In the novel “Oblomov” I. A. Goncharov tries to find answers to those eternal questions questions that every person asks himself at least once in his life. And one of those multifaceted worlds, the study and understanding of which the writer devoted his work to, is the world of harmony, love, happiness. Love permeates Goncharov’s entire novel, filling it with new colors, revealing the most unexpected features of the characters, awakening in them a thirst for action and knowledge. And this is not surprising, because the author writes: “And in life itself this feeling occupies so much space that it serves either as a motive, or as a content, or as a goal of almost every aspiration, every activity.” In his novel, Goncharov reveals the most diverse facets of love, the associated concepts of family and marriage. Love helps to reveal the most unexpected traits in the characters' characters, without which the impression of them would be incomplete and erroneous, for example, the character of Ilya Ilyich Oblomov. What would Stolz’s words about Oblomov’s “crystal, pure and bright” soul be if the author had shown only his lazy and calm lifestyle in St. Petersburg? Without the wonderful pages about his sincere and all-encompassing love awakened by Olga, even childhood memories would not have brightened up this image. Stolz and Oblomov are connected by the thread of their relationship with Olga. How different their behavior is when they fall in love with her, and how much more than any other comparison it does. The love of Oblomov and Olga awakens all the best in their souls - their love is a blooming branch of lilac, symbolizing the “color of life”, bright summer nature, evoking the most rosy dreams. And with the onset of autumn, the lilacs faded and love, similar to a wonderful fairy tale, passed. Olga and Oblomov lived in some kind of imaginary, mythical world filled with future ideals. But, faced with a cruel reality, this world crashed and shattered into thousands of pieces, and with it love. Perhaps Stolz was right when he said that for Olga it was not love, but only preparation for future love, and this is also true for Oblomov, who does not believe in a living person, but rather in an invented image. After all, if Oblomov had fully understood Olga’s nature, it would not have occurred to him to place her in his future imaginary family world . Oblomov sees his ideal marriage this way: “And next to a proudly bashful, deceased friend, a carefree man sleeps. He falls asleep with confidence, waking up to meet the same meek, pretty gaze. And after twenty, thirty years...” The hero, who grew up in Oblomovka, does not know and does not believe in the existence of another happiness: “Isn’t this the secret goal of everyone: to find in one’s friend an unchanging face of peace, an eternal and even flow of feeling? After all, this is the norm of love, and the slightest step away from it, changes, cools down - we suffer: therefore, my ideal is a general ideal? o Maybe Oblomov is right in his own way. For Olga, love is, first of all, a duty, and the heroine herself does not deny this. In her relationship with Oblomov, she liked “the role of a guiding star, a bright ray” that guided Ilya Ilyich Oblomov. In the image of Olga there is a Christian beginning. Even Oblomov himself sees in her an angel who came to save him and lead him to the light. It is no coincidence that Olga performs for Oblomov the appeal of a young girl to the goddess Artemis - one of the three immaculate divine maidens of mythology. This goddess is a prototype of the Holy Virgin. Olga, like a saint, is trying to save Oblomov’s soul from the darkness to which he doomed her. All Olga’s love is subordinated to a sense of duty, but her hopes are not destined to come true: Olga, according to Stolz, did not love Oblomov himself, but the image that she created in her imagination. This is true: how could Olga bow to Oblomov as he really was? When Olga realized that she could not change him, they broke up. But Goncharova’s heroine still finds a hero worthy of admiration, Stolz becomes this person for her. Stolz, like Oblomov, sees in love a calm, long-lasting feeling, however, not left to chance, but constantly controlled: not a single question should be missed, not a single misunderstanding, everything should be sorted out so that these contradictions do not accumulate and threaten in future. At first glance, these are very correct and logical reasoning, but something about them confuses Olga. She, of course, is happy with