Olga Ilyinskaya's occupation and occupation. Female characters: Olga Ilyinskaya and Agafya Pshenitsyna based on the novel by Oblomov (I. A. Goncharov). Origin of Ilyinskaya and her family

This outstanding novel was created in the mid-19th century and was immediately recognized as a classic. The name of the main character has become a household name. The book was written in time. On the agenda political life Russia stood Pushkin and Lermontov had already created Onegin and Pechorin - superfluous people in Russian society, people who do not leave any trace of themselves in History. Ivan Aleksandrovich Goncharov, guided by his creative skill, creates the image of an even more useless person - Ilya Ilyich Oblomov. He brings laziness in the character of this landowner to terrifying proportions. How important it was for nobles to read this, brought up in the 19th century in the traditional style - in disdain for any work! In their understanding, work was a man's occupation! Goncharov himself received a similar upbringing in his youth, so he knew what and how to write about...

About the topic of the article

The subject of our article will not be main character- Ilya Ilyich Oblomov. We are attracted by something else: the system of images masterfully created by the writer in the novel. “Oblomov” by Goncharov, thanks to the successfully chosen type of his heroes, was called “a sign of the times” by the progressive thought of Russia in the person of Nikolai Dobrolyubov. As we have already mentioned, the book was written during the period of awakening national identity, on the eve of liberation Serfdom, this long-obsolete phenomenon, was about to be eliminated. And Goncharov’s novel, which was a reference book for Emperor Alexander II, nicknamed the Liberator, really contributed to its abolition.

About the characters of the novel

There are few heroes in Ivan Alexandrovich's book. This allows the author to present a detailed description of each of them during the course of the novel. Moreover, Goncharov talentedly uses the system of antipodean images he himself built: Stolz - Oblomov, Ilyinskaya - Pshenitsyna.

Female images in the novel "Oblomov" are plot-forming. At first it was the mother, then the object of the protagonist’s love - Olga Ilyinskaya and, finally, the woman who became his wife and gave birth to his son Andryusha - Agafya Matveevna Pshenitsyna. Ilya Ilyich Oblomov himself is an extremely uninitiative and inert person, cherishing his laziness and constantly being in passive reflection. He is a follower by nature. Therefore, his whole life seems to flow in the direction outlined by other people. More precisely, women close to him.

Images of women. Oblomov's mother

What are the symbolic ones for the Russian literature of the 19th century centuries creates I. A. Goncharov (“Oblomov”) female images? Let's tell you more about them.

The most destructive influence on the growing Oblomov was his own mother. The upbringing he received from her formed a socially passive personality, indifferent to the life around him, immersed in the world of his dreams. As a landowner in the village of Oblomovka, Ilya Ilyich’s mother personally contributed to the establishment of the cult of idleness there. It was on her orders that nannies ran after the lively and intelligent child Ilyusha, vigilantly ensuring that the boy did not take on any work.

Female images in the novel "Oblomov" are characteristic; they actively participate in the formation of him as a person. As a result, for example, of the influence of his mother, the boy grew up into a bankrupt landed nobleman, without business acumen, deceived by swindlers, the list of which should have started with the estate manager.

Olga Ilyinskaya

Another female image is Olga Ilyinskaya. She won the heart of Ilya Oblomov with her beauty, the unacceptability of any coquetry, and her dissimilarity from other girls. This character is most fully revealed by the writer Goncharov. Female images in the novel "Oblomov" acquired the most striking component in it.

In Olga, intelligence, simplicity and free character coexisted organically. Her personality is multifaceted. The girl is attracted to literature and music. She perceives the beauty of nature. It was meeting her that did the seemingly impossible: it forced Ilya Ilyich to tear himself away from the couch, start communicating with people, and even try to improve his life.

Pshenitsyn's widow

The author would not have been able to reveal the plot of the novel without the presence of one more character - Agafya Matveevna Pshenitsyna, who organically complemented the female characters in the novel. She really loved Oblomov. Agafya Matveevna is a real homemaker: kind, loving, caring. Moreover, she is ready to sacrifice for the sake of this love. This woman’s origin is not from the noble class, like Ilyinskaya, she is from the bourgeoisie. Like most of the population at the time, she is illiterate.

The idea of ​​​​creating the image of Olga

Ilyinskaya is of noble origin, she is very harmonious in appearance: somewhat tall, with regular facial features and body shape. She was introduced to Ilya Ilyich by their mutual friend Stolz. Olga likes the richness of his mind, but is disgusted by his lifestyle: laziness and empty reasoning. She sets herself a super task - to return Ilya Ilyich to a normal life by re-educating him.

The girl represents the ideal of a wife-friend, a wife-comrade. Ilyinskaya, in contrast to Oblomov’s mother and Pshenitsyna, presents new, modern, active female images in the novel. Oblomov is embarrassed by her pressure.

Olga is completely passionate about her plan - to re-educate Ilya Ilyich. She sees this as her mission. In her understanding, both life and love are, by and large, the fulfillment of duty. Therefore, she takes her rational desire - to change Oblomov - for love, without supplementing it with spiritual warmth. At the same time, Olga herself admits that she had never previously applied such serious criteria to her close people. Oblomov is confused by new aspects in their relationship.

Literary critic Pisarev called Olga’s type “a woman of the future.” After all, it is characterized, on the one hand, by naturalness, and on the other, by an organic combination of reflection and action.

