How Oblomov reveals his love for Olga. The love story of Oblomov and Olga in modern literary criticism

It is believed that love transforms a person. True feeling helps to highlight in human personality all the best that is inherent in her by nature, upbringing, and years of living. Is this so in the case of Oblomov, the hero? novel of the same name Goncharova?

Who is he, our hero? A Russian gentleman, who is about thirty-two or three years old when readers meet him, “of pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his facial features.” Inertia, apathy, fear of any activity - this is the result of upbringing, when a boy is raised like an “exotic flower in a greenhouse”, not allowed to take a step on his own, pampered and pampered beyond measure. Studying causes melancholy, and with mother’s approval, classes are skipped at the first opportunity.

The grown-up Oblomov's favorite pastime is lying on the sofa in empty dreams and sweet Dreams. He is tormented by the consciousness that he does not have enough willpower to move, and he asks his active childhood friend Stolz to help him: “Give me your will and mind and lead me wherever you want.” Stolz introduces Oblomov to Olga Ilyinskaya, and when going abroad, “he bequeathed Oblomov to her, asked her to look after him, to prevent him from sitting at home.” This is how Olga enters the life of Ilya Ilyich Oblomov.

She was not a beauty. “But if she were turned into a statue, she would be a statue of grace and harmony.” Olga is a stranger in her family, but she has the intelligence and determination to defend the right to her own life position. And Oblomov perceived Olga as the embodiment of a certain dream, seeing in her the absence of artificiality, beauty not frozen, but alive.

Their relationship allows us to better understand Oblomov's character. What does Olga see in him? She sees the absence of cynicism, the capacity for doubt and empathy. She appreciates his intelligence, simplicity, gullibility, the absence of all those secular conventions that are alien to her. The relationship between Oblomov and Olga develops on two levels: poetically blossoming love and Olga’s “educational” mission. She wants to help this painfully incapable man. She dreams that she will “show him a goal, make him fall in love with everything that he has stopped loving...”. Olga constantly thinks about her feelings, about her influence on Oblomov, about her “mission.” She likes to recognize herself as an “educator”: after all, she, a woman, leads a man! Love will become a duty for her, and therefore can no longer be reckless or spontaneous. To love in order to re-educate, “for ideological reasons” - this has never happened in Russian literature. Olga's falling in love is a kind of experiment. But for some reason this experiment makes her heart beat faster. “She even shuddered with proud, joyful trepidation: she considered this a lesson assigned from above.”

Olga Ilyinskaya is like that in her love, but what about Oblomov? At the first meeting, he is not himself: her gaze bothers him, and he wonders why she looks at him like that. He cannot lie and, with annoyance at himself, admits that he is a little lazy. And the further the relationship between young people develops, the more sincere he becomes. His whole way of life changes: he enjoys visiting the Ilyinskys, listens spellbound to Olga’s singing, walks a lot and for a long time, he does not have dinner and has forgotten about his afternoon nap. He is ashamed of himself for not reading - he takes up books. Oblomov suddenly realizes the uselessness and purposelessness of his existence.

As with any lover, the image of his beloved is always with him. “And Oblomov, as soon as he wakes up in the morning, the first image in his imagination is the image of Olga, at full height, with a branch of lilac in her hands. He fell asleep thinking about her, went for a walk, read - she was here, here.” He now took care of his clothes. The carelessness left him the moment she sang for him for the first time. “He no longer lived the same life...” He concludes: “Love is a very difficult school of life.” But all these changes did not come out of the “magic circle of love,” and the matter remained only an intention.

Young people are not destined to be happy, because Olga loves Oblomov not as he is, but as he wants to make him: “Who cursed you, Ilya? What did you do? You are kind, smart, gentle, noble... and you are dying!

The separation of heroes is painful. Olga, who sincerely loves Ilya, has invested so much effort in his resurrection to active life, mourns both his spiritual labor, which was wasted, and his memories of walks in the park, a lilac branch, and everything that has grown to his heart. Tearing it all off is unbearably painful. But she is unable to accept (and it is difficult to blame her for this) the little that only Oblomov can offer: “Take me as I am, love what is good in me.”

Why don't relationships work out for young people? Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy; in her mind, he should, at least for the sake of their future family happiness, decide to take action. But Oblomov doesn’t have the will to do it. He himself knows the name of the evil that destroys his love, destroys possible happiness. The name of this evil is Oblomovism.

