. In the peaceful, heavenly corner where Ilya Ilyich found himself, the sky, on the contrary, huddled closer to the ground, spreading so low above his head, like a parent’s reliable roof, in order to protect everything and everyone from adversity and suffering. Instead of mountains there were green sloping hills. It seems that the whole region is permeated with happiness.

The annual cycle occurs there correctly and calmly. Spring gives way to winter, summer to spring - and everything is clear according to the calendar. In that region there are no terrible thunderstorms, no all-destroying storms, no balls of fire, no sudden darkness, no terrible diseases affect people, everyone dies of old age.

Silence and undisturbed calm reign in the morals of the people in that region; no passions bother them. The inhabitants of this blessed land only knew that about eighty miles away there was a provincial town, but rarely did anyone go there. They heard that there are Moscow and St. Petersburg, that beyond St. Petersburg the French or Germans live, and beyond that there is a dark world inhabited by monsters, people with two heads. It was to this region of his childhood that Oblomov, the main character of Goncharov’s novel, was transported in a dream.

He is only seven years old. He woke up in the morning in his small bed. Immediately the nanny began to fuss around him and began to dress him. Having dressed and combed his hair, he leads him to his mother. The mother showers her son with kisses and inquires about his health. After which they pray, however, Ilyusha does it without desire. After praying, they go to their father, then to tea. At tea there are many people, relatives and guests of Oblomov, and everyone praises the boy and strives to treat him with something delicious. Then the mother lets Ilyusha go into the garden for a walk, not alone, with the nanny, who is strictly ordered not to let her son near the ravine, where, rumor has it, all sorts of terrible things are happening.

Everything is interesting to an inquisitive, lively boy, and especially there, behind the fence, where there is a ravine, a river, a mountain. But as soon as Ilyusha rushes there, his mother or nanny returns him.

With his sharp gaze, Ilyusha observes how and what adults do, what they devote their morning to. And they are all busy, even old Oblomov himself. All morning he sits by the window and watches what is happening in the yard, who has passed by the window and how many times.

The main concern in the house was the kitchen and dinner. The whole house discussed dinner. After the final decision was made, there was real turmoil in the house: knives were knocking, women were running in and out of the barn several times, dishes were rattling. After a hearty lunch, a blissful time of rest began, the whole house fell into sleep. For the boy, this was a long-awaited time: the nanny also succumbed to an afternoon nap, and he climbed into the dovecote, climbed into the depths of the garden, into a ditch, ran out of the gate, rushed to the mountain or to the ravine, but memories of terrible stories stopped him. After sleep, the house began to come to life again - they were preparing for tea.

Having drunk tea, some went for a walk - slowly stroll along the river, some sat by the window and caught every fleeting phenomenon. The mother calls Ilyusha to her, puts his head on her lap, strokes his hair, admiring its softness and forcing everyone else to admire it, predicting a great future for her son. It’s just starting to get dark, and again the sound of knives comes from the kitchen, the clinking of dishes, the cook again, several times a day. Once he runs to the cellar, dinner is being prepared. After dinner everyone falls asleep, now for the whole night.

Then Oblomov dreamed of another time: on a winter evening, the nanny tells him about the unknown side, where miracles happen, where everyone just walks. There is a sorceress on the other side who bestows wealth and happiness on anyone she likes. And although, as an adult, Ilya Ilyich knew for sure that no sorceress existed, but from time to time he unconsciously felt sad about why a fairy tale is not life, and life is not a fairy tale.

Next, Ilya Ilyich suddenly saw himself as a boy of 13 or 14 years old. He already studied in the village of Verkhlevo, in the boarding school of the German Stolz, the local manager of a wealthy landowner. Stolz had a son, Andrei, of the same age. Maybe Ilyusha would have had time to learn everything from him if Oblomovka had been further away from Verkhlevo, otherwise all Oblomov’s principles applied to her, with the exception of Stolz’s house.

Then the dream takes Ilya Ilyich to the long living room in his parents' house. Everything is there: the mother is knitting something and yawns from time to time, the father, with his hands behind his back, walks around the room back and forth, in complete pleasure, there are also relatives, they say little, since they spend the whole day together: either about the weather, either about the harvest, then they remember when this or that relative visited them, then they remember those who have gone to another world. This makes everyone sad. But nothing ever disturbs the regularity and tranquility of this house.

