Introduction
The novel “Oblomov” was written by Goncharov in the mid-19th century - during a turning point for serf Russia, marked by rapid political, economic and social change. In the work, the writer raised not just sensitive topics for that era, but also raised eternal questions regarding the goal human life and the meaning of human existence. The problematics of Goncharov’s novel “Oblomov” cover various social, psychological and philosophical topics, revealing the deep ideological essence of the work.
Social issues
The main problems of Goncharov’s novel “Oblomov” are related to central theme works - “Oblomovism”. The author portrays it, first of all, as a social phenomenon, tendentious for a whole layer of Russian landowners who remain faithful to the old traditions of their family and the archaic, patriarchal way of life of the feudal era. “Oblomovism” becomes an acute vice Russian society, brought up on morals and concepts based on the use of the labor of other people - serfs, as well as the cultivation of the ideals of a carefree, lazy, idle life.
A prominent representative of “Oblomovism” is main character The novel is Ilya Ilyich Oblomov, raised in an old landowner family in the distant village of Oblomovka, bordering Asia. The remoteness of the estate from Europe and the new civilization, “mothballing” in the usual, measured time and existence, reminiscent of half-asleep - it is through Oblomov’s dream that the author portrays Oblomovshchina to the reader, thus recreating the very atmosphere of calm and tranquility close to Ilya Ilyich, bordering on laziness and degradation, characterized by dilapidated estates, old furniture, etc.
In the novel, “Oblomovism” is as primordially Russian phenomenon, inherent in Russian landowners, is contrasted with European activity, constant independent work, continuous learning and personal development. The bearer of new values in the work is Oblomov’s friend, Andrei Ivanovich Stolts. Unlike Ilya Ilyich, who, instead of solving his problems on his own, is looking for a person who can do everything for him, Stolz himself creates paths in his life. Andrei Ivanovich has no time to dream and build castles in the air - he confidently moves forward, knowing how to get what he needs in life through his own labor.
Social and psychological problems of “Oblomov”
Question of national character
Most researchers define the novel “Oblomov” as a socio-psychological work, which is due to the peculiarities of the problems revealed in the book. Touching upon the topic of “Oblomovism,” Goncharov could not avoid questions national character, based on the differences and similarities between the Russian and European mentalities. It is no coincidence that Oblomov, a bearer of the Russian mentality and Russian values, brought up on national fairy tales, is contrasted with the practical and hard-working Stolz, born into the family of a Russian bourgeois woman and a German entrepreneur.
Many researchers characterize Stolz as a kind of machine - a perfect automated mechanism that works for the sake of the work process itself. However, the image of Andrei Ivanovich is no less tragic than the image of Oblomov, who lives in a world of dreams and illusions. If Ilya Ilyich from childhood was instilled with only uniform “Oblomov” values, which became the leading values for him, then for Stolz, the values received from his mother, similar to “Oblomov’s”, were overwhelmed by the European, “German” values instilled by his father. Andrei Ivanovich, like Oblomov, is not a harmonious personality in which Russian soulfulness and poetry could be combined with European practicality. He is constantly looking for himself, trying to understand the purpose and meaning of his life, but does not find them, as evidenced by Stolz’s attempts throughout his life to become closer to Oblomov as a source of primordially Russian values and peace of mind, which he lacked in life.
The problem of the “extra hero”
The following socio-psychological problems in the novel “Oblomov” arise from the problem of depicting national character - the problem extra person and the problem of a person’s self-identification with the time in which he lives. Oblomov – classic extra hero in the novel, the society around him is alien to him, it is difficult for him to live in a rapidly changing world, completely different from his native quiet Oblomovka. Ilya Ilyich seems to be mired in the past time - even when planning the future, he still sees it through the prism of the past, wanting the future to be the same as his past was, namely, similar to his childhood years in Oblomovka. At the end of the novel, Ilya Ilyich gets what he wants - the atmosphere reigning in Agafya’s house seems to take him back to childhood, where his dear, loving mother constantly pampered him and protected him from all sorts of shocks - it is not surprising that Agafya is very similar to Oblomov’s women.
