In the novel "Oblomov" the skill of Goncharov the prose writer manifested itself with full force. Gorky, who called Goncharov "one of the giants of Russian literature", noted his special, plastic language. Goncharov's poetic language, his talent for imaginative reproduction of life, the art of creating typical characters, compositional completeness and the enormous artistic power of the picture of Oblomovism presented in the novel and the image of Ilya Ilyich - all this contributed to the fact that the novel "Oblomov" took its rightful place among the masterpieces of world classics.

Of great importance in the work is the portrait characteristics of the characters, with the help of which the reader gets acquainted with the characters and forms an idea about them and the traits of their characters. The protagonist of the novel, Ilya Ilyich Oblomov, is a man of thirty-two to thirty-three years of age, of medium height, of pleasant appearance, with dark gray eyes that have no idea in them, with a pale complexion, puffy arms and a pampered body. Already by this portrait characteristic, we can get an idea of ​​the way of life and spiritual qualities hero: the details of his portrait speak of a lazy, immobile lifestyle, of his habit of aimless pastime. However, Goncharov emphasizes that Ilya Ilyich is a pleasant person, soft, kind and sincere. portrait characteristic as if preparing the reader for the collapse of life that inevitably awaited Oblomov.

In the portrait of Oblomov's antipode, Andrei Stolz, the author used different colors. Stolz is the same age as Oblomov, he is already over thirty. He is in motion, all made up of bones and muscles. Getting acquainted with the portrait characteristics of this hero, we understand that Stolz is a strong, energetic, purposeful person who is alien to daydreaming. But this almost ideal personality resembles a mechanism, not a living person, and this repels the reader.

The portrait of Olga Ilyinskaya is dominated by other features. She “was not a beauty in the strict sense of the word: there was no whiteness in her, no bright color of her cheeks and lips, and her eyes did not burn with rays of inner fire, there were no pearls in her mouth and corals on her lips, there were no miniature hands with fingers in the form of grapes. Somewhat tall growth strictly corresponded to the size of the head and the oval and dimensions of the face, all this, in turn, was in harmony with the shoulders, the shoulders - with the camp ... The nose formed a slightly noticeable graceful line. The lips are thin and compressed - a sign of a searching, aspiring thought. This portrait testifies that we have before us a proud, intelligent, slightly conceited woman.

In the portrait of Agafya Matveevna Pshenitsyna, such features as gentleness, kindness and lack of will appear. She is about thirty years old. She had almost no eyebrows, her eyes were “grayish-obedient”, like the whole expression of her face. The arms are white but stiff, with knots of blue veins protruding. Oblomov accepts her for who she is and gives her a well-aimed assessment: "What she is ... simple." It was this woman who was next to Ilya Ilyich until his last minute, his last breath, gave birth to his son.

Equally important for the characterization of the character is the description of the interior. In this Goncharov is a talented successor to the traditions of Gogol. Thanks to the abundance of household details in the first part of the novel, the reader can get an idea about the features of the hero: “How home suit Oblomov to the dead features of his face ... He was wearing a dressing gown made of Persian fabric, a real oriental dressing gown ... His shoes were long, soft and wide, when, without looking, he lowered his legs from bed to the floor, he would certainly fall into them immediately ... "Describing in detail the objects surrounding Oblomov in Everyday life, Goncharov draws attention to the hero's indifference to these things. But Oblomov, indifferent to everyday life, remains his prisoner throughout the novel.

The image of a bathrobe is deeply symbolic, repeatedly appearing in the novel and indicating a certain state of Oblomov. At the beginning of the story, a comfortable robe is an integral part of the hero's personality. During the period of Ilya Ilyich's falling in love, he disappears, and returns to the shoulders of the owner on the evening when the hero broke with Olga.

The branch of lilac, plucked by Olga during her walk with Oblomov, is also symbolic. For Olga and Oblomov, this branch was a symbol of the beginning of their relationship and at the same time foreshadowed the end. Another important detail is the drawing of bridges on the Neva. The bridges were opened at a time when in the soul of Oblomov, who lived on the Vyborg side, there was a turning point towards the widow Pshenitsyna, when he fully realized the consequences of life with Olga, was frightened of this life and again began to sink into apathy. The thread connecting Olga and Oblomov broke, and it cannot be forced to grow together, therefore, when the bridges were built, the connection between Olga and Oblomov was not restored. The snow falling in flakes is also symbolic, which marks the end of the hero's love and at the same time the sunset of his life.

