Female images in Goncharov's novel Oblolov essay with a plan. Female images in the novel by Goncharov Oblolov, an essay with a plan Message on the role of female images in

I will describe and reveal the main women from Goncharov's novel "Oblomov", what connects them among these women. The women in this novel have completely different lives, complete opposites are united only by experiences associated with the hero Oblomov.

The image of Olga Ilyinskaya

The first image of Olga Ilyinskaya is a young beautiful, intelligent, purposeful girl. Her life is like a turbulent river, all the time she is moving forward all the time. Olga lives in harmony with her heart and freedom, while being smart and self-confident. It is Olga who awakens Oblomov and makes him fall in love with her, the hero rushes to her on a date, makes grandiose plans for their joint future. They have a bright and close spiritual love, but it was not crowned with success. Due to Oblomov's laziness, their relationship ends. He meets another companion for life, but all the time he remembers him, because they always had something to talk about, she found a kindred spirit in him.

Agafya Pshenitsyna

Let's discuss a different image - Agafya Matveevna Pshenitsyna - a completely opposite female character. Agafya is a real Russian, mature, kind woman of 30 years old. She is a simple person and a wise woman, she will never think of neglecting or betraying a person dear to her, Agafya will not defend her positions, there is a man and he is a leader. For her sake, men do not perform feats, but with this woman a man always feels strong and necessary. Between Agafya and Oblomov, passion and love did not flare up at first sight, but he changed her and breathed a soul into her and they lived in harmony.

I also want to note these two beautiful women - they are united by simplicity and naturalness, both heroines are hardworking, each only manifests at her own discretion.

The role of female images

So, I can conclude that the main female images played a very important role in Goncharov's novel Oblomov. They helped to reveal the hero from different angles and look at life with different eyes, and convey to the reader the experience of the love that each character experienced.

Briefly Female characters in Oblomov's novel

Composition Women's images in Oblomov's novel

Ivan Goncharov wrote a wonderful work called Oblomov. In it, he revealed not only the global problems of the spiritual and social life of society, but also touched on an equally important topic among people - love.

The main characters of the work are Olga Ilyinskaya and Agafya Pshenitsyna. Both women were in love with the main character of the novel - Ilya Oblomov. But the love and reverent attitude towards the young man for each of the heroines had its own, personal character. It was this difference of feelings that greatly influenced the fate of Oblomov. These two young women are the exact opposite of each other, they have a different temperament, demeanor and inner world.

Olga and Agafya are positive, pleasant girls who attract and evoke sympathy. The image of Olga Ilinskaya shows the reader a strong spirit, well-read and purposeful woman. Everything in her appearance and manner of behavior speaks of the desire to learn and achieve her goals. Olga was not a beauty, but she attracted attention thanks to her graceful gait, slender body, smooth, measured movements, depth of soul and artistry. The girl was brought up in a noble family, loved to read, received a decent education. Olga was serious and practical, she loved to sing. Agafya is the exact opposite of the cheerful and active Olga Ilyinskaya. This young girl, with a magnificent figure, rounded shapes and fair skin, was, on the contrary, meek, calm and obedient in nature. Agafya considered it her duty to take care of someone, to be devoted and faithful to her loved one. She grew up in a simple family, was less educated than Olga and considered the desire for knowledge less important. For Agafya, the main thing is home life and housekeeping.

The main characters of Goncharov's work "Oblomov" are the image of a primordially Russian woman of the nineteenth century. Calm and submissive Agafya, she never contradicts the wishes of her husband, she always agrees with his opinion and behavior. It is easy and simple with her, her society is a small world in which you can relax and not think about pressing problems. Agafya, unlike Olga, is satisfied with her life, does not try to change the world around her, she does not strive to learn something new and unknown. Most readers may think that Pshenitsyna is stupid. But it's not. If Olga is constantly trying to change and stir up Oblomov, then Agafya, on the contrary, in every possible way preserves his measured, routine rhythm of life, which is close to her in spirit.

The image of Olga Ilyinskaya is the direct opposite of the image of Agafia. Her view of the world is similar to the European one, she strives to change the world and is constantly improving her knowledge. Olga puts aside household chores and worries about her husband, because in the first place she has the knowledge of a better life and great happiness in the world she created. But, despite all the desire and confrontation with women's duties, at the end of the novel, Olga begins to do household chores and is completely immersed in family life. She is overcome by melancholy and sadness from the constancy of life with a boring spouse, but she does not leave him.

These two women, although different in their origin, character and life goals, actually complement each other perfectly, displaying the power of female nature and beauty.

Option 3

The outstanding novel "Oblomov" by the Russian classic Goncharov I.A. deserves the attention of all of us. In the novel, the author combines many conflicting images. The heroes of his works are completely different people, from different walks of life, with different moral and ethical values. Such contradictions allow the reader to analyze and make the right decisions about their lives too. Since the situations that the characters face are relevant at the present time.

