Often referred to as a mystery writer, Ivan Alexandrovich Goncharov, extravagant and inaccessible to many contemporaries, went to his zenith for almost twelve years. "Oblomov" was printed in parts, crumpled, added and changed "slowly and heavily," as the author wrote, whose creative hand, however, approached the creation of the novel responsibly and scrupulously. The novel was published in 1859 in the St. Petersburg journal Otechestvennye Zapiski and was met with obvious interest from both literary and philistine circles.

The history of writing the novel prancing in parallel with the tarantass of the events of that time, namely with the Gloomy Seven Years of 1848-1855, when not only Russian literature, but the entire Russian society was silent. It was an era of increased censorship, which was the reaction of the authorities to the activity of the liberal-minded intelligentsia. A wave of democratic upheavals took place across Europe, so politicians in Russia decided to secure the regime with repressive measures against the press. There was no news, and writers were faced with the caustic and helpless problem of having nothing to write about. What, perhaps, they wanted, the censors ruthlessly pulled out. It is this situation that is the result of that hypnosis and that lethargy that wraps the whole work, like Oblomov's favorite dressing gown. The best people of the country in such a suffocating atmosphere felt unnecessary, and the values ​​​​encouraged from above felt petty and unworthy of a nobleman.

“I wrote my life and what grew to it,” Goncharov briefly commented on the history of the novel after finishing touches on his creation. These words are an honest recognition and confirmation of the autobiographical nature of the greatest collection of eternal questions and answers to them.

Composition

The composition of the novel is circular. Four parts, four seasons, four states of Oblomov, four stages in the life of each of us. The action in the book is a cycle: sleep turns into awakening, awakening into sleep.

• Exposure. In the first part of the novel, there is almost no action, except perhaps only in Oblomov's head. Ilya Ilyich lies, he receives visitors, he shouts at Zakhar, and Zakhar shouts at him. Characters of different colors appear here, but basically they are all the same ... Like Volkov, for example, to whom the hero sympathizes and rejoices for himself that he does not fragment and does not crumble into ten places in one day, does not loom around, but retains his human dignity in his chambers . The next “out of the cold”, Sudbinsky, Ilya Ilyich also sincerely regrets and concludes that his unfortunate friend is bogged down in the service, and that now much will not move in him for a century ... There was a journalist Penkin, and colorless Alekseev, and heavy-browed Tarantiev, and all he was equally sorry, sympathized with everyone, retorted with everyone, recited ideas and thought ... An important part is the chapter "Oblomov's Dream", in which the root of "Oblomovism" is exposed. The composition is equal to the idea: Goncharov describes and shows the reasons for the formation of laziness, apathy, infantilism, and in the end, a dead soul. It is the first part that is the exposition of the novel, since here the reader is presented with all the conditions in which the personality of the hero was formed.
• Tie. The first part is also the starting point for the subsequent degradation of the personality of Ilya Ilyich, because even the leaps of passion for Olga and devoted love for Stolz in the second part of the novel do not make the hero a better person, but only gradually squeeze Oblomov out of Oblomov. Here the hero meets Ilyinskaya, which in the third part develops into a climax.
• Climax. The third part, first of all, is fateful and significant for the protagonist himself, since here all his dreams suddenly become real: he performs feats, he makes a marriage proposal to Olga, he decides to love without fear, he decides to take risks, to duel with himself... Only people like Oblomov don't wear holsters, don't swordsman, don't sweat during battle, they doze off and only imagine how heroically beautiful it is. Oblomov can’t do everything - he cannot fulfill Olga’s request and go to his village, since this village is a fiction. The hero breaks up with the woman of his dreams, choosing to preserve his own way of life, rather than striving for the best and eternal struggle with himself. At the same time, his financial affairs are hopelessly deteriorating, and he is forced to leave a comfortable apartment and prefer a budget option.
• Interchange. The fourth and final part, "Vyborg Oblomovism", consists of marriage to Agafya Pshenitsyna and the subsequent death of the protagonist. It is also possible that it was marriage that contributed to Oblomov’s stupefaction and imminent death, because, as he himself put it: “There are such donkeys that get married!”.

It can be summarized that the plot itself is extremely simple, despite the fact that it is stretched over six hundred pages. A lazy, kind middle-aged man (Oblomov) is deceived by his vulture friends (by the way, they are vultures each in their own area), but a kind loving friend (Stolz) comes to the rescue, who saves him, but takes away the object of his love (Olga), and therefore and the main nourishment of his rich spiritual life.

Features of the composition lie in parallel storylines at different levels of perception.

• There is only one main storyline here and it is love, romantic ... The relationship between Olga Ilyinskaya and her main beau is shown in a new, bold, passionate, psychologically detailed way. That is why the novel claims to be a love story, being a kind of model and manual for building relationships between a man and a woman.
• The secondary storyline is based on the principle of opposing two destinies: Oblomov and Stolz, and the intersection of these very destinies at the point of love for one passion. But in this case, Olga is not a turning point, no, the look falls only on strong male friendship, on a pat on the back, on wide smiles and on mutual envy (I want to live the way the other lives).

What is the novel about?

This novel is, first of all, about a vice of social significance. Often the reader can notice the similarity of Oblomov not only with his creator, but also with the majority of people who live and have ever lived. Which of the readers, as they got closer to Oblomov, did not recognize themselves lying on the sofa and reflecting on the meaning of life, on the futility of being, on the power of love, on happiness? Which reader has not crushed his heart with the question: “To be or not to be?”?

Ultimately, the writer's property is such that, trying to expose another human flaw, he falls in love with it in the process and gives the reader a flaw with such an appetizing aroma that the reader eagerly wants to feast on it. After all, Oblomov is lazy, untidy, infantile, but the public loves him only because the hero has a soul and is not ashamed to reveal this soul to us. “Do you think that a thought does not need a heart? No, it is fertilized by love" - ​​this is one of the most important postulates of the work, laying the essence of the novel "Oblomov".

The sofa itself and Oblomov, lying on it, keep the world in balance. His philosophy, promiscuity, confusion, throwing run the lever of movement and the axis of the globe. In the novel, in this case, not only the justification of inaction takes place, but also the desecration of action. The vanity of the vanities of Tarantiev or Sudbinsky does not bring any sense, Stolz is successfully making a career, but what one is unknown ... Goncharov dares to slightly ridicule work, that is, work in the service, to which he hated, which, therefore, was not surprising to notice in the character of the protagonist . “But how upset he was when he saw that there must be at least an earthquake in order not to come to the service of a healthy official, and earthquakes, as a sin, do not happen in St. Petersburg; a flood, of course, could also serve as a barrier, but even that rarely happens. - the writer conveys all the senselessness of state activity, which Oblomov thought about and waved his hand in the end, referring to Hypertrophia cordis cum dilatatione ejus ventriculi sinistri. So what is Oblomov talking about? This is a novel about the fact that if you are lying on the couch, you are probably more right than those who walk somewhere or sit somewhere every day. Oblomovism is a diagnosis of humanity, where any activity can lead either to the loss of one's own soul, or to the stupid crumbling of time.