Olga's rationality of love

Reasoning so abstractly, Olga oversteps the boundaries of what is permitted in relation to the main character. She tries to manipulate Ilya Oblomov using persuasion and sarcasm. The ancient Greeks once called such rational love in a short word"pragma". Thus, Olga’s pragmatic love, as we see, could not overcome Oblomov’s shortcomings. It is not possible for such a feeling to heal!

The role of female characters in Goncharov’s novel “Oblomov” is great. Agree, if it were not for the intrigue introduced by Olga Ilyinskaya, the plot of the book would have lost its red thread.

As a result, Oblomov, who had previously confessed his love for Olga, backs down. At the same time returning to your normal lifestyle. He breaks up with her by writing a farewell letter. Ilya Ilyich understands that the public lifestyle to which Olga is inclining him is not suitable for him.

Olga's image... Was it only education that gave her the desire for further development? Hardly. This type of woman is revolutionary for Russian literature.

Let's look at this with a comparative example. The image of Olga Ilyinskaya in Goncharov’s novel “Oblomov” is somewhat reminiscent of Pushkin’s Tatyana Larina. The same noble origin, education, similar appearance, grace. However, this is where the similarity ends. If Tatyana can be called a “tender dreamer,” then Olga is a self-sufficient person, active and energetic. This is character, this is the essence of a woman warrior. Thus, the female images in I. A. Goncharov’s novel, created a quarter of a century after Pushkin’s, have evolved and become different, corresponding to the dynamics of the development of Russian society.

The fact that she will part with Oblomov is inevitable. Olga Ilyinskaya finally admits her incompatibility with her chosen one and leaves Oblomov with the words that she loved his future. The girl realizes: living together with Ilya Ilyich will in the future mean for her mutual rejection by each spouse life values another. Therefore, she builds her life differently: she marries Stolz, who is as active as she is. However, Ilyinskaya has even more vital energy than her husband.

An interesting point of view on this feeling of Olga was expressed by literary critic Nikolai Dobrolyubov. He believes that Ilyinskaya tends to choose partners based on her own interests, i.e. personal benefits. Therefore, in his opinion, if Stolz stops satisfying her mercantile interests, Olga will leave him too.

Simple and sincere Pshenitsyna Agafya

A comparison of two female characters in Goncharov’s novel “Oblomov” begins from the moment of his quarrel with Olga and his move to the Vyborg side to stay with the widow Pshenitsyna.

Previously, this widow lost her husband, an official, and was left with two children. This is an adult woman who sincerely desires quiet family happiness. At the time of her acquaintance with Ilya Oblomov, she was approximately thirty years old. Agafya does not have the aristocratic sophistication of her appearance, which distinguishes the image of Olga Ilyinskaya. Outwardly, she is plump and fair-faced. She has large hands and rounded elbows. Her gray eyes - the mirror of the soul - are simple-minded and naive.

Indeed, Agafya Matveevna is not interested in everything that does not concern household. She herself is silent, she does not even try to listen to conversations that do not interest her. However, as a housewife, this woman is omniscient and omniscient. If a topic that interests her is discussed, Pshenitsyn’s widow, as if by magic, becomes businesslike and smart.

Ilya Ilyich liked this woman immediately when, on Tarantiev’s advice, he came to her to live on the Vyborg side. Her image is undoubtedly closer to Oblomov’s soul than the image of Olga Ilyinskaya. This is exactly the kind of woman he imagined in childhood, when he read about the fabulous beauty Militrisa Kirbityevna. The fact is that the main character of the novel, infantile by nature, subconsciously desired for himself a wife-mother caring for him.

By nature, Agafya Matveevna is kind. She is helpful towards her close people. She is not attracted to entertainment: visiting theaters or walking. Concerns: feeding, clothing, helping - became the meaning of her life. Therefore, when Ilya Ilyich appeared in her house, he became an object of care for her.

The two main female characters in Goncharov’s novel “Oblomov” are two people experiencing seemingly the same feeling. But, unlike Olga Ilyinskaya’s rational love, Agafya Matveevna Pshenitsyna’s love for Ilya Ilyich is of a completely different nature. This one is heartfelt and does not involve reservations of the mind. The author speaks with warm irony about Pshenitsyna’s love for Oblomov. She fell in love without thinking, as if “having fallen under a cloud,” she caught a cold and got a fever.

Loyalty to Agafya Pshenitsyna

It is no coincidence that the character in the female characters of I. A. Goncharov’s novel “Oblomov” reaches the highest degree of spirituality, and precisely in the image of the illiterate, out-of-date Agafya Matveevna.

The widow of Pshenitsyn, Oblomov’s illegitimate wife, attracts the reader with her integrity and sincerity. For her, the main thing in family life is not the material aspect, but the sincerity of the relationship. Such a woman will really be next to her loved one in sorrow and in joy, in wealth and poverty. To ensure proper care for the ailing Oblomov, she sells her valuables. And when she finds out that her brother and godfather are basely deceiving and ruining Ilya Ilyich, she breaks off all relations with them.

After Oblomov's death, she loses all interest in life. “It’s like my soul was taken out,” she says about herself. Isn't this a great feeling?

What is Agafya's love like?

Agafya Pshenitsyna intuitively perceives love as something natural, not related to reason. She fell in love with Ilya Ilyich disinterestedly, not for his inherent virtues. Her feeling also flared up not because of sacrifice, that is, not despite the fact that Oblomov is imperfect.