The holidays are over, and the time has come to take Ilyusha to Stolz, again for a week. No matter how much they treat him or give him anything with him, and all this is because the Germans do not feed him fat. It happens that a boy is deceitful and complains that he is unwell - then no studying, another week at home.

Having learned that literacy is not enough, all sorts of other sciences are needed in order to become a titular adviser or collegiate assessor, the parents began to worry about how to get Ilyushenka a certificate that would say that he had passed all the sciences and arts.

With Stolz everything was different. He tried to re-educate Oblomov’s little boy in his own way, but nothing worked: Stolz’s son did translations for Oblomov, suggested lessons to him.

So Oblomov grew up like a flower in a greenhouse. His parents were worried that he might catch a cold or fall and break something, and they did not allow him to frolic. Sometimes he left without asking to go for a walk with the guys and play in the snow, but he was immediately found and returned, and the guys were punished.

This was a summary of the chapter “Oblomov’s Dream” (part 1, chapter 9 of the novel “Oblomov”).

Ilya Ilyich Oblomov is a hero suffering from apathy towards life in general. The chapter of the novel, in which Goncharov describes Oblomov’s dream, clearly characterizes this.

Writers usually use the dream genre to reveal the character of the hero. Goncharov used it so that the reader understood that “Oblomovism” is an acquired character trait; in childhood, the hero was energetic, full of hopes and desires. He clearly imagined his happy family, caring wife and happy children.

In his dream, Oblomov appears before us as a seven-year-old boy, carefree and cheerfully running on the lawn and dreaming of his bright future. Only his mother's excessive care limits his freedom. The nanny constantly makes sure that the child is fed, is in the shade or is dressed warmly, etc. Continuing the dream, we see a thirteen-year-old teenager who doesn’t really want to study, he likes his carefree existence, leaving his native nest does not make him happy. After all, instead of a nanny, he now always has a caring servant at hand, as soon as he wants something, the desire is immediately fulfilled, there is no need to make unnecessary movements. Even as a boy, he firmly understood why do something yourself when there are always nannies, aunts, and servants at hand. We can say that his initiative to take any action was ruined in early childhood. From a playful, thinking child grows into a lazy, apathetic nobleman.

From dreams we understand that he has inherited the traits of his worthless, narrow-minded parents. The father did not delve into his business affairs, as a result of which he was easily robbed. The mother was not interested in anything other than the menu; the farm was abandoned and was in severe decline and dilapidation.

Goncharov shows us life in the village of Oblomovka as if in a fairy tale. The huts are built in a special way, the sky presses low to the earth, as if carefully hugging it, the river runs playfully, even the sun does not leave immediately, but seems to return several times before leaving. Oblomovka appears before us as if he were an animated character. The main task of every Oblomov resident is to eat a hearty meal and sleep after eating. The sea here is considered useless for people, making them sad. Mountains are continuous abysses created for the destruction of man. Residents of Oblomovka knew about Moscow and St. Petersburg, about the French and Germans, and then everything was dark and dark and two-headed people. Everything that happens outside the village inspires pain and fear. The picture in which a man brought a letter is indicative. They scold him terribly: “Why did you bring it? Suddenly there is bad news.” To which he strongly justifies himself: “Yes, I told you, we were not ordered to take letters. What the soldier promised to complain to his superiors about. I took it."

Oblomov's dream continues in reality. For every request from others for anything, for every thought or desire, Ilya Ilyich has one excuse: “Not now.” The author's attitude towards the main character of the novel is strictly contradictory. Either he shows him as sweet and good-natured in an ironic way, which brings a kind smile to the reader’s face. But sometimes his nature is shown as strictly contradictory, complex, and tragic.

Option 2

The image of Ilya Ilyich Oblomov will remain in the reader’s memory as an example of complete apathy and laziness.

The writer Goncharov very often portrays Oblomov in an ironic manner, but there are moments in the novel when Ilya Ilyich appears to the reader as a tragic and contradictory figure. The character and habits of Ilya Ilyich Oblomov were formed under the influence of the environment. There is an episode in the work that perfectly proves this statement - this is the chapter “Oblomov’s Dream”.

