Oblomov, Ideal female character as presented by I. Goncharov

She instantly weighed her power over him, and she liked this role as a guiding star, a ray of light. I. A. Goncharov The novel “Oblomov” was published in 1859, when the issue of abolition of serfdom was extremely acute in the country, when Russian society was already fully aware of the destructiveness of the existing order. “To analyze the female images created by I. A. Goncharov means to make a claim to the great experts on the female heart,” noted one of the most insightful Russian critics, N. A. Dobrolyubov. The image of Olga Ilyinskaya embodied not only the best features of a Russian woman, but also all the best that the writer saw in a Russian person. Olga was not a beauty, there was no whiteness in her, no bright coloring of her cheeks and lips, and her eyes did not burn with rays of inner fire. But if she were turned into a statue, she would be a statue of harmony and grace. It is in Olga that we see all those features that have always attracted the attention of Russian writers in any woman: the absence of artificiality, beauty that is not frozen, but living. We can confidently say that Olga Ilyinskaya continues the gallery of beautiful female images that Tatyana Larina opened, and which will be admired by more than one generation of readers. Olga is a stranger in her own environment. But she has both intelligence and determination to defend the right to her position in life. It was Olga Oblomov who perceived as the embodiment of the ideal he dreamed of. The relationship of the novel's protagonist with Olga allows us to better understand the character of Ilya Oblomov. What does Olga see in Oblomov? At first, this man's painful inability to act sparks in her a desire to help a good but weak-willed man. She appreciates in Oblomov his intelligence, simplicity, gullibility, the absence of all those secular conventions that are also alien to her. She feels that there is no cynicism in him, but there is a constant desire for doubt and sympathy. Olga dreams that “she will show him a goal, make him fall in love with everything that he has stopped loving... He will live, act, bless life and her.” However, Olga and Oblomov are not destined to be happy. Oblomov has a presentiment that their relationship with Olga cannot always be only their personal matter, they will certainly turn into many conventions and responsibilities. Olga constantly thinks about her feelings, about her influence on Oblomov, about her “mission”; love becomes a duty for her, and therefore can no longer be reckless, spontaneous. Moreover, Olga is not ready to sacrifice everything for the sake of love. “You would like to know if I would sacrifice my peace of mind for you, if I would go with you along this path? .. Never, never!” - she decisively answers Oblomov. Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy; in her opinion, he should become like Stolz, but at the same time preserve the best that is in his soul. He is from her - reckless, selfless love. Olga loves the 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 very long time ago,” Olga pronounces 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,” answers Ilya. - Oblomovism!” The tragedy of Olga and Oblomov becomes the final verdict on the phenomenon that Goncharov portrayed. Olga marries Stolz. It was he who managed to ensure that in Olga’s soul common sense and reason finally defeated the feeling that tormented her. Her life can be called happy. She believes in her husband, and therefore loves him. But Olga begins to feel an inexplicable melancholy. Stolz's mechanical, active life does not provide those opportunities for the movement of the soul that were in her feelings for Oblomov. And even Stolz guesses this: “Once you know him, it’s impossible to stop loving him.” With love for Oblomov, the best part of Olga’s soul dies; she forever remains a victim. “Olga, in her development, represents the highest ideal that only a Russian artist can now express from the current Russian life, a living person, only one that we have not yet met,” wrote N. A. Dobrolyubov. - “... In her, more than in Stolz, one can see a hint of a new Russian life, from her one can expect a word that will burn and dispel Oblomovism... Oblomovism is well known to her, she will be able to distinguish it in all forms, under all masks, and... will find so much strength in herself to carry out merciless judgment on her..."

(No Ratings Yet)

