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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 the soul, their love - flowering branch lilac, symbolizing the “color of life”, bright summer nature , causing 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: “And next to a proudly bashful, deceased friend sleeps a carefree man. 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 - secret purpose everyone and everything: to find in your 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 ones divine maidens 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 Stoltz, 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 sideways 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.
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 most vivid characters and human qualities the main characters are manifested in their relationships.
The coincidence of the first and last names: Ilya Ilyich - Ilyinskaya emphasizes the fact 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 in it is surprisingly harmonious: and beautiful voice, soft, “with a nervous tremor of feeling,” “pure, strong, girlish,” and “intelligent,” “affectionate” dark gray-blue eyes, and an inclination of the head, “nobly resting on a 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 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 her and every new step greeted him with a tear or a smile, thought about him." In moments of disappointment, she thought: "They don't love twice in a life, this, they say, is immoral." She justified her love for Oblomov "by his meekness, pure faith in goodness, and most of all, tenderness , tenderness, which 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 over 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 the 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 already 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, giving big hopes". 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, gaze, 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, seeing the unfamiliar and mysterious Olga, did he dare to go deeper.” the labyrinth of her mind, character, and every day he discovered and studied new features and facts and still did not see the bottom, only watched with surprise and alarm how her mind demanded daily daily bread, how her soul did not stop talking, kept 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.” Before 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 " guiding star", determination, spiritual beauty. We saw that she grows along with her feeling, 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 of a woman seemed to be the embodiment of “a whole life, filled with bliss and solemn peace, like peace itself.” He dreamed of finding in his beloved “an unchanging face 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 course of life in native village, among the peasants, servants." But in the newfound 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 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.” Having provided Ilya Ilyich ideal conditions existence, Agafya Matveevna thus provided an opportunity for the manifestation of nobility and Oblomov’s confidence in his moral strength. So, for example, having listened 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.” .
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 then 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 when thinking about Olga, when he sees 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, a strong feeling becomes familiar to the main character, and again Oblomovism awakens in his soft, but lazy heart, releases her claws, hinting that she has always been here. Oblomov's laziness is strangling good intentions Ilya Ilyich and the thoughts that you need 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 of “dovelike” tenderness, which is valuable in itself for the hero, are unattainable. 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 to not only his feelings, but also his renewed life, 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 pity and contempt, but no longer sympathy, arouses this person during 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 bashful, 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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Introduction Oblomov and Olga: a meeting of two opposites Why did Olga fail to change Oblomov? Did Oblomov pass the test of love?
Introduction
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 life of a hero up to thirty extra years 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 a person for Oblomov,
forcing him to take a fresh look at his passive life, abandon his usual pastime on the sofa 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 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 unrealizable 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 beloved, and her own egoism, the fact that it is she who will make of 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 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 modern readers continue to reflect on, 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.
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« 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 experience 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 because of unrequited love that so many tragedies unfold 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. And Ilya Ilyich is not able to offer himself on the altar of the 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 gaping inside him - before physical death comes spiritual: “The heart was killed: life died down there 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 move forward, they truly live, mastering the world around them and know what needs to be done 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.