If Stolz is the antipode of Oblomov, then Pshenitsyna is equally the antipode of Olga. Their social circle is different (one is a noblewoman, the other is a bourgeois), social status(unmarried girl and widow with children), level of education. But their main difference is in the psychology of perception of their feminine destiny. Olga sought to be a leader in relation to a man, and Agafya Matveevna was a creature subordinate even to such a weak-willed person as Ilya Oblomov.

"Ideological" love new woman contrasted with spiritual, heartfelt, traditional love, which can be said to be as old as the world.

Timid, shy, downtrodden, subservient to her brother, Agafya nevertheless immediately evokes Oblomov’s sympathy: “She has a simple but pleasant face... she must be a kind woman!”

According to Stoltz, Pshenitsyn is the monster who destroyed Oblomov. But for many readers, there is much more feminine in Agafya Matveevna than in Olga. This image of a “simple woman” is quite convincing because there is nothing ideal about it. On the contrary, it is written using many everyday details and is simply unthinkable outside of everyday life. Pshenitsyna is more feminine not because she has seductive elbows, that she is an exemplary housewife and this is her calling, but because she knows how to love quietly, without high words, without impressive gestures, but to love selflessly, forgetting herself. They say about such women that every day they perform a feat of love. She has neither any program for saving Oblomov, nor self-esteem. It’s just that in her eternal chores around the house, she anticipates every desire of her loved one. She is capable of self-sacrifice. When Ilya Ilyich was sick, she sat at his bedside, not taking her eyes off him, and ran to the church to submit a note with his name.

The lines about Agafya Matveevna’s grief after the death of Ilya Ilyich are imbued with amazing lyricism: “She realized that she had lost and her life shone, that God put his soul into her life and took it out again; that the sun shone in it and darkened forever... Forever, really; but on the other hand, her life was forever comprehended: now she knew why she lived and that she had not lived in vain... Rays spread throughout her life, quiet light from the seven years that had flown by in an instant, and she had nothing more to wish for, nowhere to go...” After Oblomov’s death, she turned from grief into a shadow, “everything else died for her except Andryusha.”

Agafya did not save Oblomov and did not destroy him. We can say that she created a semblance of happiness for him. It is possible - that she gave him as much happiness as he had left mental strength. She gave Oblomov the opportunity to die in that silence, because of which he was so stubbornly at odds with life.

Images of experimenting business woman Olga Ilyinskaya and the generous soul of Agafya Pshenitsyna - two so various types women, that comparing them is hardly correct. Each is typical in its own way, each has its own advantages and disadvantages. It is only unclear whether they were typical yesterday or typical to this day. If you look at it, the question of what a woman should be like in a relationship with a man, in a family, remains open today. And women like Olga Ilyinskaya and Agafya Pshenitsyna still find their admirers. To each, as they say, his own.

“At dinner she sat at the other end of the table, talked, ate and seemed not to be involved with him at all. But as soon as Oblomov timidly turned in her direction, with hope that maybe she wasn’t looking, he met her gaze, filled with curiosity, but at the same time so kind…” (see list No. 1 by I.A. Goncharov “Oblomov.”)

Oblomov and Olga Ilyinskaya met on the Ilyinsky estate; they were introduced by Stolz, Oblomov’s best friend. The unusual behavior of Ilya Ilyich and his alienation from society interested Olga. Then interest turned into the need for constant communication, into impatient anticipation of meetings. This is how love was born. The girl took up the task of re-educating the lazy bumpkin Oblomov. The fact that he had become somewhat lazy and lazy did not mean that his soul had become coarsened and calloused. No, it was a pure soul, the soul of a child, a “dove’s heart,” as Olga later said. She woke her up with her passionate, magnificent singing. She awakened not only Oblomov’s soul, but also self-love. Ilya Ilyich fell in love. I fell in love, like a boy, with a girl much younger than himself. And for her sake he was ready to move mountains. Absorbed by this feeling, he ceases to be sleepy and apathetic; This is how Goncharov describes his condition: “From the words, from the sounds of this pure girlish voice, the heart beat, the nerves trembled, the eyes sparkled and filled with tears.” Such a change in Oblomov is not a miracle, but a pattern: for the first time his life took on meaning. This suggests that Ilya Ilyich’s previous apathy is explained not by spiritual emptiness, but by a reluctance to participate in the “eternal game of trashy passions” and lead the lifestyle of Volkov or Alekseev.