The novel describes interesting and vivid female characters. The image of a woman in a novel always deserves great attention, and this work is no exception. The work features two main female images, lives that are radically different from each other. However, each of the women wants to find true happiness in love.

A special place in the novel is occupied by the image of Olga Ilyinskaya. This is a young graceful noblewoman. Despite her young age, only 20 years old, the girl is smart and educated, she has the manners of a true lady. Despite the circumstances, she always behaves with restraint and calmness. From a young age, the young lady has been into music and has a beautiful voice, for which the reader is even more attracted to her. The girl is extremely inquisitive, often spends time reading books, her life does not stand still. The refinement of the image is betrayed by its seriousness, which is confirmed by the description of her portrait by the author.

On the life path of a young lady, the main character of the work, Oblomov, meets. Their meeting takes place thanks to a mutual friend Andrei Stolz. He brings Olga Oblomov to the house, from the first minute the main character cannot take his eyes off the young and graceful girl. Her singing fascinates Oblomov, and he almost immediately confesses his love to her. The girl brings him back to life, he forgets about the dull everyday life and is ready to change. However, his aspirations for change disappear at the first difficulties. Despite her love, the girl is not ready to put up with his shortcomings. She wants to see an energetic, cheerful guy next to her, ready for exploits for her sake. She sincerely believes that for the sake of love, Oblomov is ready for change, but the proper changes do not occur.

The main character gets tired of the life that the girl lives, begins to doubt her feelings. And he decides to be the first to end this relationship, despite the fact that next to her he is unusually happy, laziness defeats him. After a while they meet again and feelings overwhelm them. After a while, the young lady realizes that even for the sake of love, Oblomov is not ready for change and decides to end this relationship.

Despite the fact that the girl is very strong in spirit, the break with Oblomov greatly upsets her. She has a hard time dealing with the loss of a loved one.

After a failed relationship with Ilyinskaya, the main character becomes close to Agafya Pshenitsyna. Agafya is the complete opposite of Olga. This is a true housewife who surrounds Oblomov with care and attention. She, like the main character, lives a calm and moderate life, brings up children, makes the house cozy. Social life is not important to her, music and literature are not interesting. Agafya, unlike Olga, does not seek to change the established way of life of Ilya Ilyich, but rather creates a calm atmosphere around him. Soon Oblomov marries Agafya Pshenitsyna and their son Andryusha is born.

The novel juxtaposes two completely different female images, however, each one evokes the reader's approval and disposes to itself. Makes everyone think about what lifestyle he prefers, what life values ​​still play a major role, is it possible to combine the image of two charming ladies?

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The difference between Olga Ilyinskaya and Agafya Matveevna Pshenitsyna is masterfully depicted by Goncharov, starting with a portrait description: “She was about thirty years old. She was very white and full in her face, so that the blush, it seems, could not break through her cheeks ... Her eyes were grayish-ingenuous, like the whole expression of her face; hands are white, but hard ... ". The author did not give such a detailed description of Olga's appearance, as if wanting to emphasize that the main thing in her was not external qualities.

In the guise of Agafya Matveevna, the author (and hence his hero) notes “strong healthy breasts”, full white arms with round elbows, a magnificent figure covered in a dress. “She has a simple but pleasant face,” Oblomov condescendingly decided, “she must be a kind woman!” And indeed, Agafya Matveevna was a kind, cordial, decent woman, she cared so much for Ilya Ilyich that she was ready to sacrifice a lot for him. For example, she took her jewelry to the pawnshop so that the master would not need anything. To Stolz's question about the promissory note (a fraudulent forgery of her brother and Tarantiev, about which Agafya did not know), she simply answered that the master did not owe her anything, although she had been feeding him at her own expense for a long time.

However, the author does not put forward the spiritual qualities of this heroine in the first place, and the narration is dominated by everyday and physiological details that are important for the main character. These are seductive shoulders, full arms with round elbows, which Oblomov admired "with the same pleasure with which he looked at a hot cheesecake in the morning." This woman brought peace and tranquility to his soul, and he felt grateful to her for the amazing atmosphere of comfort, so reminiscent of the familiar and sweet Oblomov life.

Agafya Matveevna was a hardworking housewife, and she was ready to serve the person she loved with all her heart every minute. It is impossible to imagine her resting, and Oblomov liked her tirelessness. It also suited him very well that they did not demand anything from him, did not bother him with anything, but they tirelessly take care of him. Love and sacrifice are always there in the lives of ordinary Russian women, and Agafya Pshenitsyna is one of them. She is not a noblewoman or a peasant ("official"), and earns her living by renting out rooms to guests, doing many different jobs for the tenants and for her family. She has philistine views on the relationship of men and women, but when she realized that she fell in love with Oblomov, she was ready for any sacrifice for him, caring for him became the meaning of her life.