The novel "Oblomov" was published in 1859, when the issue of abolition of serfdom was extremely acute in the country, when Russian society was already fully aware of the destructiveness of the existing order. “To analyze the female images created by I. A. Goncharov means to make a claim to the great experts on the female heart,” noted one of the most insightful Russian critics, N. A. Dobrolyubov. The image of Olga Ilyinskaya embodied not only the best features of a Russian woman, but also all the best that the writer saw in a Russian person. Olga was not a beauty, there was no whiteness in her, no bright coloring of her cheeks and lips, and her eyes did not burn with rays of inner fire. But if she were turned into a statue, she would be a statue of harmony and grace. It is in Olga that we see all those features that have always attracted the attention of Russian writers in any woman: the absence of artificiality, beauty that is not frozen, but living. We can confidently say that Olga Ilyinskaya continues the gallery of beautiful female images that Tatyana Larina opened, and which will be admired by more than one generation of readers. Olga is a stranger in her own environment. But she has both intelligence and determination to defend the right to her position in life. It was Olga Oblomov who perceived as the embodiment of the ideal he dreamed of. The relationship of the novel's protagonist with Olga allows us to better understand the character of Ilya Oblomov.
What does Olga see in Oblomov? At first, this man's painful inability to act sparks in her a desire to help a good but weak-willed man. She appreciates in Oblomov his intelligence, simplicity, gullibility, the absence of all those secular conventions that are also alien to her. She feels that there is no cynicism in him, but there is a constant desire for doubt and sympathy. Olga dreams that “she will show him a goal, make him fall in love with everything that he has stopped loving... He will live, act, bless life and her.” However, Olga and Oblomov are not destined to be happy.
Oblomov has a presentiment that their relationship with Olga cannot always be only their personal matter, they will certainly turn into many conventions and responsibilities.
Olga constantly thinks about her feelings, about her influence on Oblomov, about her “mission”; love becomes a duty for her, and therefore can no longer be reckless, spontaneous. Moreover, Olga is not ready to sacrifice everything for the sake of love. “Would you like to know if I would sacrifice my peace of mind for you, if I would go along this path with you?.. Never, never!” - she decisively answers Oblomov.
Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy; in her opinion, he should become like Stolz, but at the same time preserve the best that is in his soul. He is from her - reckless, selfless love. Olga loves the 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 very long time ago,” Olga pronounces 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,” answers Ilya. “Oblomovism!” The tragedy of Olga and Oblomov becomes the final verdict on the phenomenon that Goncharov portrayed.
Olga marries Stolz. It was he who managed to ensure that in Olga’s soul common sense and reason finally defeated the feeling that tormented her. Her life can be called happy. She believes in her husband, and therefore loves him. But Olga begins to feel an inexplicable melancholy. Stolz's mechanical, active life does not provide those opportunities for the movement of the soul that were in her feelings for Oblomov. And even Stolz guesses this: “Once you know him, it’s impossible to stop loving him.” With love for Oblomov, the best part of Olga’s soul dies; she forever remains a victim.
“Olga, in her development, represents the highest ideal that only a Russian artist can now express from the current Russian life, a living person, only one we have not yet met,” wrote N. A. Dobrolyubov. - “... In her, more than in Stolz, one can see a hint of a new Russian life, one can expect from her a word that will burn and dispel Oblomovism... Oblomovism is well known to her, she will be able to distinguish it in all forms, under all the masks, and... will find so much strength in herself to carry out merciless judgment on her...".

The ideal female character as presented by I. A. Goncharov
(Based on the novel "Oblomov")

She instantly weighed her power over him, and she liked the role of a guiding star, a ray of light.
I. A. Goncharov