Philosophical issues
Love theme
In the novel “Oblomov,” Goncharov touches on a number of eternal philosophical issues that are still relevant today. Presenter philosophical theme The work is the theme of love. Revealing the relationship between the characters, the author depicts several types of love. The first is romantic, filled high feeling and inspiration, but fleeting relationship between Olga and Oblomov. The lovers idealized each other, creating in their imagination distant, different real people images. In addition, Olga and Oblomov had different understandings of the essence of love - Ilya Ilyich saw love for a girl in distant adoration, inaccessibility, and the unreality of their feelings, while Olga perceived their relationship as the beginning of a new, real path. For the girl, love was closely connected with duty, obliging her to pull Ilya Ilyich out of the “swamp” of Oblomovshchina.
The love between Oblomov and Agafya appears completely different. Ilya Ilyich’s feelings were more like the love of a son for his mother, while Agafya’s feelings were an unconditional adoration for Oblomov, similar to the blind adoration of a mother ready to give everything to her child.
Goncharov reveals the third type of love using the example of the family of Stolz and Olga. Their love arose on the basis of strong friendship and complete trust in each other, but over time, the sensual, poetic Olga begins to realize that their stable relationship still lacks that great all-encompassing feeling that she felt next to Oblomov.
The meaning of human life
The main problem of the novel "Oblomov", covering all the topics discussed above, is the question of the meaning of human life, complete happiness and the method of achieving it. In the work, none of the heroes finds true happiness - not even Oblomov, who at the end of the work supposedly receives what he has dreamed of all his life. Through the veil of a falling asleep, degrading consciousness, Ilya Ilyich simply could not understand that the path of destruction cannot lead to true happiness. Stolz and Olga cannot be called happy, despite family well-being and a quiet life, they continue to chase something important, but elusive, which they sensed in Oblomov, but were never able to catch.
Conclusion
The questions revealed do not exhaust the ideological depth of the work, but only represent a brief analysis of the problems of Oblomov. Goncharov does not give specific answers to the question: what is a person’s happiness: in a constant striving forward or in measured calm? The author only brings the reader closer to solving this eternal dilemma, the correct way out of which, perhaps, is the harmony of the two leading principles in our lives.
Work test
Problems of the novel by I. A. Goncharov “Oblomov”. Anti-serfdom orientation
“Oblomov” is a social and everyday novel. Everyday - because the author describes in detail the life of the main character: childhood in Oblomovka, short service in St. Petersburg, lying on the sofa in an apartment on Gorokhovaya.
Being social, the novel has a strong anti-serfdom orientation: Goncharov persistently pursues the idea that serfdom spoils not only the peasants, but also the landowners themselves. Oblomov's lordly spoiling leads to absolute inactivity, laziness of mind and will, and loss of interest in life. By the time the action of the novel begins, Oblomov does not want not only to do anything, but even to get up from the couch, put on a suit, leave the house for a walk or be in society. Next to Ilya Ilyich is always his serf Zakhar, using whose example Goncharov shows the life and character of an ordinary serf servant.
Goncharov understands that patriarchal landowner Russia, somewhat idealized by him, is becoming a thing of the past, and along with it, the truly wonderful features of estate life are leaving Russian life - hospitality, selflessness, broad kindness. Oblomov, brought up in the best traditions of estate culture, demonstrates generosity, emotional sensitivity, and tolerance towards others. The positive character traits of the main character are revealed when comparing Ilya Ilyich and socialite Volkov, successful official Sudbinsky, journalist Penkin. Such “energetic people” are occupied with empty worries - dinners for useful acquaintances, careers, money-grubbing, insincerity. Suffice it to recall Sudbinsky’s reasoning about his upcoming marriage, when all he has to say about his party is: “. father active state councilor; He gives ten thousand, the apartment is government-owned. He gave us a whole half, twelve rooms; The furniture is official, heating, lighting too: you can live.” Or Penkin’s story about his article, which talks about “trade, the emancipation of women, the beautiful April days, which befell us, and about the newly invented composition against fires” and even about realism in literature.
Oblomov is completely different from the people of this circle, but for some reason he continues to communicate with them, although they have practically no common topics of conversation. Against the background of these heroes, whom Goncharov positioned as typical representatives of metropolitan society, it becomes clearly visible that the main character of the novel has many positive qualities. He has intelligence, he is meek, kind and truthful. There is also a fair amount of egoism in him, which manifests itself in his relationship with Olga. Goncharov also notes that Oblomov is an internally conservative person, but maybe this is what helps him feel all the unnaturalness of St. Petersburg life. He tried to serve, but could not explain to you why it was necessary, tried in every possible way to avoid work, and in the end he resigned.