Many writers very often appeal to the dream genre, since it well reveals the inner world of the character. However, Goncharov uses this genre to show the origins of the character’s character. The chapter "Oblomov's Dream" describes Oblomov's childhood in detail. The writer Goncharov shows that such qualities of Oblomov as apathy and indifference to the world, laziness, are acquired and not innate.

The chapter we are considering, “Oblomov’s Dream,” is an inserted episode, an extra-plot element. This chapter, although it has independence and completeness, does not in any way affect the further development of the storyline. The chapter aims only to depict in detail the character of Ilya Ilyich Oblomov.

In a dream, Ilya Oblomov initially sees himself as a seven-year-old boy. He frolics and plays, he is overcome by curiosity, he reaches out to everything that surrounds him, there is not yet that apathy that will overtake him later. Despite all this, the constant control of his mother and nanny prevents him from realizing his desires. Only when everyone fell asleep during the day did Ilya Oblomov gain freedom. His independent life began.

In a dream, Oblomov also appears as a boy of twelve or thirteen years old. He is no longer able to resist, the thought that he needs to live the way his parents live is firmly ingrained in his head. Ilya Oblomov does not want to study, because for this he has to leave his home. He cannot understand the value of studying. His mother was only concerned that her child would always be cheerful, fat and healthy. But other things were unimportant and did not affect Ilya Oblomov’s mother at all.

The writer Goncharov managed to write the chapter in such a way that the reader could fully experience the ancient, village life. Every line of the chapter contains the sound of folk dialect, a mournful song, everything in the chapter is like a fairy tale. In Ilya Oblomov’s native village, everything seems somehow alive and spiritual.

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A person is shaped in many ways 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 secrets.

The entire life of Ilya Ilyich passes before the reader, from early childhood to 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 dedicated to one single day of Ilya Ilyich. Observing his behavior and his habits, speeches and gestures, we form a certain impression about the hero. Oblomov is a gentleman who is ready to lie on the sofa all day long. He does not know how to work and even despises all work, capable only 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 the state of apathy and peace. And those “two misfortunes” that initially worried Oblomov so much eventually became part of a series of troubled memories. This is how his whole life passed, 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 for your cherished dream to come true, it is necessary not only to stop time, but even to turn it back.

Ilya Ilyich’s acquaintances also fail to stir up the main character. Oblomov has a ready answer for all occasions, for example, this: “Am I going to go through the dampness? And what didn’t I see there?” The habit of living at the expense of others, of getting satisfaction of one’s desires with the help of the efforts of strangers, has 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 buried with rubbish, alluvial debris.” So, entertaining himself with his usual thoughts and dreams, Oblomov slowly moves into the kingdom of sleep, “to another era, to other people, to another place.”

It is this dream that largely explains the polysemantic image of the hero. From Ilya Ilyich’s room we find ourselves in the kingdom of light and sun. The sensation of light is perhaps central to 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 lighting of the previous chapters, we enter a world of light. But first, we must pass 3 obstacles that Goncharov set before us. This is an endless sea with its “mad rolls of waves”, in which one can hear the groans and complaints of an animal doomed to torment. Behind it are mountains and abysses. And the sky above these formidable rocks seems distant and inaccessible. And finally, a crimson glow. “All nature - the forest, the water, the walls of the huts, and the sandy hills - everything burns as if with 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 the 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 characteristic: “Everything in the village is quiet and sleepy: the silent huts are wide open; not a soul is visible; only flies fly in clouds and buzz in the stuffiness.” There we meet young Oblomov.

Goncharov in this episode reflected the child’s worldview. This is evidenced by constant reminders: “And the child watched everything and observed 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: now torture, now living joy for the child, now the fear that he would fall and break his nose...” Oblomovka is a corner where calm and imperturbable silence reigns. It's a dream within a dream. Everything around seems to have frozen, 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 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 a further aimless existence. And the way there has already been blocked for him. Oblomovism is the embodiment of a dream, 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, any desires of Ilyusha to run out into the street and play with the guys were immediately stopped, it is not surprising that the measured lifestyle that Oblomov leads in his more mature years. “Ilya Ilyich did not know how to get up, or go to bed, or be combed and put on shoes...” Oblomov is of little interest in the current estate with its chaos and destruction. If he wanted, 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 his 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 the author’s attempt 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 won't 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.”