Can Olga be called a positive hero? Essay plan - Who is the positive hero of Goncharov’s novel “Oblomov”?

Clothing and style

/Dmitry Ivanovich Pisarev (1840-1868). Oblomov. Roman I. A. Goncharova / Third wonderful personality , derived in the novel by Mr. Goncharov, - Olga Sergeevna Ilinskaya - represents the type of future woman, how she will subsequently be shaped by those ideas that in our time they are trying to introduce into female education. In this personality, which attracts one with inexpressible charm, but does not amaze with any sharply outstanding virtues, two properties are especially remarkable, casting an original flavor on all her actions, words and movements. These two properties are rare in modern women and therefore especially expensive in Olga; they are presented in Mr. Goncharov’s novel with such artistic fidelity that it is difficult not to believe them, it is difficult to accept Olga as an impossible ideal created creative imagination poet. Naturalness and presence of consciousness is what distinguishes Olga from ordinary women. From these two qualities flow truthfulness in words and deeds, the absence of coquetry, the desire for development, the ability to love simply and seriously, without tricks and tricks, the ability to sacrifice oneself to one’s feelings as much as is allowed not by the laws of etiquette, but by the voice of conscience and reason. The first two characters, which we mentioned above, are presented as already formed, and Mr. Goncharov only explains them to the reader, that is, shows the conditions under the influence of which they were formed; As for Olga’s character, it is formed before the reader’s eyes. The author first portrays her as almost a child, a girl gifted with a natural mind, who enjoyed some independence during her upbringing, but who did not experience any strong feeling , no excitement, unfamiliar with life, not accustomed to observing oneself, analyzing the movements of one’s own soul. During this period of Olga's life, we see in her a rich but untouched nature; she is not spoiled by the world, she does not know how to pretend, but she also did not have time to develop mental strength in herself, did not have time to develop convictions for herself; she acts according to impulses kind soul<...>

Experience and calm reflection could gradually lead Olga out of this period of instinctive drives and actions; innate curiosity could lead her to further development through reading and serious study; but the author chose a different, accelerated path for her. Olga fell in love, her soul was excited, she learned about life by following the movements own feelings; the need to understand the state of her own soul forced her to change her mind a lot, and from this series of reflections and psychological observations she developed an independent view of her personality, her relationship with the people around her, the relationship between feeling and duty - in a word, on life in the broadest sense. G. Goncharov depicted Olga’s character and analyzed her development in full force educational influence of feeling. He notices its occurrence, follows its development and dwells on each of its modifications in order to depict the influence that it has on the entire way of thinking of both characters. Olga fell in love accidentally, without prior preparation; she did not create an abstract ideal for herself, which many young ladies try to bring the men they know to life, she did not dream of love, although, of course, she knew about the existence of this feeling.

She lived calmly, not trying to artificially arouse love in herself, not trying to see the hero of her future novel in every new face. Love came to her unexpectedly, like any true feeling comes; this feeling imperceptibly crept into her soul and attracted her own attention when it had already received some development. When she noticed him, she began to think about it and compare her words and actions with her inner thoughts. This minute, when she became aware of the movements of her own soul, begins to new period in its development. Every woman experiences this moment, and the revolution that then takes place in her entire being and begins to reveal in her the presence of restrained feeling and concentrated thought, this revolution is especially fully and artistically depicted in Mr. Goncharov’s novel. For a woman like Olga, the feeling could not remain for long at the level of instinctive attraction; the desire to comprehend in her own eyes, to explain to herself everything that she encountered in life, awoke here with special force: a goal for feeling appeared, and a discussion of her beloved personality appeared; This discussion determined the very goal.

Olga realized that she stronger than that the person she loves, and decided to elevate him, breathe energy into him, give him strength for life. A meaningful feeling became a duty in her eyes, and with full conviction she began to sacrifice to this duty some external decency, the violation of which is sincerely and unfairly prosecuted by the suspicious court of the world. Olga grows along with her feelings; every scene that takes place between her and the person she loves adds new feature to her character, with each scene the graceful image of the girl becomes more familiar to the reader, is outlined brighter and stands out more strongly from the general background of the picture.