Main characters and their characteristics

It should be noted that the surnames of the speakers are typical for the novel. For example, they are worn by all minor characters. Tarantiev comes from the word "tarantula", journalist Penkin - from the word "foam", which hints at the surface and cheapness of his occupation. With their help, the author completes the description of the characters: the name of Stolz is translated from German as “proud”, Olga is Ilyinskaya because it belongs to Ilya, and Pshenitsyna is a hint at the vileness of her petty-bourgeois lifestyle. However, all this, in fact, does not fully characterize the heroes, this is done by Goncharov himself, describing the actions and thoughts of each of them, revealing their potential or lack thereof.

1. Oblomov- the main character, which is not surprising, but the hero is not the only one. It is through the prism of the life of Ilya Ilyich that a different life is visible, only here, what is interesting, Oblomovskaya seems to readers more entertaining and original, despite the fact that he does not have the characteristics of a leader and is even unsympathetic. Oblomov, a lazy and overweight middle-aged man, can confidently become the face of melancholy, depression and melancholy propaganda, but this man is so unhypocritical and pure in soul that his gloomy and stale flair is almost invisible. He is kind, subtle in love matters, sincere with people. He asks himself: “When will we live?” - and does not live, but only dreams and waits for the right moment for the utopian life that comes into his dreams and slumbers. He also asks the great Hamlet question: “To be or not to be,” when he decides to get up from the sofa or confess his feelings to Olga. He, just like Cervantes' Don Quixote, wants to accomplish a feat, but does not, and therefore blames his Sancho Panza - Zakhar for this. Oblomov is naive, like a child, and so sweet to the reader that an overwhelming feeling arises to protect Ilya Ilyich and quickly send him to an ideal village, where he can, holding his wife by the waist, walk with her and look at the cook in the process of cooking. We have discussed this in detail in our essay.
2. The opposite of Oblomov is Stolz. The person from whom the narration and the story of "Oblomovism" is conducted. He is German by father and Russian by mother, therefore a man who has inherited the virtues of both cultures. Andrei Ivanovich from childhood read both Herder and Krylov, he was well versed in "hard-working money-making, vulgar order and boring correctness of life." For Stolz, the philosophic nature of Oblomov is equal to antiquity and the past fashion for thought. He travels, works, builds, reads avidly and envies the free soul of a friend, because he himself does not dare to claim a free soul, or maybe he is simply afraid. We have discussed this in detail in our essay.
3. The turning point in Oblomov's life can be called in one name - Olga Ilyinskaya. She is interesting, she is special, she is smart, she is educated, she sings amazingly and she falls in love with Oblomov. Unfortunately, her love is like a list of certain tasks, and the beloved for her is nothing more than a project. Having learned from Stolz the peculiarities of the thinking of her future betrothed, the girl is eager to make a “man” out of Oblomov and considers his boundless and quivering love for her to be her leash. In part, Olga is cruel, proud and dependent on public opinion, but to say that her love is not real means to spit on all the ups and downs in gender relations, no, rather, her love is special, but genuine. also became a topic for our essay.
4. Agafya Pshenitsyna is a 30-year-old woman, the mistress of the house where Oblomov moved. The heroine is an economic, simple and kind person who found in Ilya Ilyich the love of her life, but did not seek to change him. It is characterized by silence, calmness, a certain limited outlook. Agafya does not think about something high, beyond the scope of everyday life, but she is caring, hardworking and capable of self-sacrifice for the sake of her beloved. More detailed in the essay.

Topic

Dmitry Bykov says:

Heroes of Goncharov do not shoot duels, like Onegin, Pechorin or Bazarov, do not participate, like Prince Bolkonsky, in historical battles and writing Russian laws, do not commit crimes and transgression over the commandment "Thou shalt not kill" as in Dostoevsky's novels. Everything they do fits into the framework of everyday life, but this is only one facet

Indeed, one facet of Russian life cannot encompass the whole novel: the novel is divided into social relations, friendships, and love relationships ... It is the latter theme that is the main one and is highly appreciated by critics.

1. Love Theme embodied in Oblomov's relationship with two women: Olga and Agafya. So Goncharov depicts several varieties of the same feeling. Ilyinskaya's emotions are saturated with narcissism: in them she sees herself, and only then her chosen one, although she loves him with all her heart. However, she values ​​her brainchild, her project, that is, the non-existent Oblomov. Ilya's relationship with Agafya is different: the woman fully supported his desire for peace and laziness, idolized him and lived by taking care of him and their son Andryusha. The tenant gave her a new life, a family, a long-awaited happiness. Her love is adoration to the point of blindness, because indulging her husband's whims led him to an early death. The main theme of the work is described in more detail in the essay "".
2. Friendship Theme. Stolz and Oblomov, although they survived falling in love with the same woman, did not unleash a conflict and did not betray friendship. They always complemented each other, talked about the most important and intimate in the lives of both. This relationship has been ingrained in their hearts since childhood. The boys were different, but got along well with each other. Andrei found peace and good-heartedness visiting a friend, and Ilya gladly accepted his help in everyday affairs. You can read more about this in the essay "Friendship of Oblomov and Stolz".
3. Finding the meaning of life. All heroes are looking for their own way, looking for the answer to the eternal question about the destiny of man. Ilya found it in reflection and finding spiritual harmony, in dreams and the very process of existence. Stolz found himself in the eternal movement forward. Detailed in the essay.

Problems

The main problem of Oblomov is the lack of motivation to move. The whole society of that time really wants, but cannot wake up and get out of that terrible depressing state. Many people have become and are still becoming Oblomov victims. A living hell is to live life as a dead man and not see any purpose. It was this human pain that Goncharov wanted to show, resorting to the concept of conflict for help: here there is a conflict between a person and society, and between a man and a woman, and between friendship and love, and between loneliness and an idle life in society, and between work and hedonism and between walking and lying down and so on and so forth.