It is no coincidence that the author describes in such detail the house in the Crimea, in which Olga and Stolz settled. The decoration of the house "beared the stamp of the thoughts and personal taste of the owners", there were many engravings, statues, books, which speaks of the education, high culture of Olga and Andrey.

An integral part of the created by Goncharov artistic images And ideological content the works as a whole are the proper names of the characters. The names of the characters in the novel "Oblomov" carry a great semantic load. The protagonist of the novel, according to the original Russian tradition, received his surname from the family estate of Oblomovka, the name of which goes back to the word “fragment”: a fragment of the old way of life, patriarchal Rus'. Reflecting on Russian life and its typical representatives of his time, Goncharov was one of the first to notice the failure of internal national features, fraught with a break, or a break. Ivan Alexandrovich foresaw the terrible state into which Russian society began to fall in the 19th century and which by the 20th century had become a mass phenomenon. Laziness, lack of a definite goal in life, burning and desire to work has become a distinctive national feature. There is another explanation for the origin of the protagonist's surname: in folk tales often there is the concept of "sleep-block", which enchants a person, as if crushing him grave stone, dooming to a slow, gradual extinction.

Analyzing contemporary life, Goncharov searched among the Alekseevs, Petrovs, Mikhailovs and other persons for Oblomov's antipode. As a result of these searches, a hero with a German surname arose Stolz(translated from German - "proud, full of self-esteem, aware of his superiority").

Ilya Ilyich, all his conscious life, strove for an existence "that would be both full of content and flow quietly, day after day, drop by drop, in the mute contemplation of nature and the quiet, barely creeping phenomena of family peacefully busy life." He found such an existence in Pshenitsyna's house. “She was very white and full in the face, so that the blush could not seem to break through her cheeks (like a “wheat bun”). The name of this heroine is Agafya- translated from Greek means "good, good." Agafya Matveevna is a type of a modest and meek hostess, an example of female kindness and tenderness, whose vital interests were limited only to family concerns. Oblomov's maid Anisya(translated from Greek - “fulfillment, benefit, completion”) is close in spirit to Agafya Matveevna, and therefore they quickly became friends and became inseparable.

But if Agafya Matveevna loved Oblomov thoughtlessly and wholeheartedly, then Olga Ilyinskaya literally "fought" for him. For the sake of his awakening, she was ready to sacrifice her life. Olga loved Ilya for his own sake (hence the surname Ilinskaya).

Surname "friend" Oblomov, Tarantiev, carries a hint of the word ram. In Mikhey Andreevich's relations with people, such qualities as rudeness, arrogance, assertiveness and unscrupulousness are revealed. Isai Fomich worn out, to whom Oblomov gave a power of attorney to manage the estate, turned out to be a fraudster, grated roll. In collusion with Tarantiev and brother Pshenitsyna, he skillfully robbed Oblomov and zater their traces.

Speaking of artistic features novel, you can not get around and landscape sketches: for Olga, walking in the garden, a lilac branch, flowering fields - all this is associated with love, feelings. Oblomov also realizes that he is connected with nature, although he does not understand why Olga constantly pulls him for a walk, enjoys the surrounding nature, spring, happiness. The landscape creates the psychological background of the whole story.

To reveal the feelings and thoughts of the characters, the author uses such a technique as an internal monologue. This technique is most clearly revealed in the description of Oblomov's feelings for Olga Ilyinskaya. The author constantly shows the thoughts, remarks, internal reasoning of the characters.

Throughout the novel, Goncharov subtly jokes, sneers at his characters. This irony is especially noticeable in the dialogues between Oblomov and Zakhar. This is how the scene of putting the robe on the shoulders of the owner is described. “Ilya Ilyich hardly noticed how Zakhar undressed him, pulled off his boots and threw a dressing gown over him.

- What is this? he only asked, looking at the dressing-gown.

“The hostess brought it today: they washed and repaired the dressing gown,” Zakhar said.

Oblomov both sat down and remained in the chair.

The main compositional device of the novel is antithesis. The author contrasts images (Oblomov - Stolz, Olga Ilyinskaya - Agafya Pshenitsyna), feelings (Olga's love, selfish, proud, and Agafya Matveevna's love, selfless, forgiving), lifestyle, portrait characteristics, character traits, events and concepts, details (branch lilac, symbolizing hope for a bright future, and a bathrobe as a quagmire of laziness and apathy). The antithesis makes it possible to more clearly identify the individual traits of the characters' characters, to see and understand two disparate poles (for example, Oblomov's two colliding states - violent temporary activity and laziness, apathy), and also helps to penetrate the hero's inner world, to show the contrast that is present not only in the external but also in the spiritual world.