We have sufficiently defined Olga's character to know that there could be no coquetry in her relationship with her loved one: the desire to lure a man, to make him her admirer, without having any feelings for him, seemed to her unforgivable, unworthy of an honest woman. In her treatment of the man whom she subsequently fell in love with, at first soft, natural grace dominated; no calculated coquetry could have had a stronger effect than this genuine, artlessly simple treatment, but the fact is that on Olga’s part there was no desire to make one or another impression . The femininity and grace that Mr. Goncharov knew how to put into her words and movements constitute an integral part of her nature and therefore have a particularly charming effect on the reader. This femininity, this grace becomes stronger and more charming as the feeling develops in the girl’s chest; playfulness and childish carelessness are replaced in her features by an expression of quiet, thoughtful, almost solemn happiness.

Life opens up before Olga, a world of thoughts and feelings about which she had no idea, and she moves forward, looking trustingly at her companion, but at the same time peering with timid curiosity at the sensations that crowd in her excited soul. The feeling grows; it becomes a need, a necessary condition of life, and meanwhile, here too, when the feeling reaches pathos, to the “sleepwalking of love,” in the words of Mr. Goncharov, and here Olga does not lose consciousness of her moral duty and knows how to maintain a calm, reasonable, critical view on your responsibilities, on the personality of your loved one, on your position and on your actions in the future. The very strength of feeling gives her a clear view of things and maintains firmness in her. The fact is that feeling in such a pure and sublime nature does not descend to the level of passion, does not darken reason, does not lead to such actions that would later make one blush; such a feeling does not cease to be conscious, although sometimes it is so strong that it presses and threatens to destroy the body. It infuses energy into a girl’s soul, makes her break one or another law of etiquette; but this same feeling does not allow her to forget her real duty, protects her from infatuation, instills in her conscious respect for the purity of her own personality, which contains the guarantees of happiness for two people.

Meanwhile, Olga is experiencing a new phase of development: a sad moment of disappointment comes for her, and the mental suffering she experiences finally develops her character, gives her thoughts maturity, informs her life experience. Disappointment is often the fault of the person being disappointed. A man who creates for himself fantasy world, will certainly, sooner or later, collide with real life and hurt himself the more painfully, the higher the height to which his whimsical dream raised him. He who demands the impossible from life must be deceived in his hopes. Olga did not dream of impossible happiness: her hopes for the future were simple, her plans were feasible. She fell in love with an honest, intelligent and developed man, but weak, not used to living; She recognized his good and bad sides and decided to use every effort to warm him with the energy that she felt in herself. She thought that the power of love would revive him, instill in him a desire for activity and give him the opportunity to put to work abilities that had fallen asleep from long inactivity.

Her goal was highly moral; it was instilled in her true feeling. It could be achieved: there was no evidence to doubt its success. Olga mistook an instant flash of feeling on the part of the person she loved for a real awakening of energy; she saw her power over him and hoped to lead him forward on the path of self-improvement. Could she not be carried away by her beautiful goal, could she not see quiet, rational happiness ahead of her? And suddenly she notices that the energy excited for a moment is extinguished, that the struggle she has undertaken is hopeless, that the charming power of sleepy calm is stronger than its life-giving influence. What should she do in such a case? Opinions will likely be divided. Whoever admires the impetuous beauty of an unconscious feeling, without thinking about its consequences, will say: she should have remained faithful to the first movement of her heart and given her life to the one whom she once loved. But whoever sees in a feeling a guarantee of future happiness will look at the matter differently: hopeless love, useless for oneself and for the beloved object, has no meaning in the eyes of such a person; the beauty of such a feeling cannot excuse its lack of understanding.