• The problem of love. This feeling can change a person for the better, this transformation is not an end in itself. For Goncharov's heroine, this was not obvious, and she put all the strength of her love into the re-education of Ilya Ilyich, not seeing how painful it was for him. Remaking her lover, Olga did not notice that she was squeezing out of him not only bad character traits, but also good ones. In fear of losing himself, Oblomov could not save his beloved girl. He faced the problem of a moral choice: either remain himself, but alone, or play another person all his life, but for the good of his wife. He chose his individuality, and in this decision you can see selfishness or honesty - to each his own.
• Friendship issue. Stolz and Oblomov passed the test of one love for two, but could not snatch a single minute from family life to maintain camaraderie. Time (and not a quarrel) separated them, the routine of days tore the former strong friendly ties. From separation, they both lost: Ilya Ilyich finally launched himself, and his friend was mired in petty worries and troubles.
• The problem of education. Ilya Ilyich became a victim of a sleepy atmosphere in Oblomovka, where servants did everything for him. The boy's vivacity was dulled by endless feasts and slumbers, the dull stupor of the wilderness left its mark on his addictions. becomes clearer in the episode "Oblomov's Dream", which we analyzed in a separate article.

Idea

Goncharov's task is to show and tell what "Oblomovism" is, opening its wings and pointing out both its positive and negative sides and enabling the reader to choose and decide what is paramount for him - Oblomovism or real life with with all its injustice, materiality and activity. The main idea in the novel "Oblomov" is a description of the global phenomenon of modern life, which has become part of the Russian mentality. Now the name of Ilya Ilyich has become a household name and denotes not so much a quality as a whole portrait of the person in question.

Since no one forced the nobles to work, and the serfs did everything for them, phenomenal laziness flourished in Russia, engulfing the upper class. The backbone of the country was rotten from idleness, in no way contributing to its development. This phenomenon could not but arouse concern among the creative intelligentsia, therefore, in the image of Ilya Ilyich, we see not only a rich inner world, but also inaction that is disastrous for Russia. However, the meaning of the kingdom of laziness in the novel "Oblomov" has a political connotation. No wonder we mentioned that the book was written during a period of stricter censorship. It has a hidden, but, nevertheless, the main idea that the authoritarian regime of government is to blame for this general idleness. In it, a person does not find any use for himself, stumbling only on restrictions and fear of punishment. The absurdity of subservience reigns around, people do not serve, but are served, therefore a self-respecting hero ignores the vicious system and, as a sign of silent protest, does not play an official who still does not decide anything and cannot change. The country under the gendarmerie's boot is doomed to regress, both at the level of the state machine, and at the level of spirituality and morality.

How did the novel end?

The life of the hero was cut short by obesity of the heart. He lost Olga, he lost himself, he even lost his talent - the ability to think. Living with Pshenitsyna did not do him any good: he was mired in a kulebyak, in a tripe pie, which swallowed and sucked poor Ilya Ilyich. Fat ate his soul. His soul was eaten by Pshenitsyna's repaired dressing gown, the sofa, from which he swiftly slid down into the abyss of innards, into the abyss of offal. This is the finale of the novel Oblomov - a gloomy, uncompromising verdict on Oblomovism.

What does it teach?

The novel is cheeky. Oblomov holds the reader's attention and places this very attention on the whole part of the novel in a dusty room where the main character does not get out of bed and shouts: "Zakhar, Zakhar!". Well, isn't that nonsense?! And the reader doesn’t leave… and can even lie down next to him, and even wrap himself in an “oriental robe, without the slightest hint of Europe”, and not even decide anything about the “two misfortunes”, but think about them all… Goncharov’s psychedelic novel loves to lull reader and pushes him to fend off the fine line between reality and dream.

Oblomov is not just a character, it is a lifestyle, it is a culture, it is any contemporary, it is every third inhabitant of Russia, every third inhabitant of the whole world.

Goncharov wrote a novel about the universal worldly laziness to live in order to overcome it himself and help people cope with this disease, but it turned out that he justified this laziness only because he lovingly described every step, every weighty idea of ​​the bearer of this laziness. It is not surprising, because Oblomov's "crystal soul" still lives in the memories of his friend Stolz, his beloved Olga, his wife Pshenitsyna, and, finally, in the tearful eyes of Zakhar, who continues to go to the grave of his master. In this way, Goncharov's conclusion- to find the golden mean between the "crystal world" and the real world, finding a calling in creativity, love, development.

Criticism

Readers of the 21st century rarely read a novel, and if they do, they do not read it to the end. It is easy for some fans of Russian classics to agree that the novel is somewhat boring, but boring on purpose, forcing. However, this does not frighten reviewers, and many critics were happy to disassemble and still analyze the novel by psychological bones.

One popular example is the work of Nikolai Aleksandrovich Dobrolyubov. In his article “What is Oblomovism?” the critic gave an excellent description of each of the characters. The reviewer sees the reasons for laziness and inability to arrange Oblomov's life in education and in the initial conditions where the personality was formed, or rather was not.

He writes that Oblomov is “not a stupid, apathetic nature, without aspirations and feelings, but a person who is also looking for something in his life, thinking about something. But the vile habit of getting the satisfaction of his desires not from his own efforts, but from others, developed in him an apathetic immobility and plunged him into a miserable state of moral slavery.

Vissarion Grigoryevich Belinsky saw the origins of apathy in the influence of the whole society, since he believed that a person was originally a blank canvas created by nature, therefore, some development or degradation of a particular person is on the scales that belong directly to society.

Dmitry Ivanovich Pisarev, for example, looked at the word "Oblomovism" as an eternal and necessary organ for the body of literature. "Oblomovism" according to him is a vice of Russian life.

The sleepy, routine atmosphere of a rural, provincial life added to what the labors of parents and nannies did not have time to do. The greenhouse plant, which in childhood had not become acquainted not only with the excitement of real life, but even with childish sorrows and joys, smelled of a stream of fresh, lively air. Ilya Ilyich began to study and developed so much that he understood what life is, what the duties of a person are. He understood this intellectually, but could not sympathize with the accepted ideas about duty, about work and activity. The fatal question: why live and work? - the question that usually arises after numerous disappointments and deceived hopes, directly, by itself, without any preparation, presented itself in all its clarity to the mind of Ilya Ilyich, - the critic wrote in his well-known article.

