In the novels of I. A. Goncharov, the feeling of love is often one of the main means of revealing characters. Moreover: through this intimate feeling, the writer also reveals the civic qualities of a person. The novel "Oblomov" is no exception. The characters and human qualities of the main characters are most clearly manifested in their relationships.
The coincidence of the first and last names: Ilya Ilyich - Ilyinskaya emphasizes that they are destined for each other. It is no coincidence that the first mention of Olga is included in the ideal picture of life that Oblomov paints for Stoltz. He describes the music that will sound in his house: “...how this woman’s heart is crying out! What sadness is inherent in these sounds! ...And no one knows anything around... She is alone... The secret weighs on her; she entrusts her to the moon..." Olga's name, her appearance, her actions are permeated with music - she lives in its halo. Everything about her is amazingly harmonious: her beautiful voice, soft, “with a nervous tremor of feeling,” “pure, strong, girlish,” and “smart,” “affectionate” dark gray-blue eyes, and the tilt of her head, “nobly resting on the thin , proud neck." “My God, how pretty she is!” Oblomov admires her appearance, although Olga is not a beauty. “There are people like that in the world! This whiteness, these eyes, where, as if in the abyss, it is dark and together something shines... the soul “It must be! A smile can be read like a book; behind the smile, these teeth and the whole head... how gently it rests on the shoulders, as if it sways like a flower, breathing in the scent.” In Olga there is absolutely no affectation, coquetry, lies, tinsel, or intent. Due to her nature and upbringing, she is natural in the manifestation of thoughts and feelings; All her gestures are natural, even the slightest, barely noticeable movements of her eyes, lips, and hands.
Possessing a gentle and at the same time hot nature, Olga responds to the suddenly flared up feeling of Ilya Ilyich, who saw in her the embodiment of his ideal, and Olga’s love is as simple and natural as her whole life. She fell in love for the first time at twenty years old. There was more light in her eyes, more grace in her movements; her breasts developed so magnificently, they moved so smoothly.” All the forces began to play in Olga, she saw what her eyes had previously been closed to. In her “new sides of the mind, new character traits developed.” Despite her youth, Olga understands perfectly well that “the first and the main role“belongs to her that one cannot expect from Oblomov “no movement of will, no active thought.” And she takes on the role of a “guiding star”, dreams that she will pour light “over a stagnant lake and be reflected in it.”
Olga has a desire to resurrect a person who is interesting to her, albeit weak-willed: “she will show him a goal, make him fall in love again with everything that he has stopped loving.” In this update of Ilya Ilyich, she sees her calling. And to a large extent he fulfills this intention. She bravely reminded Oblomov “of the purpose of life and duties and strictly demanded movement, constantly calling his mind out, either entangling him in a subtle, vital question familiar to her, or she herself went to him with a question about something unclear, inaccessible to her.” If she noticed “the old features in Oblomov’s soul... the slightest fatigue, a barely noticeable drowsiness of life, reproaches poured down on him, which were occasionally mixed with the bitterness of remorse and fear of mistakes.”
Olga saw her purpose in loving Oblomov, and she followed her destiny, learned love, “tortured it and greeted every new step with a tear or a smile, thought about it.” In moments of disappointment, she thought: “They don’t love twice in their life, they say it’s immoral.” She justified her love for Oblomov “by his meekness, pure faith in goodness, and most of all by his tenderness, a tenderness that she had never seen in the eyes of a man.” “The heart, when it loves,” thought Olga, “has its own mind, it knows what it wants, and knows in advance what will happen.”
After Oblomov proposed to Olga, she was not carried away by his romantic impulses and dreams. Instead, she began to tell him that serious, practical life begins in love: you need to go to the ward, sign a power of attorney, go to Oblomovka and arrange your affairs...