Stolz, but from somewhere strange doubts and sudden sadness appear. Probably this is a longing for that insane, sincere happiness that she experienced while living in her ideal world with Oblomov, a longing for her bygone dreams, for a crazy, all-encompassing passion that Stolz cannot give her. But Andrei Stolts is not as confident in his rightness as it seems at first. Even before his wedding with Olga, he “dedicated a lot of mental care to the heart and its intricate laws.” , his discussion about the types of love dates back to this period: “Love, with the power of Archimedes’ lever, moves the world...” - this is the purpose of love, according to Goncharov. Stolz tries to understand the essence of love and gives examples of various family relations: “... some husbands in their relationships with their wives always resemble the sphinx with its riddle, everything seems to be something incomprehensible, unsaid... others impatiently let the spring of life slip from their shoulders; many even look askance at their wives for the rest of their lives... For others, love does not leave for a long time, sometimes until old age, but even the smile of a satyr never leaves them...” And, finally, “the majority enter into marriage, and, like taking property, they enjoy their significant benefits ..." But none of this suits Stolz himself; he chose his own method. Goncharov sympathizes with Stolz and conceived him as a new idealized image of a progressive man of the new generation. Stolz's versatility and excellence were reflected in his family. The Stoltz family is the ideal family for Goncharov; the marriage of Olga and Stoltz is a marriage of two cultures, symbolizing the unity of people on earth. And they live in Crimea, in the center of the unification of peoples, the synthesis of natural principles. This marriage is an ideal in its essence, everything in it is thought out to the smallest detail, it is a marriage of an “ideal” man with an “ideal” woman. The life of Agafya Pshenitsyna and Ilya Ilyich Olomov is an idyllic St. Petersburg Oblomovka, it suits and makes them both happy. Ilya Ilyich needs more than one hot life heart, he does not want his imagination to function - all this is not good for him simply because then “he sleeps restlessly.” Oblomov’s main criterion for the value of existence remains unshakable: sleep peacefully. Agafya Pshenitsyna knows how to give everything to her loved one free of charge, without regret, for her love is an opportunity to give, she would be happy to give her life for Oblomov and would do it without hesitation.
Reading the novel “Oblomov” by Ivan Aleksandrovich Goncharov, we follow the behavior of the main character, his activities or inaction. We see Oblomov's relationship with different people, which for the most part are not interesting to him. We note Ilya Ilyich’s deep affection for his friend Andrei Stolts. But all the inner properties of Oblomov’s soul are especially clearly manifested in his relationship with Olga Ilyinskaya.
Olga is only love Oblomov. He carried the feeling that flared up in the depths of his soul throughout his life. Love for Olga appeared suddenly, unexpectedly and turned Oblomov into a person with a living soul, sensitive, thinking, gentle and impressionable. This love could not develop and ended, but it allowed us to see the depth of Ilya Ilyich’s feelings, his crystalline pure soul. With what meekness and tenderness Oblomov treated Olga Ilyinskaya! He was in awe of the girl, often embarrassed and lost. Ilya Ilyich treated Olga as a holy and angelic being. This love was the most serious test in his life. Unfortunately, Oblomov did not pass this test. And it couldn’t be otherwise. Very thin threads connected two young people: the gentle, meek, weak-willed Oblomov and the sensible, practical and very strong-willed Olga. It was clear to the reader from the very beginning that such a romance between two people was short-lived, that it would be destined to end.
Oblomov finds peace and tranquility under the roof of Agafya Matveevna Pshenitsyna’s house. This woman is not his circle and, of course, cannot be compared with the smart, intellectually developed Olga. But Agafya Matveevna, with her selfless love, sincerity and cordiality, was able to give the desired peace to Oblomov’s soul. She loved Ilya Ilyich for who he was and never tried to change him. It is not surprising that it was to her that he was drawn.
And Oblomov’s romance with Olga, although unsuccessful, still showed us the best that was in his vulnerable soul.