Olga had to conquer herself, break this feeling while there was still time: she had no right to ruin her life, to make a useless sacrifice. Love becomes illegal when reason does not approve of it; to drown out the voice of reason means to give free rein to passion, to animal instinct. Olga could not do this, and she had to suffer until the deceived feeling in her soul ached. She was saved in this case by the presence of consciousness, which we have already indicated above. The struggle of thought with the remnants of feeling, reinforced by fresh memories of past happiness, tempered Olga’s spiritual strength. IN a short time she felt and changed her mind as much as does not happen to change her mind and change her mind during many years of quiet existence. She was finally prepared for life, and the past feelings she experienced and the suffering she experienced gave her the ability to understand and appreciate the true merits of a person; they gave her the strength to love as she could not love before. Only a remarkable personality could instill in her a feeling, and in this feeling there was no room for disappointment; The time for passion, the time for sleepwalking has passed irrevocably. Love could no longer sneak into the soul, eluding the analysis of the mind for a time. In Olga’s new feeling everything was definite, clear and firm. Olga previously lived with her mind, and her mind subjected everything to its analysis, presented new needs every day, sought satisfaction and food in everything that surrounded her.

Then Olga's development took only one more step forward. There is only a cursory indication of this step in Mr. Goncharov’s novel. The situation to which this new step led is not outlined. The fact is that Olga could not be completely satisfied either by quiet family happiness or by mental and aesthetic pleasures. Pleasures never satisfy a strong, rich nature, unable to fall asleep and lose energy: such a nature requires activity, labor with reasonable purpose, and only creativity can to some extent calm this melancholy desire for something higher, unfamiliar - a desire that is not satisfied by the happy environment of everyday life. Olga reached this state of highest development. How she satisfied the needs that awoke in her, the author does not tell us. But, recognizing in a woman the possibility and legitimacy of these highest aspirations, he obviously expresses his view on her purpose and on what is called in the community the emancipation of women. Olga’s whole life and personality constitute a living protest against a woman’s dependence. This protest, of course, was not main goal the author, because true creativity does not impose practical goals on himself; but the more naturally this protest arose, the less prepared it was, the more artistic truth it contained, the stronger its effect on public consciousness.

Here are the three main characters of Oblomov. The remaining groups of personalities that make up the background of the picture and stand in the background are outlined with amazing clarity. It is clear that the author did not neglect the little things for the main plot and, while painting a picture of Russian life, dwelled on every detail with conscientious love. The widow Pshenitsyna, Zakhar, Tarantyev, Mukhoyarov, Anisya - all these are living people, all these are types that each of us has met in our lifetime.<...>

"Oblomov", in all likelihood, will constitute an era in the history of Russian literature; it reflects the life of Russian society in a certain period of its development. The names of Oblomov, Stolz, Olga will become household names. In a word, no matter how you look at Oblomov, whether as a whole or in separate parts, whether in relation to modern life or in terms of its absolute significance in the field of art, one way or another, it will always have to be said that this is a completely elegant, strictly thought out and poetically beautiful work.<...>The depiction of a pure, conscious feeling, the determination of its influence on a person’s personality and actions, the reproduction of the dominant disease of our time, Oblomovism, are the main motives of the novel. If we remember that every elegant work has an educational influence, if we remember that a truly elegant work is always moral, because it draws correctly and simply real life, then we must admit that reading books like Oblomov should be necessary condition any rational education. Moreover, reading this novel can be especially useful for girls 3. This reading, incomparably better than an abstract treatise on female virtue, will explain to them the life and duties of a woman. One has only to think about Olga’s personality, trace her actions, and, probably, more than one fruitful thought will be added to her head, more than one warm feeling will be planted in her heart. So, we think that every educated Russian woman or girl should read Oblomov, just as she should read all the major works of our literature.

Olga Sergeevna Ilyinskaya - from the series women's portraits Goncharova, a bright and memorable nature. By bringing Olga closer to Oblomov, Goncharov set himself two tasks, each of which is important in itself. Firstly, the author in his work sought to show the sensations that the presence of a young, pretty woman awakens. Secondly, he wanted to present in as complete an outline as possible the female personality herself, capable of the moral re-creation of a man

Fallen, exhausted, but still retaining many human feelings.