But duty and obligation turned out to be destructive for love and its romantic pathos. When Oblomov fell into despair because of the practical side of the wedding, Olga received news of the completion of the litigation on her estate, but did not say anything to Ilya Ilyich, wanting to “see to the end how in his lazy soul love will make a revolution, how the oppression will finally fall from him how he cannot resist close happiness." She expected decisive action, courage, and readiness to live actively from Oblomov, but was forced to admit defeat. On last date Olga admits that she loved the future Oblomov (“I loved in you what I wanted to have in you, what Stolz showed me, what we came up with with him”). In the bitter moments of separation, Olga’s determination and will betray her, and she rushes to Oblomov, begging him to forget her cruel words... But everything is in vain.
First love - love for Oblomov, became a serious test for Olga. Her childishness, naivety, and carelessness disappeared. Olga no longer looked at the world the same way as before - openly, brightly and calmly: “... her eyes seemed a little sunken, and there was no childish smile on her lips, no naivety, no carelessness.” This is exactly how Olga Stolz saw him a year later in Paris. She was delighted with him, Olga's eyes flashed with the light of quiet, not rapid, but deep joy.
The changes that happened in Olga amazed Stolz. Previously, she was for him “a sweet child with great promise.” In St. Petersburg, Stolz did not see that Olga “walks almost alone on her own path... walks along a new path along which she had to carve out her own path with her own mind, look, feeling.” Olga learned to understand and guess a lot; carefully peering into life, listening to Stolz’s speeches and advice. And then he did not see this, he expected from her “a lot ahead, but far ahead, not wanting her to be his friend.” And only abroad, having seen the unfamiliar and mysterious Olga, did he dare to delve “into the labyrinth of her mind, character, and every day he discovered and studied more and more new features and facts and still did not see the bottom, only with surprise and alarm watched how her mind demanded the daily necessities bread, how her soul does not stop talking, keeps asking for experience and life.”
For Olga, love for Stolz also became a completely new, unknown feeling. In her first love - love for Oblomov - she endured "a girlish period of inability to control herself, sudden color, thinly hidden pain in the heart, feverish signs of love, its first fever." Olga did not realize her feelings for Stolz, she fought desperately “with herself,” she began to doubt her love for Oblomov, even to be ashamed of her affair with him. And at the same time, she sincerely repented “of being ungrateful for the deep devotion of her former friend.” Olga liked the “continuous worship of a man like Stolz, full of intelligence and passion,” and liked it because it “restored her offended pride.” And gradually Stolz became her “reason and conscience.” In front of him, Olga lost her willpower and character, insight, and ability to control herself. Against her will, love took possession of her and filled her whole life. Her love for Stolz is a mature, deep feeling.
Goncharov showed us all the shades of complex love relationship Olga with Oblomov and Stolz, in whom all her best qualities: nobility, desire to be a “guiding star,” determination, spiritual beauty. We saw that she grows along with her feelings, and every scene that takes place between her and the person she loves adds new feature to her character, with each scene the graceful image of the girl becomes more and more attractive, outlined brighter and stronger. And we are sincerely glad that in Stolz she found a man who partly “embodied her ideal of male perfection”, that in marriage her girlish dream of happiness comes true.
But I feel sorry for Oblomov. After all, not only his mind was gradually dying, but also moral life. He met an extraordinary, sensitive girl who fell deeply in love with him, and love initially captured him, but it ended in the same Oblomov spirit. Laziness and the fear of breaking his usual way of life won over Oblomov’s feeling of love; he did not want to experience her worries or bear any responsibilities to another person. In his dreams, the ideal woman seemed to be the embodiment of " whole life, filled with tenderness and solemn peace, like peace itself." He dreamed of finding in his beloved "an unchanging physiognomy of peace, an eternal and even flow of feeling."
The ideal of family happiness seemed to Ilya Ilyich quite “Oblomov-like,” and therefore devoid of any moral meaning his life with Pshenitsyna, the complete opposite of Olga, turned out to correspond to his character and the needs of his nature. And the coincidence of the ranks of her husband and Oblomov himself becomes a hint of the inevitability of finding a dream in Pshenitsyna’s house. We cannot help but notice that objectively this house became for Ilya Ilyich a new Oblomovka, so desired and so disastrous.
