The social meaning of Goncharov Oblomov’s novel. The ideological and moral meaning of Oblomov’s novel. Several interesting essays

The social meaning of the novel The meaning of the title of the work The meaning of Oblomovka in the novel The meaning of Oblomov’s life in the novel Conclusion

Goncharov’s novel “Oblomov” is a landmark work of literature of the 19th century, touching on both acute social and many philosophical problems, remaining relevant and interesting to the modern reader. The ideological meaning of the novel “Oblomov” is based on the opposition of an active, new social and personal principle with an outdated, passive and degrading one. In the work the author reveals

these principles are on several existential levels, therefore, to fully understand the meaning of the work, a detailed examination of each of them is required.

Social meaning of the novel

In the novel “Oblomov,” Goncharov first introduced the concept of “Oblomovism” as a generalized name for outdated patriarchal-landlord foundations, personal degradation, and the vital stagnation of an entire social layer of Russian philistinism, unwilling to accept new social trends and norms.
The author examined this phenomenon using the example of the main character of the novel, Oblomov, whose childhood was spent in distant Oblomovka, where everyone lived quietly, lazily, with little interest in anything and caring almost nothing. The hero's native village becomes the embodiment of the ideals of Russian old-time society - a kind of hedonistic idyll, a “preserved paradise” where there is no need to study, work or develop.

Portraying Oblomov as a “superfluous man,” Goncharov, unlike Griboyedov and Pushkin, whose characters of this type were ahead of society, introduces into the narrative a hero who lags behind society, living in the distant past. The active, active, educated environment oppresses Oblomov - the ideals of Stolz with his work for the sake of work are alien to him, even his beloved Olga is ahead of Ilya Ilyich, approaching everything from a practical side. Stolts, Olga, Tarantyev, Mukhoyarov, and other acquaintances of Oblomov are representatives of a new, “urban” personality type. They are more practitioners than theorists, they do not dream, but do, create new things - some by working honestly, others by deception.

Goncharov condemns “Oblomovism” with its gravitation towards the past, laziness, apathy and complete spiritual withering away of the individual, when a person essentially becomes a “plant” lying on the sofa around the clock.
However, Goncharov also portrays the images of modern, new people as ambiguous - they do not have the peace of mind and inner poetry that Oblomov had (remember that Stolz only found this peace while relaxing with a friend, and the already married Olga is sad about something distant and is afraid to dream , making excuses to her husband).

At the end of the work, Goncharov does not make a definite conclusion about who is right - the practitioner Stolz or the dreamer Oblomov. However, the reader understands that it was precisely because of “Oblomovism,” as a sharply negative phenomenon that has long since become obsolete, that Ilya Ilyich “disappeared.” That is why the social meaning of Goncharov’s novel “Oblomov” is the need for constant development and movement - both in the continuous construction and creation of the surrounding world, and in working on the development of one’s own personality.

The meaning of the title of the work

The meaning of the title of the novel “Oblomov” is closely related to the main theme of the work - it was named after the surname of the main character Ilya Ilyich Oblomov, and is also associated with the social phenomenon “Oblomovism” described in the novel. The etymology of the name is interpreted differently by researchers. Thus, the most common version is that the word “Oblomov” comes from the words “Oblomok”, “break off”, “break”, denoting the state of mental and social breakdown of the landowner nobility, when it found itself in a borderline state between the desire to preserve old traditions and foundations and the need to change according to the requirements of the era, from a creative person to a practical person.

The absurdity of the life of the main character of the work

From the very beginning of the work, Ilya Ilyich appears before the reader in a completely absurd situation. He spends every day in his room. Devoid of any impressions. Nothing new happens in his life, there is nothing that would fill it with any meaning. One day is like another. Absolutely not carried away by anything and not interested in anything, this person, one might say, resembles a plant.

Ilya Ilyich's only occupation is lying comfortably and serenely on the sofa. Since childhood, he has been accustomed to being constantly taken care of. He never thought about how to ensure his own existence. I always lived with everything ready. There was no such incident that would disturb his serene state. Life is simply convenient for him.

Inaction does not make a person happy

And this constant lying on the couch is not caused by some incurable disease or psychological disorder. No! The terrible thing is that this is the natural state of the main character of the novel. The meaning of Oblomov’s life lies in the soft upholstery of the sofa and a comfortable Persian robe. Every person from time to time tends to think about the purpose of his own existence. The time comes, and many, looking back, begin to reason: “What useful have I done, why am I even living?”