The beginning of the work is built on the collision of the vain world of St. Petersburg and the isolated inner peace Oblomov. All visitors (Volkov, Sudbinsky, Alekseev, Penkin, Tarantiev) who visit Oblomov are prominent representatives a society that lives according to the laws of falsehood. The protagonist seeks to isolate himself from them, from the dirt that his acquaintances bring in the form of invitations and news: “Don't come, don't come! You're out of the cold!"

At the reception of the antithesis, the whole system of images in the novel is built: Oblomov - Stolz, Olga - Agafya Matveevna. The portrait characteristics of the heroes are also given in opposition. So, Oblomov - plump, full, "with the absence of any definite idea, any concentration in facial features"; Stolz, on the other hand, is all bones and muscles, "he is constantly in motion." Two completely different types of character, and it's hard to believe that there can be something in common between them. And yet it is so. Andrey, despite the categorical rejection of Ilya's lifestyle, managed to discern in him features that are difficult to maintain in a stormy stream of life: naivety, gullibility and openness. Olga Ilyinskaya fell in love with him for kind heart, "pigeon tenderness and inner purity." Oblomov is not only inactive, lazy and apathetic, he is open to the world, but some invisible film prevents him from merging with it, walking the same path with Stolz, and living an active, full life.

Two key female images novel - Olga Ilyinskaya and Agafya Matveevna Pshenitsyna - are also given in opposition. These two women represent two life paths, which are provided to Oblomov as a choice. Olga is a strong, proud and purposeful person, while Agafya Matveevna is kind, simple and economic. It would be worth Ilya to take one step towards Olga, and he could plunge into the dream that was depicted in "Dream ...". But communication with Ilyinskaya was the last test for Oblomov's personality. His nature is not able to merge with the cruel outside world. He refuses the eternal search for happiness and chooses the second path - he plunges into apathy and finds peace in the cozy house of Agafya Matveevna.

Oblomov's perception of the world clashes with Stolz's perception of the world. Throughout the novel, Andrei does not lose hope of resurrecting Oblomov, and cannot understand the situation in which his friend finds himself: “He died ... he died forever!” Later, he disappointedly tells Olga that "Oblomovism" reigns in the house where Ilya lives. Oblomov's whole life, which consisted of moral ups and downs, eventually turns into nothing. The tragic ending of the novel is contrasted with Stolz's optimistic mood. His motto is "Now or never!" opens up new horizons, while Oblomov's position: "Life is nothing, zero" - destroys all plans and dreams and leads the hero to death. This final opposition encourages readers to reflect on the fact that the quagmire of apathy disfigured the personality of the hero, swallowed up everything alive and pure in him, gave rise to such a wild phenomenon as “Oblomovism”.

My favorite work famous Russian writer Ivan Alexandrovich Goncharov is the novel Oblomov, which tells about the fate of a person, a living soul. The protagonist of this work is the most ordinary representative of the nobility of Russia. Describing Oblomov and his life, Goncharov tried to show us the state of society in those days, his moral education. The writer pointed out the problems and shortcomings of the social mores of that time. It was the living conditions of the landlord that made the protagonist of Goncharov's novel "Oblomov" lazy, weak-willed, indifferent to the whole world around him.

The writer conceived this work back in 1847. Two years later, the chapter "Oblomov's Dream" was published in Nekrasov's journal Literary Collection. The success of this publication can only be called dizzying. In this publication, readers got acquainted with Oblomovka. Four villages - Oblomovka, Sosnovka, Vavilovka and Verkhlevka. The life of the inhabitants of these villages is quiet, peaceful, calm. They are protected from the whole world around them, but they all just like it. After all, this is how their family lived for many generations, and they themselves live without worrying about their fate.

Years run almost imperceptibly, and every day is very similar to the past. For many generations, the way of life of these villages was built. Almost every day guests come to the village for some holidays - and this is also a centuries-old tradition. And even a calendar is not needed in Oblomovka, they count weeks and days by the holidays they celebrate. Life in Oblomovka was full of laziness and peace.

