"Oblomov's Dream" The origins of one person and the whole country. By the end of the first part, Oblomov is ready to change his old life. The hero is forced by external circumstances (the need to move, a decrease in the profitability of the estate). However, internal motivations are more important. But before we see the results of Ilya Ilyich’s efforts to get up from the couch, Goncharov introduces a specially titled short story about the hero’s childhood - “Oblomov’s Dream.” The author seeks to find an answer to the question tormenting Oblomov, why “a heavy stone was thrown on<…>path of his existence" who "stole<…>treasures brought to him as a gift of peace and life.”
Literary heroes often dream... Dreams help us understand the character's character, predict future fate or reveal the author’s philosophical thoughts. So Oblomov is not just dozing. The dream draws us ideal hero. But the ideal is not abstract: it was once embodied in the parental home, in Oblomovka. Therefore the dream is at the same time memory happy childhood, it is seen through the prism of excited tenderness (especially the image of the late mother). However, both this ideal and this memory are more real for Oblomov than the present. Having fallen asleep in a sad sleep, “disturbed” by the worries of life in St. Petersburg, which was foreign to him, Ilya Ilyich woke up as a seven-year-old boy - “it’s easy and fun for him.” Goncharov's hero is physically present in the capital, but his soul here curls up and dies. Spiritually the character is still lives in his native Oblomovka.
In Oblomovka, as in Hrach, people live with a patriarchal consciousness. “The norm of life was taught to them ready-made by their parents, and they accepted it, also ready-made, from their grandfather, and grandfather from their great-grandfather... Just as what was done under their fathers and grandfathers, so it was done under Ilya Ilyich’s father, so, perhaps, is still being done now in Oblomovka.” That is why any manifestation of personal will and interests, even the most innocent, like a letter, fills the souls of Oblomovites with horror.
Even time flows differently in Oblomovka. “They kept track of time by holidays, by seasons<...>, never referring to months or numbers. Perhaps this was due to the fact that<…>everyone confused the names of the months and the order of the numbers.” To the linear flow of events - from number to number, from event to event - they preferred circular, or cyclical, time according to the seasons of the year, according to repeating church holidays. And this is the guarantee of universal stability.
Nature itself seems to support them: “Neither terrible storms nor destruction can be heard in that region,”<…>there are no poisonous reptiles there, locusts do not fly there; there are no roaring lions or roaring tigers...” The relatively mild climate makes it unnecessary to resist nature, to be ready to repel its attacks (as we would say, “cataclysms”). Nature helps to live in Peace, “at random”: “Like one hut ended up on the cliff of a ravine, it has been hanging there since time immemorial, standing with one foot in the air and propped up by three poles. Three or four generations lived quietly and happily in it. It seems that the chicken was afraid to enter it, and there lives with his wife Onisim Suslov, a respectable man who does not stare at his full height in his home.” But maybe the peasant Onisim simply does not have the money to repair his home? The author introduces a paired episode: the same thing happens in the manor’s courtyard, where a dilapidated gallery “suddenly collapsed and buried a hen and chickens under its ruins...”. “Everyone was amazed that the gallery had collapsed, and the day before they wondered how it had held up for so long!” And here this “maybe” psychology manifests itself: “Old Man Oblomov< …>will be preoccupied with the thought of an amendment: he will call a carpenter,” and that’s the end of it.
Goncharov also includes fairy tales, epics, and scary stories about the dead, werewolves, etc. The writer sees in Russian folklore not just “legends of deep antiquity.” This is evidence of a certain stage in the development of human society: “The life of the man of that time was terrible and wrong; It was dangerous for him to go beyond the threshold of the house: he would be whipped by an animal, a robber would kill him, an evil Tatar would take everything from him, or a person will disappear without a trace, without any trace." A person had a primary task: to survive physically, to feed himself. That is why a cult reigns in Oblomovka Food, the ideal of a well-fed, plump child - “you just have to look at what pink and weighty cupids the local mothers wear and lead around with them.” What becomes of primary importance for people is not individual events(love, career), and those that contribute to the continuation of the Family - births, funerals, weddings. In this case, what was meant was not the personal happiness of the newlyweds, but the opportunity through the eternal ritual to confirm the eternity of the Family: “They ( Oblomovites) with hearts beating with excitement, they awaited the ritual, the ceremony, and then,<...>got married<...>people, they forgot about the man himself and his fate..."