Of course, not everyone can move mountains or perform some heroic deed, but anyone can make their own life interesting and full of impressions. Inaction has never made anyone happy. Perhaps only up to a certain point. But this has nothing to do with Ilya Ilyich. Oblomov, whose life story is described in the novel of the same name by Ivan Aleksandrovich Goncharov, is not burdened by his inaction. Everything suits him.

Main character's home

The character of Ilya Ilyich can be judged from some of the lines in which the author describes the room where Oblomov lived. Of course, the decoration of the room did not look poor. It was luxuriously furnished. And yet there was neither coziness nor comfort in it. The paintings that hung on the walls of the room were framed with drawings of cobwebs. Mirrors, designed to allow one to see one's reflection in them, could be used instead of writing paper.

The whole room was covered in dust and dirt. Somewhere there was a randomly thrown thing that would remain there until it was needed again. On the table there are uncleaned dishes, crumbs and leftovers from yesterday's meal. All this does not evoke a feeling of comfort. But Ilya Ilyich does not notice this. Cobwebs, dust, dirt and uncleaned dishes are natural companions of his daily reclining on the sofa.

Dreaminess in the character of Ilya, or Like in the village

Often Ilya Ilyich reproaches his own servant, whose name is Zakhar, for sloppiness. But he seemed to adapt to the owner’s character, and perhaps he himself was not far from him from the very beginning; he reacts quite calmly to the untidiness of the home. According to his reasoning, there is no point in cleaning the room from dust, since it still accumulates there again. So what is the meaning of Oblomov’s life? A man who can’t even get his own servant to clean up the mess. He cannot even control his own life, and the existence of those around him is completely beyond his control.

Of course, sometimes he dreams of doing something for his village. He is trying to come up with some plans, again - lying on the sofa, in order to reorganize village life. But this person is already so divorced from reality that all the dreams he has built remain just that. The plans are such that their implementation is almost impossible. They all have some kind of monstrous scope that has nothing to do with reality. But the meaning of life in the work "Oblomov" is not revealed only in the description of one character.

A hero opposite to Oblomov

There is another hero in the work, who is trying to awaken Ilya Ilyich from his lazy state. Andrey Stolts is a man filled with boiling energy and liveliness of mind. Whatever Andrey undertakes, he succeeds in everything, and he enjoys everything. He doesn’t even think about why he does this or that thing. According to the character himself, he works for the sake of work.

What is the difference between the meaning of life of Oblomov and Stolz? Andrey never lies idle, like Ilya Ilyich. He is always busy with something, he has a huge circle of friends with interesting people. Stolz never sits in one place. He is constantly on the move, meeting new places and people. But nevertheless, he does not forget about Ilya Ilyich.

Andrey's influence on the main character

Oblomov's monologue about the meaning of life, his judgments about it, are completely opposite to the opinion of Stolz, who becomes the only one who was able to lift Ilya from the soft sofa. Moreover, Andrei even tried to return his comrade to an active life. To do this, he resorts to some trick. Introduces him to Olga Ilyinskaya. Realizing that pleasant communication with a beautiful woman will perhaps quickly awaken in Ilya Ilyich a taste for a more varied life than existence in his room.

How does Oblomov change under the influence of Stolz? His life story is now connected with the beautiful Olga. He even awakens tender feelings for this woman. He is trying to change, to adapt to the world in which Ilyinskaya and Stolz live. But lying on the sofa for a long time does not pass without a trace. The meaning of Oblomov’s life, associated with his uncomfortable room, is very deeply rooted in him. Some time passes, and he begins to feel burdened by his relationship with Olga. And, of course, their breakup became inevitable.

The meaning of Oblomov's life and death

Ilya Ilyich’s only dream is the desire to find peace. He does not need the vibrant energy of everyday life. The world in which he is closed, with its small space, seems much more pleasant and comfortable to him. And the life that his friend Stolz leads does not attract him. It requires fuss and movement, and this is unusual for Oblomov’s character. Finally, all of Andrei’s seething energy, which constantly collides with Ilya’s indifference, has dried up.