Agafya fell in love with him precisely as a person who was initially beautiful in himself. Such love in Rus' was called Christian (previously this feeling was not assessed from the standpoint of rationality or cordiality). The essence of Christian love is to simply love because such a feeling is characteristic of a person, and not because another person - the object of love - somehow deserves it. Agafya Pshenitsyna unselfishly loves Oblomov. Obviously, therefore, in order to emphasize the truth of their love, Ivan Alexandrovich introduced an episode into the plot of the novel when the late mother, who came to Oblomov in a dream, blessed him for a relationship with Agafya.

Views on the love of Agafya and Olga

The role of female images in Goncharov's novel "Oblomov", thus, also comes down to the author's original philosophical interpretation of love. If Olga wants to see a real man in Ilya Ilyich and is trying to re-educate him accordingly, then Agafya Matveevna does not need all this. Ilyinskaya's love is an ascent to the ideal. Pshenitsyna's love is adoration. However, both of them, being in love with Oblomov, themselves experience a spiritual awakening. The female characters in Goncharov’s novel “Oblomov” are highly artistic and unique. Even the sharp-sighted Belinsky subtly noticed this feature of Ivan Aleksandrovich Goncharov - to write with a “fine brush”. None of the heroines of Goncharov’s books repeats in any way the other. They are all individual, unique, and special.

Conclusion

I. A. Goncharov masterfully portrayed two truly beautiful female characters in the novel “Oblomov”. This showed his talent, observation, knowledge of life. A woman who actively arranges life, and a woman who is a homemaker. The female images in the novel "Oblomov" are relevant for our time. Ilya Alexandrovich, like a true wizard of words, subtly reveals the traits of each of these characters. As a result, both Olga Ilyinskaya and Agafya Pshenitsyna are characters portrayed by their creator masterfully, with enormous artistic power and persuasiveness.

It is characteristic that both Olga and Agafya, during the course of the book’s plot, do not meet in person. Each of them lives and acts in its own environment. One is active, active, supportive and helpful; the other is cozy, homely, selfless, loving to the end. Which one do you like best? Decide for yourself.

The device of antithesis in the novel Oblomov-Stolts Olga-Agafya Matveevna ... Rest, sleep - activity, movement ... -at the level systems of images - at the level of motifs Antithesis - from the Greek. “opposition”, a stylistic figure based on a sharp opposition of concepts, images, motives.

Olga Sergeevna Ilyinskaya In a rare girl you will meet such simplicity and natural freedom of look, word, and action. No affectation, no coquetry, no lies... ...she spoke little, and only her own... Her laughter, which was so sonorous, so sincere, so contagious... Olga in the strict sense is not a beauty... but if you turned her into a statue, she would be a statue grace and harmony. ...the lips are thin and mostly compressed: a sign of a thought constantly directed at something. The same presence of a speaking thought shone in...the gaze.

Agafya Matveevna Pshenitsyna She was about thirty years old. She was very white and plump in face... Her eyes were grayish and simple-minded... She entered timidly and stopped, looking shyly at Oblomov... She also hid her hands under a shawl... Her smile was more of an accepted form, which covered ignorance... She listened dully and thought dully... She's always at work, stroking, pushing, rubbing something...

Love for Oblomov Olga Ilyinskaya Agafya Matveevna Her life was filled quietly and unnoticed by everyone... I love differently... I’m bored without you; parting with you not for long is a pity, for a long time is painful... Life is a duty, an obligation, therefore, love is also a duty... This love is justified by his meekness...

	Olga Sergeevna Ilinskaya	Agafya Matveevna Pshenitsyna
Character traits	irresistible, kind, not like everyone else, ambitious	Kind, sociable, hard-working, easy to get along with, sweet, well-mannered, neat and independent
Appearance	was tall, she had a bright, clear face, a refined neck and gray-blue eyes, wide eyebrows and long hair, thin lips	She had gray eyes and a beautiful face, curvaceous, fair skin
	was an orphan, lost her parents at a young age, lived with her aunt, and despite her difficult childhood she was very well brought up	She was married to Pshenitsyn, but he died and the woman remained a widow; was the mother of two children
Behavior	she was not very talkative, did not throw around words, spoke to the point, not hot-tempered, calm, with a sincere laugh	Active, constantly busy with something; she was cunning, but it all benefited Oblomov
How I met Oblomov	Stolz brought them together at the Ilyinskys’ house. A new friend was charmed by the girl’s unusual voice	We met thanks to Terentyev, soon after this Oblomov comes to Agafya to rent a house, after which he gets to know the girl more
How did you feel about Oblomov?	she was touched by stories about Oblomov, as well as Ilya’s pure and sincere heart. Soon the girl fell in love with Ilya and wanted to see changes in him. But alas, I was disappointed in him, although later I realized that he was an unusual person	She treats him very kindly, prays for him, whoever he is sick with, carefully monitors his health and tries to cure him. So he falls in love with Oblomov, idolizes him and considers him extraordinary
How did Oblomov treat	Olga was an ideal for him, thanks to her he understood what bright feelings are. Their relationship began in the spring, but by the fall it had already ended	With Agafya Oblomov is calmer, he feels comfort and care. After some time, he confesses his feelings to her and decides to kiss her.
Life goal	change Oblomov, and learn to understand others	She knows how to do everything, loves to work, but is a little stupid. She doesn't think about the future, but simply lets life go with the flow. I wanted to make everything cozy, and especially in life with Oblomov
How fate developed	With age she became smarter and wiser, Stolz became her husband, with whom she gave birth to children	They lived with Oblomov for 7 years, after which Agafya lost her husband, and her son Andrei remains the only consolation
Favorite hobby	loved to sing and go to the theater, play music and read	A good housewife, hardworking, she loved to cook and look after the household; did handicrafts
Similar features	simple girls, faithful, homely, kind

Composition by Olga Ilyinskaya and Agafya Pshenitsyna

Love is one of the key problems in the work of the great Simbirsk writer Goncharov “Oblomov”. Ilya Ilyich Oblomov is the center of two love stories. There were two women in his life, completely different, unlike each other. They both made a huge contribution to his life, but each in their own way. Let's compare these two, without a doubt, great women in the hero's life, their characters and contributions to the image and character of the protagonist.