In the novel “Oblomov” I. A. Goncharov tries to find answers to those eternal questions that every person asks himself at least once in his life. And one of those multifaceted worlds, the study and understanding of which the writer devoted his work to, is the world of harmony, love, happiness.
Love permeates Goncharov’s entire novel, filling it with new colors, revealing the most unexpected features of the characters, awakening in them a thirst for action and knowledge. And this is not surprising, because the author writes: “And in life itself this feeling occupies so much space that it serves either as a motive, or as a content, or as a goal of almost every aspiration, every activity.” In his novel, Goncharov reveals the most diverse facets of love, the concepts of family and marriage associated with it.
Love helps to reveal the most unexpected traits in the characters' characters, without which the impression of them would be incomplete and erroneous, for example, the character of Ilya Ilyich Oblomov. What would Stolz’s words about Oblomov’s “crystal, pure and bright” soul be if the author had shown only his lazy and calm lifestyle in St. Petersburg? Without the wonderful pages about his sincere and all-encompassing love awakened by Olga, even childhood memories would not have brightened up this image. Stolz and Oblomov are connected by the thread of their relationship with Olga. How different their behavior is when they fall in love with her, and how much more than any other comparison it does.
The love of Oblomov and Olga awakens all the best in their souls - their love is a blooming branch of lilac, symbolizing the “color of life”, bright summer nature, evoking the most rosy dreams. But with the onset of autumn, the lilacs faded and love, like a beautiful fairy tale, passed away. Olga and Oblomov lived in some kind of imaginary, mythical world filled with future ideals. But, faced with a cruel reality, this world crashed and shattered into thousands of pieces, and with it love. Perhaps Stolz was right when he said that for Olga it was not love, but only preparation for future love, and this is also true for Oblomov, who does not believe in a living person, but rather in an invented image. After all, if Oblomov had fully understood Olga’s nature, it would not have occurred to him to place her in his future imaginary family world. Oblomov sees his ideal marriage this way: “And next to a proudly bashful, deceased friend, a carefree man sleeps. He falls asleep with confidence, waking up to meet the same meek, pretty gaze. And after twenty, thirty years...” The hero, who grew up in Oblomovka, does not know and does not believe in the existence of another happiness: “Isn’t this the secret goal of everyone: to find in one’s friend an unchanging face of peace, an eternal and even flow of feeling? After all, this is the norm of love, and the slightest step away from it, changes, cools down - we suffer: therefore, my ideal is a general ideal? o Maybe Oblomov is right in his own way.
For Olga, love is, first of all, a duty, and the heroine herself does not deny this. In her relationship with Oblomov, she liked “the role of a guiding star, a bright ray” that guided Ilya Ilyich Oblomov. In the image of Olga there is a Christian beginning. Even Oblomov himself sees in her an angel who came to save him and lead him to the light. It is no coincidence that Olga performs for Oblomov the appeal of a young girl to the goddess Artemis - one of the three immaculate divine maidens of mythology. This goddess is a prototype of the Holy Virgin. Olga, like a saint, is trying to save Oblomov’s soul from the darkness to which he doomed her. All Olga’s love is subordinated to a sense of duty, but her hopes are not destined to come true: Olga, according to Stolz, did not love Oblomov himself, but the image that she created in her imagination. This is true: how could Olga bow to Oblomov as he really was? When Olga realized that she could not change him, they broke up.
But Goncharova’s heroine still finds a hero worthy of admiration, Stolz becomes this person for her. Stolz, like Oblomov, sees in love a calm, long-lasting feeling, however, not left to chance, but constantly controlled: not a single question should be missed, not a single misunderstanding, everything should be sorted out so that these contradictions do not accumulate and threaten in future. At first glance, these are very correct and logical reasoning, but something about them confuses Olga. She, of course, is happy with Stolz, but from somewhere strange doubts and sudden sadness appear. Probably this is a longing for that insane, sincere happiness that she experienced while living in her ideal world with Oblomov, a longing for her bygone dreams, for a crazy, all-encompassing passion that Stolz cannot give her.