Ivan Alexandrovich Goncharov in the novel "Oblomov" sought to show society how flawed their morals and tradition were. How the life of a landowner can turn a living soul into a weak-willed, lazy creature. If at the very beginning of the work we see the protagonist in human form, then in the final we see just such a creature, degraded from day to day.

Reading the novel by I.A. Goncharov evoked in me a variety of feelings regarding the main character. I see the bright, sparkling soul of Oblomov, his humanism, gentleness, faith in man. But I condemn and cannot accept his apathy and laziness, which do not give wide application to the morally strong nature, which is the nature of Ilya Ilyich.
Apparently, the whole fate of Oblomov is to think, think and ... do nothing.

Ivan Alexandrovich Goncharov. Roman Oblomov.

The problem of finding the meaning of life, how important it is to have a life goal. Oblomov is undoubtedly better and nobler than his "active" friends and acquaintances. He does not see the purpose of life, cannot agree with its fragmentation, with the insignificance of the interests of the people around him, and suffers from this. He is concerned about the questions: where to run? For what? What to strive for? Why suffer all your life? All these questions arise before Olga and Stolz. They can't answer them either. Savor meaningless and unhappy.

The well-known critic of the 19th century N.A. Dobrolyubov wrote: “And yet, Oblomovism is not only a trait of apathy, laziness, inertia, lack of will. First of all, Oblomovism is the absence of a lofty goal in life, dooming a person either to an idle existence or to meaningless fuss.”

The author of one of the literature textbooks of the late 19th - early 20th century V.V. Sipovsky remarked: “In theory, it is especially close to Goncharov’s novel “Undergrowth” by Fonvizin. Since in both works the main idea can be expressed by the words “here are worthy fruits of malevolence,” both works can be considered as “pedagogical”; for in both the authors ask one and the same task: to trace how bad upbringing perverts the soul of a child.Only the atmosphere in both works is different: in "The Undergrowth" all life is saturated with malice - in "Oblomov" everything is illuminated with love. Goncharov, obviously, set himself a more difficult task. .."

The problem of social stagnation and apathy. With his novel, Goncharov gave a sociological and psychological explanation of the causes of social stagnation and apathy. The writer showed in detail the roots, causes and current state of feudal Russia. Having no intention of exposing everything around, without resorting to sharp artistic means, he managed to show everything decisively and categorically. Oblomov's path from a wonderful childhood in his native estate to an inglorious and imperceptible death was an amazingly accurate story of many landowners who gradually adapted to the conditions of serf Russia, unbearable in their spiritual severity.

Russian problem national character . Psychologist, literary critic and critic D.N. Ovsyaniko-Kulikovsky believed that Oblomovism was a national Russian disease. He urged to look for a deeper basis of this phenomenon than serfdom. Philosopher N.O. Lossky in his famous book "The Character of the Russian People" rightly noted that "Oblomovism is in many cases the reverse side of the high properties of the Russian person - the desire for complete perfection and sensitivity to the shortcomings of our reality. From this it is clear that Oblomovism is widespread in all strata of the Russian people Of course, most people need to work in order to have the means to live for themselves and their families. In this involuntary, unloved labor, Oblomovism is expressed in the fact that Oblomov performs his work “somehow”, carelessly, just to throw it off his shoulders.

What was the originality of the upbringing received by Stolz and how did it affect his personality and fate?

As a child, Stoltz received a special upbringing. His father gave him a "labor, practical" upbringing. Often sending him alone to the city on business, he developed in him a sense of independence, arranged excursions to factories, government offices, merchants' shops, introducing his son to the world of work. His mother, on the contrary, developed an aristocratic side in him: she gave him knowledge in the field of art, “taught him to listen to the thoughtful sounds of Hertz, sang to him about flowers, about the poetry of life”, being afraid to make her son “the same German burgher from which he came out father".

Thus, Stoltz learned practicality, independence and hard work from his father, and the traits laid down by his mother saved Andrei's heart from callousness, taught him to use his mind and character for the benefit not only of himself, but also of his neighbors. The unique character of Stolz was especially vividly manifested in his attitude towards Oblomov.

In what works domestic classics the type of the “active” hero is depicted and in what way can he be compared with Andrei Stolz? (Oblomov)

The type of "active" hero is depicted in the novel by N.

V. Gogol " Dead Souls”and the comedy by A.P. Chekhov“ The Cherry Orchard ”.

Chekhov Lopakhin is the son of a serf, an intelligent and purposeful person who has achieved equality with the nobles. Lopakhin and Stolz are united not only by a great love for work, but also by the desire to achieve material well-being without outside help, namely on their own.