Olga’s beneficial influence soon affected Oblomov: on the very first day of their acquaintance, Oblomov hated both the terrible disorder that reigned in his room and the sleepy lying on the sofa on which he clothed himself. Little by little, going into new life, indicated by Olga, Oblomov submitted to his completely beloved woman, who guessed in him pure heart, a clear, albeit inactive mind and sought to awaken his spiritual strength. He began not only to re-read books that had previously been lying around without any attention, but also to briefly convey their contents to the inquisitive Olga.

How did Olga manage to carry out such a revolution in Oblomov? To answer this question, you need to turn to Olga’s characteristics.

What kind of person was Olga Ilyinskaya? First of all, it is necessary to note the independence of her nature and the originality of her mind, which were a consequence of the fact that, having lost her parents early, she followed her own firm path. On this basis, Olga’s inquisitiveness developed, which amazed those people with whom her fate encountered. Seized by a burning need to know as much as possible, Olga realizes the superficiality of her education and speaks bitterly of the fact that women are not given an education. In these words of hers one can already feel a woman of a new time, striving to be equal to men in terms of education.

The ideological nature makes Olga similar to Turgenev’s female characters. Life for Olga is an obligation and a duty. On the basis of such an attitude towards life, her love for Oblomov grew, whom, not without the influence of Stoltz, she set out to save from the prospect of mentally sinking and plunging into the mire of a short-lived existence. Her break with Oblomov is also ideological, which she decided to do only when she was convinced that Oblomov could never be revived. In the same way, the dissatisfaction that at times gripped Olga’s soul after she got married flows from the same bright source: it is nothing more than a longing for an ideological cause that the prudent and judicious Stolz could not give her.

But disappointment will never lead Olga to laziness and apathy. For this she has enough strong will. Olga is characterized by determination, which allows her to disregard any obstacles in order to revive her loved one to a new life. And the same willpower came to her aid when she saw that she could not revive Oblomov. She decided to break up with Oblomov and dealt with her heart, no matter how dearly it cost her, no matter how difficult it was to tear love out of her heart.

As mentioned earlier, Olga is a woman of new times. Goncharov quite clearly expressed the need for this type of woman that existed at that time.

Outline of the article “Characteristics of Olga Ilyinskaya”

Main part. Olga's character
a) Mind:
- independence,
- thoughtfulness,
- curiosity,
- ideological,
- a sublime outlook on life.

b) Heart:
- love for Oblomov,
- breaking up with him,
- dissatisfaction,
- disappointment.

c) Will:
- determination,
- hardness.

Conclusion. Olga is like a type of new woman.

Like a blessed ray of the east,
Why didn't you wake me up then?
Your voice is clear to my heart,
And didn’t you renew your fallen forces?

Yakov Polonsky "To a Woman". 1859

At the beginning of the lesson it sounds musical fragment from Vicenzo Bellini's opera "Norma" Casta diva (The Most Pure Virgin).

The truly positive heroine of the work is Olga Ilyinskaya. This is a living face taken from life. One of her prototypes is Ekaterina Maykova, with whom the writer was fascinated and who was the person closest to him in the 50s. Another prototype of Olga was also found: it was Elizaveta Vasilievna Tolstaya. Goncharov’s passion for her and his experiences in connection with her marriage were reflected in the writer’s letters.

Question

What impression do you have of Olga, how is her image created?

Student answers

Teacher's word

According to the long-standing – even pre-revolutionary – critical tradition, it is customary with Olga Ilyinskaya to discover the literary pedigree of Russian “new” women. It would seem that the “new” in the content of this image is a difficult trait to prove. It is not manifested either in the heroine’s social views (by the way, we know nothing about them), or in her appearance and manners.

And yet Olga is “new”, in the deepest and most distinct meaning of the word, although her newness is spontaneous, almost not realized by its bearer.

In Olga Ilyinskaya Goncharov embodied the best properties of the advanced Russian woman of the 50s of the 19th century.

Question

What do we learn from the novel about Olga Ilyinskaya? Let's start with portrait characteristics.