Despite the fact that Oblomov was brought up in the traditions of nobility, he treats people below him very gently. This can be seen in the example of Oblomov’s relationship with Zakhar, his servant. By comparing the images of the master and the serf, the reader can see that they, like the images of Oblomov and Stolz, are diametrically opposed to each other. Zakhar is forced to solve small everyday issues, to live in real world and do housework, while Oblomov lives in an ideal world, draws up a “plan” and other projects abstract from reality.
In Chapter VIII of the first part, Goncharov collides these two worlds. Zakhar tells the master that “the manager has just sent him again” and they are “being told to move out next week.” Oblomov does not accept the idea of moving, as he understands that this will require him to high energy and in general is associated with a large number of quite tangible difficulties for him. He imagines the move with horror: “... everything is out of place: pictures by the walls, on the floor, galoshes on the bed, boots in the same bundle with tea and lipstick […] It seems that everything is in place. You look, there’s something left: hanging curtains, pinning up pictures - it will drain your entire soul, you won’t want to live.” Oblomov’s entire being resists this thought, he even forbids Zakhar to remind him of this. But when the servant again talks to the master about the need to vacate the apartment, he explodes and calls Zakhar “poisonous.”
After Zakhar said that “others, they say, are no worse than us, but they move, so we can.”, Oblomov brings down on Zakhar all the rage that has accumulated in him during his chaotic life in St. Petersburg: Ilya Ilyich does not understand how a serf dares comparing him with someone, he tries to assert his exclusivity, prove his superiority, reproaching Zakhar and trying in every possible way to shame him.
The issue of moving is not the only one in the novel that allows us to show the conflict between the pragmatic world of Zakhar and the abstract world of Oblomov. Goncharov emphasizes this conflict using different ways. For example, a conversation about food prices in Once again shows the down-to-earthness of the serf and the ignorance of the master. Oblomov, who is completely unaware of the prices of food, having learned how much money he owes to the butcher, the baker and the greengrocer, first accuses Zakhar of eating everything, and then falls into real indignation.
But, despite this, Zakhar and Ilya Ilyich are inseparable, they are already for real depend on each other and are very similar to each other in many ways. Zakhar is characterized by firmness: in some way he perceives Oblomov as a child, therefore in a narrow range of issues he has undoubted authority over his owner, for example, he does not allow Oblomov to lend Tarantyev a tailcoat, because he has not yet returned the gloves and vest.
Goncharov says about Zakhara that he “belonged to two eras, and both put their stamp on him. From one he inherited boundless devotion to the Oblomov family, and from the other, later, sophistication and corruption of morals.” Zakhar is distinguished by his lack of development, inability to do anything really well, an aggressive reaction to every order of the master and at the same time sincere devotion to his master. By comparing all these qualities in one person, Goncharov brought out a typical hero, created collective image, with the help of which the author shows how harmful lord-peasant relations are for both sides.
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By the middle of the nineteenth century, the socio-political situation in Russia was changing. Aristocracy in literature fades into the background. The “new” time reveals new heroes. We named the Russian landowner Ilya Ilyich Oblomov as the first significant personality of this period. Inactivity that has become a way of life and taken to the point of absurdity. “New” heroes - “raznochintsy” - educated children of the middle strata of Russian society - starting from “Oblomovism”, began their existence in life and literature with a sharp denial of all the values of the past, an example of which is Stolz. Ethical maximalism sometimes gave rise to a skeptical attitude towards the environment, and even the typical Russian melancholy, apathy... “Oblomovism.” But Oblomov’s tragedy was that he did not go further than criticism of business Stoltsevism and was not able to go. The breadth of his claims to the world degenerated into fruitless projection and empty word debate.
Oblomov is a bright and colorful character, but his main characteristic features can be called inactivity, laziness and daydreaming. The author reflected all this in the portrait of Ilya Ilyich.
Ilya Ilyich is proud of his idleness, despising work. Not only did he not do anything useful, but he “never once pulled a stocking over his feet...”. Nevertheless, the desire to do something great certainly appears in Ilya Ilyich. But he does not know which side to take on the matter, since he has no habit of work. This feature was characteristic of a number of images of “superfluous people” that preceded Oblomov.