Chichikov Gogol, no doubt, like Stolz, is an active and resourceful entrepreneur. Nevertheless, Chichikov's parents did not teach him what honor and dignity are, what it means to make your way in an honest way - his father only ordered him to serve the bosses and "save a penny." Such an upbringing made Chichikov the way he is - a rogue and a swindler, ready to do anything, drowning out the voice of conscience, unlike Stolz, whom his father instilled a love for honest work from childhood, and his mother taught him not to overstep moral norms and take care of his neighbor .

For what purpose does I. A. Goncharov oppose Oblomov to Stolz?

Oblomov is a lazy, labor-hating, but dreamy Russian gentleman, while Stolz, his antipode, is an active, hardworking, but devoid of poetry German. These heroes also differ in appearance: Oblomov is a man in a body with soft features, while Stolz is thin and has no signs of roundness. But most of all, the difference in their characters was influenced by the upbringing received in childhood: if Stolz was brought up as an independent and ready-to-work boy, then Oblomov was cherished and not allowed to do anything himself - Zakhar did everything for Ilya.

Thus, Goncharov opposes Oblomov to Stolz in order to shade the image of the first, to reveal his character brighter and more whole, and to focus on the difference between people of the same generation.

Stolz is the antipode of Oblomov. He is active, active and industrious, but he is completely devoid of poetry and therefore incapable of experiencing strong, lofty feelings. Most strongly from Stolz it blows with excessive prudence of a step, pedantry and mechanism.

Of course, Stolz can be called goodie, however, he is not Goncharov's ideal in the novel - it is Olga.

In what works do we meet antipodean heroes and how can they be compared with Goncharov's heroes?

We meet antipodes in such works as the novel in verse by A. S. Pushkin "Eugene Onegin" and the novel by I. S. Turgenev "Father and Children".

Like Oblomov and Stolz, Onegin and Lensky are distinguished by inertia and activity in the characters' characters. Lensky is a romantic, enthusiastic person, he is an ardent poet who has a goal in life, which is to gain eternal love, and Onegin, on the contrary, is a bored skeptic who sees no meaning in life.

If Turgenev's Pavel Petrovich and Goncharov's Oblomov are dreamy and sensitive nobles, then Bazarov and Stolz, their antipodes, are practical, pragmatic commoners who devote more time to business than to feelings. These heroes are distinguished not only by origin, but also by different priorities in life.

Introduction

The novel "Oblomov" was written by Goncharov in the middle of the 19th century - at a turning point for serf Russia, marked by rapid political, economic and social changes. In the work, the writer raised not only topics that were acute for that era, but also raised eternal questions regarding the purpose human life and the meaning of human existence. The problematic of Goncharov's novel "Oblomov" covers various social, psychological and philosophical topics, revealing the deep ideological essence of the work.

Social issues

The main problems of Goncharov's novel "Oblomov" are connected with central theme works - "Oblomovism". The author portrays it, first of all, as a social phenomenon, tendentious for a whole layer of Russian landowners who remain true to the old traditions of their family and the archaic, patriarchal way of life of the feudal era. "Oblomovism" becomes an acute vice of Russian society, brought up on mores and concepts, which are based on the use of the labor of other people - serfs, as well as the cultivation of the ideals of a carefree, lazy, idle life.

A prominent representative of the "Oblomovism" is main character novel - Ilya Ilyich Oblomov, brought up in an old landowner's family in the distant village of Oblomovka, bordering Asia. The remoteness of the estate from Europe and the new civilization, “conservation” in the usual, measured time and existence, reminiscent of half-asleep - it is through Oblomov’s dream that the author depicts Oblomovism in front of the reader, thus recreating the very atmosphere of calm and peace close to Ilya Ilyich, bordering on laziness and degradation, characterized by a dilapidated estate, old furniture, etc.

In the novel "Oblomovism" as originally Russian phenomenon, inherent in Russian landowners, is opposed to European activity, constant independent work, continuous learning and development of one's own personality. The bearer of new values ​​in the work is Oblomov's friend, Andrey Ivanovich Stolz. Unlike Ilya Ilyich, who, instead of solving his problems on his own, is looking for a person who can do everything for him, Stolz himself paves the way in his life. Andrei Ivanovich has no time to dream and build castles in the air - he is confidently moving forward, knowing how to get what he needs in life with his own work.