Answer

Part II, ch. V, pp. 210–211, 213–214; 292–293*

Ilyinskaya’s portrait is made up of numerous details, depicting a person of extraordinary simplicity and naturalness, depicting a woman devoid of affectation, coquetry, lies and tinsel. Either she laughs loudly, sincerely and contagiously; then she beautifully sings her favorite Norma aria “Castadiva”; sometimes she smiles so that the smile illuminates her eyes and spreads across her cheeks, sometimes she looks intently and curiously at Oblomov, who begins to wonder if his nose is dirty, if his tie is untied.

Goncharov does not endow Olga with the features of a beauty, but notes that “if she were turned into a statue, she would be a statue of grace and harmony.” He manages to convey the image of a sensitive, spiritually gifted girl with harmony of mind, will and heart.

The author gives and speech characteristics Olga. “Her speech sometimes sparkles with a spark of sarcasm, but there shines such grace, such a meek, sweet mind that everyone will gladly offer their forehead.” Olga's language is witty, but free from wise maxims, from overheard or read judgments about life, literature, and art. Everything about him is natural, there is no external pretense.

Question

What is the nature of the relationship between Oblomov and Olga Ilyinskaya (analysis of the scene with a lilac branch)? Tell us how these feelings arose.

Answer

Page 215, 220–221, 224

Explanation with Olga. Page 230–234 and 241. (Read by role, or show a video clip from the film “A few days in the life of Oblomov”).

The plot of the relationship between the two heroes is covered in amazing poetry. The writer reveals all the nuances of the complex love feeling: timidity, embarrassment, doubt, a subtle hint says an extraordinary amount to lovers, especially the fragrant branch of lilac, which embodies the flowering of feelings and its poetic aroma.

Question

Did Olga love Oblomov?

Answer

Part II, ch. IX, page 267

Olga responds to the suddenly flared feeling of Ilya Ilyich, who saw in her the embodiment of his ideal. Olga has a desire to resurrect a person who is interesting to her, albeit weak-willed: “She will show him a goal, make him fall in love again with everything that he has stopped loving.” She sincerely loves Oblomov, is drawn to him: the special meaning is probably that her surname itself is a derivative of the name Ilya.

Question

Which episodes of the novel indicate that Olga Ilyinskaya undertook to re-educate Oblomov?

Answer

Part II, ch. VI, p. 227

The rationalism of Olga's behavior appears in the episode when she forces Oblomov to climb a mountain.

Exercise

Retell this episode. (Part II, Chapter IX, pp. 262–263)

Answer

On a hot summer afternoon, Oblomov comes to a date arranged in the vicinity of the dacha, but does not find Olga there. For some time he stomps around at the foot of the mountain and only then discovers Olga at its top. With great difficulty, with short breaks, Ilya Ilyich climbs the mountain, not suspecting that the obstacle was provided by the girl. The mountain is a kind of symbol in the novel.

There is much more “emancipation” in a seemingly harmless prank than in smoking cigarettes, short haircut and taking physiology courses.

Question

How does Oblomov change thanks to Olga?

Answer

The result of the first meeting with Olga is Oblomov’s orders to wipe his windows and brush away the cobwebs (p. 234). After the second meeting he feels a rush mental strength. The third meeting and intense perception of the girl’s singing gives birth to the first declaration of love. Page 261.

Question

Why did the heroes break up?

Answer

The harbinger of separation was Oblomov’s first letter to Olga (pp. 274–277).

From Oblomov’s letter, Olga understood that Oblomov was afraid of visible changes in his life. She understands for herself that she expected the impossible from Ilya Ilyich, that she fell in love only with the future Oblomov, her dream about him. It turned out that a quiet, carefree and sleepy state was more valuable to Ilya Ilyich than wonderful dates. P.286.

Question

Did Olga find her happiness by marrying Stolz?

Answer

Part III, ch. III

Stolz partly “embodied her ideal of male perfection.” It would seem that her search was crowned happy ending: she is given a constant sense of movement, ebullient energy and comfort. But her union with Stolz and the surrounding prosperity cannot satisfy the eternally searching Olga. She listened to herself and felt that her soul was asking for something different, “it was yearning, as if a happy life was not enough for her, as if she was tired of it and demanded even new, unprecedented phenomena, looked further ahead.”