In many ways, her faithful assistant Anisya, the wife of Zakhar, is similar to Agafya Matveevna, with whom the hostess became very friends. They are both very hardworking, they treat work not as an exhausting, difficult duty, but as a habitual and necessary condition of life, which was the complete opposite of the views on work in Oblomovka. Anisya was "an agile woman, about forty-seven years old, with a caring smile ... and tenacious, never tired hands." The lazy and grouchy Zakhar, who sometimes spoke menacingly and angrily to his wife, had to admit that “Anisya is smarter than him!” And therefore, it was Anisya who decided all the misunderstandings with the master, who spoke to Oblomov in such a way, chattering non-stop, that he calmed down in perplexity.

The author notes the mutual sympathy of Agafya Matveevna and Anisya. “If there are sympathies of souls, if kindred hearts sense each other from afar...”, then such an example is the friendship of these women, which also testifies to the kindness and sincerity of Agafya Matveevna. And how could she not appreciate her assistant, if with her appearance everything in the house shone with cleanliness and order was put in place everywhere! So Anisya became a "great handyman" in the master's orders, and Agafya Matveevna found "a place in her heart" for Anisya, who also realized that from now on she, along with the hostess, would participate in the whole life of the house. “Two women understood each other and became inseparable”: they shared secrets in everything that was brought into the life of people by observant minds and centuries of experience.

Like all ordinary women, Anisya is not only inquisitive, but also curious, she is interested in the life of the master, but she will not engage in gossip and is ready to defend the honor of the owner at any moment if anyone dares to say too much.
When Ilya Ilyich married Agafya Matveevna, Anisya finally established her position in the Pshenitsyna house, and "the mutual attraction between Anisya and the hostess turned into an inseparable bond, into one existence." “Agafya Matveevna grew up, Anisya spread her arms like an eagle’s wings, and life boiled and flowed like a river.” If that's what the family needs, then Anisya won't even go to sleep, as long as everything is decent, as the master wants. And the kitchen became “a palladium of the activity of the great hostess and her worthy assistant”, under whose watchful eye the whole house was located, where her “agile, all-sweeping hand” disposed of.

The images of women, near whom Oblomov's calm life flows, were not introduced by the author by chance. The reader sees how love has a beneficial effect on the souls of those who are able to love selflessly, who are not afraid of work, and inspired women are ready for a lot. Their work seems to provoke them, and their eyes shine brighter. The images of Agafya Matveevna and Anisya help to see even more clearly the bright opposite against their background, master Ilya Ilyich, and the destructive effect that laziness and nobility brought up from childhood had on Oblomov. Even Olga's love did not inspire him to "feats", he suffered from the need to make efforts every day, when he had long been tired of just leaving the house. Oblomov did not want and could not work on himself, change himself and his usual way of life. And in the house of Pshenitsyna, many things reminded him of his childhood in Oblomovka, when you can admire the work of others, remaining at peace, while feeling care and love.

Agafya Matveevna idolizes the man who changed everything in her fate, considers him a special, noble and pampered nobleman who endowed her with his attention. Together with love, the soul of this simple woman blossomed, Agafya Matveevna grew spiritually, causing surprise with her transformation among those who knew her before. Now she is able to defend her right to a happy family life, and her brother and family are forced to move out, and Agafya Matveevna lives in peace and harmony with the person most dear to her. She accepted everything in him (Olga, however, could not do this even at the request of Ilya Ilyich: “accept me as I am”).

Agafya was not annoyed by Oblomov's inactivity, drowsiness, laziness, and she recognized his quiet, calm disposition and his way of life as an ideal. This woman believed that "God put a soul into her life" when Ilya Ilyich appeared in her house. Having married him, she began to realize herself in a new way, since "now she already knew why she lived." And even after Oblomov’s death, remaining eternally inconsolable, Agafya Matveevna understood that “beams spilled over her whole life, a quiet light from seven years that flew by like an instant.”

Agafya Matveevna loved her son Andryusha no less than his father, but she wisely judged that Stolz and Olga would do much more for his upbringing than she did. And at the end of the novel, the author reports her rapprochement with Olga Ilyinskaya, but not only because of their common concern for Andryusha. It turns out that they were "connected by a common sympathy, one memory of the soul of the deceased, pure as crystal."
So, at first, infinitely distant and different women become closer, thanks to the ability to love strongly and selflessly, although fate and life led them in different ways.

Despite the significant volume of the work, there are relatively few characters in the novel. This allows Goncharov to give detailed characteristics of each of them, to draw up detailed psychological portraits. The female characters in the novel were no exception. In addition to psychologism, the author widely uses the method of oppositions and the system of antipodes. Such couples can be called "Oblomov and Stolz" and "Olga Ilyinskaya and Agafya Matveevna Pshenitsyna." The last two images are complete opposites to each other, they can safely be called lines that will never intersect - they are simply in different planes. The only thing that unites them is Ilya Ilyich Oblomov.