Socio-psychological problems of "Oblomov"

A question of national character

Most researchers define the novel "Oblomov" as a socio-psychological work, which is associated with the peculiarities of the problems disclosed in the book. Touching on the topic of "Oblomovism" Goncharov could not avoid issues of national character, based on the differences and similarities between the Russian mentality and the European one. It is no coincidence that Oblomov, the bearer of the Russian mentality and Russian values, brought up on national fairy tales, is opposed by the practical and hardworking Stolz, who was born in the family of a Russian bourgeois woman and a German entrepreneur.

Many researchers characterize Stolz as a kind of machine - a perfect automated mechanism that works for the sake of the very process of work. However, the image of Andrei Ivanovich is no less tragic than the image of Oblomov living in a world of dreams and illusions. If Ilya Ilyich was instilled from childhood with only unidirectional “Oblomov” values, which became leading for him, then for Stolz, the values ​​received from his mother, similar to the “Oblomov” values, were filled with European, “German” values ​​instilled by his father. Andrei Ivanovich, like Oblomov, is not a harmonious personality in which Russian soulfulness and poetry could be combined with European practicality. He is constantly looking for himself, trying to understand the purpose and meaning of his life, but does not find them, as evidenced by Stolz's attempts all his life to become closer to Oblomov as a source of primordially Russian values ​​and peace of mind, which he lacked in life.

The problem of the "extra hero"

From the problem of depicting a national character, the following socio-psychological problems arise in the novel Oblomov - the problem extra person and the problem of self-identification of the individual with the time in which he lives. Oblomov is a classic superfluous hero in the novel, the society around him is alien to him, it is hard for him to live in a rapidly changing world, absolutely unlike his quiet native Oblomovka. Ilya Ilyich seems to be mired in the past - even when planning the future, he still sees it through the prism of the past, wishing that the future was the same as his past was, namely, similar to childhood in Oblomovka. At the end of the novel, Ilya Ilyich gets what he wants - the atmosphere that prevails in Agafya's house, as if returns him to childhood, where his dear, loving mother constantly spoiled him and protected him from all sorts of upheavals - it is not surprising that Agafya is very similar to Oblomov women.

Philosophical issues

Love Theme

In the novel Oblomov, Goncharov touches on a number of eternal philosophical questions that are still relevant today. The leading philosophical theme of the work is the theme of love. Revealing the relationship between the characters, the author depicts several types of love. The first is a romantic, filled with high feeling and inspiration, but fleeting relationship between Olga and Oblomov. The lovers idealized each other, creating in their imagination distant, unlike real people images. In addition, Olga and Oblomov had different understandings of the essence of love - Ilya Ilyich saw love for a girl in the distant adoration, inaccessibility, unreality of their feelings, while Olga perceived their relationship as the beginning of a new, real path. For the girl, love was closely connected with duty, obliging her to pull Ilya Ilyich out of the "swamp" of Oblomov.

The love between Oblomov and Agafya appears completely different. The feelings of Ilya Ilyich were more like the love of a son for his mother, while the feelings of Agafya were the unconditional adoration of Oblomov, similar to the blind adoration of a mother who is ready to give everything to her child.

The third type of love Goncharov reveals on the example of the family of Stolz and Olga. Their love was born on the basis of strong friendship and complete trust in each other, but over time, the sensual, poetic Olga begins to realize that their stable relationship still lacks that great all-encompassing feeling that she felt next to Oblomov.

The meaning of human life

The main problem of the novel "Oblomov", covering all the topics discussed above, is the question of the meaning of human life, complete happiness and the way to achieve it. In the work, none of the heroes finds true happiness - even Oblomov, who at the end of the work supposedly gets what he has dreamed of all his life. Through the veil of a dormant, degrading consciousness, Ilya Ilyich simply could not understand that the path of destruction cannot lead to true happiness. Stolz and Olga cannot be called happy - despite family well-being and quiet life, they continue to chase after something important, but elusive, that they felt in Oblomov, but could not catch.

Conclusion

The disclosed questions do not exhaust the ideological depth of the work, but only represent an analysis of the problems of "Oblomov" briefly. Goncharov does not give specific answers to the question: what is the happiness of a person: in a constant striving forward or in a measured calm? The author only brings the reader closer to the solution of this eternal dilemma, the correct way out of which, perhaps, is the harmony of the two leading principles in our life.

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