Here there is a slow, but still irreversible fading of the hero. If love for Olga was accompanied by books, flowers, music, then the relationship with Pshenitsyna is largely determined by the attractive power of elbows “with dimples in the middle.” If in Olga Oblomov saw and appreciated grace and spiritual beauty, then he looks at Pshenitsyna like “a hot cheesecake.” There is no poetry in his life on Vyborgskaya, no rays “with which his imagination once depicted the lordly, broad and carefree flow of life in native village, among the peasants, servants." But in the newfound corner of paradise, peace and silence reign, conversations are not about the high purpose of man and the meaning of life, but about holidays, cuisine, food. Everything hostile has disappeared from the life of Ilya Ilyich, the loving eye of his wife, Agafya Matveevna , vigilantly guarded every moment of his life. Pshenitsyna did not make any demands on Oblomov, and he “lived as if in a golden frame of life.” By providing Ilya Ilyich with ideal living conditions, Agafya Matveevna thus provided an opportunity for Oblomov to demonstrate his nobility and confidence in his morals. So, for example, after listening to Tarantiev for many years in a row out of laziness and carelessness, he finally shows courage and determination when the rudeness and vulgarity of his fellow countryman crosses all boundaries.
In Pshenitsyna’s house, Oblomov found the calm and even family happiness he dreamed of. He takes care of Agafya Matveevna’s children as if they were his own; he himself had a son. His love for his wife is also a calm and even feeling, requiring neither sleepless nights nor sweet and bitter tears. The kindest Agafya Matveevna helps Oblomov not to notice life and not to feel it. And the hero finally convinces himself that this woman embodied “the ideal of that vast, ocean-like, and indestructible peace of life, the picture of which was indelibly etched in his soul in childhood, under the paternal roof,” that is, “... the ideal of his life was realized.” .
Goncharov’s novel “Oblomov” is the brightest socio-psychological work of the 19th century. In the novel, the author raises a number of eternal themes concerning relationships between people, a person’s search for his place in the world, as well as questions of meaning human life. Central story line The book revolves around a description of the fate of Ilya Ilyich Oblomov - a reflective, dreamy, introverted person. In the hero’s life until he was over thirty years old, there were no special shocks, losses or sudden changes - he avoided them in every possible way, trying in any way to escape from activity outside world. However, fate decided differently for him: the most important test in life for Oblomov was the test of love.
A strong, all-encompassing, spontaneous feeling burst into his life unexpectedly, for a while completely upending the hero’s entire worldview, his attitude to the world and life. Olga Ilyinskaya became for Oblomov a person who forced him to take a fresh look at his passive life, give up his usual time spent on the couch and forget about his dressing gown, replacing it with a secular suit. However, despite rapid development and mutual feelings, their relationship ended in a quick break - and the reasons for this lie, first of all, in the different upbringing of the heroes, their characters and life values.
Oblomov and Olga: a meeting of two opposites
To understand why the relationship between Oblomov and Olga became a test for both heroes, it is important to remember the conditions under which the characters developed, who influenced the development of their characters and what their basic life values were.
Ilya Ilyich grew up in a remote provincial corner of Russia, where time flowed very slowly, measured not in minutes and seconds, but in entire seasons. The pacifying, sleepy, overly calm atmosphere of Oblomovism could not leave its mark on the young hero: little Ilya was a very active and curious child, but excessive parental care created from him a kind of “greenhouse plant” - a driven, dependent person, incapable of active activity. On the other hand, beautiful scenery Oblomovki, its unique harmonious nature, intertwined with fantastic plots of fairy tales and legends that the nanny told Ilya, also influenced the development of the hero’s personality. All this fostered in him dreaminess, poetry, the ability to appreciate the beauty of the world around him, but also escapism, the idea that even if he does nothing, wonderful changes will come into his life.
In contrast to the apathetic, introverted, reflective Oblomov, Olga appears in the novel as a bright, purposeful, self-confident girl. Having received a good upbringing and education, Ilyinskaya continues to develop, constantly learning something new, for her there are no boundaries or barriers in this knowledge, and any mistake or failure only inflames passion in her, forcing her to move forward more confidently. .