Ilya Ilyich finds his solace in the house of a widow, whose last name is Pshenitsyna. Having married her, Oblomov completely stopped worrying about life and gradually fell into moral hibernation. Now he is again dressed in his favorite robe. He's lying on the sofa again. Oblomov leads him to a slow decline. For the last time, Andrei visits his friend under the watchful eye of Pshenitsyna. He sees how his friend has sunk and makes a last attempt to pull him out of the pool. But there is no point in this.

Positive traits in the character of the main character

Revealing the meaning of Oblomov’s life and death, it is necessary to mention that Ilya Ilyich is still not a negative hero in this work. There are also quite bright positive features in his image. He is an infinitely hospitable and cordial host. Despite constantly lying on the couch, Ilya Ilyich is a very educated person, he appreciates art.

In his relationship with Olga, he does not show rudeness or intolerance, he is gallant and courteous. He is very rich, but destroyed by excessive care since childhood. At first you might think that Ilya Ilyich is infinitely happy, but this is just an illusion. A dream that replaced the real state.

Oblomov, who turned into a tragedy, seems to be happy with his situation. And yet he understands the futility of his existence. Moments of awareness of his own inaction come to him. After all, Ilya Stoltz forbade Olga to come to him, he did not want her to see the process of his decomposition. An educated person cannot fail to understand how empty and monotonous his life is. Only laziness prevents you from changing it and making it bright and varied.

Social meaning of the novel

In the novel “Oblomov,” Goncharov first introduced the concept of “Oblomovism” as a generalized name for outdated patriarchal-landlord foundations, personal degradation, and the vital stagnation of an entire social layer of Russian philistinism, unwilling to accept new social trends and norms. The author examined this phenomenon using the example of the main character of the novel, Oblomov, whose childhood was spent in distant Oblomovka, where everyone lived quietly, lazily, with little interest in anything and caring almost nothing. The hero's native village becomes the embodiment of the ideals of Russian old-time society - a kind of hedonistic idyll, a “preserved paradise” where there is no need to study, work or develop.

Goncharov condemns “Oblomovism” with its gravitation towards the past, laziness, apathy and complete spiritual withering away of the individual, when a person essentially becomes a “plant” lying on the sofa around the clock. However, Goncharov also portrays the images of modern, new people as ambiguous - they do not have the peace of mind and inner poetry that Oblomov had (remember that Stolz only found this peace while relaxing with a friend, and the already married Olga is sad about something distant and is afraid to dream , making excuses to her husband).

At the end of the work, Goncharov does not make a definite conclusion about who is right - the practitioner Stolz or the dreamer Oblomov. However, the reader understands that it was precisely because of “Oblomovism,” as a phenomenon that is sharply negative and has long since become obsolete, that Ilya Ilyich “disappeared.” That is why the social meaning of Goncharov’s novel “Oblomov” is the need for constant development and movement - both in the continuous construction and creation of the surrounding world, and in working on the development of one’s own personality.

The meaning of the title of the work

In addition, there is a version about the connection of the title with the Old Slavonic root “oblo” - “round”, which corresponds to the description of the hero - his “rounded” appearance and his quiet, calm character “without sharp corners”. However, regardless of the interpretation of the title of the work, it points to the central storyline of the novel - the life of Ilya Ilyich Oblomov.

The meaning of Oblomovka in the novel

From the plot of the novel “Oblomov,” the reader from the very beginning learns many facts about Oblomovka, about what a wonderful place it is, how easy and good it was for the hero and how important it is for Oblomov to return there. However, throughout the entire narrative, events never take us to the village, which makes it a truly mythical, fairy-tale place. Picturesque nature, gentle hills, a calm river, a hut on the edge of a ravine, which the visitor needs to ask to stand “with his back to the forest, and his front to it” in order to enter - even in the newspapers there was never a mention of Oblomovka. The inhabitants of Oblomovka did not care about any passions - they were completely cut off from the world, they spent their lives in boredom and tranquility, based on constant rituals.

Oblomov's childhood was spent in love, his parents constantly spoiled Ilya, indulging all his desires. However, Oblomov was particularly impressed by the stories of his nanny, who read to him about mythical heroes and fairy-tale heroes, closely linking his native village with folklore in the hero’s memory. For Ilya Ilyich, Oblomovka is a distant dream, an ideal comparable, perhaps, to the beautiful ladies of medieval knights who glorified wives who were sometimes never seen. In addition, the village is also a way to escape from reality, a kind of half-imagined place where the hero can forget about reality and be himself - lazy, apathetic, completely calm and renounced from the world around him.