Olga Ilyinskaya is a sophisticated lady with an incredibly fine spiritual organization. Ilya Ilyich’s meeting with her was a gift of fate for him. He was incredibly lucky on the day they met and met. His life would not have been so rich without her, even if it was for such a short time.

Olga was a creative girl, she loved literature, theater, and had great musical talent. This is what brought life into the passive existence of the hero. Thanks to her uncontrollable desire to develop, Oblomov was still able to get up from his couch for a while, take off his robe and begin to act. Olga began taking him to the opera and theater. It was thanks to her that the hero began to feel at least something. Something seemed to turn over in his soul with her appearance.

Olga's true desire was to change the hero, to revive him, to make him feel. She did not want to put up with his being, but sought to destroy his habits, forcing him to live and not exist. This is what a determined, brave girl does, ready to do anything for love.

However, the hero was not ready for such drastic changes. He did not want to put aside his favorite robe forever for the sake of some love adventures that would only tire him. He broke Olga's heart. However, they forever remained each other's brightest love. After all, there was no more passionate love in his life.

The second and last woman in Ilya Ilyich’s life was Agafya Pshenitsyna. Her character was radically different from Olga's. She was not at all inclined to change Ilya. He suited her the way he was. With a book open on the same page, with a robe, on a soft sofa. She only contributed to his regression, his degradation as a person. Agafya served him in every possible way, brought food, cleaned up.

Their life was absolutely synonymous with life in Oblomovka. This is exactly the kind of life that Ilya craved. It was much more comfortable for him to live with Agafya, with her measured character.

Such a life could not lead to anything good, but Agafya did not understand this. It was enough for her that they were simply comfortable living with each other. Such a passive life, devoid of movements and emotions, led not only to the death of Oblomov as an individual, but also as a person.

Thus, we can conclude that these two different women changed the hero's life, they brought love into his life, only the stories turned out to be opposite. One story - filled with emotions, passionate, bright. And the other is slow, measured, calm. The hero made his choice and subsequently paid for it.

We cannot blame him for this choice, because every person comes from childhood, and it can be extremely difficult to change it, no matter how much the other person wants it.

What is betrayal? This is a very offensive thing that a huge number of people face - some commit it, and others are victims of betrayal.

Provincial city in the poem Dead Souls by Gogol essay

From the beginning of Gogol's work " Dead Souls", we learn from the argument between the men that the city is located somewhere between Moscow and Kazan, but he does not indicate its exact location and gives it the name NN

Grade 10

Lessons No. 29.

Subject. Oblomov and Agafya Pshenitsyna. Problems of the novel "Oblomov".

Target :

• help students reveal the image of Agafya Matveevna Pshenitsyna; find out how Agafya Matveevna’s love differs from Olga’s love;
• develop students’ speech and literary analysis skills;
• instill an interest in studying literature and history of their country, form cultural and aesthetic qualities of the individual.

Equipment: multimedia presentation.

DURING THE CLASSES.

I. Checking homework.

2.Make a plan comparative characteristics"Oblomov and Stolz."

Plan.

1. Description of appearance.

2.Origin.

3.Upbringing and education.

4.Purposes of coming to St. Petersburg.

5.Lifestyle.

6. Ideal (norm) of life.

7. Test of love.

8.Result of life.

II. Learning new material.

1.Communication of the topic, purpose, lesson plan.

2. The teacher's word.

Olga Ilyinskaya and Agafya Matveevna Pshenitsyna personify Oblomov’s two ideas about love. In Olga he sees the ideal of a bride, a future wife, and an equal by birth. Agafya Matveevna is the subject of “lordly affection” - a woman of low origin, you don’t have to stand on ceremony with her (it’s not for nothing that Oblomov first of all notices her bodily attractiveness, bare neck and elbows).

In addition, Agafya Matveevna Pshenitsyna personified the peace that the hero so dreamed of. The meaning of Agafya Matveevna’s life lies in the desire to love and care for someone. She is an ideal housewife; she never sits idle for a minute. Silence, peace, tasty food- she creates all this for Oblomov. Agafya Matveevna became a caring nanny for him. Days passed measuredly and quietly in the house on Vyborgskaya, and Oblomov seemed happy, but deep down in his soul he continued to yearn for unfulfilled dreams, his creative powers, his “faithful heart” were dying in complete passivity.

3. The image of Agafya Matveevna Pshenitsyna.

3.1. About heroin.

The widow of an official, left with two children, the sister of Ivan Matveevich Mukhoyarov, Tarantiev’s godfather. It is Tarantiev who settles Oblomov, who is forced to look for new apartment, in Pshenitsyna’s house on the Vyborg side.

3.2. Psychological portrait of the heroine.

“She was about thirty. She was very white and full in the face, so that the blush, it seemed, could not break through her cheeks. She had almost no eyebrows at all, but in their place there were two slightly swollen, shiny stripes with sparse blond hair. The eyes are grayish-simple, like the whole facial expression; the hands are white, but hard, with large knots of blue veins protruding outward.”