But Andrei Stolts is not as confident in his rightness as it seems at first. Even before his wedding with Olga, he “dedicated a lot of mental care to the heart and its intricate laws.” His discussion about the types of love dates back to this period: “Love, with the power of Archimedes’ lever, moves the world...” - this is the purpose of love, according to Goncharov.
Stolz tries to understand the essence of love and gives examples of various family relationships: “... some husbands in their relationships with their wives always resemble the Sphinx with its riddle, everything seems to be something incomprehensible, unsaid... others impatiently let the spring of life slip from their shoulders; many even look askance at their wives for the rest of their lives... For others, love does not leave for a long time, sometimes until old age, but even the smile of a satyr never leaves them...” And, finally, “the majority enter into marriage, and, like taking property, they enjoy their significant benefits ..." But none of this suits Stolz himself; he chose his own method.
Goncharov sympathizes with Stolz and conceived him as a new idealized image of a progressive man of the new generation. Stolz's versatility and excellence were reflected in his family. The Stoltz family is the ideal family for Goncharov; the marriage of Olga and Stoltz is a marriage of two cultures, symbolizing the unity of people on earth. And they live in Crimea, in the center of the unification of peoples, the synthesis of natural principles. This marriage is an ideal in its essence, everything in it is thought out to the smallest detail, it is a marriage of an “ideal” man with an “ideal” woman. The life of Agafya Pshenitsyna and Ilya Ilyich Olomov is an idyllic St. Petersburg Oblomovka, it suits and makes them both happy. Ilya Ilyich not only needs a warm life in his heart, he doesn’t want his imagination to work - all this is not good for him simply because then “he sleeps restlessly.”
Oblomov’s main criterion for the value of existence remains unshakable: sleep peacefully. Agafya Pshenitsyna knows how to give everything to her loved one free of charge, without regret, for her love is an opportunity to give, she would be happy to give her life for Oblomov and would do it without hesitation.
Love is a very difficult school of life!
I. Goncharov. Oblomov
I. Goncharov’s novel “Oblomov” is a novel about life in general, with all its complexities and tricks, it is also a work about the fate of a person that evokes not only sympathy, but also sympathy, and sometimes contempt of the reader.
Many trials befell Oblomov, the main character of the novel. Life and environment shaped his character, without taking into account the inclinations and inclinations of a boy, and later a young man. From childhood he was at the mercy of a vast social phenomenon, to which the author gave the name Oblomovism, meaning by this lack of will, indecision, spinelessness, fear of the new, unwillingness to work, and often selfishness.
And yet it seems to me that the inner essence of a person is most fully revealed at the moment of the strongest emotional experiences that Love brings to a person. This wonderful feeling visited both Ilya Oblomov and Olga Ilyinskaya, but did they cope with it?
A strong feeling for the poetic, talented girl seemed to awaken Oblomov. He made sacrifices for Olga that were impossible for him before; He parted with his beloved sofa and robe, began to read in order to talk with Olga about what he had read, “there was no sleep, no fatigue, no boredom on his face.” Oblomov’s subtle, sensitive soul also awakens at the thought of Olga, at the sight of her. Communication with a girl who shares his feelings elevated Oblomov, it seems that things are beginning for him. new life: “The dawn of rising happiness from the bottom of his soul shone on his face...”
And with what strength and delight Olga’s singing fills Oblomov’s heart! The voice of his beloved revives all the best in Ilya Ilyich’s soul, his face lights up with hope, he is so excited that he cannot sleep at night and, leaving the house at dawn, wanders around the city for a long, long time...
Olga, who fell in love with Ilya Ilyich, strives to help him, breathe life into him, encourage him to take action. Her thoughts are full of the image of her beloved, she “lived and felt life with Oblomov.”