The characters' life goals were also completely different. Bright, active Olga wanted, if not to change the world, then at least to influence its changes, to introduce something new and important into the development of society. Oblomov saw his happiness in finding the lost atmosphere of Oblomovka, which in his memories was like an earthly paradise - a quiet, calm place where he would not have to answer for anything or decide anything himself.
Why didn't Olga manage to change Oblomov?
The differences between the characters also affected their relationships. In her love for Ilya Ilyich, Olga, first of all, saw her duty to change him, to make him a completely different person - active and purposeful. At the same time, the girl’s leading motive was not pure love and a sincere desire for happiness for her beloved, and her own egoism, the fact that it is she who will make of him the prototype of an ideal personality. Oblomov expected from their relationship something similar to the relationship between his father and mother. In Olga, the hero saw an idealized image of a beautiful muse who would be ready to live with him in Oblomov’s paradise, creating an atmosphere of half-asleep and peace that was so attractive to the hero. This misunderstanding between the characters, hidden by the beautiful veil of love, is the reason for the separation of lovers. However, their relationship became an important lesson for both characters, affecting their future fates in different ways.
As mentioned above, in childhood Oblomov associated himself with the heroes of children's fairy tales and legends, all the time waiting for that very turning point, a miracle that would completely turn his life around. It was precisely such a miracle that befell Ilya Ilyich, like Emelya lying on the stove, that became the hero’s test of love. Oblomov knew that according to the plot of fairy tales, a previously passive character, after going through a series of difficulties, became a different personality, his inner potential was revealed, and he reached unprecedented heights.
However, as Goncharov shows in his novel, fairy tales are too far from reality. Oblomov does not pass this test - unlike fairy tale characters, he lacks the determination to change himself, go through all the trials and open up to the world. Perhaps the reason for this was his age - after all, as indicated in the novel, in his youth Ilya Ilyich was ready to strive forward when he was constantly motivated to do so. But at over thirty years old, the hero was already a fully formed personality; he did not want to change even for the sake of his beloved. Oblomov wanted to find a woman who could love him with the introverted, dreamy hulk that he really is. As a result, the hero retreats before the test that arises, literally laying down his arms and refusing to fight for his happiness.
At the end of the novel, Ilya Ilyich finds his happiness in marriage with Agafya Pshenitsyna - a quiet, homely, economic woman who managed to fall in love with him real person, and not an illusory, embellished image. Moreover, Pshenitsyna was able to create for the hero that very atmosphere of “Oblomovism” that he had strived for all his life.
Did Oblomov pass the test of love?
It is impossible to give a definite answer to the question of whether the hero passed the test of love. On the one hand, he could not become better, could not step over his laziness and daydreaming, start a new, active, completely different life, the opposite of his gradual degradation on the sofa. On the other hand, as in the plot of fairy tales, the hero in the end finds the expected happiness - peace in Pshenitsyna’s house. In this case, it is acceptable that the test consisted of checking true values hero: is he ready to change his true dreams for the sake of Olga’s ephemeral ideals? Goncharov does not give us an exact answer, so the novel leaves open questions, which continue to be pondered and modern readers, revealing new facets of a brilliant work.
An essay on the topic “Oblomov’s test of love” was published solely for informational purposes for 10th grade students.
- Part 1 Ilya Ilyich Oblomov lives in one of the large houses on Gorokhovaya Street. “He was a man about thirty-two or three years old, of average height, pleasant...
- I. A. Goncharov’s novel “Oblomov” was published in 1859 in the journal “Otechestvennye zapiski” and is considered the pinnacle of the writer’s entire work. The idea for the work appeared in...
- I Stolz was German only on his father’s side, his mother was Russian. Stolz grew up and was brought up in the village of Verkhleve, where his father was a manager. Since childhood...
- I On Gorokhovaya Street in the morning, Ilya Ilyich Oblomov was lying in bed, a man of thirty-two or three years old, of average height, pleasant appearance, with dark gray eyes. By his face...
- I Oblomov beamed as he walked home. Tarantiev was waiting for him there. He asked Oblomov why he didn’t look into his godfather’s apartment? Oblomov replied that he never...