The novel "Oblomov" was published in 1859, when the issue of abolition of serfdom was extremely acute in the country, when Russian society was already fully aware of the destructiveness of the existing order. “To analyze the female images created by I. A. Goncharov means to make a claim to the great experts on the female heart,” noted one of the most insightful Russian critics, N. A. Dobrolyubov.
The image of Olga Ilyinskaya embodied not only the best features of a Russian woman, but also all the best that the writer saw in a Russian person. Olga was not a beauty, there was no whiteness in her, no bright coloring of her cheeks and lips, and her eyes did not burn with rays of inner fire. But if she were turned into a statue, she would be a statue of harmony and grace. It is in Olga that we see all those features that have always attracted the attention of Russian writers in any woman: the absence of artificiality, beauty that is not frozen, but living. We can confidently say that Olga Ilyinskaya continues the gallery of beautiful female images that Tatyana Larina opened, and which will be admired by more than one generation of readers.
Olga is a stranger in her own environment. But she has both intelligence and determination to defend the right to her position in life. It was Olga Oblomov who perceived as the embodiment of the ideal he dreamed of. The relationship of the novel's protagonist with Olga allows us to better understand the character of Ilya Oblomov.
What does Olga see in Oblomov? At first, this man's painful inability to act sparks in her a desire to help a good but weak-willed man. She appreciates in Oblomov his intelligence, simplicity, gullibility, the absence of all those secular conventions that are also alien to her. She feels that there is no cynicism in him, but there is a constant desire for doubt and sympathy. Olga dreams that “she will show him a goal, make him fall in love with everything that he has stopped loving... He will live, act, bless life and her.” However, Olga and Oblomov are not destined to be happy.
Oblomov has a presentiment that their relationship with Olga cannot always be only their personal matter, they will certainly turn into many conventions and responsibilities.
Olga constantly thinks about her feelings, about her influence on Oblomov, about her “mission”; love becomes a duty for her, and therefore can no longer be reckless, spontaneous. Moreover, Olga is not ready to sacrifice everything for the sake of love. “You would like to know if I would sacrifice my peace of mind for you, if I would go with you on this path?.. Never, for nothing!” - she decisively answers Oblomov.
Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy; in her opinion, he should become like Stolz, but at the same time preserve the best that is in his soul. He is from her - reckless, selfless love. Olga loves the 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 very long time ago,” Olga pronounces 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,” answers Ilya. “Oblomovism!” The tragedy of Olga and Oblomov becomes the final verdict on the phenomenon that Goncharov portrayed.
Olga marries Stolz. It was he who managed to ensure that in Olga’s soul common sense and reason finally defeated the feeling that tormented her. Her life can be called happy. She believes in her husband, and therefore loves him. But Olga begins to feel an inexplicable melancholy. Stolz's mechanical, active life does not provide those opportunities for the movement of the soul that were in her feelings for Oblomov. And even Stolz guesses this: “Once you know him, it’s impossible to stop loving him.” With love for Oblomov, the best part of Olga’s soul dies; she forever remains a victim.
“Olga, in her development, represents the highest ideal that only a Russian artist can now express from the current Russian life, a living person, only one we have not yet met,” wrote N. A. Dobrolyubov. - “... In her, more than in Stolz, one can see a hint of a new Russian life, one can expect from her a word that will burn and dispel Oblomovism... Oblomovism is well known to her, she will be able to distinguish it in all forms, under all the masks, and... will find so much strength in herself to carry out merciless judgment on her...".

Two faces of love in I. A. Goncharov’s novel “Oblomov”

I. A. Goncharov’s novel “Oblomov” is a classic of Russian literature. In this novel, two faces of love appear before us. The first is the love of Oblomov and Olga, the second is the love of Stolz and Olga. How different they are! The first feeling - not having time to bloom - immediately withered, the second - it takes a long time to bloom, but, having blossomed and strengthened, for a long time retains all the freshness of youth.
The love of Oblomov and Olga quickly fades. Perhaps they are both to blame for this, but most likely, all the blame can be placed on Oblomov. His laziness and idleness were the reason for the breakup. And Olga herself did not so much love as she wanted to love her unlucky fiancé, imposing on him a role that was disgusting to him. Inexperienced in matters of love, Olga with all the strength of her youth gave herself up to this new feeling for her, not realizing that Oblomov, with his eternal fears and laziness, did not really need her love.
Things were different for Stolz and Olga. As an active and practical person, Stolz had no time to deal with his heart's affairs. And when love came, this new feeling for him, he surrendered to it completely. Stolz knew Olga long before meeting abroad, but then she was only a child for him, smart and showing great promise, but a child. Abroad, Stolz saw in her a woman with whom he immediately fell in love.
These two faces are different, just like love itself, about which so much has been said.
Goncharov’s genius lies in the fact that he showed these two faces without hiding or embellishing anything.

Why is Oblomov lying on the sofa?

Lying down for Ilya Ilyich was neither a necessity, like that of a sick person or like a person who wants to sleep, nor an accident, like that of someone who is tired, nor a pleasure, like that of a lazy person: it was his normal state.
I. A. Goncharov. Oblomov