Stolz’s ideological limitations and naked practicality, his submission to “rebellious issues” and stopping in search of the meaning of life cannot satisfy her. There is nothing bourgeois about her; she is drawn to significant deeds and struggles that have a universal meaning. It is no coincidence that Stolz “watched with surprise and alarm how her mind demanded her daily bread, how her soul did not stop talking, kept asking for experience and life.” He is frightened by the volcanic fire of Olga’s nature.

Such is this captivating image, created by Goncharov’s talent and which has taken its own special significant place reduce the best creatures Russian literature.

The relationship between Oblomov and Olga develops on two levels: a beautiful poem of nascent and blossoming love turns out to be at the same time a trivial story of “seduction”, the instrument of which is destined to be the beloved of Ilya Ilyich. It is characteristic that Olga, no matter how much her heart is filled with reciprocal feelings for Oblomov, almost never forgets about her role as an “educator.” She really likes to realize herself in such a role: it’s no joke, she, a woman, leads a man! What kind of power has been given to her, what kind of power is this?! How can you not get proud, how can you not make your glorious head spin!..

In love conflicts, it is often the woman who takes the first active step. However, Olga undertakes it in such a way that it immediately pushes her sharply beyond the boundaries of the traditional series. To love in order to re-educate, to love “for ideological reasons” - in such an attitude there is something unheard of, without analogies.

Literature

Igor Kuznetsov. Great worker. // Goncharov I.A. Oblomov / Book for students and teachers. M.: Ast Olimp, 1997.

Yu.M. Loshits. Goncharov / Series: Life wonderful people. M.: Young Guard, 1977

* Text quoted from the book: Goncharov I.A. Oblomov / Book for students and teachers. M.: Ast Olimp, 1997.

Who is positive hero novel by I. A. Goncharov “Oblomov”?

I. Introduction

A positive hero is a character who evokes the author’s sympathy and, to one degree or another, embodies the author’s ideal. (For more details, see Glossary, Art. Hero.)

II. main part

1. Obviously, the positive hero of Goncharov’s novel can be either Oblomov, or Stolz, or Olga Ilyinskaya:

a) Oblomov’s character is the most complex, and the author’s attitude towards him is contradictory. On the one hand, Oblomov has such attractive character traits as kindness, intelligence, the ability to feel deeply, gentle soul. All this distinguishes him favorably from St. Petersburg officials of various ranks. The author shows that his hero is capable of becoming energetic, lively, and active for some time. However, the second side of Oblomov is laziness, impracticality, the desire for peace, which gives rise to moral and mental stagnation. This is how we see the hero in the first chapters of the novel, this is how he appears at the end of it - neither love for Olga Ilyinskaya, nor the influence of Stolz, nor his own plans for activity - nothing

is capable of radically changing Oblomov’s nature, which is closely connected with the life of a landowner, patriarchal, idle, devoid of an effective and living principle (“Oblomov’s Dream”). Despite all my good qualities Oblomov cannot be called a positive hero;

b) the image of Stolz was conceived by Goncharov as an antithesis to the image of Oblomov. Stolz is, first of all, active; idleness and laziness are completely alien to him. He also knows how to feel, although his feelings are always subject to rational control. Stolz has a positive effect on Oblomov. Finally, it is he who successfully passes the “test of love” and it is with him that the picture of the updated Oblomovka is associated. However, critics and writers (Dobrolyubov, Chekhov, etc.) rightly noted the unconvincingness of Stolz’s image: it is unclear what kind of activity he is engaged in, to a certain extent his practicality and limitations are repulsive, and finally, his very German surname and the corresponding character make this type not entirely Russian. Therefore, we can say that in the image of Stolz, Goncharov made an attempt to create the image of a positive hero, but the attempt was not entirely successful;

c) Olga Ilyinskaya can be with the greatest reason ml to be called the positive heroine of the novel. She combines a sensitive soul, the ability to love, sincerity with such character traits as the desire for activity, independence, and will. It is thanks to her that Oblomov is temporarily revived to life, and it is she who becomes Stolz’s wife. In the image of Olga, Goncharov followed the traditions of Russian literature: very often it was women who became positive heroines, while male heroes lacked much for this (“Eugene Onegin” by Pushkin, Turgenev’s novels, etc.).