Alexander Vasilievich Druzhinin looked at Oblomovism and its main representative in more detail. The critic singled out 2 main aspects of the novel - external and internal. One lies in the life and practice of the daily routine, while the other occupies the area of ​​​​the heart and head of any person, which does not cease to collect crowds of destructive thoughts and feelings about the rationality of the existing reality. If you believe the critics, then Oblomov became dead because he preferred to die, and not live in eternal incomprehensible fuss, betrayal, self-interest, monetary imprisonment and absolute indifference to beauty. However, Druzhinin did not consider "Oblomovism" an indicator of attenuation or decay, he saw sincerity and conscience in it, and believed that Goncharov himself was responsible for this positive assessment of "Oblomovism".

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Agafya Pshenitsyna

Pshenitsyna Agafya Matveevna - the widow of an official, the illegal wife of Oblomov. “She was about 30 years old. She was very white and full in the face. She had almost no eyebrows at all ... Her eyes were grayish-innocent, like the whole expression of her face; the arms are white, but hard, with large knots of blue veins protruding."
Before Oblomov, P. lived without thinking about anything. She was completely uneducated, even stupid. She was not interested in anything but housekeeping. But in this she excelled.
P. was in constant motion, realizing that "there is always work." It was the work that was the content and meaning of the life of this heroine. In many ways, it was precisely with her activity that P. captivated Oblomov.
Gradually, with the justification of Oblomov in her house, important changes take place in P.'s nature. Anxieties, glimpses of thoughts, and finally, love awaken in her. Her heroine manifests in her own way, taking care of clothes and a table for Oblomov, praying for his health, caring for the hero at night during his illness. “All her household ... received a new, living meaning: the peace and comfort of Ilya Ilyich ... She began to live in her own way, fully and diversely.” P. is the only absolutely disinterested and decisive person surrounded by Oblomov. For his sake, she is ready to do anything: pawn jewelry, borrow money from the relatives of her late husband. When P. learns about the intrigues of the "brother" and godfather against Oblomov, she does not hesitate to break off all relations with them. P. and Oblomov have a son. Realizing his difference from the rest of his children, P. after the death of Oblomov meekly gives him up to be raised by Stolz. Becoming a widow, P. realized that she had the meaning of life, she "knew why she lived and that she did not live in vain." At the end of the novel, P.'s disinterestedness manifests itself with renewed vigor: she does not need reports from the Oblomov estate and income from it. The light of life P. died out along with the life of Oblomov.

Zakhar

Zakhar is Oblomov's servant. This is “an elderly man, in a gray frock coat, with a hole under his arm ... with a bare skull, like a knee, and with immensely wide, thick, gray-haired blond sideburns ...”
Z. is lazy and sloppy. Everything that Z. touches breaks and beats. He can serve food to Oblomov on dirty or beaten dishes, he can serve food raised from the floor, etc. He justifies this philosophically: everything that is done is pleasing to the Lord, and this is not worth fighting. But the outward looseness of Z. is deceptive. He cares about the master's good, knows him without fail. Despite Tarantiev's pressure, Z. does not give him anything from the master's clothes, confident that he will not return it. Z. is a servant of the old school, idolizing his master and his entire family. When Oblomov scolds the servant for likening him to other people living in the world, Z. feels guilty. Indeed, his master is special and the best. But, along with devotion to the owner, Z. is characterized by refinement and depravity of morals. He likes to drink with friends, gossip with other servants, either praising or belittling his master. On occasion, Z. can also pocket money for himself, change from a store, for example. The life of Z. is closely connected with the life of Oblomov. The last two representatives of Oblomovka, each in their own way, sacredly keep her testaments in their souls. Even when Z. marries the cook Anisya, he tries not to let her see the master, but does everything for him himself, considering this his inviolable duty. Z.'s life ends with the life of Oblomov. After his death, Z. is forced to leave Pshenitsyna's house. He ends his life on the porch as a poor old man. This is how Stoltz meets him and offers to take him to the village. But the faithful servant refuses: he cannot leave the grave of his master unattended.

Mikhey Tarantiev

Tarantiev Mikhey Andreevich - Oblomov's countryman. Where he came from and how he got into the trust of Ilya Ilyich is unknown. T. appears on the very first pages of the novel - “a man of about forty, belonging to a large breed, tall, voluminous in the shoulders and throughout the body, with large features, with a large head, with a strong, short neck, with large protruding eyes, thick-lipped . A cursory glance at this man gave rise to the idea of ​​​​something rough and unkempt.
This type of bribe-taking official, a rude person, ready to scold everyone in the world every minute, but at the last minute cowardly hiding from a well-deserved reprisal, was not discovered in literature by Goncharov. It was after Goncharov that it became widespread, in the works of M.E. Saltykov-Shchedrin, A.V. Sukhovo-Kobylin. T. is that “coming Ham”, which gradually reigned throughout Russia and which grew into a formidable symbol in the image of the Sukhovo-Kobylin Rasplyuev.
But T. has another curious feature. “The fact is that Tarantiev was a master only to speak; in words he decided everything clearly and easily, especially as regards others; but as soon as it was necessary to move a finger, move off - in a word, apply the theory he created to the case and give it a practical move ... he was a completely different person: here he was not enough ... "This feature, as you know, characterizes not only rude and uncouth characters of these writers, but to some extent "superfluous people". Like T., they also remained “theoreticians for life”, applying their abstract philosophy to the place and not to the place. Such a theoretician needs a number of practices that could bring his ideas to life. T. finds himself a "godfather" Ivan Matveyevich Mukhoyarov, a morally unscrupulous man, ready for any meanness, who does not disdain anything in his thirst for accumulation.

At first, Oblomov believes that T. is able to help him with the worries on the estate, in changing the apartment. Gradually, not without the influence of Olga Ilyinskaya and Andrei Stolz, Ilya Ilyich begins to understand what a quagmire T. is trying to drag him into, slowly forcing Oblomov to sink to the very bottom of life. T.'s attitude towards Stolz is not so much the contempt of a Russian person for a German, with whom T. rather hides behind, but the fear of exposing the grandiose machinations that T. hopes to bring to an end. It is important for him, with the help of proxies, to seize Oblomovka, receiving interest on the income of Ilya Ilyich, and even to confuse him himself, having obtained proof of Oblomov’s connection with Pshenitsyna.
T. hates Stolz, calling him "a blowing beast." Out of fear that Stolz will still take Oblomov abroad or to Oblomovka, T., with the assistance of Mukhoyarov, is in a hurry to force Ilya Ilyich to sign a predatory contract for an apartment on the Vyborg side. This contract deprives Oblomov of the possibility of any action whatsoever. Following this, T. persuades Mukhoyarov, “until the boobies are gone in Russia,” to have time to marry Oblomov to the new manager of the estate, Isai Fomich Zated, very successful in bribes and forgeries. T.'s next step is to put into practice (with the help of the same Mukhoyarov) the idea of ​​Oblomov's "debt". As if offended for the honor of his sister, Mukhoyarov must accuse Ilya Ilyich of claims to the widow Pshenitsyna and sign a paper on compensation for moral damage in the amount of ten thousand rubles. The paper is then rewritten in the name of Mukhoyarov, and the godfathers receive money from Oblomov.