I. A. Goncharov’s novel “Oblomov” was written in pre-reform times. In it, the author depicted Russian life in the first half of the 19th century with objective accuracy and completeness. The plot of the novel is the life path of Ilya Ilyich Oblomov, from childhood until his death. The main theme of the novel is Oblomovism - a way of life, a life ideology; this is apathy, passivity, isolation from reality, contemplation of life around oneself; but the main thing is the lack of labor, practical inactivity. The concept of “Oblomovism” is applicable not only to Oblomovka with its inhabitants; it is a “reflection of Russian life”, the key to unraveling many of its phenomena. In the 19th century, the life of many Russian landowners was similar to the life of Oblomov’s people, and therefore Oblomovism can be called the “dominant disease” of that time. The essence of Oblomovism is revealed by Goncharov through the depiction of Oblomov’s life, most of which the hero spends lying on the sofa, dreaming and making all sorts of plans.What is stopping him from getting up from this sofa?
In my opinion, the main reason for Oblomov’s inactivity is his social position. He is a landowner, and this frees him from many activities. He is a master, he doesn’t have to do anything - the servants will do everything for him. Ilya Ilyich never even had the desire to do something himself, although one should not blame him for this, since this is a consequence of his upbringing. And the upbringing and atmosphere in which little Oblomov grew up played a huge role in the formation of his character and worldview.
Ilya Ilyich Oblomov was born in Oblomovka - this “blessed corner of the earth”, where “there is nothing grandiose, wild and gloomy”, there are “no terrible storms, no destruction”, where deep silence, peace and imperturbable calm reign. Life in Oblomovka was monotonous; people here were terribly afraid of any changes. On the Oblomov estate, the traditional midday was “an all-consuming, invincible sleep, a true likeness of death.” And little Ilyusha grew up in this atmosphere, he was surrounded by care and attention from all sides: his mother, nanny and the entire numerous retinue of the Oblomov family showered the boy with affection and praise. The slightest attempt by Ilyusha to do anything on his own was immediately suppressed: he was often forbidden to run anywhere, and at the age of fourteen he was not even able to dress himself. But Stolz’s teaching of Ilyusha can hardly be called such. The parents found a variety of reasons for the boy not going to school, including the absurd and funny.
Thus, living in such a house and in such an environment, Ilya Ilyich became more and more “saturated” with Oblomovism, and an ideal of life gradually formed in his mind. Already an adult Oblomov was characterized, in my opinion, by a somewhat childish daydreaming. Life in his dreams seemed to him calm, measured, stable, and his beloved woman - in her qualities more reminiscent of a mother - loving, caring, sympathetic. Oblomov was so immersed in the world of his dreams that he completely broke away from reality, which he was unable to accept. (“Where is the man here? Where is his integrity? Where did he hide, how did he exchange for every little thing?”)
So, Oblomov does not accept reality, it scares him. Does Ilya Ilyich have a specific goal in life, apart from that Oblomov idyll? No. Does he have any business to which he would devote himself completely? Also no. This means there is no need to get up from the couch.
Oblomovism completely absorbed Ilya Ilyich, which surrounded him in childhood; it did not leave him until his death. But Oblomov is a man with a “pure, faithful heart,” with a harmonious, integral, sublime, poetic soul, in which “there will always be pure, bright, honest,” there are few such people; These are "pearls in the crowd." But Oblomov did not find use for his enormous moral and spiritual potential; he turned out to be a “superfluous man”; he was corrupted by the very possibility of doing nothing. It seems to me that if it were not for the upbringing that gave rise to Oblomov’s inability to work, this man could have become a poet or writer, perhaps a teacher or revolutionary. But, in any case, he would have benefited those around him and would not have lived his life in vain. But, as Ilya Ilyich himself says, Oblomovism destroyed him, it was she who did not allow him to get off the couch and start a new, full life.

Oblomov and Oblomovism
(Based on the novel by I. A. Goncharov “Oblomov”)

I. Goncharov wrote three novels, which, although neither highly social canvases nor examples of complex psychologism, nevertheless became a kind of encyclopedia of national character, way of life, and philosophy of life.
Oblomov is a stable, purely Russian type, a gentleman type, brought up by centuries of slavery. Inertia, apathy, aversion to serious activity, confidence that all desires will be fulfilled. The Oblomovs did not know personal labor that required mental and emotional costs. Their whole life from the seventh generation went on as usual, and now their descendants lost their personal initiative. Oblomov considers himself free and protected from life, but in reality he is a slave to his whims, a slave to anyone who subjugates him to their desires. Oblomov is not angry, but he is not kind either. He is a man without actions, a man who always gives in to routine and habits. For Oblomov, the question “Now or never” always has an evasive answer: “But not now.” Oblomov’s childlike spontaneity, purity, and sincerity come not from mental labor and expense, but from the underdevelopment of the soul. “Pureness of heart is not a wild flower,” it requires tireless work on oneself, studying and understanding life, experience and relationships with people. Oblomov does not have this; he becomes a victim of anyone who claims to own his life.
A fraudster or a friend, a smart woman or a kind woman - he limply passes from one hand to another. The swindler and the simple woman win. They don't demand anything. There are problems with my friend, problems with Olga, they want something, they are calling me somewhere. And in a cozy house on the Petrograd side there are liqueurs and jams, feather beds, care and unburdened love.
Oblomov is a hero who has become that piece of the mosaic, without which it is impossible to understand a unique historical type - the Russian nobleman. Onegin, Pechorin, Rudin - they rush around in search of a goal, they are taller and better than those around them. Oblomov not only does not search, he avoids purposeful activity. The world around is fussy and vulgar, Oblomov does not want to play his games, and is not able to impose his game on the world.

