Essay “Attitude of Oblomov and Stolz to family and parents. Love, family and other eternal values ​​in the perception of Oblomov and Stolz - document Oblomov and Stolz perception of love

I. A. Goncharov worked on the novel “Oblomov” for ten years. In this (best!) work, the author expressed his beliefs and hopes; depicted the problems of contemporary life that worried and deeply affected him, and revealed the causes of these problems. Therefore, the image of Ilya Ilyich Oblomov and Andrei Ivanovich Stolts acquired typical features, and the word “Oblomovism” itself began to express a very specific, almost philosophical concept. We cannot exclude the image of Olga Sergeevna Ilyinskaya, without which the characters of the men would not be fully illuminated.

To understand the character of a person, the motives of his actions, you need to turn to the sources of personality formation: childhood, upbringing, environment, and finally, the education received.

It seems that the strength of all generations of his ancestors was concentrated in Ilyusha; in him were felt the makings of a man of a new time, capable of fruitful activity. But Ilya’s aspirations to independently explore the world were thwarted by a nanny who did not take her eyes off him, from whose supervision he escaped only during the afternoon nap, when all living things in the house, except Ilya, fell asleep. “It was some kind of all-consuming, invincible dream, a true likeness of death.”

An attentive child observes everything that is happening in the house, “feeds a soft mind with living examples and unconsciously draws a program for his life based on the life around him,” the “main concern of life” of which is good food, and then a sound sleep.

The quiet flow of life was disturbed only occasionally by “illnesses, losses, quarrels and, among other things, labor.” Labor was the main enemy of the inhabitants of Oblomovka, a punishment imposed “on our forefathers.” In Oblomovka they always got rid of work when the opportunity presented itself, “finding it possible and proper.” This attitude towards work was brought up in Ilya Ilyich, who accepted a ready-made standard of life, passed on from generation to generation without change. The ideal of inaction was reinforced in the child’s imagination by nanny’s tales about “Emelya the Fool,” who receives various gifts from the magic pike, and undeserved ones at that. Fairy tales penetrate deeply into Ilya’s consciousness, and he, already an adult, “is sometimes unconsciously sad, why is a fairy tale not life, and why is life not a fairy tale?”

The desire for independence, young energy was stopped by the friendly cries of the parents: “What are servants for?” Soon Ilya himself realized that it was calmer and more convenient to give orders. The dexterous, active child is constantly stopped by his parents and nanny for fear that the boy will “fall, hurt himself” or catch a cold; he was cherished like a hothouse flower. “Those seeking manifestations of power turned inward and sank, withering away.”

In such conditions, Ilya Ilyich’s apathetic, lazy, difficult-to-rise nature developed. He was surrounded by the excessive worries of his mother, who made sure that the child ate well, did not overwork himself in studying with Stolz, and was ready, under any, even the most insignificant pretext, not to let Ilyushenka go to the German. She believed that education is not such an important thing, for the sake of which you need to lose weight, lose your blush and skip holidays. But still, Oblomov’s parents understood the need for education, but saw in it only a means for career advancement: they began to receive ranks and awards at that time “no other way than through study.” The parents wanted to present Ilyusha with all the benefits “somehow cheaper, with various tricks.”

His mother's worries had a detrimental effect on Ilya: he was not accustomed to systematic studies, he never wanted to learn more than the teacher asked.

Oblomov’s peer and friend, Andrei Ivanovich Stolts, loved Ilya, tried to stir him up, instill an interest in self-education, set him up for activities that he himself was passionate about, for which he was disposed, because he was brought up in completely different conditions.