Pshenitsyna is taciturn and is used to living without thinking about anything: “Her face took on a practical and caring expression, even dullness disappeared when she started talking about a subject familiar to her. To every question that did not relate to some goal positively known to her, she answered with a grin and silence.” And her grin was nothing more than a form that covered up ignorance of the subject: not knowing what she should do, accustomed to the fact that “brother” decides everything, Agafya Matveevna achieved perfection only in the skillful management of the house. Everything else passed by the undeveloped mind for years and decades.

3.3. Awakening the senses.

Gradually, as Oblomov realizes that he has nowhere else to strive, that it was here, in a house on the Vyborg side, that he found the desired structure of life for his native Oblomovka, a serious internal change occurs in the fate of Agafya Matveevna herself. In the constant work of mastering and maintaining the house, in the chores of the house, she finds the meaning of her existence. Something unknown to her before began to awaken in this woman: anxiety, glimpses of reflection. In other words, love, more and more deep, pure, sincere, unable to express itself in words, but manifested in what Pshenitsyna knows and can do well: in caring for Oblomov’s table and clothes, in prayers for his health, in sitting nights at the bedside of the sick Ilya Ilyich.

3.4. Pshenitsyna and Oblomov.

The heroine’s feeling, so normal, natural, disinterested, remained a secret for Oblomov, for those around her and for herself.

Oblomov “was getting closer to Agafya Matveevna - as if he was moving towards a fire, from which it becomes warmer and warmer, but which cannot be loved.” Pshenitsyna is the only absolutely unselfish and decisive person around Oblomov. Without delving into any complications, she does what is necessary at the moment: she pawns her own pearls and silver, is ready to borrow money from the relatives of her late husband, just so that Oblomov does not feel lacking in anything. When the intrigues of Mukhoyarov and Tarantiev reach their peak, Pshenitsyna decisively renounces both “brother” and “godfather”.

Having devoted herself to caring for Oblomov, Pshenitsyna lives as fully and variedly as she has never lived before, and her chosen one begins to feel as if in his native Oblomovka: “... he quietly and gradually fit into the simple and wide coffin of the rest of his existence, made with his own hands, like desert elders who, turning away from life, dig their own grave.”

4. Conclusions about Agafya Matveevna Pshenitsyna.

• Life.
  Target: there was no final goal, the goal of every day was to feed and put in order the clothes of the master and all the household.
  Perception: life for her has always been an environment where Agafya Matveena served everyone. And she loved it! And after Oblomov moved, everything additionally “... received a new, living meaning: the peace and convenience of Ilya Ilyich...”
  Principles: always be the goddess of the kitchen, develop the economy, “on which her pride and all her activities were concentrated!”
• Love. “It somehow fell on her by itself, and she walked right under a cloud, not backing away or running forward, but fell in love with Oblomov simply, as if she had caught a cold and had an incurable fever.” Even with Oblomov’s peculiar confession, she responds “without surprise, without embarrassment, without timidity, but standing straight and motionless, like a horse on which a collar is being put on.”
• Friendship. She didn't have anyone who could be called real friends.
• Relationships with others.Her entire social circle consisted of the shopkeeper, the butcher, the greengrocer and the kitchen assistants. These were her good friends. Everyone respected her as a very good housewife.
• I was most afraid“inconvenience” for the master (in the broad sense).

5. Agafya Matveevna after the death of Oblomov.

Pshenitsyna and Oblomov have a son. Understanding the difference between this child and the children from her first husband, Agafya Matveevna, after the death of Ilya Ilyich, meekly gives him up to be raised by the Stolts. Oblomov's death brings Pshenitsyna into existence new paint- she is the widow of a landowner, a master, for which her “brother” and his wife constantly reproach her. And although Agafya Matveevna’s lifestyle has not changed in any way (she still serves the Mukhoyarov family), the thought constantly pulsates in her that “her life was lost and shone, that God put his soul into her life and took it out again... now she knew why she lived and that she did not live in vain... Rays, a quiet light from the seven years that flew by in an instant, spilled over her whole life, and she had nothing more to desire, nowhere to go.”

The unselfishness of this woman is made clear to Stolz at the end of the novel: she does not need his reports on the management of the estate, just as she does not need the income from Oblomovka, which Stolz put in order. The light of Agafya Matveevna’s life faded along with Ilya Ilyich.

6. Why did Oblomov give up love?

Oblomov gave up love, he chose peace: “peace suits me, although it’s boring, sleepy, but it’s familiar to me, but I can’t cope with storms!” The episode of Oblomov’s last explanation with Olga reflects Olga’s deep disappointment and pain: “I thought. That I will revive you, that you can still live for me, and you have already died a long time ago...” Olga realized with bitterness that “from him one could only expect a deep impression, passionate - lazy submission. Eternal harmony with every beat of its impulse, no movement of will, no activity.” After all the doubts and internal struggle, Oblomov again found himself “at the same point of impossibility of moving forward.” Love is ups and downs, contradictions and doubts, search, movement, life, rich, bright, changing. After all, developing this feeling requires an initial commitment, a duty that involves taking responsibility. Oblomov was afraid of this - the feeling of fear in Oblomov is constantly intensifying and suppresses all other feelings and desires in him. It was necessary to make decisions, act, change something. Oblomov turned out to be incapable of this. Why?