The problem of individual responsibility for one’s destiny in I. A. Goncharov’s novel “Oblomov”

Sofa - Oblomov's throne
(essay-miniature)

Every person has a place and circumstances in which he feels “like a king.” He is protected, free, contented, self-sufficient. Goncharov's Oblomov has such a royal throne - a sofa. This is not just a piece of furniture, not a place of rest and sleep after righteous labors. This is a sacred place where all wishes come true, a fantastic world is built in which Oblomov does not rule - for this, efforts must be made - he takes for granted peace, contentment, satiety. Oblomov is like a stove on which Emelya the Fool lies, and yet the buckets themselves walk on the water and the pies jump into the stove. Only instead of pike commands, Oblomov’s services are devoted slaves, if you call a spade a spade.
Oblomov became close, merged with his sofa. But it’s not only laziness that prevents Oblomov from leaving it. There, around, is real life, which is not arranged at all for the service and pleasure of the master. There you need to prove something, achieve something. There they check what kind of person you are and whether you have the right to what you want. And on the sofa it’s calm, cozy - and there’s order in the kingdom

The ideal female character as imagined by I. A. Goncharov (Based on the novel "Oblomov")

The novel "Oblomov" was published in 1859, when the issue of abolition of serfdom was extremely acute in the country, when Russian society was already fully aware of the destructiveness of the existing order. “To analyze the female images created by I. A. Goncharov means to make a claim to the great experts on the female heart,” noted one of the most insightful Russian critics, N. A. Dobrolyubov. The image of Olga Ilyinskaya embodied not only the best features of a Russian woman, but also all the best that the writer saw in a Russian person. Olga was not a beauty, there was no whiteness in her, no bright coloring of her cheeks and lips, and her eyes did not burn with rays of inner fire. But if she were turned into a statue, she would be a statue of harmony and grace. It is in Olga that we see all those features that have always attracted the attention of Russian writers in any woman: the absence of artificiality, beauty that is not frozen, but living. We can confidently say that Olga Ilyinskaya continues the gallery of beautiful female images that Tatyana Larina opened, and which will be admired by more than one generation of readers. Olga is a stranger in her own environment. But she has both intelligence and determination to defend the right to her position in life. It was Olga Oblomov who perceived as the embodiment of the ideal he dreamed of. The relationship of the novel's protagonist with Olga allows us to better understand the character of Ilya Oblomov.

What does Olga see in Oblomov? At first, this man's painful inability to act sparks in her a desire to help a good but weak-willed man. She appreciates in Oblomov his intelligence, simplicity, gullibility, the absence of all those secular conventions that are also alien to her. She feels that there is no cynicism in him, but there is a constant desire for doubt and sympathy. Olga dreams that “she will show him a goal, make him fall in love with everything that he has stopped loving... He will live, act, bless life and her.” However, Olga and Oblomov are not destined to be happy.

Oblomov has a presentiment that their relationship with Olga cannot always be only their personal matter, they will certainly turn into many conventions and responsibilities.

Olga constantly thinks about her feelings, about her influence on Oblomov, about her “mission”; love becomes a duty for her, and therefore can no longer be reckless, spontaneous. Moreover, Olga is not ready to sacrifice everything for the sake of love. “Would you like to know if I would sacrifice my peace of mind for you, if I would go along this path with you?.. Never, never!” - she decisively answers Oblomov.

Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy; in her opinion, he should become like Stolz, but at the same time preserve the best that is in his soul. He is from her - reckless, selfless love. Olga loves the 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 very long time ago,” Olga pronounces 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,” answers Ilya. “Oblomovism!” The tragedy of Olga and Oblomov becomes the final verdict on the phenomenon that Goncharov portrayed.