Andrei's father, a German, gave him the upbringing that he received from his father, that is, he taught him all the practical sciences, forced him to work early and sent away his son, who had graduated from the university, as his father had done to him in his time. But the father’s rough burgher upbringing constantly came into contact with the tender, affectionate love of his mother, a Russian noblewoman, who did not contradict her husband, but quietly raised her son in her own way: “... taught him to listen to the thoughtful sounds of Hertz, sang to him about flowers, about the poetry of life , whispered about the brilliant calling of either a warrior or a writer...” The proximity of Oblomovka with its “primitive laziness, simplicity of morals, silence and immobility” and the princely “with the wide expanse of lordly life” also prevented Ivan Bogdanovich Stoltz from becoming the son of the same burgher, what he was like. The breath of Russian life “took Andrei away from the straight path outlined by his father.” But nevertheless, Andrei adopted from his father a serious outlook on life (even at all its little things) and pragmatism, which he tried to balance “with the subtle needs of the spirit.”

Stolz kept all emotions, actions and actions under the “never dormant control” of the mind and spent strictly “according to the budget.” He considered himself the cause of all his misfortunes and suffering; he “did not hang guilt and responsibility, like a caftan, on someone else’s nail,” unlike Oblomov, who did not find the strength to admit himself guilty of his troubles, of the worthlessness of his fruitless life: “. ..the burning reproaches of his conscience stung him, and he tried with all his might... to find the culprit outside himself and turn their sting on him, but on whom?”

The search turned out to be useless, because the reason for Oblomov’s ruined life was himself. It was very painful for him to realize this, since he “painfully felt that some good, bright beginning was buried in him, as in a grave, perhaps now dead...”. Oblomov was tormented by doubts about the correctness and necessity of his life. However, over the years, unrest and repentance appeared less frequently, and he quietly and gradually settled into a simple and wide coffin for the rest of his existence, made with his own hands...”.

Stolz and Oblomov have a different attitude towards the imagination, which has two opposite incarnations: “... a friend - the less you believe him, and an enemy - when you fall asleep trustingly under his sweet whisper.” The latter happened to Oblomov. Imagination was his favorite companion in life; only in his dreams did he embody the rich, deeply buried abilities of his “golden” soul.

Stolz did not give free rein to his imagination and was afraid of any dream; it “had no place in his soul”; he rejected everything that “was not subject to the analysis of experience, practical truth,” or accepted it behind“a fact to which experience has not yet reached.” Andrei Ivanovich persistently “went towards his goal,” he valued such persistence above all else: “... it was a sign of character in his eyes.” He only retreated “from the task when a wall appeared on his way or an impassable abyss opened up.” He soberly assessed his strength and walked away, not paying attention to the opinions of others.

Oblomov was afraid of any difficulties; he was too lazy to make even the slightest effort to solve not the great, but the most pressing problems. He found solace in his favorite “conciliatory and soothing” words “maybe”, “maybe” and “somehow” and protected himself from misfortunes with them. He was ready to shift the matter to anyone, without caring about its outcome or the integrity of the chosen person (this is how he trusted the scammers who robbed his estate). Like a pure, naive child, Ilya Ilyich did not allow even the thought of the possibility of deception; elementary prudence, not to mention practicality, was completely absent from Oblomov’s nature.

Ilya Ilyich’s attitude to work has already been discussed. He, like his parents, avoided work in every possible way, which was in his mind a synonym for boredom, and all the efforts of Stolz, for whom “work is the image, content, element and goal of life,” to motivate Ilya Ilyich to some kind of activity were in vain, the matter did not progress beyond words. Figuratively speaking, the cart stood on square wheels. She needed constant pushes of considerable force to move from her place. Stolz quickly got tired (“you fiddle around like a drunkard”), this activity also disappointed Olga Ilyinskaya, through her love for whom many sides of the characters of Oblomov and Stolz are revealed.

In introducing Ilya Ilyich to Olga, Stolz wanted to “introduce into Oblomov’s sleepy life the presence of a young, pretty, intelligent, lively and partly mocking woman,” who could awaken Ilya to life and illuminate his dull existence. But Stolz “did not foresee that he would bring fireworks, Olga and Oblomov - even more so.”