The meaning of Oblomov's life in the novel

Oblomov’s whole life is connected only with that distant, quiet and harmonious Oblomovka, however, the mythical estate exists only in the hero’s memories and dreams - pictures from the past never come to him in a cheerful state, his native village appears before him as some kind of distant vision, in its own way unattainable , like any mythical city. Ilya Ilyich is in every possible way opposed to the real perception of his native Oblomovka - he still does not plan the future estate, he delays for a long time in responding to the headman’s letter, and in a dream he does not seem to notice the disrepair of the house - a crooked gate, a sagging roof, a shaky porch, a neglected garden. And he really doesn’t want to go there - Oblomov is afraid that when he sees the dilapidated, ruined Oblomovka, which has nothing in common with his dreams and memories, he will lose his last illusions, which he clings to with all his might and for which he lives.

The only thing that brings complete happiness to Oblomov is dreams and illusions. He is afraid of real life, afraid of marriage, which he has dreamed of many times, afraid of breaking himself and becoming someone else. Wrapping himself in an old robe and continuing to lie on the bed, he “preserves” himself in a state of “Oblomovism” - in general, the robe in the work is, as it were, part of that mythical world that returns the hero to a state of laziness and extinction.

The meaning of the hero's life in Oblomov's novel comes down to gradual dying - both moral and mental, and physical, for the sake of maintaining his own illusions. The hero does not want to say goodbye to the past so much that he is ready to sacrifice a full life, the opportunity to feel every moment and recognize every feeling for the sake of mythical ideals and dreams.

Conclusion

In the novel “Oblomov,” Goncharov depicted the tragic story of the decline of a person for whom the illusory past became more important than the multifaceted and beautiful present - friendship, love, social well-being. The meaning of the work indicates that it is important not to stand still, indulging oneself in illusions, but to always strive forward, expanding the boundaries of one’s own “comfort zone.”

Work test

“Oblomov’s Dream” not only illuminated, clarified and intelligently poeticized the hero’s entire face, but also connected him with a thousand invisible bonds to the heart of every Russian reader. In this regard, “The Dream,” striking in itself as a separate artistic creation, is even more striking in its significance in the entire novel.

Deep in the feeling that inspired it, bright in the meaning contained in it, it at the same time explains and enlightens the typical person in which the interest of the entire work is concentrated. Oblomov without his “Dream” would be an unfinished creation, not dear to each of us, as he is now - his “Dream” explains all our perplexities and, without giving us a single naked interpretation, commands us to understand and love Oblomov. There is nothing superfluous here, here you will not find an unclear feature or a word spoken in vain, all the little details of the situation are necessary, all are legal and beautiful. Onisim Suslov, whose porch could only be reached by grasping the grass with one hand and the roof of the hut with the other, is dear to us and necessary in this matter of clarification. A sleepy servant blowing sleepily into kvass, in which the drowning flies are moving violently, and a dog, recognized as mad just because it rushed to run away from people who had gathered at it with pitchforks and axes, and a nanny, falling asleep after a fatty dinner with a premonition that Ilyusha will go touch the goat and climb the gallery, and a hundred other charming, Mierisian details are necessary here, because they contribute to the integrity and high poetry of the main task.

So, “Oblomov’s Dream” expanded, legitimized and clarified the multi-significant type of hero, but this was not yet enough to complete the creation. The new and last, decisive step in the creative process was the creation of Olga Ilyinskaya - a creation so happy that we, without hesitation, will call the first thought about it the cornerstone of the entire Oblomov drama, the happiest thought in the entire artistic activity of our author. Even leaving aside all the charm of the performance, all the artistry with which Olga’s face is processed, we will not find sufficient words to express all the beneficial influence of this character on the course of the novel and the development of Oblomov’s type. Without Olga Ilyinskaya and without her drama with Oblomov, we would not have recognized Ilya Ilyich as we now know him; without Olga’s view of the hero, we still would not have looked at him properly. In the rapprochement of these two main characters of the work, everything is extremely natural, every detail satisfies the most exacting requirements of art - and yet how much psychological depth and wisdom develops before us through it! How this young, proudly brave girl lives and fills all our ideas about Oblomov, how we sympathize with the desire of her whole being for this gentle eccentric, separated from the world around him, how we suffer with her suffering, how we hope with her hopes, even knowing and knowing well their unrealizability! G. Goncharov, as a brave connoisseur of the human heart, from the first scenes between Olga and her first chosen one, gave a large share of the intrigue to the comic element.