Misunderstanding of the laws of the surrounding world leads to the flourishing of fantasy: “Our poor ancestors lived gropingly; they did not inspire or restrain their will, and then they naively marveled or were horrified by the inconvenience, evil and interrogated the reasons from the silent, unclear hieroglyphs of nature.” Frightening themselves with real and imaginary dangers, people perceived the distant world as initially hostile, and tried in every possible way to hide from it in their Home. Goncharov was sure that all countries of the world had passed through the “Oblomov” period. The writer discovered signs of Oblomov’s fearful isolation on Japanese islands. But how did Oblomovka preserve its old way of life through centuries and decades? In its own way, it was also located on distant islands - “peasants<...>transported bread to the nearest pier to the Volga, which was their Colchis and the Pillars of Hercules<…>and had no further relations with anyone.” “Oblomov’s Dream” tells about the impenetrable Russian wilderness. Just two centuries ago, the Volga, Trans-Volga lands were the last outpost of civilization (almost like the frontier in America). Further on stretched the spaces inhabited by semi-wild uncivilized tribes - Kazakhs, Kirghiz.
The reluctance to look beyond Oblomovka was a kind of commandment: “ Happy people lived, thinking that it should not and cannot be otherwise, confident that<…>to live otherwise is a sin.” But the Oblomovites not only did not want, they did not feel the need to go beyond the boundaries of their self-sufficient little world. “They knew that eighty miles from them there was a “province”, that is, provincial town <…>, then they knew that further away, there, Saratov or Nizhny; we heard that there are Moscow and St. Petersburg, that the French or Germans live beyond St. Petersburg, and then it began<…> dark world, unknown countries inhabited by monsters...” Something alien, unfamiliar, can be hostile, but anyone born within small world Oblomovki are provided with love and affection. Not here internal conflicts and tragedies. Even death, surrounded by many ancient rituals, appears as sad, but not dramatic episode in the endless flow of generations. The features of an earthly paradise and fairy tales in reality are preserved here. According to the laws of the fairy tale, all important philosophical questions about the meaning of existence are either not raised or are resolved satisfactorily by fathers and grandfathers (in Oblomovka there is an undeniable cult of Home, Family, Peace). But all ordinary objects and phenomena acquire truly fabulous, grandiose proportions: “imperturbable calm,” gigantic meals, heroic sleep, terrible thefts (“one day two pigs and a chicken suddenly disappeared”). And here’s what’s interesting: another modern researcher V.A. Niedzvetsky suggested that the idea to describe the life and customs of the patriarchal people of hobbits came to Tolkien after reading the book of the Russian writer. For now, this is a hypothesis and, therefore, does not claim to be absolutely certain. But also discount the fact that everyone’s favorite foreign writers taking lessons from Russian literature is also not allowed.
By the time Goncharov wrote these lines, Oblomovka had not yet disappeared from the map of Russia. The flesh disappeared, but the spirit remained. Oblomovka’s rules of life are too adapted to the way of Russian life, the worldview of the Russian person. Druzhinin believed that “Oblomov’s Dream”<…>“connected him with a thousand invisible bonds to the heart of every Russian reader.” Old world was the keeper eternal values, carefully separating good from evil. Love reigns here, everyone is provided with warmth and affection. In addition, the “Oblomov” world is an inexhaustible source of poetry, from which Goncharov generously drew color throughout creative path. The writer often resorts to fairy-tale comparisons, contrasts, formulas (to enter the hut to Onesimus, you must ask stand with your back to the forest and your front towards it; frightened Ilyusha " neither alive nor dead rushes" to the nanny; when the gallery collapsed “they began to reproach each other for how it had not occurred to them for a long time: one - to remind, another - to tell to correct, to the third - to correct"). Researcher Yu. Loschits called creative method writer with fabulous realism.
Only one thing worries the Russian writer in this primordial moral structure of Oblomovka. This is disgust, an organic rejection of all kinds of work; everything that requires a little effort. “They endured labor as a punishment imposed on our forefathers, but they could not love, and where there was a chance, they always got rid of it, finding it possible and proper.” It may seem that the writer had in mind lordly Russia. Indeed, if the old Oblomovs can concentrate their worries on thinking about and devouring dinner, the peasants have to work, and the plowman is “throwing around in a black field, sweating profusely.” But the ideal of happiness as laziness and doing nothing is common to them. This is evidenced by symbolic images a house threatening to collapse, a general sleep, or a “gigantic” birthday cake. Everyone devoured the pie as evidence of participation in the lordly way of life. That is why fairy tales about heroes like Emelya, who managed to pike command achieve everything without working.”