III. Conclusion

All the main characters of Goncharov’s novel are not without positive traits, but the solution to the problem of a positive hero can only be associated with Olga Ilyinskaya. Positive male type Goncharov still failed to create it.

Glossary:

• Is Olga Ilinskaya a positive heroine?
• Can Stolz be considered a positive hero?
• Is Oblomov a positive hero?

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This is the image of a girl in whose character, as Dobrolyubov notes, “heart and will” harmoniously merged. The combination in Olga’s appearance of such traits as a conscientious outlook on life, perseverance in the struggle for a set goal, an inquisitive mind, depth of feeling and femininity, indeed, makes her image one of the most harmonious, bright images of a girl in Russian XIX literature V. Goncharov lovingly paints a portrait of his heroine. Noting that Olga was not a beauty in the strict sense, he writes further: “But if she were turned into a statue, it would be a statue of grace and harmony.” Olga fell in love with Oblomov. Readers sometimes have a question: how could such a smart, serious girl to fall in love with Oblomov, a slacker, a person incapable of life? We must not forget that Oblomov had whole line positive qualities: he was smart, fairly educated, spoke French well and read books in English language. Oblomov’s laziness, which Olga knew about at first only from Stoltz’s words, might seem to her a completely correctable flaw. Finally, Olga’s very love for Oblomov arose precisely on the basis of noble aspirations to re-educate Oblomov, to resurrect him for normal activities.

Oblomov is the first to confess his love to Olga. Somewhat later, Olga amends this confession: Oblomov is only in love, but she loves. Indeed, her feeling is deeper, more serious. Olga says: “For me, love is the same as... life, and life... is a duty, an obligation, therefore love is also a duty.” Love fills her life with new content, illuminates it with some new light. Life now seems deeper and more meaningful to Olga, as if she had read big book. When Olga realized that in her conscious attitude to life she was higher than her loved one, she firmly set herself the task of re-educating Oblomov. Olga liked the role guiding star", "ray of light" for Oblomov. She called and “pushed him forward.” Her persistence temporarily overcomes Oblomov’s laziness. Olga forces him to read newspapers and books and tell her their contents, and takes Oblomov for walks around the outskirts of St. Petersburg, urging her companion to climb every hill. Oblomov complains: “Every day we walk ten miles.” At Olga’s request, he visits museums and shops, and writes at home. business letters elder to the estate. Olga seeks from Oblomov and physical movement, And mental work. She compares her role to that of a doctor saving a patient. The behavior of the weak-willed Oblomov causes her a lot of suffering. Seeing the indecisiveness of Oblomov’s actions, she sadly admits to him that she is “lost in thoughts” and that “her mind and hope are extinguished.” When Oblomov, hesitantly pushing aside the question of the wedding, tells Olga that “just another year” will pass and Olga will become his wife, Olga’s eyes open. She realized that her dream of re-educating Oblomov was shattered due to his invincible laziness. A break with Oblomov became inevitable for her. Olga tells the groom: “I loved the future Oblomov! You are meek, honest, Ilya, you are gentle as a dove, you hide your head under your wing - and you don’t want anything more, you are ready to coo under the roof all your life... but I’m not like that: this is not enough for me, I need something else, but I don’t know what!” The author explains further: “Having once recognized the dignity and rights to herself in the chosen person, she believed in him and therefore loved him, and if she stopped believing, she stopped loving, as happened with Oblomov.”