After the exposure of these machinations by Stolz, T. disappears from the pages of the novel. Only at the very end is he mentioned by Zakhar, who, when meeting with Stolz at the cemetery on the Vyborg side, tells how much he had to endure after the death of Ilya Ilyich from Mukhoyarov and T., who wanted to kill him from the world. “Mikhei Andreevich Tarantyev strove everything, as you pass by, kick him from behind: there was no more life!” Thus, T. took revenge on Zakhar for the neglect shown by the servant in those days when T. came to Oblomov to dine and ask for either a shirt, or a vest, or a tailcoat - of course, without return. Each time, Zakhar stood up for the protection of the master's good, grumbling like a dog at an intruder and not hiding his feelings for a low person.
Oblomov

This is how the main character appears to the reader at the very beginning of the novel: “He was a man of about thirty-two or three years old, of medium height, of pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in facial features ... His movements when he was even alarmed, they were also restrained by softness and laziness, not devoid of a kind of grace. All anxiety was resolved with a sigh and faded into apathy or drowsiness. Lying down with Ilya Ilyich was not ... a necessity ... it was his normal state. Oblomov's home costume - an oriental robe, as well as the life of Ilya Ilyich described in detail by the author, complement the image of the hero and help to better understand his character. “On the walls, near the paintings, a cobweb saturated with dust was molded in the form of festoons; mirrors, instead of reflecting objects, could rather serve as tablets for writing down some memoirs on them over the dust.”

Before us appears a character far from impartial, it seems that laziness, passivity, indifference are deeply rooted in him. But at the same time, against the background of his "friends", deceitful, selfish, boastful people who paid him a visit at the very beginning of the novel, the reader gets acquainted with Oblomov's positive qualities: purity of thoughts, honesty, kindness, cordiality.

For a more complete disclosure of Oblomov's character, Goncharov contrasts him with other heroes of the novel, Andrei Stolz and Olga Ilyinskaya.

Stolz is, of course, the antipode of Oblomov. Every trait of his character is a sharp protest against the qualities of Ilya Ilyich. Stolz loves life - Oblomov often falls into apathy; Stolz has a thirst for activity - for Oblomov, the best activity is relaxing on the couch. The origins of this opposition in the education of heroes.
The author makes one involuntarily compare the childhood of little Andrei with the childhood of Ilyusha. Unlike Stolz, who grew up under the tutelage of his father, independent, stubborn in achieving his goals, thrifty, the main character grew up as a child, accustomed to having all his desires satisfied not as a result of his own efforts, but from the hard work of others. The village where Oblomov was brought up was, according to Dobrolyubov, the soil on which Oblomovism grew. Such an upbringing developed in Ilya Ilyich an apathetic immobility and plunged him into the miserable state of a moral slave. This is one of Oblomov's tragedies touched upon in the novel - the young and active Ilyusha was infected from childhood with an "incurable disease", Oblomovism - laziness generated by fear of change and fear of the future.
Stolz, in whom the author instilled a force capable of reviving the Oblomovs and destroying the Oblomovs, considers it his duty to change the way of life of his friend.

Andrei tries to "walk" Ilya Ilyich into people, goes with him to dinner parties, at one of which he introduces him to Olga Ilyinskaya. She “in the strict sense was not a beauty ... But if she were turned into a statue, she would be a statue of grace and harmony”, “in a rare girl you will find such simplicity and natural freedom of sight, word, deed ... no lie, no tinsel, no intent !" Olga in the novel is the embodiment of grace, concentration, lightness. Oblomov is immediately captivated by the amazing voice of the girl, listening to her magnificent "Casta diva". At the request of Stolz, Olga draws up a plan for how she will take advantage of Oblomov's love in order to "remake" him into an active, active person. Olga understands that in relations with Oblomov she has the main role, "the role of a guiding star." She was transformed along with Oblomov's changes, because these changes are the work of her hands. “And she will do all this miracle ... She even trembled with proud, joyful awe; I considered it a lesson appointed from above. In the course of her experiment, Olga falls in love with Oblomov, which brings her whole plan to a standstill and leads to tragedy in their further relationship.

Oblomov and Olga expect the impossible from each other. She is from him - activity, will, energy. In her view, he should become like Stolz, but only retain the best that is in his soul. He is from her - reckless, selfless love. But Olga loves that Oblomov whom she created in her imagination, whom she sincerely wanted to create in life. “I thought that I would revive you, that you could still live for me, but you died a long time ago,” Olga says with difficulty and asks a bitter question: “Who cursed you, Ilya? What did you do? What ruined you? There is no name for this evil..." - "Yes, - Ilya answers. - Oblomovism!" The tragedy of Olga and Oblomov becomes the final verdict on the terrible phenomenon that Goncharov portrayed in his novel.
The main thing, in my opinion, is another tragedy of Oblomov - humility, unwillingness to overcome such an ailment as Oblomovism. In the course of the novel, Oblomov set himself many tasks that, it would seem, are of paramount importance to him: to reform the estate, get married, travel around the world, and, finally, find himself a new apartment in St. Petersburg to replace the one from which he was evicted . But a terrible "disease" does not allow him to get down to business, she "dumped him on the spot." But Oblomov, in turn, does not try to get rid of her, but only tries in vain to shift his problems onto the shoulders of another, as he was taught in childhood. The tragedy of Ilya Ilyich is that even such high and noble feelings as love and friendship cannot make him wake up from eternal sleep.

Olga Ilinskaya

Olga Sergeevna Ilyinskaya - Oblomov's beloved, Stolz's wife, a bright and strong character.
“Olga in the strict sense was not a beauty ... But if she were turned into a statue, she would be a statue of grace and harmony”, “In a rare girl you will find such simplicity and natural freedom of sight, word, deed ... no lies, no tinsel, no intent !"
The author emphasizes the rapid spiritual development of his heroine: she "as if listening to the course of life by leaps and bounds."

O. and Oblomov introduces Stolz. Ilya Ilyich is immediately captivated by the amazing voice of the girl. Listening to her magnificent "Casta diva", Oblomov falls more and more in love with O.