In the midst of this "blessed" peace grows little man. Mother’s chores, father’s “business” conversations with the servants, the daily routine of the manor’s house, weekdays and holidays, summer and winter - everything flashes before the child’s eyes like frames from a film. Everyday episodes are interspersed with remarks: “And the child listened,” “the child sees...”, “and the child watched and observed everything.” Again, as in “ Ordinary history", Goncharov appears in the guise of a teacher. He comes to a conclusion that was bold for its time. Raising a child begins not with targeted efforts, but with an early, almost unconscious assimilation of the impressions of the environment. Goncharov depicts his hero as a living, active child, eager to explore a gallery, ravine, grove, earning the nickname “yula” from his nanny. But the influence scary tales, loving despotism of parents led to the fact that vitality boy "nikli, fading." In light of such a sad conclusion, the episodes of Ilyusha’s interrupted pranks literally sound like “laughter through tears”: “At home they already despaired of seeing him, considering him dead;<…>the parents' joy was indescribable<…>. They gave him mint, then elderberry, and in the evening, raspberries.<…>, and one thing could be useful for him: playing snowballs again.” And, of course, let’s not forget about the famous stockings that Oblomov Jr. is pulled on first by the nanny, then by Zakhar. Once again his elders instill in him the norm of idleness; As soon as the boy forgets himself before doing something himself, a parental voice reminds him: “What about Vanka, and Vaska, and Zakharka?”
Studying, which also requires mental effort and limitations, also falls into the category of hated work. What modern schoolchild does not understand such lines, for example: “As soon as he ( Ilyusha) wakes up on Monday, he is already overwhelmed by melancholy. He hears Vaska’s sharp voice shouting from the porch:
Antipka! Lay down the pinto: take the little baron to the German!
His heart will tremble.<…>Otherwise, his mother will look at him intently on Monday morning and say:
Your eyes aren't looking fresh today. Are you healthy? - and shakes his head.
The crafty boy is healthy, but silent.
“Just sit at home this week,” she will say, “and see what God gives.”
Since the time of Mitrofanushka, enlightenment has taken a step forward: “The old people understood the benefits of enlightenment, but only its external benefits...” The need to work, at least in order to make a career, stumbled over a truly fabulous dream of achieving everything “at the behest of a pike.” An “Oblomov” decision comes to try to cleverly bypass the established rules, “the stones and obstacles scattered along the path of enlightenment and honor, without bothering to jump over them<…>. Study lightly<…>, just to comply with the prescribed form and somehow obtain a certificate that would say that Ilyusha passed all sciences and arts" In the fabulous Oblomovka, even this dream partially came true. "Son of Stolz ( teachers) spoiled Oblomov, either suggesting lessons to him or doing translations for him.” The German boy was not immune to Oblomovka’s charm and was captivated by the “pure, bright and kind beginning” of Ilya’s character. What more could you want? But such relationships also provide advantages to Andrey. This is the “role of the strong” that Stolz occupied under Oblomov “both physically and morally" Nobility and slavery, according to Dobrolyubov’s observation, are two sides of the same coin. Not knowing how to work, you have to give up your independence to the will of another (like Zakhar later). Stolz himself sums up Oblomovka’s educational methods with his famous formulation: “It started with the inability to put on stockings, and ended with the inability to live.”
The first landscape appears before us in “Oblomov’s Dream”. Pictures of nature here are given in the spirit of a poetic idyll. The main function of these landscapes is psychological; we find out in what conditions we grew up main character, how his character was formed, where he spent his childhood. Oblomov’s estate is a “blessed corner”, a “wonderful land”, lost in the outback of Russia. The nature there does not amaze us with luxury and pretentiousness - it is modest and unpretentious. There is no sea there high mountains, rocks and abysses, dense forests. The sky there presses “closer... to the earth..., like a parent’s reliable roof”, “the sun... shines brightly and hotly for about six months...”, the river runs “merrily”: sometimes it “spills into a wide pond, sometimes it “strives like a fast thread”, sometimes it barely "crawls over the stones." The stars there are “friendly” and “friendly” blinking from the sky, the rain “will pour briskly, abundantly, jumping merrily, like the large and hot tears of a suddenly joyful person,” thunderstorms “are not terrible, but only beneficial.”