The image of Oblomov is far from unambiguous; his nature is complex and multifaceted. Next to apathy, indifference, and inactivity coexist nobility, sincerity and gullibility. He is distinguished by his sincerity, conscientiousness, and gentleness. He is kind (“his heart is like a well, deep”). Oblomov feels that in him “a bright and good beginning is closed, as in a grave.” He is incapable of evil and is endowed with dreaminess. These positive features Olga Ilyinskaya revealed in him. The whole breadth of his soul is manifested here, his heart prevails over his mind.
But he turned out to be unable to fight for his love. He needs not equal rights, but mother's love, which Agafya Pshenitsyna gave him.
Ilya Ilyich marks a fragment of the reality that formed the basis of the entire novel.
“Oblomovism” is not a way of life of one person, but a state of society in which all bright principles and humanity, as well as morality, are suppressed. The chapter “Oblomov’s Dream” is important for understanding the entire work. Goncharov showed in it the environment that raised the hero and played a significant role in the formation of his views, worldview, and character. Little Ilya was raised in such an environment. This was the main reason for Oblomov’s mental, moral and physical death.
The environment accustomed the hero to meaningless peace, did not adapt him to independent life. Oblomov is not just a child of Oblomovka, he is the product of all Russian reality. The author endowed him with all the features that were characteristic of the original Russian type. The concept of “Oblomovism” includes an entire patriarchal structure Russian life, which includes not only negative traits, but also its deeply poetic sides.
In order to contrast the “Oblomovism” with the activity and determination of the “new generation” of commoners, the author introduces the image of the enterprising Andrei Stolts. His image is not unambiguous, just like Oblomov’s image. Strong and smart, he is constantly active and does not disdain the most menial work. Through his hard work, willpower, patience and enterprise, he became rich and famous person. A real “iron” character has been formed. But in some ways he resembles a machine, a robot, his whole life is so clearly programmed, verified and calculated. He needs a woman equal in views and strength, which is what Olga Ilyinskaya, powerless before Oblomov’s laziness, became. He loves and understands Oblomov, tries to “wake up” him. But he also understands that Oblomov will never bow to the idol of lies, his soul will always be pure, bright, honest, while Stolz himself has the qualities that he needs for success, and these are cunning and resourcefulness.
The active Stolz with his rationalism and pragmatism does not take root in Russia. Goncharov embodied in his Oblomov a protest against “Westernism,” which, as he believed, kills the poetry of life, unity with nature and loyalty to truly Russian, Slavic traditions.
In Oblomov, Goncharov managed to concentrate great amount the vices of the entire noble class. Oblomov is not just a child of Oblomovka, he is the product of all Russian reality.
Goncharov called the novel “Oblomov* a “novel-monograph.” He was referring to his plan to write the life story of one person, to present a deep psychological study of one biography: “I had one artistic ideal: this is the image of an honest and kind, sympathetic nature, in highest degree an idealist who has been struggling all his life, truth seeker, encountering lies at every step, being deceived and falling into apathy and powerlessness.”
In the first part of the novel, the stillness of life, slumber, closed existence is not only a sign of the existence of Ilya Ilyich, it is the essence of life in Oblomovka. She is isolated from the whole world: “No strong passions, nor brave enterprises worried the Oblomovites.” This life is full and harmonious in its own way: it is Russian nature, a fairy tale, the love and affection of a mother, Russian hospitality, the beauty of the holidays. These childhood impressions are an ideal for Oblomov, from the height of which he judges life. Therefore, he does not accept the “St. Petersburg life”; he is not attracted by either his career or the desire to get rich. Oblomov's visitors personify three life path which Oblomov could go through: becoming a spoiled dude like Volkov; head of the department, like Sudbinsky; a writer like Penkin. Oblomov goes into contemplative inaction, wanting to preserve “his human dignity and his peace.” The image of Zakhar determines the structure of the first part of the novel. Oblomov is unthinkable without a servant, and vice versa. Both of them are children of Oblomovka.