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- I A year has passed since Ilya Ilyich’s illness. Pshenitsyna’s brother’s colleague went to the village, but did nothing positive. After his illness, Ilya Ilyich was at first...
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"Oblomov" is the brightest socio-psychological work of the 19th century. In the novel, the author raises a number of eternal themes concerning relationships between people, a person’s search for his place in the world, as well as questions of the meaning of human life. The central storyline of the book revolves around a description of the fate of Ilya Ilyich Oblomov - a reflective, dreamy, introverted person. In the hero’s life until he was over thirty years old, there were no special shocks, losses or sudden changes - he avoided them in every possible way, trying in any way to escape from the activity of the outside world. However, fate decided differently for him: the most important test in life for Oblomov was the test of love.
A strong, all-encompassing, spontaneous feeling burst into his life unexpectedly, for a while completely upending the hero’s entire worldview, his attitude to the world and life. Olga Ilyinskaya became for Oblomov a person who forced him to take a fresh look at his passive life, give up his usual time spent on the couch and forget about his dressing gown, replacing it with a secular suit.
However, despite the rapid development and mutual feelings, their relationship ended in a quick break - and the reasons for this lie, first of all, in the different upbringing of the heroes, their characters and life values.
Oblomov and Olga: a meeting of two opposites
To understand why the relationship between Oblomov and Olga became a test for both heroes, it is important to remember the conditions under which the characters developed, who influenced the development of their characters and what their basic life values were.
Ilya Ilyich grew up in a remote provincial corner of Russia, where time flowed very slowly, measured not in minutes and seconds, but in entire seasons. The pacifying, sleepy, overly calm atmosphere of Oblomovism could not leave its mark on the young hero: little Ilya was a very active and curious child, but excessive parental care created from him a kind of “greenhouse plant” - a driven, dependent person, incapable of active activity. On the other hand, the beautiful landscapes of Oblomovka, its unique harmonious nature, intertwined with the fantastic plots of fairy tales and legends that the nanny told Ilya, also influenced the development of the hero’s personality. All this fostered in him dreaminess, poetry, the ability to appreciate the beauty of the world around him, but also escapism, the idea that even if he does nothing, wonderful changes will come into his life.
In contrast to the apathetic, introverted, reflective Oblomov, Olga appears in the novel as a bright, purposeful, self-confident girl. Having received a good upbringing and education, Ilyinskaya continues to develop, constantly learning something new, for her there are no boundaries or barriers in this knowledge, and any mistake or failure only inflames passion in her, forcing her to move forward more confidently.
(For Oblomov, the first and only failure in his career was the end of his professional activity– after this the hero completely refused to work, finally plunging into the world of unrealistic illusions).
The characters' life goals were also completely different. Bright, active Olga wanted, if not to change the world, then at least to influence its changes, to introduce something new and important into the development of society. Oblomov saw his happiness in finding the lost atmosphere of Oblomovka, which in his memories was like an earthly paradise - a quiet, calm place where he would not have to answer for anything or decide anything himself.
Why didn't Olga manage to change Oblomov?
The differences between the characters also affected their relationships. In her love for Ilya Ilyich, Olga, first of all, saw her duty to change him, to make him a completely different person - active and purposeful. At the same time, the girl’s leading motive was not pure love and a sincere desire for happiness for her lover, but her own selfishness, the fact that she would make him the prototype of an ideal (in her opinion) personality. Oblomov expected from their relationship something similar to the relationship between his father and mother. In Olga, the hero saw an idealized image of a beautiful muse who would be ready to live with him in Oblomov’s paradise, creating an atmosphere of half-asleep and peace that was so attractive to the hero. This misunderstanding between the characters, hidden by the beautiful veil of love, is the reason for the separation of lovers. However, their relationship became an important lesson for both characters, affecting their future fates in different ways.
As mentioned above, in childhood Oblomov associated himself with the heroes of children's fairy tales and legends, all the time waiting for that very turning point, a miracle that would completely turn his life around. It was precisely such a miracle that befell Ilya Ilyich, like Emelya lying on the stove, that became the hero’s test of love. Oblomov knew that according to the plot of fairy tales, a previously passive character, after going through a series of difficulties, became a different personality, his inner potential was revealed, and he reached unprecedented heights.