In the love scenes of Oblomov and Olga Ilyinskaya, pictures of nature acquire symbolic meaning. So, a lilac branch becomes a symbol of this emerging feeling. Here they meet on the path. Olga picks a lilac branch and gives it to Ilya. And he responds by noting that he loves lilies of the valley more, since they are closer to nature. Trust and understanding appear in their relationship - Oblomov is happy. And Goncharov compares his condition with a person’s impression of an evening landscape. “Oblomov was in that state when a person had just followed the setting summer sun with his eyes and was enjoying its ruddy traces, without taking his eyes off the dawn, without turning back to where the night came from, thinking only about the return of warmth and light tomorrow.”
When Oblomov begins to have doubts about the truth of Olga’s feelings, this novel seems to him a monstrous mistake. And again the writer compares Ilya’s feelings with natural phenomena. “What wind suddenly blew on Oblomov? What clouds did you make? Autumn paintings nature creates an atmosphere of distance between the characters and each other. They can no longer meet so freely in the forest or parks. And here we note the plot-forming significance of the landscape. Here is one of the autumn landscapes: “The leaves have flown around, you can see right through everything; The crows in the trees scream so unpleasantly..." Oblomov invites Olga not to rush into announcing the news of the wedding. When he finally breaks up with her, snow falls and thickly covers the fence, fence, and garden beds. “The snow was falling in flakes and thickly covering the ground.” This landscape is also symbolic. The snow here seems to bury the hero’s possible happiness.
The landscape that paints a picture of the local cemetery at the end of the novel is simple and modest. Here the motif of the lilac branch, which accompanied the hero in climaxes his life. “What happened to Oblomov? Where is he? Where? “In the nearest cemetery, under a modest urn, his body rests between the bushes, in a quiet place. Lilac branches, planted by a friendly hand, doze over the grave, and wormwood smells serenely. It seems that the angel of silence himself is guarding his sleep.” Thus, the pictures of nature in the novel are picturesque and varied. Through them, the author conveys his attitude to life, love, reveals the inner world and mood of the characters.
Introduction
Goncharov’s work “Oblomov” is a socio-psychological novel written in the mid-19th century. The book tells the story of the fate of the Russian tradesman Ilya Ilyich Oblomov, a personality with a fine spiritual organization, who failed to find his own place in the rapidly changing world of contemporary Russia. Special role in disclosure ideological meaning the novel is played by the author’s depiction of nature - in “Oblomov” landscapes are a reflection inner world the hero are closely related to his feelings and experiences.
Nature of Oblomovka
The most striking landscape of the novel is the nature of Oblomovka, perceived by the reader through the prism of Ilya Ilyich’s dream. The quiet nature of the village, far from the hustle and bustle of cities, attracts with its calm and serenity. There are no dense, frightening forests, no restless sea, no high distant mountains or windy steppes, no fragrant flower beds, only the smell of field grass and wormwood - according to the author, a poet or dreamer would hardly be satisfied with the simple landscape of this area.
The soft, harmonious nature of Oblomovka did not require the peasants to work, which created a special, lazy mood of life in the entire village - the measured passage of time was interrupted only by changes in the seasons or weddings, birthdays and funerals, which just as quickly became a thing of the past, replaced by the calm of pacifying nature .
Oblomov's dream is a reflection of his childhood impressions and memories. Dreamy Ilya, from an early age, perceived the world through the beauty of the sleepy landscapes of Oblomovka, wanted to explore and find out the world around us, but excessive parental care led to the fading of the active principle in the hero and contributed to the gradual absorption of that “Oblomov” measured rhythm of life, which for him, already an adult, became the only correct and pleasant one.
Four pores of love
Nature in the novel “Oblomov” carries a special semantic and plot load. First of all, it reflects the state of the hero. The symbol of the tender feeling between Olga and Oblomov becomes a fragile branch of lilac, which the girl gives to Ilya Ilyich, to which he replies that he loves lilies of the valley more, and the upset Olga drops the branch. But on the next date, as if having accepted the girl’s feelings, Oblomov comes with the same twig. Even at the moment when Ilya Ilyich tells the girl that “the color of life has fallen,” Olga again plucks a branch of lilac for him as a symbol of spring and the continuation of life. During the heyday of their relationship, quiet summer nature as if favoring their happiness, its secrets and special meanings are revealed to the lover. Describing Oblomov’s condition, the author compares his happiness with the beauty of a delightful summer sunset.