The heroine is self-confident, her mind requires constant work. Having fallen in love with Oblomov, she certainly wants to change him, raise him to her ideal, re-educate him. O. draws up a plan to "remake" Oblomov into an active, active person. “And she will do all this miracle ... She even trembled with proud, joyful awe; I considered it a lesson appointed from above. O. understands that in relations with Oblomov she has the main role, "the role of a guiding star." She was transformed along with Oblomov's changes, because these changes are the work of her hands. But the mind and soul of the heroine required further development, and Ilya Ilyich changed very slowly, reluctantly and lazily. O.'s feeling resembles rather the experience of re-educating Oblomov than sincere first love. She does not inform Oblomov that all affairs on her estate have been settled only in order to “follow to the end how love will make a revolution in his lazy soul ...” But, realizing that her life ideals will never converge with Oblomov’s ideals, O. breaks relationship with him: “... you are ready to coo all your life under the roof ... but I’m not like that: this is not enough for me, I need something else, but I don’t know what!” O. needs to feel that her chosen one is above her. But even Stolz, whom she will marry, does not succeed. "The deep abyss of her soul" haunts O. rest. She is doomed forever striving for development and a richer, spiritually rich life.

Stolz

STOLZ is the central character in I.A. Goncharov's novel "Oblomov" (1848-1859). The literary sources of Sh.'s image are Gogol's Konstanzhonglo and the merchant Murazov (the second volume of "Dead Souls"), Pyotr Aduev ("Ordinary History"). Later, Sh. Goncharov developed the type in the image of Tushin (“Cliff”).
Sh. is the antipode of Oblomov, a positive type of practical figure. In the image of Sh., according to Goncharov's plan, such opposite qualities as, on the one hand, sobriety, prudence, efficiency, knowledge of people of a practical materialist should have been harmoniously combined; on the other - spiritual subtlety, aesthetic susceptibility, high spiritual aspirations, poetry. Thus, the image of Sh. is created by these two mutually exclusive elements: the first comes from his father, a pedantic, stern, rude German (“his father put him with him on a spring cart, gave the reins and ordered him to be taken to the factory, then to the fields, then to the city , to merchants, to offices"); the second - from her mother, a Russian, poetic and sentimental nature ("she rushed to cut Andryusha's nails, curl her curls, sew elegant collars and shirt-fronts, sang to him about flowers, dreamed of a high role with him about the poetry of life ..."). His mother was afraid that Sh., under the influence of his father, would become a rude burgher, but Sh.’s Russian environment prevented (“Oblomovka was nearby: there is an eternal holiday!”), As well as the princely castle in Verkhlev with portraits of pampered and proud nobles “in brocade, velvet and lace." “On the one hand, Oblomovka, on the other, the princely castle, with a wide expanse of aristocratic life, met with the German element, and neither a good bursh, nor even a philistine, came out of Andrei.”

Sh., in contrast to Oblomov, makes his own way in life. It is not for nothing that Sh. comes from the bourgeois class (his father left Germany, wandered around Switzerland and settled in Russia, becoming the manager of the estate). Sh. brilliantly graduates from the university, serves with success, retires to do his own thing; makes a house and money. He is a member of a trading company that sends goods abroad; as an agent of the company, Sh. travels to Belgium, England, throughout Russia. Sh.'s image is built on the basis of the idea of ​​balance, the harmonic correspondence of the physical and spiritual, mind and feelings, suffering and pleasure. Sh.'s ideal is measure and harmony in work, life, rest, and love. The portrait of Sh. contrasts with the portrait of Oblomov: “He is all made up of bones, muscles and nerves, like a blooded English horse. He is thin, he has almost no cheeks at all, that is, bone and muscle, but no sign of fat roundness ... "The ideal of Sh.'s life is unceasing and meaningful work, this is" the image, content, element and purpose of life. Sh. defends this ideal in a dispute with Oblomov, calling the latter's utopian ideal "Oblomovism" and considering it harmful in all spheres of life.

Unlike Oblomov, Sh. passes the test of love. He meets the ideal of Olga Ilyinskaya: Sh. combines masculinity, fidelity, moral purity, universal knowledge and practical acumen, allowing him to emerge victorious in all life's trials. Sh. marries Olga Ilyinskaya, and Goncharov tries in their active alliance, full of work and beauty, to present an ideal family, a true ideal that fails in Oblomov’s life: “we worked together, dined, went to the fields, made music as Oblomov dreamed ... Only there was no drowsiness, despondency with them, they spent their days without boredom and without apathy; there was no languid look, no word; the conversation did not end with them, it was often hot. In friendship with Oblomov, Sh. also turned out to be on top: he replaced the rogue manager, destroyed the intrigues of Tarantiev and Mukhoyarov, who tricked Oblomov into signing a fake loan letter.
The image of Sh., according to Goncharov, was supposed to embody a new positive type of Russian progressive figure (“How many Stoltsev should appear under Russian names!”), Combining both the best Western tendencies and Russian breadth, scope, spiritual depth. Type Sh. was supposed to turn Russia onto the path of European civilization, to give it the proper dignity and weight in the ranks of European powers. Finally, S.'s efficiency does not come into conflict with morality; the latter, on the contrary, complements efficiency, gives it inner strength and strength.
Contrary to Goncharov's intention, utopian features are palpable in the image of Sh. Rationalism and rationalism, embedded in the image of Sh., damages artistry. Goncharov himself was not entirely satisfied with the image, believing that Sh. was “weak, pale,” that “an idea peeps out of him too nakedly.” Chekhov expressed himself more sharply: “Stoltz does not inspire any confidence in me. The author says that this is a magnificent fellow, but I do not believe it. This is a puristic beast who thinks very well of himself and is pleased with himself. It is half composed, three-quarters stilted" (letter 1889). The failure of the image of Sh., perhaps, is due to the fact that Sh. is not artistically shown in the large-scale activity in which he is successfully engaged.

Name: Ilya Oblomov

Country: Russia

Creator:

Activity: landowner

Family status: married

Ilya Oblomov: character history

The novel is dedicated to the state characteristic of a Russian person. He describes a hero who has fallen into personal stagnation and apathy. The work gave the world the term "Oblomovism" - a derivative from the name of the character of the story. Goncharov created a striking example of 19th century literature. The book turned out to be the pinnacle of the writer's work. The novel is included in the school curriculum of Russian literature and does not lose its relevance, although two centuries have passed since its creation.

History of creation

"Oblomov" is a landmark work for Russian literature of the XIX century. Its meaning is not always available to schoolchildren who get acquainted with the book at a young age. Adults more deeply consider the idea that the author wanted to convey.

