معمولاً هیچوقت از اقتباس خوشم نمیاد چون معمولاً کاری ضعیف‌تر از اصل اثر می‌شن. این نمایشنامه یه اقتباس خیلی وفادارانه به اصل رمان بود که خیلی جاها واو به واو دیالوگ شده بودند. البته فقط دو بخش اول رمان تبدیل به نمایشنامه شده. نویسنده بعضی جاها قالب نمایش رو فدای اصل رمان کرده بود و حتی برای نمایش حس درونی ابلوموف (که توی رمان به کرات استفاده شده) از مونولوگ استفاده می‌کرد. ( )

Putting off writing this as i can't come up with the right way to approach this write up. Short answer: Amazing - loved it - inspired, poignant, funny, beautiful. First 100 pages or so are setting the remarkable milieu of Oblamov reclining at home with his edgy, lazy servant, Zakhar. His friends visit, sponge and chat, but Oblamov is just trying to get out of anything / everything (though he has good intentions). Ennui? No- not that ... hmmm... Middle section: Oblamov's dream. Gauzy memories of home / childhood and semi-aspirations. a bit slow but gorgeous. contrasts with the German- Stoltz - good - but ... banal? I didn't go for the romance with Olga so much- just straightforward, predictable and ultimately sad. Not terrible, but just sort of going through the necessary motions for that part before.... concluding with the wonderful sad section with what will ultimately be his wife- Agafia- she of the powerful elbow motion. Poignant, tear jerker conclusion, but with the ray of hope thrown in. This is by no means a perfect book- neither especially well plotted or paced... but the characters and vignettes.... are superlative. Cherish this one. ( )

A delightful account of the leisured upper class in Czarist Russia, touted by the Communists because it reveals the laziness of the land-owning class: in this case, Oblomov spends the first fifty pages in bed. In Ch.VIII when he finally gets off the sofa, he dramatically puts on both туфли (slippers) at once.
As the author of BirdTalk, I love the very first page, when his face is described,"Мысль гулала волной птицей по лицу..." thought plays across his face like a bird...." * When he finally gets out of bed (Ch.IV, pt I) he moves to "a large armchair, sank into it, and sat motionless." Lots of friends visit him, Tarantyev, Alexayev, and several others. All have different characters, one filled with laughter, some not.
Before he gets out of bed, he tells each entrant not to approach him, "вы с холода" you're bringing in the outside cold. One tells him he's his usual daft self.
His servant Zakhar ("Grasping") steals small amounts, kopecks for drinking with his buddies, also whoring, which his master is too lazy to do. In fact, sloth and a big appetite make him innocent and virtuous.
This plump and lazy man does eventually fall in love, just after he gives up his literary pretensions (he's no Proust, writing in bed) and Zakhar has bestowed his master's literry efforts on hidden corners of the house. He wants a life of candid friends, not those who'll satirize you as soon as you leave the hall; if he marries, he wants books, a piano and elegant furniture, мебель. That's the French word, "meubles," movables. So many Russian words come from France, which was to Russia as England was to America--all the upper class in War and Peace speak French. And Russian academic introductions I found fairly easy to translate because all their abstractions (like most of ours) are French...like the word "abstraction" itself.

But back to Oblomov in love. He falls for a lady while listening to her... sing. See Andrew Marvell's, "The Fair Singer," "But how should I avoid to be her Slave,/ Whose subtle art invisibly can weave /My Fetters of the very Air I breath?" Goncharov's singing scene is extensive, his friend Stolz almost ordering Olga to sing, and she deferring to Oblomov, who does not ask, not knowing if she'd sing up to his standards-- and he lacks the skills of meaningless compliment. He says, "I can't want what I don't know," and Stoltz reprimands, "You are rude!" After Stolz leaves, Olga confesses she knows Oblomov to be a "sinner." With a laugh, she says he wears unmatched socks...Stolz had told her. Oblomov is so embarrassed he gets his hat to leave, but she talks him down with her candor. Olga has no affectation, no coquetry, no pretense so common in Russian society women.
She had noticed his tears while she was singing...his embarrassment, "a bad trait in men, ashamed of their feelings. They would do better to be ashamed of their intellect: it more often falls into error"(232). Here's Goncharv's version of LaRochefoucault, "Every man complains of his memory, no man of his judgement."
Olga sits at the piano, plays and sings, several songs, her voice dark, and then "fresh and silvery."
She finishes on a long-drawn-out note, her voice dying away. She, "Why do you look like that? Oh My God! слезы в них!" Tears in them..."You feel the music so deeply." Нет, не музыка, а ... любовь. Not the music, but...Love. (p.180, московский рабочий edtion, 1981).