Having gotten to know Oblomov better, Olga realized that Stolz was speaking correctly about him. Ilya Ilyich is a pure and naive person. Besides, he is in love with her, and this pleasantly strokes his vanity. Soon Olga confesses her love. They spend days together. Oblomov no longer lies on the sofa, he travels everywhere with Olga’s errands, and then hurries to meet his beloved. He has forgotten about all his previous sorrows, he seems to be in a joyful fever, even the appearance of Tarantiev, whom he was afraid of, only causes annoyance. A sleepy existence grew into a life full of beauty, love and joyful hopes, full of unprecedented happiness. But in this world it cannot be good all the time. Something is bound to ruin the holiday. This is how love is spoiled and harmed by the fact that Oblomov considers himself unworthy of Olga’s feelings. He and she are afraid of the opinion of the world, of gossip. And the fire of love gradually fades away. Lovers meet less and less often, and nothing will return the spring of their love. There is no old poetry in their relationship. Besides, I believe that in love both should be equal, and Olga liked the role of the center of the universe too much for Oblomov. AND real love She shouldn’t be afraid of any troubles, she doesn’t care about the opinion of society. The connection was broken because of a trifle, because of Olga’s unfulfilled whim. (See list No. 3 “Big City” Magazine.)

Loving, Olga comes to the decision to separate because she understands that Ilya Ilyich is a man not ready for serious changes, not ready to leave his favorite sofa, to shake off the dust of everyday life that eats up all his old things in the room.

“Did I understand that?..,” he asked her in a changed voice.

She slowly, with meekness, bowed her head in agreement...”

Nevertheless, Olga experienced a break with Oblomov for a long time. But soon Stolz takes a place in the girl’s heart. Stolz -- socialite, love for him is not shameful, but completely justified and accepted by the world.

What about Oblomov? At first he was very worried and regretted the breakup. But gradually I got used to this idea and even fell in love with another woman. Oblomov fell in love with Agafya Matveevna Pshenitsyna. She was not as beautiful as Olga. But the simplicity, kindness of her heart, care for him successfully replaced beauty. There was something about her that delighted Oblomov - her skillful hands with unusually beautiful elbows. Pshenitsyn's widow became the widow of Ilya Ilyich.

After some time, Stolz and Olga can no longer exist without each other. Andrei gets used to thinking out loud in front of Olga, he is pleased that she is nearby, that she listens to him. Olga becomes Stolz's wife. It would seem, what more could you want: wonderful, active, loving husband, home - everything I dreamed of. But Olga is sad, she wants something, but she cannot express her desire in words. Stolz explains this by saying that everything in life has already been known, nothing new will happen. Olga is offended that he did not fully understand her. But, in general, Olga is happy with Stolz. So, Olga found her love.

I believe that it is the women in Oblomov who determine the turning points in the fate of the main character Ilya Ilyich and play a huge role in his life. Love for Ilyinskaya is strong feeling, which changes Oblomov and turns his life upside down. It becomes clear that Ilya Ilyich is capable of love. However, the relationship between Oblomov and Ilyinskaya is not cloudless. Ilya Ilyich is capable of tenderness and love, but sublime feelings require him to do anything but romantic troubles: before proposing, he needs to improve the estate. These troubles frighten Oblomov, and everyday problems seem insurmountable to him. In the end, his indecision leads to a break with Olga.

I don’t know how much Olga loves Oblomov; but one way or another, her feeling is to a large extent mixed with pride, expressed in the desire to turn Ilya Ilyich into the ideal that she had already imagined for herself: “She liked this role guiding star, a ray of light that it will pour over the stagnant lake and be reflected in it.”

So her goal is somewhat outside of Oblomov: she rather wants, for example, Stolz “not to recognize him when he returns.” Therefore, she not only does not embody blissful peace, but, on the contrary, encourages Oblomov to activity; This is not so much, as Dobrolyubov claims, “not part of his habits,” as it forces him to constantly step over himself, to be not himself, but someone else - and Oblomov is not capable of this, at least for a long time. And just as Stolz does not assure his friend that he can change himself, one can even imagine how he struggles with himself, but it is very difficult to imagine how Oblomov truly changes his nature.