The second and third parts of the novel are a test of friendship and love. The action becomes dynamic. Oblomov's main antagonist is his friend Andrei Stolts. The image of Stolz is important for understanding the author's intention and for a deeper understanding of the main character. Goncharov intended to show Stolz as a figure preparing progressive changes in Russia. Unlike Oblomov, Stolz is an energetic, active person, confidence is felt in his speeches and actions, he stands firmly on his feet, believes in the energy and transformative power of man. He is constantly on the move (the novel talks about his travels: Moscow, Nizhny Novgorod, Crimea, Kyiv, Odessa, Belgium, England, France) - and he sees happiness in this. German hard work, prudence and punctuality are combined in Stolz with Russian dreaminess and gentleness (his father is German and his mother is Russian). However, in Stolz the mind still prevails over the heart; he subordinates even the most subtle feelings to control. He lacks humanity, which is Oblomov’s main property. About childhood and family life Stolz is just told. We don’t know what Stolz was happy about, what he was upset about, who his friends were, who his enemies were. Stolz, in contrast to Oblomov, makes his own way in life (he graduated from university brilliantly, successfully serves, begins to run his own business, makes a house and money). The portrait of Stolz contrasts with the portrait of Oblomov: “He is entirely made up of bones, muscles and nerves.” Oblomov is “fat beyond his years,” he has a “sleepy look.” However, Stolz’s image is more multidimensional than it seems at first glance. He sincerely loves Oblomov, speaks of Oblomov’s “honest” and “faithful” heart, “which cannot be bribed by anything.” It was Stolz who the author endowed with an understanding of the moral essence of Oblomov, and it was Stolz who told the “writer” the whole life story of Ilya Ilyich. And at the end of the novel, Stolz finds peace in family well-being, he comes to where Oblomov started and where he stopped. This “reflection” of images in each other can be considered as a process of combining extremes.
The theme of love occupies an important place in the novel. Love, according to Goncharov, is one of the “main forces” of progress; the world is driven by love. The heroes are tested by love. Goncharov does not give a detailed portrait of Olga, but emphasizes that there was “no affectation, no coquetry, no lies, no tinsel, no intent.” For the first time, the outline of his ideal flashed before Oblomov. The breakup was natural, because Olga and Oblomov expected the impossible from each other. He is of selfless, reckless love, when you can sacrifice everything: “peace, word of mouth, respect.” It comes from his activity, will, energy. But Olga fell in love not with Oblomov, but with her dream. Oblomov also feels this when he writes her a letter. In the future, each of the heroes acquires a life that corresponds to his ideal. Olga marries Stolz, Oblomov finds the heartfelt love of Agafya Matveevna. In her house on Vyborg side“he was now surrounded by such simple, kind, loving faces who agreed with their existence to support his life, to help him not notice, not feel it.” The disappeared world of childhood, Oblomovka, appears again.
Introduction
The novel “Oblomov” was written by Goncharov in the mid-19th century - during a turning point for serf Russia, marked by rapid political, economic and social changes. In the work, the writer raised not just sensitive topics for that era, but also touched upon eternal questions concerning the purpose of human life and the meaning of human existence. The problematics of Goncharov’s novel “Oblomov” cover various social, psychological and philosophical topics, revealing the deep ideological essence of the work.
Social issues
The main problems of Goncharov’s novel “Oblomov” are related to the central theme of the work – “Oblomovism”. The author portrays it, first of all, as a social phenomenon, tendentious for a whole layer of Russian landowners who remain faithful to the old traditions of their family and the archaic, patriarchal way of life of the feudal era. “Oblomovism” is becoming an acute vice of Russian society, brought up on morals and concepts based on the use of the labor of other people - serfs, as well as the cultivation of the ideals of a carefree, lazy, idle life.
A prominent representative of “Oblomovism” is the main character of the novel, Ilya Ilyich Oblomov, raised in an old landowner family in the distant village of Oblomovka, bordering Asia. The remoteness of the estate from Europe and the new civilization, “mothballing” in the usual, measured time and existence, reminiscent of half-asleep - it is through Oblomov’s dream that the author portrays Oblomovshchina to the reader, thus recreating the very atmosphere of calm and tranquility close to Ilya Ilyich, bordering on laziness and degradation, characterized by dilapidated estates, old furniture, etc.
In the novel, “Oblomovism”, as a native Russian phenomenon inherent in Russian landowners, is contrasted with European activity, constant independent work, continuous learning and personal development. The bearer of new values in the work is Oblomov’s friend, Andrei Ivanovich Stolts. Unlike Ilya Ilyich, who, instead of solving his problems on his own, is looking for a person who can do everything for him, Stolz himself creates paths in his life. Andrei Ivanovich has no time to dream and build castles in the air - he confidently moves forward, knowing how to get what he needs in life through his own labor.