Olga marries Stolz. It was he who managed to ensure that in Olga’s soul common sense and reason finally defeated the feeling that tormented her. Her life can be called happy. She believes in her husband, and therefore loves him. But Olga begins to feel an inexplicable melancholy. Stolz's mechanical, active life does not provide those opportunities for the movement of the soul that were in her feelings for Oblomov. And even Stolz guesses this: “Once you know him, it’s impossible to stop loving him.” With love for Oblomov, the best part of Olga’s soul dies; she forever remains a victim.

“Olga, in her development, represents the highest ideal that only a Russian artist can now express from the current Russian life, a living person, only one we have not yet met,” wrote N. A. Dobrolyubov. - “... In her, more than in Stolz, one can see a hint of a new Russian life, one can expect from her a word that will burn and dispel Oblomovism... Oblomovism is well known to her, she will be able to distinguish it in all forms, under all the masks, and... will find so much strength in herself to carry out merciless judgment on her...".

She instantly weighed her power over him, and she liked this role as a guiding star, a ray of light. I. A. Goncharov The novel “Oblomov” was published in 1859, when the issue of abolition of serfdom was extremely acute in the country, when Russian society was already fully aware of the destructiveness of the existing order. “To analyze the female images created by I. A. Goncharov means to make a claim to the great experts on the female heart,” noted one of the most insightful Russian critics, N. A. Dobrolyubov. The image of Olga Ilyinskaya embodied not only the best features of a Russian woman, but also all the best that the writer saw in a Russian person. Olga was not a beauty, there was no whiteness in her, no bright coloring of her cheeks and lips, and her eyes did not burn with rays of inner fire. But if she were turned into a statue, she would be a statue of harmony and grace. It is in Olga that we see all those features that have always attracted the attention of Russian writers in any woman: the absence of artificiality, beauty that is not frozen, but living. We can confidently declare that Olga Ilyinskaya continues the gallery of beautiful female images that Tatyana Larina opened, and which more than one generation of readers will admire. Olga is a stranger in her own environment. But she has both intelligence and determination to defend the right to her position in life. It was Olga Oblomov who perceived as the embodiment of the ideal he dreamed of. The relationship of the novel's protagonist with Olga allows us to better understand the character of Ilya Oblomov. What does Olga see in Oblomov? At first, this man's painful inability to act sparks in her a desire to help a good but weak-willed man. She appreciates in Oblomov his intelligence, simplicity, gullibility, the absence of all those secular conventions that are also alien to her. She feels that there is no cynicism in him, but there is a constant desire for doubt and sympathy. Olga dreams that "she will show him assigned task, will make him fall in love with everything that he has fallen out of love... He will live, act, bless life and her." However, Olga and Oblomov are not destined to be happy. Oblomov has a presentiment that their relationships relations with Olga cannot always be just their personal matter; they will certainly turn into a lot of conventions and responsibilities. Olga constantly thinks about her feelings, about her influence on Oblomov, about her “mission”; love becomes a duty for her, and therefore can no longer be reckless, spontaneous. Moreover, Olga is not ready to sacrifice everything for the sake of love. “Would you like to know if I would sacrifice my peace of mind for you, if I would go along this path with you?.. Never, never!” - she decisively answers Oblomov. Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy; in her opinion, he should become like Stolz, but at the same time preserve the best that is in his soul. He is from her - reckless, selfless love. Olga loves the 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 very long time ago,” Olga pronounces 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,” answers Ilya. “Oblomovism!” The tragedy of Olga and Oblomov becomes the final verdict on the phenomenon that Goncharov portrayed. Olga marries Stolz. It was he who managed to ensure that in Olga’s soul common sense and reason finally defeated the feeling that tormented her. Her life can be called happy. She believes in her husband, and therefore loves him. But Olga begins to feel an inexplicable melancholy. Stolz's mechanical, active life does not provide those opportunities for the movement of the soul that were in her feelings for Oblomov. And even Stolz guesses this: “Once you know him, it’s impossible to stop loving him.” With love for Oblomov, the best part of Olga’s soul dies; she forever remains a victim. “Olga, in her development, represents the highest ideal that only a Russian artist can now express from the current Russian life, a living person, only one we have not yet met,” wrote N. A. Dobrolyubov. - “... In her, more than in Stolz, one can see a hint of a new Russian life, one can expect from her a word that will burn and dispel Oblomovism... Oblomovism is well known to her, she will be able to distinguish it in all forms, under all the masks, and... will find so much strength in herself to carry out merciless judgment on her...".