His incomparable, mocking, lively Olga, from the first minutes of rapprochement, sees all the funny features of the hero, without being deceived at all, plays with them, almost enjoys them and is deceived only in her calculations about the solid foundations of Oblomov’s character. All this is amazingly true and at the same time bold, because until now none of the poets has dwelled on the great significance of the tender comic side in love affairs, while this side has always existed, eternally exists - How to write an essay 205 and expresses itself in most of our heart's affections. Many times over the past months we have heard and even read expressions of bewilderment about “how could the smart and sharp-sighted Olga fall in love with a man who is unable to change apartments and happily sleeps after dinner” - and, as far as we can remember, all such expressions belonged to persons very young, very unfamiliar with life. Olga’s spiritual antagonism with Oblomovism, her playful, touching attitude towards the weaknesses of the chosen one is explained by both the facts and the essence of the matter. The facts developed very naturally - the girl, who by nature is not interested in tinsel and empty social youths of her circle, is interested in the eccentric about whom the smart Stolz told her so many stories, curious and funny, unusual and amusing. She gets close to him out of curiosity, he likes him out of nothing to do, perhaps as a result of innocent coquetry, and then stops in amazement at the miracle she has done. We have already said that the tender, loving nature of the Oblomovs is entirely illuminated through love - and how could it be otherwise with the pure, childishly affectionate Russian soul, from which even its laziness drove away corruption with tempting thoughts. Ilya Ilyich spoke out entirely through his love, and Olga, a keen-sighted girl, did not remain blind to the treasures that opened before her. These are the external facts, and from them there is only one step to the most essential truth of the novel. Olga understood Oblomov closer than Stolz understood him, closer than all the people devoted to him.

She saw in him innate tenderness, and purity of character, and Russian gentleness, and a knightly capacity for devotion, and a decisive inability to do any unclean deed, and finally - which should not be forgotten - she saw in him an original person, funny, but pure and not at all despised in its originality. Once he reached this point, the artist reached such an entertaining level of action, such charm in the whole course of events, that the failed, sadly ending love of Olga and Oblomov became and will forever remain one of the most charming episodes in all Russian literature. We know that the time for renewal has been missed, that it was not given to Olga to raise Oblomov, and yet, with any conflict in their drama, our hearts freeze from the unknown. What we didn’t experience during all the vicissitudes of this passion, starting from the moment when Ilya Ilyich, looking at Olga the way nanny Kuzminishna looks at her, importantly talks about how it’s not good and dangerous to see each other alone, until his terrible, last date with the girl until her last words: “What destroyed you, there is no name for this evil!” What is there in this gap, in this struggle of light and shadow, giving us all of Oblomov and bringing him closer to us so that we suffer for him when he, groaning and bored, makes his way into the opera from the Vyborg side, and we are illuminated with joy in those moments when in his dusty Oblomov nest, with the desperate barking of a dog galloping on a chain, an unexpected vision of a good angel suddenly appears. Before how many particulars of the said episode the most good-natured laughter takes possession of us, and then takes possession of us, only to be immediately replaced by expectation, sadness, excitement, bitter condolences for the weak! This is what a series of artistic details leads us to, starting with Oblomov’s dream. This is where true laughter through tears appears - that laughter that has become hateful to us - so often scandalous poets and biographers of drunken bribe-takers used it to hide behind it! The expression, so mercilessly disgraced by mediocre writers, again received its power for us: the power of true, living poetry again returned our sympathy to it. Olga's creation is so complete - and the task she performed in the novel is fulfilled so richly - that further explanation of Oblomov's type through other characters becomes a luxury, sometimes unnecessary. One of the representatives of this excessive luxury is Stolz, with whom many of Mr. Goncharov’s admirers seem to be dissatisfied.