Nature appears completely different at the moments when Oblomov begins to doubt the bright future of their love, comparing them with rainy weather, a gray sky covered with sad clouds, dampness and cold. At the same time, Olga notices that the lilac has already moved away - as if their love has also moved away. The distance between the characters is emphasized by the image autumn landscape, flying leaves and unpleasantly screaming crows, when the heroes can no longer hide behind fresh green foliage, comprehending the secrets of living nature and their own souls. The separation of lovers is accompanied by a snowfall, which Oblomov falls under - spring love, the symbol of which was a tender lilac branch, finally dies under a blanket of snow and cold.
The love of Oblomov and Olga seems to be part of that distant, familiar “Oblomov” life to Ilya Ilyich. Beginning in the spring and ending in late autumn, their feelings become part of the natural flow of time of living nature, the change of seasons from birth and flourishing to extinction and death, followed by a new birth - the love of Oblomov for Agafya and Olga for Stolz.
At the end of the novel, the author describes the landscape of the modest cemetery where Oblomov is buried. As a reminder of the hero’s wonderful feeling, a lilac planted by friends grows near the grave, and it smells of wormwood, as if the hero had returned to his native Oblomovka again.
Conclusion
The landscape in the novel “Oblomov” performs the leading semantic and plot-forming functions. A subtle sense of nature, the flow of its natural time and inspiration by each of its manifestations in the work is accessible only to the reflective, dreamy Oblomov and the loving Olga. After marriage, when depicting the girl’s life with Stolz in the Crimea, Olga unconsciously loses the ability to feel every manifestation of nature that she had during her relationship with Oblomov. The author seems to be trying to show the reader that, despite the speed of the urbanized world, man is not subject to the natural changes in the cycles of nature - fluid and changing throughout human life.
Work test
The purpose of the landscape (like many other artistic techniques V this work) is subordinated to the main goal - to show the history of the emergence of such a human character as Oblomov, the history of the formation of his personality and the features of his way of life.
In the eighth chapter of the novel, the author mentions Ilya Ilyich’s favorite dream - to live in the village. And the pictures of this life are always associated not only with “sweet food and sweet laziness,” but also with wonderful rural nature. He would like to sit with a cup of tea “under a canopy of trees impenetrable to the sun, ... enjoying ... the coolness, the silence; and in the distance the fields turn yellow, the sun sets behind the familiar birch tree and blushes the pond, smooth as a mirror...” Oblomov definitely sees “eternal summer, eternal fun” and a lot of food for guests with an “unfading appetite.”
Why is this so? Why is he like this and “not different”? This question arises both among readers and the hero himself. Sometimes Oblomov becomes “sad and painful for his underdevelopment, the stop in the growth of moral forces...”. It became especially scary when “the idea of human destiny and purpose ...” suddenly arose in his soul, and he “painfully felt that some good, bright beginning was buried in him, as in a grave ...”, but “deeply and heavily buried a treasure trove of rubbish." Oblomov understood that he needed to get rid of all this superficial stuff, all this rubbish that was preventing him from living a full-blooded life, and... his thought obediently returned him to a world where everything was beautiful, where wonderful pictures of nature made it possible to forget about worries and escape from the reality that troubled the soul. The peculiar, “Oblomov” love for nature, combined with daydreaming, brought calm and even a feeling of happiness into the hero’s life.
In the ninth chapter, Goncharov paints a world where the hero of the novel could live happily if he had never left his native Oblomovka. It is here that we find answers to many questions and understand why Ilya Ilyich’s soul aspired to this “blessed corner.”
Goncharov does not immediately begin the chapter with a description of the “wonderful land.” He gives first landscape sketches in the form of successive beautiful paintings, very contrasting with the nature of Oblomovka, which also makes it possible to understand why this region and this nature contributed to the emergence of Oblomov’s character. Here “there is no sea, no high mountains, rocks and abysses, no dense forests - there is nothing grandiose, wild and gloomy.” And the author explains the negative view of ordinary people on exotic landscapes: images of a raging sea, the power of the elements or the sight of inaccessible rocks, formidable mountains and abysses induce melancholy, fear, anxiety in the soul, tormenting it, and “the heart is embarrassed by timidity...”. This nature does not contribute to the “fun” mood of life, does not calm, does not “lull”, but helps to form an active and energetic character that is able to overcome obstacles and fight difficulties.