Olga, after breaking up with Oblomov, decides, not without doubt, to become the wife of his longtime friend, Stolz, in whom she partly “embodied her ideal of male perfection.” She continues to live a rich spiritual life, she is full of strength and desire to act. She has a strong characteristic pride and admits to herself: “I will not grow old, I will never get tired of living.” She is happily married, but her union with Stolz and the surrounding prosperity cannot satisfy her. She listens to herself and feels that her soul is asking for something different, “yearns as if she didn’t have enough happy life, as if she was tired of her and demanded even new, unprecedented phenomena, looked further ahead." In her development, she experiences the need for super-personal goals in life. N.A. Dobrolyubov, who saw an advanced Russian woman in the heroine of the novel, notes: "She will leave and Stolz, if he stops believing in him. And this will happen if questions and doubts do not stop tormenting her, and he continues to give her advice - to accept them as new element life and bow your head. Oblomovism is well known to her, she will be able to discern it in all forms, under all masks, and will always find within herself so much strength to pronounce merciless judgment on it..."

Introduction

Goncharov’s novel “Oblomov” can rightfully be called a work about love, which reveals different faces this wonderful feeling. It is not surprising that the leading storyline The book is the novel between Olga and Oblomov - an example of bright, all-encompassing, romantic, but obviously tragic love. Literary researchers have different assessments of the role of these relationships in the fate of Ilya Ilyich: some believe that Olga was a bright angel for the hero, capable of pulling him out of the abyss of “Oblomovism,” while others point to the selfishness of the girl, for whom duty stood above feelings. To understand Olga’s role in Oblomov’s life, let’s consider their love story from the very beginning until separation.

The beginning of the relationship between Oblomov and Olga

The love story of Oblomov and Olga begins in the spring, during the period of lilac flowering, the revival of nature and the emergence of new wonderful feelings. Ilya Ilyich met the girl at a party, where Stolz introduced them. At first glance, Oblomov saw in Olga the embodiment of his ideal, harmony and femininity, which he dreamed of seeing in his future wife. Perhaps, the germs of a future feeling arose in the soul of Ilya Ilyich already at the moment of meeting the girl: “From that moment, Olga’s persistent gaze did not leave Oblomov’s head. It was in vain that he lay down on his back at full height, in vain he took the laziest and most restful positions - he couldn’t sleep, and that was all. And the robe seemed disgusting to him, and Zakhar was stupid and unbearable, and the dust and cobwebs were unbearable.”

Their next meeting took place at the Ilyinskys’ dacha, when Ilya Ilyich’s accidental “Ah!”, revealing the hero’s admiration for the girl, and his random movement, which confused the heroine, made Olga herself think about Oblomov’s attitude towards her. And after a few days, a conversation took place between them, which became the beginning of the love between Oblomov and Ilyinskaya. Their dialogue ended with the hero’s timid confession: “No, I feel... not music... but... love! - Oblomov said quietly. “She instantly left his hand and changed her face. Her gaze met his gaze, fixed on her: this gaze was motionless, almost insane, it was not Oblomov who looked at him, but passion.” These words disturbed the peace in Olga’s soul, but the young, inexperienced girl could not immediately understand that a strong, wonderful feeling began to arise in her heart.

The development of the novel between Olga and Oblomov

The relationship between Oblomov and Olga developed as something not dependent on the heroes, but dictated by the will higher powers. The first confirmation of this was their chance meeting in the park, when both were glad to see each other, but still could not believe their happiness. The symbol of their love was a fragile, fragrant branch of lilac - a delicate, tremulous flower of spring and birth. The further development of the relationship between the characters was rapid and ambiguous - from bright flashes of vision in a partner of his ideal (Oblomov for Oblomov) and a person who could become such an ideal (Oblomov for Olga) to moments of disappointment.

In moments of crisis, Ilya Ilyich despairs, afraid of becoming a burden for a young girl, fearing the publicity of their relationship, their manifestation not according to the scenario that the hero dreamed of long years. The reflective, sensitive Oblomov, still far from the final parting, understands that Olgino “The present love is not real love, but the future...”, feeling that the girl sees in him not real person, but that distant lover he could become under her sensitive guidance. Gradually, the understanding of this becomes unbearable for the hero; he again becomes apathetic, not believing in the future and not wanting to fight for his happiness. The gap between Oblomov and Olga occurs not because the heroes stopped loving each other, but because, having freed themselves from the flair of their first love, they saw in each other not the people they dreamed of.

Why was the love story of Olga and Oblomov obviously tragic?