The main character of the work is the landowner Ilya Oblomov, whose lifestyle is incomprehensible to others. Some consider him a philosopher, others - a thinker, others - a lazy person. The author allows the reader to form their own opinion without being categorical about the character.

It is impossible to evaluate the idea of ​​the novel separately from the history of the creation of the work. The basis of the book was the story "Dashing Pain", written by Goncharov several years earlier. Inspiration caught up with the writer at a time when the social and political situation in Russia was tense.

At that time, the image of an apathetic tradesman who was not able to take responsibility for his actions and decisions was typical for the country. Reasoning influenced the idea of ​​the book. The critic wrote about the appearance of the image of the "superfluous person" in the literary works of that time. He described the hero as a freethinker, incapable of serious action, a dreamer, useless for society. The appearance of Oblomov is a visual embodiment of the nobility of those years. The novel describes the changes taking place in the hero. The characterization of Ilya Ilyich is subtly outlined in each of the four chapters.

Biography

The protagonist was born into a landowner's family, living according to the traditional aristocratic way of life. The childhood of Ilya Oblomov was spent in the family estate, where life was not very diverse. The parents loved the boy. Affectionate nanny pampered with fairy tales and jokes. Sleep and long sitting at a meal were commonplace for households, and Ilya easily adopted their inclinations. He was taken care of from all sorts of misfortunes, not allowing him to deal with the difficulties that arose.

According to Goncharov, the child grew up apathetic and withdrawn until he turned into a thirty-two-year-old unprincipled man with an attractive appearance. There was no interest in anything and no focus on a particular subject. Serfs provided the hero with income, so he did not need anything. The clerk robbed him, the place of residence gradually fell into disrepair, and the sofa became his permanent location.

The descriptive image of Oblomov includes the bright features of a lazy landowner and is collective. Goncharov's contemporaries tried not to name their sons Ilya if they were the namesakes of their fathers. The common noun that Oblomov's name acquired was diligently avoided.

The satirical description of the appearance of the character becomes a continuation of the string of "superfluous people", which he began and continued. Oblomov is not old, but already flabby. His face is expressionless. Gray eyes do not carry a shadow of thought. He wears an old dressing gown. Goncharov pays attention to the appearance of the character, noting his effeminacy and passivity. The dreamer Oblomov is not ready for action and indulges in laziness. The tragedy of the hero lies in the fact that he has great prospects, but is not able to realize them.

Oblomov is kind and disinterested. He does not have to make any effort, and if such a prospect arises, he is afraid of it and shows uncertainty. He often dreams of the atmosphere of his native estate, evoking a sweet longing for his native places. Periodically, beautiful dreams are dispelled by other heroes of the novel.

He is the antagonist of Ilya Oblomov. Friendship between men began in childhood. The antipode of the dreamer, who has German roots, Stolz avoids idleness and is used to working. He criticizes the lifestyle preferred by Oblomov. Stolz knows that the first attempts of a friend to realize themselves in a career ended in failure.

Having moved to St. Petersburg as a young man, Ilya tried to serve in the office, but things were not going well, and he preferred inaction. Stolz is an ardent opponent of passivity and tries to be active, although he understands that his work is not intended for lofty goals.

She became a woman who managed to awaken Oblomov from idleness. The love that settled in the heart of the hero helped to leave the usual sofa, forget about drowsiness and apathy. A golden heart, sincerity and breadth of soul attracted the attention of Olga Ilyinskaya.

She valued Ilya's imagination and fantasy, and at the same time tried to assert herself through caring for a person who had cut himself off from the world. The girl was inspired by the ability to influence Oblomov and understood that their relationship would not continue. The indecision of Ilya Ilyich caused the collapse of this union.

Fleeting obstacles are perceived by Oblomov as invincible obstacles. He is not able to adapt and adjust to the social framework. Inventing his own cozy world, he moves away from reality, where he has no place.

Closure became the path to the emergence of simple happiness in life, and it was brought by a woman who was constantly nearby. rented the apartment where the hero lived. After breaking up with Olga Ilyinskaya, he found solace in the attention of Agafya. A thirty-year-old woman fell in love with a tenant, and the feelings did not require changes in character or lifestyle.

Having united the farms, little by little they began to show confidence in each other and healed soul to soul. Pshenitsyna did not demand anything from her husband. She was content with her virtues and ignored her faults. In marriage, the son Andryusha was born, the only consolation of Agafya after the death of Oblomov.

• The chapter "Oblomov's Dream" describes how the hero dreams of a thunderstorm. According to popular belief, it is impossible to work on Ilyin's day, so as not to accept death from thunder. Ilya Ilyich has not worked all his life. The author justifies the character's idleness by believing in omens.
• A native of a village whose life is cyclical, Oblomov builds love relationships according to this principle. Getting acquainted with the Ilyinsky spring, he confesses his feelings in the summer, gradually falls into apathy in the fall and tries to avoid meetings in the winter. The relationship between the characters lasted a year. This was enough to experience a bright palette of feelings and cool them down.

• The author mentions that Oblomov served as a collegiate assessor and managed to be a provincial secretary. Both positions did not correspond to the class to which the landowner belonged, and they could be achieved by hard work. Comparing the facts, it is easy to assume that the hero, who was lazy and while studying at the university, got the position in a different way. The classes of Pshenitsyna and Oblomov corresponded, which the author emphasizes the kinship of souls.
• Life with Agafya suited Oblomov. It is curious that even the woman's surname is consonant with the rural nature, for which the hero yearned.

Quotes

Despite laziness, Oblomov shows himself to be an educated and sensitive person, a deep person with a pure heart and good thoughts. He justifies inaction with the words:

“…Some people have nothing else to do but to speak. There is a calling."

Internally, Oblomov is strong to commit an act. The main step towards changes in his life is love for Ilyinskaya. For her sake, he is capable of feats, one of which is saying goodbye to his favorite bathrobe and sofa. It is quite possible that an object that could interest the hero so strongly was simply not found. And since there is no interest, why forget about the conveniences? So he criticizes light:

“... There is no business of their own, they scattered in all directions, did not go to anything. Under this comprehensiveness lies emptiness, lack of sympathy for everything! .. "

Oblomov in Goncharov's novel appears at the same time as a lazy person with a negative connotation and an exalted character with a poetic talent. In his words, there are subtle turns and expressions that are alien to the hard worker Stolz. His graceful phrases beckon Ilinskaya and turn Agafya's head. Oblomov's world, woven from dreams and dreams, is built on the melody of poetry, love for comfort and harmony, peace of mind and goodness:

"... Memories - or the greatest poetry, when they are memories of living happiness, or - burning pain, when they touch dried wounds."