Love for Olga changed Ilya Ilyich. At Olga's request, he gave up many of his habits: he did not lie on the couch, did not overeat, and traveled from the dacha to the city to carry out her instructions. But he could not finally enter into a new life. “To go forward means suddenly throwing off a wide robe not only from your shoulders, but from your soul, from your mind; together with the dust and cobwebs from the walls, sweep the cobwebs out of your eyes and see clearly!” And Oblomov was afraid of storms and changes, he absorbed the fear of the new with his mother’s milk, compared to. which, however, went ahead (Ilya Ilyich had already rejected “the only use of capital is to keep it in a chest,” realizing that “the duty of every citizen is to maintain the general well-being through honest work”), but he achieved little, given his abilities.

He was tired of Olga’s restless, active nature, and therefore Oblomov dreamed that she would calm down and quietly, sleepily vegetate with him, “crawling from one day to another.” Realizing that Olga will never agree to this, Ilya decides to break up with her. For Oblomov, the break with Olga meant a return to previous habits, a final spiritual decline. In his life with Pshenitsa, Ilya Ilyich found a pale reflection of his dreams and “decided that the ideal of his life had come true, although without poetry...”.

Having made a lot of efforts to awaken Oblomov’s desire for activity, Olga soon becomes convinced, as Dobrolyubov puts it, “of his decisive worthlessness,” that is, of his inability for spiritual transformation, and abandons him.

Having gone through love and disappointment, Olga began to take her feelings more seriously; she grew so morally that Stolz did not recognize her when he met a year later, and suffered for a long time, trying to unravel the reason for the dramatic changes in Olga.

Stolz is the antipode of Oblomov, a positive type of practical figure. In the image of Sh., according to Goncharov’s plan, such opposing qualities as, on the one hand, sobriety, prudence, efficiency, knowledge of people as a materialist-practitioner should have been harmoniously combined; on the other hand, spiritual subtlety, aesthetic sensitivity, high spiritual aspirations, poetry. The image of Sh., according to Goncharov, was supposed to embody a new positive type of Russian progressive figure. The ideal of Sh.’s life is unceasing and meaningful work, this is “the image, content, element and purpose of life.” Sh. defends this ideal in a dispute with Oblomov, calling the latter’s utopian ideal “Oblomovism” and considering it harmful in all spheres of life.

Unlike Oblomov, Sh. stands the test of love. He meets the ideal of Olga Ilyinskaya: Sh. combines masculinity, loyalty, moral purity, universal knowledge and practical acumen, allowing him to emerge victorious in all life's trials. Goncharov himself was not entirely satisfied with the image, believing that Sh. was “weak, pale”, that “the idea is too bare from him.”

“Olga in the strict sense was not a beauty, that is, 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 grace and harmony “- exactly like that, in just a few details, I. A. Goncharov gives a portrait of his heroine. Olga is a stranger in her own environment. But she is not a victim of her environment, because she has the intelligence and determination to defend the right to her position in life, to behavior that is not oriented towards generally accepted norms. Olga, in her development, represents the highest ideal that only a Russian artist can now express from the current Russian life, a living face, 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 it one can expect a word that will burn and dispel Oblomovism...

About love and marriage: Love in the novel “Oblomov”, as in other Russian novels, plays a huge role. In the novel “Oblomov,” love revives the main character and brings happiness. She makes him suffer - with the departure of love, Oblomov’s desire to live disappears.