To understand why the relationship between Oblomov and Olga was doomed to break up, it is enough to compare the characters. The reader becomes acquainted with Ilya Ilyich at the beginning of the work. This is already an accomplished man of thirty years old, brought up “ indoor flower", from an early age, accustomed to idleness, tranquility and a measured life. And if in his youth Oblomov tried to act on a par with the active, purposeful Stolz, then his “greenhouse” upbringing and introverted, dreamy character after the first failure in his career led to alienation from the world around him. At the time of his acquaintance with Olga, Ilya Ilyich was completely mired in “Oblomovism”, he was too lazy to even get out of bed or write a letter, he gradually degraded as a person, plunging into the world of impossible dreams.

Unlike Oblomov, Olga appears as a bright, purposeful person, constantly developing and striving to discover more and more new facets of the world around her. Her friendship with Stolz is not surprising either, who, like a teacher, helps her develop, offers new books and quenches her thirst for immense knowledge. The heroine is beautiful not so much externally as internally, which is what attracted Ilya Ilyich to her.

The love of Oblomov and Olga is a combination of two opposites that were not destined to be together. Ilya Ilyich's feelings were more admiration than true love to the girl. He continued to see in her an ephemeral image of his dream, a distant and beautiful muse that would inspire him without forcing him to completely change. Whereas Olga’s love in Goncharov’s novel “Oblomov” was aimed precisely at this transformation, a change in her lover. The girl did not try to love Oblomov as he is - she loved another person in him, the one she could make of him. Olga herself considered herself practically an angel who would illuminate the life of Ilya Ilyich, only now an adult man wanted simple, “Oblomov” family happiness and was not ready for drastic changes.

Conclusion

The story of Oblomov and Olga is closely connected with nature - starting in the spring, it ends in late autumn, covering the lonely hero with the first snow. Their love did not go away and was not forgotten, changing forever inner world both heroes. Even many years after the separation, already married to Stolz, Olga tells her husband: “I don’t love him the same, but there is something that I love in him, to which I seem to have remained faithful and will not change, like others.” ..." Perhaps, if Oblomov had been younger, the girl would have been able to change his essence and make him her ideal, but true spontaneous love came into the hero’s life too late, and therefore was doomed to a tragic ending - the separation of lovers.

Using the example of Olga and Ilya Ilyich, Goncharov showed how important it is to love his individuality in another person, and not try to change him in accordance with a distorted, illusory image of the ideal that is close to us.

It will be useful for 10th grade students to read the chronology of the relationship between the two heroes of Goncharov’s novel before writing an essay on the topic “The love of Oblomov and Olga in the novel “Oblomov”.”

Work test

Goncharov said: “Love moves the world with the power of an Archimedean lever.” These words can be taken as an epigraph not only to Goncharov’s novel “Oblomov”, but also to the whole human life generally.

Love in Oblomov, as in other novels, plays a huge role. It can explain many of the heroes’ actions; it is the cause of joy and suffering. Love is what is most beautiful in a person, what makes him do wonderful things.

Each hero of the novel, like any of us, perceives love in his own way, each imagines his own ideal of his beloved or loved one. In the novel, Goncharov shows several love lines: Oblomov and Olga, Stolz and Olga, Oblomov and Pshenitsyna, Zakhar and Anisya. All of them, despite their differences, have common features.

The love of Olga and Oblomov appeared as a result of Stolz’s care. This active person cannot come to terms with his friend’s apathy, so he makes attempts to revive him to life. Stolz describes Olga's beautiful spiritual qualities Oblomov: his tenderness, kindness, intelligence. Olga is trying to “stir up Oblomov.” At first it seems like fun to her, especially since Oblomov begins to be reborn right before her eyes. He himself lives by love: “...he gets up at seven o’clock, reads, carries books somewhere. There is no sleep, no fatigue, no boredom on his face. But even colors appeared in him, a sparkle in his eyes, something like courage or, at least, self-confidence.” But Olga really falls in love with Oblomov. Now this is no longer a game. Olga is ready to give a lot to her chosen one, but she also expects selfless return from him. And, alas, he is faced with Oblomov’s inertia. Love begins to weigh heavily on Ilya Ilyich. He understands that “even in love there is no peace.” The tragic outcome is inevitable, the heroes part. It seems to me that the reason is that both loved the image they created, and not a specific person. Ilya Ilyich understood this and in a letter to Olga writes: “...your present “love” is not real love, but future love. This is only an unconscious need to love, which, due to a lack of real food... sometimes expresses itself in women in affection towards a child, towards another woman, even simply in tears or hysterical fits... You are mistaken, this is not the one you were waiting for, oh com dreamed. Wait - he will come, and then you will wake up; you will be annoyed and ashamed of your mistake.” Soon Olga herself realized the illusory nature of her love. In a conversation with Stolz about Oblomov, she created for herself perfect image and fell in love with him. Olga did not love Oblomov as he really was, but her creation, what could happen later, in the future. And Oblomov? He returned to his old life, to the sofa and to the robe. It hurts him to lose Olga. But Oblomov also loves not a living person, but an image he has invented. Had he realized Olga's real nature, it would never have occurred to him to place her in his future imaginary world. For Oblomov, an ideal marriage is something else: “...and next to a proudly bashful deceased friend, a carefree person sleeps. He falls asleep with confidence, waking up to meet the same gentle, cute gaze. And after twenty, thirty years...” He, who grew up in Oblomovka and learned from childhood only one philosophy: everything should be in a state of peace, will never understand Olga’s active nature.