After searching and torment, never finding the strength and will to fight for his love, Oblomov returns to his previous state of peace and inertia, mental statics (returns to his “swamp”). And this state, according to the author, is similar to the “death of the soul,” which is emphasized by the winter landscape: snow falling in large flakes, turning everything into a white shroud. Agafya Matveevna again takes out a robe, symbolizing the “shell” of life.

III. Consolidation of what has been learned.

Problems of the novel "Oblomov".

In the novel, Goncharov raises questions about true friendship, love, humanism, the equality of women, true happiness, and condemns noble romanticism.

Goncharov called the novel “Oblomov” a “novel-monograph.” He had in mind his plan to writethe life story of one person,present a deep psychological study of one biography: “I had one artistic ideal: this is the image of an honest and kind, sympathetic nature, an extremely idealist, struggling all his life, seeking the truth, encountering lies at every step, being deceived and falling into apathy and impotence.” .

In the first part of the novel, the stillness of life, slumber, closed existence is not only a sign of the existence of Ilya Ilyich, it is the essence of life in Oblomovka. She is isolated from the whole world: “Neither strong passions nor brave undertakings worried the Oblomovites.” This life is full and harmonious in its own way: it is Russian nature, a fairy tale, the love and affection of a mother, Russian hospitality, the beauty of the holidays. These childhood impressions are an ideal for Oblomov, from the height of which he judges life. Therefore, he does not accept the “St. Petersburg life”; he is not attracted by either his career or the desire to get rich.

Oblomov's visitors personify three life path which Oblomov could go through: becoming a spoiled dude like Volkov; head of the department, like Sudbinsky; a writer like Penkin. Oblomov goes into contemplative inaction, wanting to preserve “his human dignity and his peace.” The image of Zakhar determines the structure of the first part of the novel. Oblomov is unthinkable without a servant, and vice versa. Both of them are children of Oblomovka.

The second and third parts of the novel aretest of friendship and love. The action becomes dynamic. Oblomov's main antagonist is his friend Andrei Stolts. The image of Stolz is important for understanding the author's intention and for a deeper understanding of the main character. Goncharov intended to show Stolz as a figure preparing progressive changes in Russia. Unlike Oblomov, Stolz is an energetic, active person, confidence is felt in his speeches and actions, he stands firmly on his feet, believes in the energy and transformative power of man. He is constantly on the move (the novel talks about his moves: Moscow, Nizhny Novgorod, Crimea, Kiev, Odessa, Belgium, England, France) - and in this he sees happiness. German hard work, prudence and punctuality are combined in Stolz with Russian dreaminess and gentleness (his father is German and his mother is Russian). However, in Stolz the mind still prevails over the heart; he subordinates even the most subtle feelings to control. He lacks humanity, which is Oblomov’s main property. Stolz’s childhood and family life are only described. We don’t know what Stolz was happy about, what he was upset about, who his friends were, who his enemies were. Stolz, in contrast to Oblomov, makes his own way in life (he graduated from university brilliantly, successfully serves, begins to run his own business, makes a house and money). The portrait of Stolz contrasts with the portrait of Oblomov: “He is entirely made up of bones, muscles and nerves.” Oblomov is “fat beyond his years,” he has a “sleepy look.” However, Stolz’s image is more multidimensional than it seems at first glance. He sincerely loves Oblomov, speaks of Oblomov’s “honest” and “faithful” heart, “which cannot be bribed by anything.” It was Stolz who the author endowed with an understanding of the moral essence of Oblomov, and it was Stolz who told the “writer” the whole life story of Ilya Ilyich. And at the end of the novel, Stolz finds peace in family well-being, he comes to where Oblomov started and stopped. This “reflection” of images in each other can be considered as a process of combining extremes.

An important place in the novel is occupied by theme of love. Love, according to Goncharov, is one of the “main forces” of progress; the world is driven by love. The heroes are tested by love. Goncharov does not give a detailed portrait of Olga, but emphasizes that there was “no affectation, no coquetry, no lies, no tinsel, no intent.” For the first time, the outline of his ideal flashed before Oblomov. The breakup was natural, because Olga and Oblomov expected the impossible from each other. He is of selfless, reckless love, when you can sacrifice everything: “peace, word of mouth, respect.” It comes from his activity, will, energy. But Olga fell in love not with Oblomov, but with her dream. Oblomov also feels this when he writes her a letter. In the future, each of the heroes acquires a life that corresponds to his ideal. Olga marries Stolz, Oblomov finds the heartfelt love of Agafya Matveevna. In her house on the Vyborg side “he was now surrounded by such simple, kind, loving people who agreed with their existence to support his life, to help him not notice, not feel it.” The disappeared world of childhood, Oblomovka, appears again.

IV. Summing up the lesson.

V. Homework.

Write a letter on behalf of Oblomov “House on the Vyborg Side: Paradise Found.”

Love - the strongest human feeling - played a big role in Oblomov's life. The love of two women: one - smart, sophisticated, gentle, demanding, the other - economical, simple-minded, accepting the hero as he is. Who can understand Ilya Oblomov? What is he looking for in life, in a woman? After all, his beloved are as different as heaven and earth. And why did you stay with Agafya Pshenitsyna - a “simple woman”, and not with the divine Olga?

Yes, it is difficult to find similarities in these women. They even loved differently. Olga is spiritually, highly, and Agafya Matveevna is with earthly, primitive love. Olga’s sublime love is reflected in music, walks in the park, confessions, and lilac flowers. Agafya Matveevna's love is tasty pie, hot coffee, white pillows.