The feeling that arises between Olga and Oblomov: love comes to him and absorbs him completely. This feeling ignites his soul, feeding on the tenderness accumulated during hibernation and seeking a way out. It is new to Oblomov’s soul, which is accustomed to burying all feelings at the bottom of consciousness, so love revives the soul to a new life. For Oblomov, this feeling is burning love - passion for a woman who managed to change him so much. Olga manages to change Ilya Ilyich, knock laziness and boredom out of him. This is why she loves Oblomov! This is what the hero writes to his beloved: “Your present “love” is not real love, but future love. You are mistaken, in front of you is not the one you were waiting for, about whom you dreamed. Wait - he will come, and then you will wake up, you will be annoyed and ashamed of your mistake...” And soon Olga herself becomes convinced of the truth of these lines, having fallen in love with Andrei Stolz. So, her love for Oblomov was just an expectation, an introduction to a future romance? But this love is pure, unselfish, selfless; and we are convinced that Olga can love and believes that she loves Oblomov. With the departure of this love, Oblomov does not find anything to occupy the emptiness in his soul, and again spends whole days sleeping and lying idle on his sofa in St. Petersburg, in the house of Agafya Pshenitsyna. Over time, having become accustomed to the measured life of his mistress, our hero will subdue the impulses of his heart and begin to be content with little. Again, all his desires will be limited to sleep, food, and rare empty conversations with Agafya Matveevna. Pshenitsyna is contrasted by the author with Olga: the first is an excellent housewife, a kind, faithful wife, but she does not have a high soul; Having plunged into a simple semi-rural life in Pshenitsyna’s house, Ilya Ilyich seemed to have found himself in the old Oblomovka. Lazily and slowly dying in his soul, Oblomov falls in love with Agafya Matveevna. And Agafya Matveevna? Is this what her love is like? No, she is selfless, devoted; in this feeling, Agafya is ready to drown, to give all her strength, all the fruits of her labors to Oblomov. It seems that her whole life was spent waiting for a person whom she could devotedly love and take care of him as if she were her own son. Oblomov is exactly like this: he is lazy - this allows him to be looked after like a child; he is kind, gentle - this touches the female soul, accustomed to male rudeness and ignorance.

Oblomov's friend, Stolz, does not understand this love. Far from him, an active person, is the lazy comfort of home, the order of Oblomovka, and even more so a woman who has become coarse in her environment. That is why Stolz's ideal is Olga Ilyinskaya, a subtle, romantic, wise woman. There is no even the slightest shadow of coquetry in her. Stolz invites Olga to marry him - and she agrees. His love. she is pure and disinterested, he does not look for profit in her, no matter how restless the “businessman” he may be.

The relationship between Pshenitsyna and Oblomov is quite natural, close to life, while the marriage of Olga and Stolz is utopian. Oblomov turns out to be closer to reality than the realist Stolz. Olga and Stolz live in Crimea, all things - both necessary for work and romantic trinkets - find a place in their home. They are surrounded by an ideal balance even in love: passion is drowned in marriage, but not extinguished. But Stolz doesn’t even suspect what riches are still hidden in Olga’s soul. Olga outgrew Stolz spiritually because she did not persistently strive for the goal, but saw different roads and chose which one to follow. She tried to understand and love Oblomov’s life, but she failed. Now, in Crimea, Olga feels in her life the features of Oblomov’s idyll, and this worries her, she does not want to live like that. But the love of Olga and Stolz is the love of two developing people who help each other, and they must find a way out in order to continue to truly search for their own path.

Introduction

An important plotline of the novel “Oblomov” is the relationship between Olga Ilyinskaya and Andrei Ivanovich Stolts. They are bright, purposeful, active individuals who seem to be ideal for each other - their marriage seemed to be predetermined and logical from the first meeting with the characters. However, despite the similar characterization of Olga and Stolz in the novel “Oblomov” by Goncharov, the heroes, having lived together for several years, feel unhappy, unfulfilled and, in their own way, constrained by the bonds of marriage. The reasons for this lie in the fact that the girl considered marriage to be another step towards personal development, and the man saw it as a quiet haven where he could take a break from the bustle of the outside world.

Features of the relationship between Olga and Stolz

The relationship between Olga and Stolz begins with good friendship and mutual respect. A young girl is interested in an accomplished adult man who helps her learn more and more about the world around her and develop as a full-fledged intellectual person. Stolz saw Olga as a grateful student; he liked that the girl admired him as a mentor and teacher. It is Andrei Ivanovich who introduces Olga to his friend Oblomov, and then sincerely worries that the lovers have separated.

After the girl, having a hard time breaking up with Ilya Ilyich, left for Europe, Stolz, as a best friend, spends almost all his free time with her, gradually becoming fascinated by Olga not as an interesting interlocutor and student, but as a woman, and therefore decides to propose to her. The girl happily agrees to marry the reliable, inspiring Andrei Ivanovich and, it would seem, a happy union awaits them between two personalities striving forward and supporting each other, but both heroes were not ready for a classic marriage, since they put completely different meanings into this concept.