Introduction Nature of Oblomovka Four pores of love Conclusion
Introduction
Goncharov’s work “Oblomov” is a socio-psychological novel written in the mid-19th century. The book tells the story of the fate of the Russian tradesman Ilya Ilyich Oblomov, a personality with a fine spiritual organization, who failed to find his own place in the rapidly changing world of contemporary Russia. A special role in revealing the ideological meaning of the novel is played by the author’s depiction of nature - in “Oblomov” landscapes are a reflection of the inner world
the hero are closely related to his feelings and experiences.
Nature of Oblomovka
The most striking landscape of the novel is the nature of Oblomovka, perceived by the reader through the prism of Ilya Ilyich’s dream. The quiet nature of the village, far from the hustle and bustle of cities, attracts with its calm and serenity. There are no dense, frightening forests, no restless sea, no high distant mountains or windy steppes, no fragrant flower beds, only the smell of field grass and wormwood - according to the author, a poet or dreamer would hardly be satisfied with the simple landscape of this area.
Soft, harmonious nature of Oblomovka
did not require the peasants to work, which created a special, lazy mood of life in the entire village - the measured passage of time was interrupted only by the changing seasons or weddings, birthdays and funerals, which just as quickly became a thing of the past, replaced by the calm of pacifying nature.
Oblomov's dream is a reflection of his childhood impressions and memories. Dreamy Ilya, from an early age, perceived the world through the beauty of the sleepy landscapes of Oblomovka, wanted to explore and get to know the world around him, but the excessive care of his parents led to the withering of the active principle in the hero and contributed to the gradual absorption of that “Oblomov” measured rhythm of life, which for him, already an adult , became the only correct and pleasant one.
Four pores of love
Nature in the novel “Oblomov” carries a special semantic and plot load. First of all, it reflects the state of the hero. The symbol of the tender feeling between Olga and Oblomov becomes a fragile branch of lilac, which the girl gives to Ilya Ilyich, to which he replies that he loves lilies of the valley more, and the upset Olga drops the branch. But on the next date, as if having accepted the girl’s feelings, Oblomov comes with the same twig. Even at the moment when Ilya Ilyich tells the girl that “the color of life has fallen,” Olga again plucks him a lilac branch as a symbol of spring and the continuation of life. During the heyday of their relationship, quiet summer nature seems to favor their happiness; its secrets and special meanings are revealed to the lover. Describing Oblomov’s condition, the author compares his happiness with the beauty of a delightful summer sunset.
Nature appears completely different at the moments when Oblomov begins to doubt the bright future of their love, comparing them with rainy weather, a gray sky covered with sad clouds, dampness and cold.
At the same time, Olga notices that the lilac has already moved away - as if their love has also moved away. The alienation of the heroes is emphasized by the image of the autumn landscape, flying leaves and unpleasantly screaming crows, when the heroes can no longer hide behind fresh green foliage, comprehending the secrets of living nature and their own souls. The separation of lovers is accompanied by a snowfall, which Oblomov falls under - spring love, the symbol of which was a tender lilac branch, finally dies under a blanket of snow and cold.
The love of Oblomov and Olga seems to be part of that distant, familiar “Oblomov” life to Ilya Ilyich. Beginning in the spring and ending in late autumn, their feelings become part of the natural flow of time of living nature, the change of seasons from birth and flourishing to extinction and death, followed by a new birth - the love of Oblomov for Agafya and Olga for Stolz.
At the end of the novel, the author describes the landscape of the modest cemetery where Oblomov is buried. As a reminder of the hero’s wonderful feeling, a lilac planted by friends grows near the grave, and it smells of wormwood, as if the hero had returned to his native Oblomovka again.
Conclusion
The landscape in the novel “Oblomov” performs the leading semantic and plot-forming functions. A subtle sense of nature, the flow of its natural time and inspiration by each of its manifestations in the work is accessible only to the reflective, dreamy Oblomov and the loving Olga. After marriage, when depicting the girl’s life with Stolz in the Crimea, Olga unconsciously loses the ability to feel every manifestation of nature that she had during her relationship with Oblomov. The author seems to be trying to show the reader that, despite the speed of the urbanized world, man is not subject to the natural changes in the cycles of nature - fluid and changing throughout human life.
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