However, over time strong feeling becomes habitual for the main character, and again Oblomovism awakens in his soft but lazy heart, releases its claws, hinting that it has always been here. Oblomov’s laziness stifles Ilya Ilyich’s good intentions and thoughts that he needs to build a house, go to the village, sort things out with the men... “Is this life?” - the question wakes up.
And “love became stricter, more demanding, and began to turn into some kind of obligation.” Oblomov begins to understand that next to the active, energetic Olga, his ideals about “pigeon” tenderness, which is valuable in itself for the hero, about a serene existence together, about maternal, devoted and selfless love girls. Yes, she loves him, but she dreams of an active, useful, meaningful life, which Oblomov himself is so afraid of that he cannot overcome himself even in the name of a wonderful feeling.
And Oblomov refuses his love. He writes Olga a letter in which he sincerely and frankly, without sparing or sparing himself, admits his incorrigibility, talks about his weakness, spinelessness, and lack of will. He writes to her that a person like him is unworthy of the love of a wonderful and tender girl. “I’m stealing someone else’s things! I am a thief! - can be heard in every line of the letter.
Oblomov’s upbringing and way of life so saturated the soul of Ilya Ilyich that after writing this inherently terrible letter, which would put an end not only to his feelings, but also to his renewed life, to his future, Oblomov thought: “I’m not bored.” , it’s not hard!.. I’m almost happy. Why is this? It must be because I conveyed the burden of my soul in a letter.” Material from the site
The quagmire of Oblomovism again sucked him in. He could not stand the test, lost the self-esteem that grew in the depths of his soul during his meetings with Olga, and slid even lower. And therefore, this man evokes pity and contempt, but no longer sympathy, during the last meeting with his beloved girl - in the scene of their farewell. Olga is decisive and brave, with developed sense own dignity. Her love may not have been completely disinterested, since the girl sought to change Oblomov, to “re-educate” him, without accepting him for who he is. Realizing that these efforts were in vain, Olga managed to cope with her feelings and part with her loved one forever. In response to the bitter and merciless words spoken by Olga during parting, Oblomov “smiled somehow pitifully, painfully and bashfully, like a beggar who was reproached for his nakedness. He sat with this smile of powerlessness, weakened from excitement and resentment; his dull gaze clearly said: “Yes, I am meager, pitiful, beggar... beat me, beat me...”
Oblomovism crippled the soul of the protagonist, killed his love. This test resulted in terrible losses, which would entail over time not only the spiritual, but also the physical death of the hero.
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1. Love as a test "Oblomov".
2. Relationships of the characters: Olga, Stolz, Oblomov, Lgafya Matveevna.
« Oblomov"is too large and diverse a novel to be discussed in just one way. As a rule, Oblomov is remembered when speaking about such a phenomenon as “Oblomovism.” I wanted to show this hero from a slightly different side, to prove that there were feelings in his life, and among them was something as beautiful as love.
Oblomov constantly struggles with himself throughout his life, and obstacles and difficulties constantly arise on his way: from everyday ones that are annoying in their absurdity - whether to get out of bed or not, whether to move out of the apartment or stay, to universal, philosophical ones - “to be or not to be". And among all the difficulties that Oblomov had to endure, love comes first.
"God! - exclaimed Oblomov. - Why does she love me? Why do I love her?..."
The whole novel is filled with love, and not just the life of Oblomov alone. This wonderful feeling, inaccessible to the human mind, comes to everyone - to Olga, to Stolz, and to Agafya Matveevna. An interesting fact is that Goncharov turns the love of each hero into a test. It doesn't come easily to any of them.
The red line in the novel is the relationship between Olga Ilyinskaya and Oblomov. Stolz brings her to Ilya Ilyich’s house as salvation - hope that Oblomov will finally wake up from endlessly lying on its side, want to breathe life deeply, not only feel it, but also feel it. And indeed, Olga changes Oblomov a lot.