Brought up in the family of a German burgher and a Russian noblewoman, Stolz from childhood absorbed the image of a woman guardian of the hearth - his mother, a gentle and sensual creature, experienced in the sciences and arts. Andrei Ivanovich’s ideal was a woman who, no matter what, would always take care of him, surround him with warmth and love, directing all of herself to the family - this is exactly what he expected from the bright, artistic Olga.

The girl did not want to limit herself to family and home, she did not want to live according to the usual scenario of the female fate of the 19th century. Olga needed an inspiration and teacher who could endlessly satisfy her insatiable thirst for knowledge, while remaining a sensual, emotional and loving person, that is, an almost ideal man.

Why is the marriage and love of Olga and Stolz tragic?

As a result of a misunderstanding between the spouses after several years of marriage, Stolz realizes that it is difficult for him to constantly strive and live up to Olga’s male ideal, while the girl begins to suffer from her husband’s excessive rationality and sensual stinginess, remembering the dreamy and gentle Oblomov. Between Olga and Stolz there is no love that was between Olga and Ilya Ilyich. Their relationship is built on friendship, mutual respect and duty, which replace true love between a man and a woman, and therefore are incomplete and destructive for both characters.

Some researchers, analyzing the relationship between Olga and Stolz, point out that if Goncharov had described the fate of their marriage, it would undoubtedly have ended in divorce. And not only because Andrei Ivanovich is too rational and cannot give his wife all the love and sensuality that she valued in Oblomov, but because of their internal incompatibility and, as stated earlier, different visions of family life. Stolz spent his whole life condemning “Oblomovism” with its calm and satiety, but unconsciously strove for it as the focus of that spiritual warmth and mutual understanding that he valued in his friend. And having married, Andrei Ivanovich seems to recreate the “hated” Oblomovka on his estate, where he lives with his wife and children, hoping to find peace and quiet happiness here.

Stolz simply changed the concepts, considering “Oblomovism” simply a new stage in his life, but Olga, whose nature strongly opposes any manifestations of “Oblomovism,” feels unhappy in the cage of family and marriage, remaining married to Andrei Ivanovich more out of duty than because of strong feelings. But her patience is not endless - as soon as her husband ceases to be an inspiration and authority for her, she will leave him, just as she left Oblomov.

Conclusion

By depicting the relationship between Olga and Stolz, the author wanted to show that a happy family is impossible without mutual love, even if the spouses have common interests and similar characters. Comparing their marriage with the marriage of Oblomov and Pshenitsyna (which, although it led to the death of Ilya Ilyich, made the hero happy), Goncharov emphasized that true harmony in relationships is possible only when people have common life values ​​and accept each other for who they are .

Work test

It does not lose its relevance even today, being a brilliant socio-psychological work in Russian literature of the 19th century. In the book, the author touches on a number of eternal topics and questions, without giving clear answers, inviting the reader to independently find solutions to the described conflicts. One of the leading eternal themes in the novel is the theme of family, revealed through the example of the biography of the main characters of the work - Ilya Ilyich Oblomov and Andrei Ivanovich Stolts. According to the plot of the novel, Oblomov’s attitude towards family and parents, on the one hand, is similar, but on the other hand, it is radically different from Stolz’s attitude towards family. Andrei Ivanovich and Ilya Ilyich, although they come from the same social system, adopted different family values ​​and received completely different upbringings, which later left an imprint on their fate and development in life.

Oblomov family

The reader encounters a description of Oblomov’s family in the novel “Oblomov” in the final chapter of the first part of the work - “Oblomov’s Dream.”
Ilya Ilyich dreams of beautiful landscapes of his native Oblomovka, his calm childhood, parents and servants. The Oblomov family lived by its own norms and rules, and their main values ​​were the cult of food and relaxation. Every day, the whole family decided what dishes needed to be prepared, and after lunch the whole village plunged into sleepy, lazy idleness. In Oblomovka, it was not customary to talk about anything lofty, argue, discuss serious issues - conversations between family members were meaningless exchanges of words that did not require additional energy and emotions.