Social and psychological problems of “Oblomov”
Question of national character
Most researchers define the novel “Oblomov” as a socio-psychological work, which is due to the peculiarities of the problems revealed in the book. Touching upon the topic of “Oblomovism,” Goncharov could not ignore issues of a national character based on the differences and similarities between the Russian and European mentalities. It is no coincidence that Oblomov, the bearer of the Russian mentality and Russian values, brought up on national fairy tales, is opposed to the practical and hard-working Stolz, born into the family of a Russian bourgeois woman and a German entrepreneur.
Many researchers characterize Stolz as a kind of machine - a perfect automated mechanism that works for the sake of the work process itself. However, the image of Andrei Ivanovich is no less tragic than the image of Oblomov, who lives in a world of dreams and illusions. If Ilya Ilyich from childhood was instilled with only uniform “Oblomov” values, which became the leading values for him, then for Stolz, the values received from his mother, similar to “Oblomov’s”, were overwhelmed by the European, “German” values instilled by his father. Andrei Ivanovich, like Oblomov, is not a harmonious personality in which Russian soulfulness and poetry could be combined with European practicality. He is constantly looking for himself, trying to understand the purpose and meaning of his life, but does not find them, as evidenced by Stolz’s attempts throughout his life to become closer to Oblomov as a source of primordially Russian values and peace of mind, which he lacked in life.
The problem of the “extra hero”
The problem of depicting the national character gives rise to the following socio-psychological problems in the novel “Oblomov” - the problem of an extra person and the problem of a person’s self-identification with the time in which he lives. Oblomov is a classic superfluous hero in the novel, the society around him is alien to him, it is difficult for him to live in a rapidly changing world, completely different from his native quiet Oblomovka. Ilya Ilyich seems to be mired in the past time - even when planning the future, he still sees it through the prism of the past, wanting the future to be the same as his past was, namely, similar to his childhood years in Oblomovka. At the end of the novel, Ilya Ilyich gets what he wants - the atmosphere reigning in Agafya’s house seems to take him back to childhood, where his dear, loving mother constantly pampered him and protected him from all sorts of shocks - it is not surprising that Agafya is very similar to Oblomov’s women.
Philosophical issues
Love theme
In the novel “Oblomov,” Goncharov touches on a number of eternal philosophical issues that are still relevant today. The leading philosophical theme of the work is the theme of love. Revealing the relationship between the characters, the author depicts several types of love. The first is a romantic, filled with high feeling and inspiration, but fleeting relationship between Olga and Oblomov. The lovers idealized each other, creating in their imaginations distant images that were unlike real people. In addition, Olga and Oblomov had different understandings of the essence of love - Ilya Ilyich saw love for a girl in distant adoration, inaccessibility, and the unreality of their feelings, while Olga perceived their relationship as the beginning of a new, real path. For the girl, love was closely connected with duty, obliging her to pull Ilya Ilyich out of the “swamp” of Oblomovshchina.
The love between Oblomov and Agafya appears completely different. Ilya Ilyich’s feelings were more like the love of a son for his mother, while Agafya’s feelings were an unconditional adoration for Oblomov, similar to the blind adoration of a mother ready to give everything to her child.
Goncharov reveals the third type of love using the example of the family of Stolz and Olga. Their love arose on the basis of strong friendship and complete trust in each other, but over time, the sensual, poetic Olga begins to realize that their stable relationship still lacks that great all-encompassing feeling that she felt next to Oblomov.
The meaning of human life
The main problem of the novel "Oblomov", covering all the topics discussed above, is the question of the meaning of human life, complete happiness and the method of achieving it. In the work, none of the heroes finds true happiness - not even Oblomov, who at the end of the work supposedly receives what he has dreamed of all his life. Through the veil of a falling asleep, degrading consciousness, Ilya Ilyich simply could not understand that the path of destruction cannot lead to true happiness. Stolz and Olga cannot be called happy either - despite family well-being and a quiet life, they continue to chase something important, but elusive, which they sensed in Oblomov, but were never able to catch.
Conclusion
The questions revealed do not exhaust the ideological depth of the work, but only represent a brief analysis of the problems of Oblomov. Goncharov does not give specific answers to the question: what is a person’s happiness: in a constant striving forward or in measured calm? The author only brings the reader closer to solving this eternal dilemma, the correct way out of which, perhaps, is the harmony of the two leading principles in our lives.
Work test