Czarist wealth, as I observed in my Gogol review, depended not on land, but on the slaves with a right to the land, мужик, the workers. Many owned versts and versts of land, worthless without workers. Here Oblomov says he's too poor to marry. His friend says, "Three hundred souls?" Ob, "That's not enough to live on with a wife"(205).

Especially not enough when the devoted Zaxar nevertheless filches coins (he drinks and whores with kopeks) or leftover food, swearing to his master никакога куска, no piece of cheese left. (p.68, 1981) Oblomov, "There WAS!" Zaxar, "Was not!" Then Zaxar complains, Who ever heard of a lunch right before dinner? Meanwhile, Oblomov dreams of his extensive gardens at his country estate, how he's going to reform them. If only he once decides to go there, make the long trip.

*Read in Ann Dunnigan's translation (Signet. 1963), but also some in Russian, 1981 edition bought at Schoenhof's, Cambridge in 1983. ( )

Questo nuovo anno ho deciso di leggere più classici della letteratura mondiale, anche per recuperare quelle perle che tutti mi consigliano di non perdere. La mia scelta è caduta, per caso, su questo romanzo russo, Oblomov appunto, e devo dire che è stato una piacevole scoperta.

Oblomov è un proprietario terriero russo che vive di rendita grazie agli introiti provenienti da un suo villaggio di campagna dove lavorano circa trecento contadini. Egli vive a Pietroburgo, la capitale russa, in un appartamento polveroso e sta perennemente sdraiato sul divano in ozio perpetuo. Ha un servitore, Zachar, a lui devoto, che ogni tanto gli spilla qualche moneta quando va a fare la spesa (la famosa cresta). Un giorno questa sua vita sempre uguale viene interrotta da una brutta notizia: le sue rendite stanno scendendo per via di una cattiva amministrazione dei suoi affari. Per fortuna arriva a fargli visita il suo amico Stolz, un giovane uomo d'affari, e riesce a convincerlo ad uscire fuori dal suo guscio. Grazie a lui conosce Olga, una bella e giovane e intelligente ragazza della quale il nostro protagonista si innamorerà.

Sarà proprio Stolz stesso a definire il termine oblomovismo: ovvero quello sprecare la vita e le ricchezze a causa di una congenita trascuratezza costellata da un idealismo esasperato.

L'autore russo ha contrapposto, in questo romanzo, due diverse visoni: naturalismo e liberismo illuminista. Queste visioni sono incarnate proprio da Stoltz e Oblomov: l'amico tedesco cerca in tutti i modi di trascinare Il'ja Il'ic fuori dal suo appartamento, che è diventato “una piccola, inerte, polverosa Oblomovka”, e di introdurlo nel nuovo mondo. Anche Olga tenta invano di costruire con operosità un nuovo ponte tra il paradiso idealizzato oblomoviano e la dinamicità della civiltà moderna. Ma Oblomov è un sognatore, non riesce a vivere la vita da nobile nella società russa, è una persona buona, generosa, egli desidera vivere in un mondo senza conflitti.
Scriverà il giornalista russo Nikolaj Aleksandrovič Dobroljubov:
«In Oblomov si riflette la vita russa, viene presentato il vero e vivo tipo russo contemporaneo, scolpito con inesorabile rigore e precisione; viene pronunciata la nuova parola d’ordine dello sviluppo della nostra società; viene pronunciata con chiarezza e fermezza, senza disperazioni né puerili speranze ma con la piena coscienza del vero. Questa parola è oblomovismo; essa serve da chiave per la soluzione e l’interpretazione di molti fenomeni della vita russa e conferisce al romanzo di Goncarov un significato sociale molto più grande che non a tutti i nostri racconti di letteratura accusatoria». ( )

Kitabı okurken az daha bende Oblomovluk hastalığına tutunacaktım.Bu yönüyle kitabı çok başarılı buluyorum. ( )