It was in such a calming and, in its own way, depressing atmosphere that Ilya Ilyich grew up. The hero was a very curious, interested in everything and an active child, but the excessive care of his parents and their attitude towards him as a greenhouse plant led to the fact that he was gradually swallowed up by the swamp of “Oblomovism”. Moreover, education, science, literacy and all-round development in Oblomov’s family were considered rather a whim, an excess, a fashionable trend, which one could easily do without. That is why, even after sending their son to study, Ilya Ilyich’s parents themselves found many reasons for him to skip classes, staying at home and indulging in idle pastime.

Despite the excessive guardianship on the part of Oblomov’s entourage, Oblomov’s attitude towards his family and parents was the most favorable; he actually loved them with the calm love with which it was customary to love in Oblomovka. And even dreaming about how he would establish his family happiness, Ilya Ilyich imagined his future relationship with his wife exactly as it was between his father and mother - full of care and tranquility, representing the acceptance of his other half for who she is. Perhaps this is why the love of Oblomov and Olga was doomed to parting - Ilyinskaya only at first glance looked like the ideal of his dreams, but in fact she was not ready to devote her life to ordinary everyday joys, which for Ilya Ilyich represented the basis of family happiness.

Stolz family

Andrei Stolts in the novel is Oblomov’s best friend, whom they met during their school years. Andrei Ivanovich grew up in the family of a Russian noblewoman and a German burgher, which could not leave its mark on the already receptive, active and purposeful boy to the world around him. His mother taught Andrei the arts, instilled in him a wonderful taste for music, painting and literature, and dreamed of her son becoming a prominent socialite. The parents of Oblomov and Stolz knew each other, so Andrei was often sent to visit the Oblomovs, where that landowner calm and warmth always reigned, which were acceptable and understandable to his mother. His father raised Stolz to be the same practical and businesslike person as himself. He, undoubtedly, was the most important authority for Andrei, as evidenced by the moments when the young man could leave home for several days, but at the same time complete all the tasks assigned by his father.

It would seem that sensual maternal and rational paternal upbringing should have contributed to the formation of Stolz as a comprehensively developed, harmonious and happy personality. However, this did not happen due to the early death of his mother. Andrei, despite his strong-willed character, loved his mother very much, so her death became a real tragedy for the hero, complemented by an episode of forgiveness with his father, when he, sending him to St. Petersburg to live an independent life, could not even find words of encouragement for his own son . Perhaps this is why the attitude towards Oblomov’s and Stolz’s own family was different - Andrei Ivanovich rarely remembered his parents, unconsciously seeing the ideal of family life in “Oblomov’s”, spiritual relationships.

How did upbringing influence the characters’ future lives?

Despite their different upbringings, the attitude towards Oblomov and Stolz’s parents is more similar than different: both heroes respect and love their parents, strive to be like them and appreciate what they gave them. However, if for Andrei Ivanovich, upbringing became a springboard for achieving career heights, establishing himself in society and helped develop will and practicality, the ability to achieve any goals, then the “greenhouse” upbringing made Oblomov, who was already dreamy by nature, even more introverted and apathetic. Ilya Ilyich’s first failure in the service leads to his complete disappointment in his career, and he quickly replaces the need to work with continuous lying on the couch and pseudo-experience of real life in dreams and unrealistic illusions about the possible future of Oblomovka. It is noteworthy that both heroes see the ideal of a future wife in a woman similar to their mother: for Ilya Ilyich, Agafya becomes thrifty, meek, quiet, agreeing with her husband in everything, while Stolz, having first seen in Olga an image similar to his mother, later years of his life he understands that this is not entirely true, because he needs to constantly develop in order to remain an authority for his demanding, selfish wife.