The breakup weakened the strength of both Oblomov and Olga: Oblomov fell ill with a fever, and the sick Olga was taken abroad by her aunt. In Paris, Olga met Stolz. Time softened the bitterness of her disappointment in Oblomov, and she became the wife of Stolz, a man who corresponded to her ideal husband. It would seem that now Olga could become completely happy woman. Stolz created her a life full of comfort and tranquility. However, the serene peace with which Stolz surrounded her begins to confuse and torment her. Olga is not satisfied with calm, serene personal life. Stolz is frightened by “rebellious questions,” i.e., what worried the thoughts of progressive public figures. And Olga is drawn precisely by “rebellious issues.” The thought of some other life, perhaps full of labor and hardship, was gradually ripening in her mind, and she was already mentally “measuring her strength” for the upcoming struggle. Dobrolyubov wrote: “Olga left Oblomov when she stopped believing in him, she will leave Stolz too if she stops believing in him.” Question about future fate Olga composed a theme that went beyond the plot of the novel. This topic therefore remained undeveloped. But Olga’s image is already clear to the reader. Dobrolyubov wrote: “Olga... represents the highest ideal that a Russian artist can now evoke from present-day Russian life... In her, more than in Stoltz, one can see a hint of a new Russian life; One can expect from her a word that will burn and dispel Oblomovism.” Olga is the type of Russian woman of that period of Russian life, when in Russia, under the influence of the growth of culture, women’s self-awareness began to awaken, when they felt their right to participate in social activities. Along with Turgenev’s Natalia Lasunskaya (“Rudin”) and Elena Stakhova (“On the Eve”), Olga Ilyinskaya belongs to the best, captivating images of Russian women created by our writers in the 50s years XIX V. A different type of woman was given by Goncharov in the person of Agafya Matveevna Wheat. Oblomov’s love for her grew mainly on the basis of Ilya Ilyich’s lordly habits. Pshenitsyna, a kind, modest woman, a wonderful housewife, a bourgeois social status, was in awe of Oblomov. For her, Oblomov was a being of the highest order, the ideal of a master. She was ready to become the slave of Ilya Ilyich and found joy and happiness in deep devotion to him. She, without hesitation, took the last things to the pawnshop, so that Ilya Ilyich would not need anything. The environment with which she surrounded Oblomov was somewhat reminiscent of Oblomovka. Here Ilya Ilyich found what was his life dream: the ideal of “inviolable peace of life.” Pshenitsyna could not rise to the consciousness that her love was bringing death to Oblomov, irrevocably burying all his impulses for activity. She loved simply, thoughtlessly, selflessly. This is a type of modest, selfless housewife, whose entire horizons were limited only to the world of family concerns and philistine well-being.

Olga Ilyinskaya and Pshenitsyna are as opposite as Oblomov and Stolz. In this arrangement female figures in the novel there is deep meaning. Clever Olga, with her ideological impulses and serious demands, and the patriarchally quiet Pshenitsyna, each in their own way, help to reveal the idea of ​​the novel, revealing the essence of Oblomovism.

Goncharov's novel is a wonderful example of the form of a novel; the characteristics of Oblomovism are exhaustively and deeply given. The choice of topic is an extremely important aspect creative process, since it is the theme that determines the social role of the work. The analysis of Oblomovism as a sad phenomenon of the serfdom and life was undoubtedly an important and timely topic. But the topic alone is not enough to attract the attention of readers to the work. It is important to arrange and present the topic material so that the reader follows the development of the topic with interest and excitement and is captivated by the work. From this we can see the importance of the writer’s skill and the artistic form of the work: its plot, composition, depiction of images, language, etc. What features characterize art form Goncharov's novel?

The plot of the novel is simple and clear. It consists in depicting the struggle in Oblomov of two feelings: love for Olga and the imperious desire for peace and laziness. The latter wins. The simplicity and naturalness of the plot of the novel is very successfully revealed by Dobrolyubov, outlining the entire content of the novel in the following words: “In the first part, Oblomov lies on the sofa; in the second he goes to the Ilyinskys and falls in love with Olga, and she with him; in the third she sees that she was mistaken in Oblomov, and they part ways; in the fourth, she marries his friend Stolz, and he marries the mistress of the house where he rents an apartment.