Some time after meeting Ilyinskaya, Ilya Ilyich becomes different: “there is no sleep, no fatigue, no boredom on his face,” “you can’t see a robe on him,” “he’s sitting with a book or writing.” Olga touches him to the very depths of his soul, gives rise to such feelings in him that he could not even think about the existence. He “as soon as he wakes up in the morning, the first image in his imagination is the image of Olga.” Now Oblomov can rightfully be called happy man: there is love in his life, and this love is mutual. After all, it is precisely because of unrequited love There are so many tragedies unfolding in the world. However, “love became stricter, more demanding, and began to turn into some kind of obligation.” It no longer pleases, but rather darkens. The hero does not carry it within himself like a priceless gift, but drags it along like bulky luggage. Oblomov comes to the conclusion that “love is a very difficult school of life.” Ilya Ilyich spends many hours thinking about his relationship with Olga and sums it up: “I am stealing someone else’s property! I am a thief!
Oil writes a passionate, spiritual letter to his beloved: “Farewell, angel, fly away quickly, like a frightened bird flies away from a branch where it landed as a mistake...”
Why Oblomov how furiously rejects this feeling, for which many fight, dream about it, strive for it? Why does he reject Olga?
“She fell in love with an honest, intelligent and developed man, but weak, not used to living; she recognized his good and bad sides and decided to use every effort to | warm him with the energy that I felt in myself. She thought that the power of love would revive him, instill in him a desire for activity and give him the opportunity to apply!:, to de-iy abilities that had fallen asleep from long inactivity. Olga mistook an instant flash of feeling on the part of the person she loved for a real awakening of energy; she saw her power over him and hoped to lead him forward on the path of self-improvement” - this is how Dmitry Ivanovich Pisarev explains Oblomov’s behavior.
Ilya Ilyich begins to doubt the sincerity of Olga’s feelings; he does not want to be a participant in a kind of experiment.” And somewhere deep inside myself Oblomov understands that he will not find in Olga what he is looking for in a woman: she is not the ideal that he pictures in his thoughts. And Olga is disappointed. After all, love is always self-sacrifice. But Ilya Ilyich is not able to sacrifice himself on the altar of sincere, strong passions. “I thought that I would revive you, that you could still live for me, but you died a long time ago,” Olga says to Oblomov.
Fate sends the main character a great gift, real happiness, but at the same time a difficult test, and only love can become both for us at the same time. Ilya Ilyich begins the fight against “Oblomovism,” and the battlefield unfolds within himself, and this is always the most difficult thing. Oblomov loses to himself, he is unable to overcome his upbringing, his own character, his way of life. He gives up. And there is an emptiness inside him - before physical death comes spiritual: “The heart was killed: life there died down for a while.” In my opinion, spiritual death is much more terrible than physical death. This type of death does not allow a person to be reborn in the hearts of those who once truly loved him.
Many years later, Oblomov finds the ideal to which he has always strived: a woman who brings peace appears in his life. This is Agafya Matveevna Pshenitsyna. It would seem that now Ilya Ilyich can feel happy. But there is no that love thrill, sweet excitement, tears joy. Why does he hide from his friends, as if he is embarrassed by his new betrothed, why does he bequeath to them the care of his son? Oblomov returns to the roots, “he looked at his present life as a continuation of the same Oblomov existence.”
After Oblomov’s death, everything in Agafya Matveevna’s life changes: she is left alone, her son Andrei is being raised by the Stoltsevs. It seems that new family Ilya Ilyich was a fiction, and as soon as he was gone, the mirage disintegrated, ceased to exist, and everyone who took part in it instantly and forever forgot about the past.
The relationship between Olga and Stolz also leaves the reader with some dissatisfaction. It seems that both of them live more with their minds than with their hearts. But still this is a happy, cheerful family. These people go forward, they live for real, mastering the world and know what to do next.
The tragedy with which Goncharov shrouded love in his novel probably came to the pages of the work from his own life, from the depths of the soul. And maybe one day he, like Oblomov, could not bear the burden of this painfully sweet feeling.