However, as Goncharov shows in his novel, fairy tales are too far from reality. Oblomov does not pass this test - unlike fairy-tale characters, he does not have the determination to change himself, go through all the tests and open up to the world. Perhaps the reason for this was his age - after all, as indicated in the novel, in his youth Ilya Ilyich was ready to strive forward when he was constantly motivated to do so. But at over thirty years old, the hero was already a fully formed personality; he did not want to change even for the sake of his beloved. Oblomov wanted to find a woman who could love him with the introverted, dreamy hulk that he really is. As a result, the hero retreats before the test that arises, literally laying down his arms and refusing to fight for his happiness.
At the end of the novel, Ilya Ilyich finds his happiness in marriage with Agafya Pshenitsyna - a quiet, homely, economic woman who managed to fall in love with a real person in him, and not an illusory, embellished image. Moreover, Pshenitsyna was able to create for the hero that very atmosphere of “Oblomovism” that he had strived for all his life.
Did Oblomov pass the test of love?
It is impossible to give a definite answer to the question of whether the hero passed the test of love. On the one hand, he could not become better, could not step over his laziness and daydreaming, start a new, active, completely different life, the opposite of his gradual degradation on the sofa. On the other hand, as in the plot of fairy tales, the hero in the end finds the expected happiness - peace in Pshenitsyna’s house. In this case, it is acceptable that the test consisted of testing the true values of the hero: is he ready to change his true dreams for the sake of Olga’s ephemeral ideals? Goncharov does not give us an exact answer, so the novel leaves open questions that modern readers continue to ponder, revealing for themselves more and more new facets of a brilliant work.
An essay on the topic “Oblomov’s test of love” was published solely for informational purposes for 10th grade students.
Oblomov's test of love - an essay on the theme of Goncharov's novel |
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 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. 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.
“Oblomov” tells about life with all its complexities and tricks. Essentially, this is a novel about the fate of a person who evokes sympathy, pity, and sometimes contempt in the reader. Oblomov faced many trials that revealed his character. However, his inner essence is most clearly manifested through the strongest emotional experiences caused by love.
The character of the main character was formed in the so-called atmosphere of “Oblomovism”. All his inclinations and possible inclinations were suppressed from childhood under the influence of this phenomenon. Thus, as an adult, he was weak-willed, indecisive, lazy, spineless, and at times selfish. After all, in his native Oblomovka, compassionate nannies did everything for him and caring mother. Subsequently, this failure and lack of initiative manifests itself in all areas of the hero, and most of all in love.
Not counting everyone youthful hobbies hero, real love visits him when he meets Olga Ilyinskaya - an integral, strong and straightforward person. He is captivated by the poetry and sensuality of the girl, who managed not only to get Oblomov out of bed, but also to arouse his interest in the surrounding reality. After meeting Olga, he begins to look at the world differently, read books and newspapers, go out into the world, and take care of his appearance.
However, as it turns out, these changes are only external. Nothing can change his mental laziness. Even this wonderful feeling, which filled his heart with warmth and his face with happiness, quickly gets boring for him, and he gradually returns to his usual way of life. In his letter to Olga, he openly speaks about his spiritual weakness, lack of will and malfunction.
After this sincere confession, his soul becomes lighter, as if a weight had been lifted from his shoulders. In fact, he put an end to his feelings. “Oblomovism” begins to absorb him again, helping him slide even lower. He loses all self-respect, which Olga temporarily stirred up in him. As a result, the hero of the novel begins to evoke not only sympathy, but pity and contempt in the reader.
Olga accepts this blow with dignity. Despite the fact that she is very disappointed in the failure of her plan to revive Oblomov, to make him a man, she finds the strength to leave and move on. She later finds her ideal in the person of Stolz, a sensible, active and self-confident man.
And the cause of all Oblomov’s troubles is considered to be “Oblomovism.” It was she who crippled his soul and killed the love in it. He could not bear this test of love. Moreover, it had terrible consequences and over time led to the spiritual and then physical death of the hero.