But love, whatever it may be, does not pass without a trace. She awakened his best qualities in Oblomov. Now we sympathize with him, we see in him something more than just an inactive person. Love changed Olga too. Stolz was the first to notice this. “How ripe she is, my God! How this girl has developed! Who was her teacher? Where did she take her life lessons? The Baron? It’s smooth there, you won’t learn anything from his smart phrases! Not Ilya’s!..” If you look at it, then Stolz himself wants calm, long-term love. Only, unlike Oblomov, in love Stolz, as in life, does not tolerate the slightest uncertainty or understatement. Everything must be sorted out and sorted out so that contradictions do not accumulate and threaten the lives of the spouses in the future. Stolz is happily married. He achieved what he wanted, and found in Olga what he was looking for: the ability to think like him, to be on an equal footing with him. They are not at different poles, like Oblomov and Olga, they are both progressive people: smart, frank, striving for knowledge. But doubts creep into Olga’s soul, it seems to her that something is still missing in her life, she dreams of something unrealistic. Perhaps Olga’s ideal is a man who would embody Oblomov’s spiritual qualities and Stolz’s active nature.

Oblomov finds his ideal in Pshenitsyna. It happened quietly and unnoticed. Lying on the sofa, seeing the diligent Agafya Matveevna in front of him, Oblomov falls in love with her. She is an excellent housewife, a kind and faithful wife. But the main thing is that she created for Ilya Ilyich his Oblomovka, which he aspired to. Pshenitsyna’s house is Oblomovka. Oblomov again found himself in that environment, memories of which he retained from childhood. From the very moment when Ilya Ilyich crossed the threshold of Agafya Matveevna’s house, he was doomed to return to Oblomovka, return to his old life, die for those around him and begin to live according to his dream. Pshenitsyna’s love does not demand anything from Oblomov; moreover, the hostess herself makes sacrifices in the name of this love. “...She didn’t know what was happening to her, she never asked herself, but she passed under this sweet yoke unconditionally, without resistance or passion, without trepidation, without passion, without vague forebodings, longings, without play and music of nerves.. "I fell in love with Oblomov simply, as if I had caught a cold and had an incurable fever." Lyubov Pshenitsyna is selfless and devoted. It seems that her whole life has passed in anticipation of a person whom she could devotedly love and care for. She has taken on the role of full-time mistress and is doing a great job with it. She prepares Sunday pies, pawns her things, which Oblomov has no idea about, just so that the master doesn’t need anything. This kind of love is very similar to motherly love and care. But perhaps Oblomov needed a wife who embodied the qualities of a wife and mother at the same time.

There is another line of love in the novel. It can be traced in the relationship between Oblomov’s servant Zakhar and Anisya. These people are happy in their own way; they also found their ideal in life. Zakhar considers himself a smart person and pretends that he does not listen to women's councils, but then he does as his wife tells him. Anisya sees all this, takes it for granted and is happy.

All these completed marriages are different, but it is impossible to say which one is better or worse. The important thing is that in them each of the partners found what they were looking for. Oblomov is happy because his wife does not demand anything from him, while at the same time completely caring for him. Agafya is also happy, because her daily worries and perpetual motion took on a higher meaning. Stolz also found his ideal woman.

The theme of love is eternal, and as long as there are people on earth, there is love.