In my opinion, Olga’s love was a little contradictory: either she wanted to see Ilya Ilyich every day, or, on the contrary, she ordered him not to come often so that people would not think bad things. Olga needed an “improved” Oblomov, and not that good-natured sloth who lies on the sofa for days. She loved the hero the way she wanted to see him, drawn in her imagination. On the one hand, Ilyinskaya woke up a sleeping soul that is capable of feeling, crying, laughing. On the other hand, she imposed her ideas about life on her lover and demanded a change in nature itself. That’s why, it seems to me, Oblomov was “scared” of Olga and her demanding love.

Agafya Pshenitsyna, the mistress of the house in which Oblomov settled, is the complete opposite of Ilyinskaya. If we saw Olga through her soul, her eyes, then Agafya through her body; it’s not for nothing that the dimples on the elbows and the woman’s white neck are so often mentioned. Her appearance said it all: she was simple-minded, kind, affectionate, friendly, and besides this, she was an excellent housewife. She protected Oblomov’s peace, prepared delicious food for him, kept his room clean, and took care of his health. Here it is - a quiet haven that Oblomov and Olga would never have had. So peaceful and cozy family life did not frighten the hero, as his marriage to Ilyinskaya frightened him, since it did not impose any responsibility on him. He loved his wife, son, family life, which personified the main thing for him - physical and mental peace.

The word has been found - peace! It was the desire for eternal rest, physical and moral, for an endlessly lasting state of physical and mental immobility that ultimately determined the choice of the hero. Perhaps Oblomov made his choice unconsciously: after all, a choice is a responsible act, which is unusual for Ilya Ilyich, who in everything relies on the natural course of life, just nature took its toll.

Innokenty Annensky wrote: “Love is not peace, it must have a moral result, first of all for those who love.”

In the novel "Oblomov" love is the basis. This feeling develops the souls and hearts of the heroes, reveals the characters, shows the heroes in development.

We see the same feeling in Oblomov’s life - love. But with what different beginnings, aspirations.

Olga Ilyinskaya’s love is spiritual, “revitalizing,” moral, and therefore there must be a moral result. But this love is a dream, the object of Olga’s love is the image of Oblomov in the future, and not the real Oblomov. Olga guides Ilya Ilyich’s feelings, directs them in the direction she needs. Olga is a person of fine spiritual and moral organization, a person who follows the path of duty and respect, a person who does not know violent and destructive passions. She programs, dreams that “he will live, act, bless life and her. To bring a person back to life - how much glory to the doctor when he saves a hopeless patient! And to save a morally perishing mind, soul?..

She even shuddered with proud, joyful trepidation; I considered this a lesson ordained from above.”

Dobrolyubov and Pisarev welcome Olga Ilyinskaya as the image of a “new, thinking woman, focused on the future.”

Annensky, speaking about Olga’s feelings for Oblomov, writes the following: “Olga is a moderate, balanced missionary. She does not have a desire to suffer, but a sense of duty... Her mission is modest - to awaken the sleeping soul. She fell in love not with Oblomov, but with her dream. The timid and gentle Oblomov, who treats her so obediently and so bashfully, loved her so simply, was only a convenient object for her girlish dreams and games of love.” Yes, Olga knows another path, a moral path based on respect, which means reliable.

Olga, out of curiosity to see if Oblomov had a soul, sang and touched the living strings. After all, beauty was accessible to them, since Oblomov had a living soul and a sensitive, warm heart.

Oblomov falls in love with Olga. This feeling is so awkward, unfamiliar, so unformedly childish, so obedient, bashful, a feeling of awe. Oblomov’s thoughts are confused, confused, something new and living flows into him. He looks at Olga, “as they look into an endless distance, into a bottomless abyss, with self-forgetfulness, with bliss.” Oblomov perks up, shakes himself up, his brain begins to work and look for something.

For Olga, it’s the other way around. By virtue of her morality, inspired by the dream, which lies in the “revival” of Oblomov, she grows up, her childishness disappears, her feelings take shape, she “outgrows” Ilya Ilyich and takes on a difficult role - the role of a “guiding star”. Olga is trying to “put Oblomov on his feet,” teach him action, and bring him out of rest and laziness. All this is calculated in Olga’s head, and that is why, probably, she tries to find answers to many questions of feelings in her head.

Oblomov is unfamiliar with the new feeling. He is confused, lost, ashamed. He loves Olga with his heart, loves tenderly, obediently, bashfully. His soul awakens because it is alive. He draws something from Olga, and his heart begins to beat and his brain begins to work. Olga pours energy into him, a love of action, which makes him work, think, read, do housework, his thoughts gradually begin to take shape. Although sometimes the “worm of uncertainty and laziness” still creeps into him and again he wants to hide his head under his wing, but Olga again pours hope into him, does not abandon him, but gently, in a motherly way, guides and instructs, and Oblomov lives again, works again, again trying to decide on his own. Olga is always on guard, will always help, always teach. But often in Oblomov’s dreams an idyllic picture arose: Oblomovka, everything is fine, calm around, a big house where he, Ilya Ilyich, and Olga live peacefully, and children are running around, and there is no excitement or movement in this corner, but only calm, moderation and silence.

And here it is, this is a contradiction!!! Olga sees in her dreams

an active and active person, and Oblomov - the same idyllic picture, that is, “they give out what the heart says, and the voice of the heart passes through the imagination.” Only, alas, they imagine differently. Oblomov does not learn to love, does not understand what Olga wants from him, but strives for his idyll, trying to quickly put an end to “Olga’s demands.”