The first part of Goncharov's large-scale novel describes the dream of Ilya Ilyich, the protagonist of Oblomov. This episode of the work of the great author is a description of the true image of the hero's personality, and serves as a starting point for understanding the meaning of the novel. The characterization of the hero creates a general portrait of Oblomovism, a phenomenon that has absorbed the worst vices of Russian society, and allows us to regard the genre of the novel as a social and everyday work. The confrontation of the characters highlights the differences between conflicting worldviews, and reveals the essence of each character.

Characteristics of the heroes of "Oblomov"

main characters

Minor characters

The table gives a brief description of the characters in the novel.

Artwork test

The novel "Oblomov" is one of the brightest works of Russian literature of the 19th century, which even today excites readers with the sharpness of the questions raised by the author. The book is interesting, first of all, because the problematics of the novel is revealed through the method of antithesis. The opposition in Oblomov of the main characters makes it possible to emphasize the conflict between different worldviews and characters, as well as to better reveal the inner world of each character.

The action of the work revolves around the fate of the four main characters of the book: Ilya Ilyich Oblomov, Andrey Ivanovich Stolz, Olga Ilyinskaya and Agafya Pshenitsyna (some researchers supplement this list with Zakhar, however, in terms of significance in the story, he still belongs to secondary characters). Through male and female characters in the novel, the author analyzes various aspects of a person's social and personal life, reveals many "eternal" topics.

Characteristics of male characters

Ilya Oblomov and Andrey Stoltz – the main characters of "Oblomov" Goncharova. According to the plot of the novel, the men met during their school years and, having become friends, continued to support each other even decades later. Oblomov and Stolz are an example of a really strong, reliable and fruitful friendship for both men. Ilya Ilyich saw in Andrei Ivanovich a person who is always ready and, most importantly, knows how to solve his problems with those around him, with the expenses and income of the estate. For Stolz, Oblomov was a pleasant conversationalist, whose company had a pacifying effect on Andrei Ivanovich and helped him return to peace of mind, which he often lost in pursuit of new achievements.

In "Oblomov" the characters are presented as antipodes - completely different and almost in no way similar characters. This is clearly seen in the depiction of the fates of Oblomov and Stolz. Ilya Ilyich grew up as a "hothouse", "indoor" child, who from an early age was taught to a lordly lifestyle, laziness and attitude to new knowledge as something optional and unnecessary. After graduating from school and university “for show”, Ilya Ilyich enters the service, where one of the first disappointments in life awaits him - at work you need to fight for your place, constantly work and be better than others. However, the most unpleasant thing for Ilya Ilyich is that his colleagues remain unfamiliar people, and do not become a new family for a man. Not accustomed to disappointments and blows, Oblomov, after the first failure at work, gives up and closes himself from society, creating his own special world of illusory Oblomovka.

Against the background of the active, striving forward Stolz, Ilya Ilyich looks like a lazy, apathetic bumpkin who simply does not want to do anything himself. Andrei Ivanovich's childhood and youth were filled with new impressions. Without suffering from excessive parental care, Stoltz could leave home for several days, choose his own way forward, read a lot and was interested in almost everything. Andrei Ivanovich learned his love for knowledge from his mother, while his practical approach to everything, perseverance and ability to work came from his German father. At the end of the university, Stolz leaves his native estate, independently building his own destiny, earning material wealth and meeting the right people.

The interdependence of male images

The male images of the heroes in the novel "Oblomov" are two ways of realizing a person in society, two leading principles that do not find a harmonious combination in any of the characters. On the other hand, Stolz and Oblomov complement each other perfectly, help each other in finding the most important things to achieve true, not illusory happiness. After all, Oblomov, in his dreams of rebuilding Oblomovka, appeared to be a person no less active and sociable than his friend, while Stolz throughout the novel continues to reach for the peace of mind that he found in Oblomov. As a result, unconsciously for himself, Andrei Ivanovich creates a kind of Oblomovka in his own estate after marriage with Olga, gradually turning into a person tied to his home and appreciating the monotonous, calm flow of time.

Despite the fact that the characteristics of the heroes of Oblomov are based on antithesis, neither Oblomov nor Stolz are Goncharov's ideals, but rather are presented as an extreme manifestation of Oblomov's and progressive features in a person. The author showed that without the harmony of these two principles, a person will not feel full and happy, will not be able to realize himself both socially and spiritually.

Characteristics of female images

The main characters of the novel "Oblomov" are also opposed to each other. Olga Ilyinskaya is a young lady from a wealthy family, from childhood she studied literacy, science and the art of singing, an active and purposeful girl who likes to choose her own fate on her own, without adjusting to her husband or loved ones. Olga is not at all like the meek, homely Agafya, ready for anything for the sake of a loved one, able to adapt to any lifestyle, if only Oblomov was happy. Ilyinskaya was not ready to follow the wishes of Ilya Ilyich, to become his ideal "Oblomov" woman, whose main area of ​​\u200b\u200bactivity would be the household - that is, the framework prescribed by Domostroy.

Unlike the uneducated, simple, quiet - the true prototype of the Russian woman - Agafya, Olga is an absolutely new type of emancipated woman for Russian society, who does not agree to limit herself to four walls and cooking, but sees her destiny in continuous development, self-education and striving forward . However, the tragedy of Ilyinskaya's fate lies in the fact that even having married an active, active Stolz, the girl still takes on the role of a wife and mother, classic for Russian society, not much different from the role described in Domostroy. The discrepancy between desires and the real future leads to Olga's constant sadness, the feeling that she did not live the life she dreamed of.

Conclusion

The main characters of the novel "Oblomov" are interesting, attractive personalities, whose stories and destinies make it possible to better understand the ideological meaning of the work. On the example of male characters, the author analyzes the topics of human development, becoming in society, the ability to set goals and achieve them, and on the example of female characters, she reveals the theme of love, devotion, the ability to accept a person as he is.
Oblomov and Stolz are characters not only opposed, but also complementary, just like Olga and Agafya, by the way. Having adopted or developed in themselves the features and qualities of the antipode image, the characters could become absolutely happy and harmonious, because it is precisely in the misunderstanding of the path to true happiness that the tragedy of the characters of Oblomov lies. That is why their characteristics in Goncharov's novel do not have an exclusively negative or positive connotation - the author does not lead the reader to ready-made conclusions, suggesting that he himself choose the right path.

Artwork test