It is absolutely clear to us that this person was conceived and thought out before Olga, that the great work of understanding Oblomov and Oblomovism through an understandable contrast between the two heroes fell to his share, in the author’s previous idea. But Olga took the whole matter into her own hands, to the true happiness of the author and to the glory of his work. Andrei Stolts disappeared before her, just as a good but ordinary husband disappears before his brilliantly gifted wife. His role became insignificant, completely disproportionate to the difficulty and extensive preparation, like the role of an actor who spent a whole year preparing to play Hamlet and performed in front of the public in the role of Laertes. Looking at the matter from this point of view, we are ready to condemn the too frequent appearance of Stoltz, but we are incapable of condemning him as a living person in the same way as condemning Laertes for not being Hamlet. We see absolutely nothing unsympathetic in Stolz, and in his creation there is nothing sharply incompatible with the laws of art: he is an ordinary person and does not aspire to be extraordinary people, a person who is not at all elevated by the novelist to the ideal of our time, a character depicted with excessive painstakingness, which is all -still does not give us the proper completeness of the impression. Describing Stolz's childhood to us in great detail and poetically, Mr. Goncharov is so cool towards the period of his maturity that he does not even tell us what kind of enterprises Stolz is involved in, and this strange error has an unpleasant effect on the reader, who has been accustomed since childhood to look unkindly at every swindler, whose business activities are shrouded in darkness. If there was a great need for Stolz, if only through him Oblomov’s type was capable of proper understanding, we have no doubt that our artist, with his strength and vigilance, would not have retreated from the once given topic, but we have already said that the creation Olga was pushed far away by Stolz and his significance in the novel. Clarification through the sharp contrast of two dissimilar male characters became unnecessary: the dry, ungrateful contrast was replaced by a drama full of love, tears, laughter and pity. Stolz only had some participation in the mechanical course of the whole intrigue, and also his boundless love for Oblomov’s person, in which, however, he has many rivals.

And in fact, take a careful look at the entire novel, and you will see how many people in it are devoted to Ilya Ilyich and even adore him, this meek dove, as Olga puts it. And Zakhar, and Anisya, and Stolz, and Olga, and the listless Alekseev - all are attracted by the charm of this pure and whole nature, in front of which only Tarantyev can stand without smiling and without feeling warmth in his soul, without making fun of her and without wanting her take a deep breath. But Tarantyev is a scoundrel, a mazurik; a lump of dirt, a nasty cobblestone sits in his chest instead of a heart, and we hate Tarantiev, so that if he appeared alive before us, we would consider it a pleasure to beat him with our own hands. But the cold penetrates us to the bones and a thunderstorm rises in our soul at that moment when, after describing Oblomov’s conversation with Olga, after the seventh heaven of poetry, we learn that Tarantyev is sitting in Ilya Ilyich’s chair and waiting for his arrival. Fortunately, there are few Tarantyevs in the world and in the novel there is someone to love Oblomov. Almost every one of the characters loves him in his own way, and this love is so simple, so necessarily follows from the essence of the matter, so alien to any calculation or author’s stretch! But no one’s adoration (even counting Olga’s feelings at the best time of her infatuation) does not touch us as much as Agafya Matveevna’s love for Oblomov, that same Agafya Matveevna Pshenitsyna, who from her first appearance seemed to us to be Ilya Ilyich’s evil angel - and alas! truly became his evil angel.

Agafya Matveevna, quiet, devoted, ready to die for our friend at any moment, really ruined him completely, heaped a grave stone over all his aspirations, plunged him into the yawning abyss of Oblomovism, abandoned for a moment, but everything will be forgiven to this woman for the fact that she loved. The pages in which Agafya Matveevna appears to us, from her very first shy conversation with Oblomov, are the height of artistic perfection, but our author, concluding the story, crossed all the boundaries of his usual artistry and gave us such lines that make our hearts break and tears flow looks at a book and the soul of a keen-eyed reader flies into the realm of such poetry that until now, of all Russian people, only Pushkin has been given the opportunity to be a creator in this field. Agafya Matveevna's grief for the late Oblomov, her attitude towards her family and Andryusha, and finally, this marvelous analysis of her soul and her past passion - all this is beyond the most enthusiastic assessment.

We all think about the meaning of life sooner or later. Despite the depth of this philosophical question, almost every person gives himself a simple answer to it, guided by his values. The meaning of a person's life reflects what is truly important to him.