The theme of family in “Oblomov” is one of the most important, so it is through understanding the peculiarities of the upbringing and development of the characters that the reader begins to understand their life goals and motives. Perhaps if Ilya Ilyich grew up in a family of progressive bourgeois or Stolz’s mother had not died so early, their fates would have turned out differently, but the author, accurately depicting the social realities of that time, leads the reader to eternal questions and themes.

By depicting two different types of personality in the novel, two opposite paths, Goncharov provided readers with a vast field for reflection on issues of family and education that are still relevant in our time.

The attitude of Stolz and Oblomov to family and parents - an essay based on the novel by Goncharov |

Love, family and other eternal values ​​in the perception of Oblomov and Stolz

The friendship between such dissimilar people as Ilya Oblomov and Andrei Stolts is amazing. They have been friends since early childhood, and yet they have so little in common! One of them is surprisingly lazy, ready to spend his whole life on the couch. The other, on the contrary, is active and active. From a young age, Andrey knows exactly what he would like to achieve in life. Ilya Oblomov did not encounter any problems in his childhood and youth. Partly, this calm, easy life, along with an overly gentle character, turned out to be the reason that Oblomov gradually became more and more inert.

Andrei Stolz's childhood was completely different. From a young age, he saw how difficult his father’s life was and how much effort was required to “push off the bottom and float up,” that is, to earn a decent social status and capital. But difficulties not only did not frighten him, but, on the contrary, made him stronger. As he grew up, Andrei Stolz's character became more and more solid. Stolz knows well that only in constant struggle can he find his happiness.

The main human values ​​for him are work, the opportunity to build a prosperous and happy life for himself. As a result, Stolz gets everything he dreamed of in his distant youth. He becomes a rich and respected man, wins the love of such an extraordinary and unlike other girl as Olga Ilyinskaya. Stolz cannot stand inaction; he would never be attracted to such a life, which seems to be the height of happiness for Oblomov.

But is Stolz so ideal compared to Oblomov? Yes, he is the embodiment of activity, movement, rationalism. But it is precisely this rationalism that leads him into the abyss. Stolz gets Olga, organizes their life according to his own discretion and will, they live according to the principle of reason. But is Olga happy with Stolz? No. Stolz lacks the heart that Oblomov had. And if in the first part of the novel Stolz’s rationality is affirmed as a negation of Oblomov’s laziness, then in the last part the author is increasingly on the side of Oblomov with his “heart of gold.”

Oblomov cannot understand the meaning of human vanity, the constant desire to do and achieve something. He became disillusioned with such a life. Oblomov often recalls his childhood, when he lived in the village with his parents. Life there flowed smoothly and monotonously, not shaken by any noteworthy events. Such peace seems to Oblomov to be the ultimate dream.

In Oblomov’s mind there are no specific aspirations regarding the arrangement of his own existence. If he has plans for transformations in the village, then these plans very soon turn into a series of yet another fruitless dreams. Oblomov resists Olga's intentions to make him a completely different person, because this contradicts his own life guidelines. And Oblomov’s very reluctance to connect his life with Olga suggests that deep down in his soul he understands: family life with her will not bring him peace and will not allow him to selflessly indulge in his favorite business, that is, absolute inaction. But at the same time, Oblomov, this dove, has a “heart of gold.” He loves with his heart, not with his mind, his love for Olga is sublime, enthusiastic, ideal. Oblomov goes with the flow and becomes Agafya’s husband, because this accomplished fact does not threaten his comfortable and calm existence.

Such family life does not frighten Oblomov; Agafya’s attitude towards him fits perfectly into his ideas about happiness. Now he can continue to do nothing, degrading more and more. Agafya takes care of him, being the ideal wife for Oblomov. Gradually, he stops even dreaming; his existence becomes almost completely similar to that of a plant. However, this does not frighten him at all; moreover, he is happy in his own way.

Thus, Goncharov in his novel does not condemn either Oblomov or Stolz, but also does not idealize any of them. He just wants to show different views on the moral and spiritual values ​​of two opposing people. At the same time, the author says that a rational attitude to life and feelings (Stolz) impoverishes a person no less than boundless daydreaming (Oblomov).