And Oblomov gradually realizes that something in this love has been lost, that it has faded. Due to his idyllic upbringing, Olga’s love for him turned from “rainbow” to “demanding.” He is burdened by her: Oblomov begins to dine at home more often, go to the theater not at the call of his soul, which should have moral nourishment, but at the request of Olga, he wants to end it all as quickly as possible and fall into laziness, drowsiness and tranquility. Ilya Ilyich says to himself: “Oh, I wish I could finish soon and sit next to her, not drag myself so far here! And then after such a summer, and even seeing each other in fits and starts, furtively, playing the role of a boy in love... To tell the truth, I wouldn’t go to the theater today if I were already married: this is the sixth time I’ve heard this opera...”

The harmony of the relationship between Olga and Oblomov is broken. Even over time, they run out of topics to talk about.

And a break occurs. On the one hand, because of Ilya Ilyich’s idyllic upbringing, his eternal craving for peace and quiet, and on the other hand, because of his own fault. Oblomov “is to blame himself. He did not appreciate, did not understand. Annensky wrote the following about this gap: “Olga is a girl with a large reserve common sense, independence and will, the main thing. Oblomov is the first, of course, to understand the chimerical nature of their romance, but she is the first to break it off.

Some nonsense was needed to cut off these very thin threads.”

The same Annensky writes about Olga: “Love is not peace, it must have a moral result, first of all for those who love. That’s how Olga understands it.” But Oblomov has his own understanding. And in her last conversation with Oblomov, Olga says: “...I relied too much on my own strength... I didn’t dream of my first youth and beauty: I thought that I would revive you, that you could still live for me, - but you've been dead for a long time. I didn’t foresee this mistake, I kept waiting, hoping!..”

But for Oblomov, this love will forever remain in his heart. And he will remember her as something bright, clear, pure. It was spiritual love. This love was a ray of light, it tried to awaken the soul and develop it. And Oblomov understands the reason for the breakup. This is Oblomovism. But he does not have the strength to resist her. And Ilya Ilyich soon falls asleep spiritually, and then physically.

And what is the love of Agafya Matveevna Pshenitsyna? And does Oblomov love her?

Pshenitsyna is a different type of woman. She has a different upbringing, a different way of thinking. She is simple, her whole soul is concentrated in the household. Agafya Matveevna is a kind, faithful wife, but she does not lead to the future of the hero.

Pshenitsyna loves Oblomov without any external idea, accepting him as he is. She loves a person, not a persona and not the future Ilya Ilyich. And her love is much more natural, sincere and simpler. Agafya Matveevna is simply kind, devoted, caring. And she expresses her love as best she can, as her upbringing allows her: she darns shirts, bakes pies. She tries in her own way to make Oblomov’s life easier and does everything she can for this. In her understanding, if a person is fed, then he is happy, and we cannot blame her for this. Everyone understands happiness differently. Goncharov writes about Pshenitsyna’s feelings: “She loved Oblomov so completely and a lot; she loved Oblomov - as a lover, as a husband and as a master; But she couldn’t tell it to anyone. And no one around would understand her. Where would she find language? There were no such words in the vocabulary of my brother, Tarantiev, and daughter-in-law, because there were no concepts.

Yes, Agafya Matveevna did not have high ideas, but she was given the ability to simply love. It is possible that she was an exception in her environment, since she acquired the concept, the concept of such a feeling as love. I just didn’t know how to express it any other way than to bake pies. But the main thing is that it was available to her.”

The critic Grigoriev wrote in 1859: “Oblomov chose Agafya Matveevna not because her elbows are seductive and that she cooks pies well, but because she is much more of a woman than Olga. If Oblomov is the antipode, then Pshenitsyn is equally the antipode of Olga, whose “head”, rational-experimental love is contrasted with spiritual-heartfelt love, about which we can say that it is “as old as the world.” Marrying Agafya Matveevna is a combination of Oblomov’s image and spirit of life.”

What about Oblomov? What does Pshenitsyn mean to him? This feeling is not spiritual, it does not regenerate the “hero, does not affect” the spiritual in him, but rather is physical, there is no “moral spark” in him. That’s why Agafya Matveevna’s life is so close to his idyll, and she herself is so simple, she doesn’t require anything.

All this relaxes, calms, Oblomov gradually falls asleep, and is often overcome by “dull thoughtfulness.”

And Oblomov’s attitude towards Pshenitsyna is completely different - physical. If Olga is an angel whom he looks at with reverence, then he looks at Agafya Matveevna like “a hot cheesecake.” And he himself does not dare to compare feelings for Olga and for Agafya Matveevna, saying that Olga’s love can only be compared with life in paradise.

And Pshenitsyna’s world is a continuation of that Oblomov’s world. Here, on the Vyborg side, living with a kind, good woman, simple and caring, Oblomov finds “that peace, contentment and serene silence.”

The novel says: “...Looking and pondering his life and becoming more and more comfortable in it, he finally decided that he had nowhere else to go, there was nothing to look for, that the ideal of life had come true... He looked at his real life, as a continuation of the same Oblomov existence... And here, as in Oblomovka, he managed to get rid of life cheaply, bargain with her and insure his peace.”

In Oblomov’s life, one love was spiritual, which tried to ignite life and action in him, that is, with a “moral spark.” And the other was physical love. This feeling did not advance his moral, spiritual development, did not require anything.