The main character of Ivan Aleksandrovich Goncharov’s novel “Oblomov” at first has difficulty arousing the reader’s sympathy. He is inactive, devoid of aspirations... He has not encountered any special shocks or problems in his lifetime, which is due to his overly caring parents and noble origin. Ilya Ilyich’s life flows calmly, and he is too used to it to change anything. Despite all his inactivity, Oblomov is not empty: he has a living soul and a rich imagination, which is what seriously interested Olga Ilyinskaya.

What is the meaning of such a person's life? Oblomov dreams of finding peace; he does not need the seething energy of everyday life. His ideal is a calm and measured family life, surrounded by his beloved wife and children. Love is his highest value. That is why love for Olga lifted the hero from the sofa. He saw in her what he dreamed of, what he saw as the meaning of his life.

But he found peace not with Olga, but with Agafya Pshenitsyna. It was Agafya who was able to surround Ilya with maternal love and care, as in childhood. Oblomov was able to return to his natural inactive state and devote himself entirely to his wife and children.

Not everyone understands and accepts the ideals of Ilya Ilyich. For some, he will seem lazy and a fading person. Yes, Oblomov lived a short life and unnoticed by the world, but he was happy, living his last days with his family and friends. He died, sincerely mourned by his beloved wife...

The lifestyle of Andrei Ivanovich Stolts sharply contrasts with the lifestyle of his friend. Andrey cannot imagine his days without constant work. At the same time, throughout the entire novel, Goncharov does not write about what exactly this hero is doing. The meaning of his life is activity, self-realization. Like Oblomov, this ideal was instilled in Stoltz as a child by his parents. His father taught him to achieve everything on his own and strive for something.

Despite the huge difference in worldview, both heroes sincerely respect and appreciate each other. And they do the right thing, because all people are different and have different ideals, but this makes them interesting and unique.

What is a sense of life? This is a question that is difficult to answer.

Sooner or later, there comes a time in every person's life when he asks himself whether there is meaning in life. Despite the global nature of this rhetorical question, almost every inhabitant of the planet gives himself a simple answer to it: the meaning of life is that you live. The meaning of life is that life matters.

The novel “Oblomov” was written by Ivan Aleksandrovich Goncharov. The main character of this work evokes little sympathy from anyone. He, a man who wastes his life, has no goal. Problems and experiences were rare in his life, which was due to the excessive care of his parents and his noble origin. Ilya's life flows smoothly. Many readers might say that he was empty, but in fact he had a rich inner world. A world of fantasies, beliefs and plans. Earthly plans.

Oblomov longs to find peace and balance. He likes his quiet, inconspicuous life. He doesn't particularly care about what happens around him. His goal is calm and measuredness. Family was important to him. Family values and a life surrounded by a loving wife and healthy children. Love for him is the meaning of life. That is why his attraction to Olga makes him wake up. He saw in her the ideal woman.

But “his woman” turned out to be not Olga, but Agafya. Only with her was he able to find peace of mind and feel truly happy. Family life, a loving wife, children... In this he saw the meaning of his life. Trite, you say. Perhaps, but most people on planet earth live with just such dreams.

Not everyone is impressed by Oblomov’s ideals. Inaction is its main drawback. Almost nothing happens in his life, it stands still, but Oblomov is not oppressed by this, and moreover, he is satisfied. There was no fire or thirst for life in him. He did not have the passion that is present in people who lead an active lifestyle. Oblomov's life was short-lived. She was inconspicuous and boring, but he was happy in his little world, having lived his last days in the circle of people who love him.

When he died, his loved ones sincerely mourned his death and grieved for him. Then they remembered for many years.

But Andey Stolz’s lifestyle is the absolute opposite of Oblomov. Active. Purposeful. Life was seething inside him. Stolz was a workaholic. He was very careful about his work. The meaning of his life was movement. Forward movement. Goncharov in his work does not specify the type of activity of Stolz, but this is not so important. The very fact of his employment already characterizes this hero. This hero is engaged in self-realization and certainly evokes sympathy.

Their worldviews were different, but both heroes sincerely value and respect each other. Their union can be called true friendship. The uniqueness of their friendship lies in the fact that, despite being different, their friendship was strong and unbreakable.

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In the modern world, few people can imagine their life without a computer or the Internet. We are used to having 24/7 access to the Internet and being able to get an answer to our question at any time, but this was not always the case.