Olga Ilyinskaya is a young determined girl. Her demands on life are high, but she herself is ready to put in enough effort to get what she wants. Olga's life is like a turbulent river - constantly in motion. Olga will not back down from the task, but she will not waste time on the implementation of her plans if she sees that the idea is doomed to failure. She is too intelligent to waste her precious time on nonsense. With her brightness and eccentricity, she attracted the attention of Oblomov. Oblomov fell in love with her with that pure, ingenuous and sincere love, which, of all Olga's entourage, perhaps only he is capable of. She delighted him, fascinated and at the same time tired. She loved herself too much to notice him in her dazzling brilliance. The image of Olga Ilyinskaya is ambiguously interpreted by critics. Someone sees in it a worthy synthesis of rationality, education and spirituality. Someone, on the contrary, blames her for superficiality and inability to have a high feeling. It seems to me that Olga is an ordinary person striving for comfort and coziness, only her concept of well-being is somewhat different than that of Oblomov. In fact, they turned out to be too different people who had the courage to admit it at the time. Why was it necessary to torture each other, if it is clear that nothing will come of it? Olga is indeed more suitable for Stolz, the same sane person as she herself.

Agafya Matveevna Pshenitsyna is a completely different image. This is the type of a real Russian woman, mature, conscious, possessing simple worldly wisdom, which is much more useful than all treatises on psychology put together. It will never occur to her to neglect the interests of the person living next to her, she will not rush to defend her rights. Perhaps, for her sake, a man will not accomplish a feat, but it is next to such a woman that he will feel needed and strong. Agafya Pshenitsyna will never think of trying to remake a person. Psychologically, she is much closer to Oblomov, she has that naturalness that helps to guess the secret thoughts of another person. Everything that Olga was deprived of, Oblomov finds in Agafya.

Olga and Agafya are complete antipodes both in terms of character and lifestyle. But it is no coincidence that Agafya Pshenitsyna appears in Oblomov's life to replace Olga. Goncharov sincerely believed that it was necessary to describe life as it is, without embellishment. That is why his works are completely devoid of any didactics, he trusts the reader that he will make a correct judgment about the novel. It seems to me that Goncharov's heroes, being taken from real life, described without embellishment, are neither "bad" nor "good", just as an ordinary person cannot be only bad or only good. Olga is young, attractive, smart. Agafya, in turn, is a wise woman, her desires are similar to Oblomov's ideals. She wants simple female happiness and to be able to take care of someone. Oblomov, on the other hand, wants to experience the comfort that he yearned for. But Olga has other ideas about happiness, and in this case you can’t judge anyone.

Female images in the novel by I. A. Goncharov "Oblomov"

The novel by I. A. Goncharov “Oblomov” will be warmed by two love stories: Olga Ilyinskaya and Agafya Matveev-na Pshenitsyna.

The acquaintance of Ilya Ilyich with Olga turned his whole life upside down. This girl - an active, passionate nature - did a lot to save Oblomov from his laziness and apathy. The image of this heroine, I. A. Goncharov, solved the problem of the equality of women. This purposeful, strong-willed girl is among the best heroines of Russian literature. The author emphasizes the simplicity and naturalness of his heroine: “... In a rare girl you will find such simplicity and natural freedom of sight, word, deed. You will never read in her eyes: "Now I'll purse my lip a little and think - I'm so good-looking." I look there and get scared, I scream a little, now they will run up to me. I’ll sit at the piano and stick out the tip of my foot a little bit”… No affectation, no coquetry, no lies, no tinsel, no intent!” Her appearance was also not remarkable: “Olga in the strict sense was not a beauty, that is, there was neither whiteness in her, nor the bright color of her cheeks and lips, and her eyes did not burn with rays of inner fire; there were no corals on her lips, no pearls in her mouth, no miniature hands ... But if she were turned into a statue, she would be a statue of grace and harmony. The size of the head strictly corresponded to a somewhat high growth, the oval and dimensions of the face corresponded to the size of the head; all this, in turn, was in harmony with the shoulders, the shoulders - with the camp ... But he formed a slightly noticeably convex, graceful line; lips thin and for the most part compressed: a sign of a thought constantly striving, but something. The same presence of a speaking thought shone in the vigilant, always cheerful look of dark, gray-blue eyes that did not miss anything. Eyebrows gave a special beauty to the eyes: they were not arched, they did not round the eyes with two thin threads plucked with a finger - no, they were two light brown, fluffy, almost straight stripes that rarely lay symmetrically: one line was higher than the other, from this above the eyebrow there was a small fold in which something seemed to say, as if a thought rested there.

Olga walked with her head tilted slightly forward, so slender, nobly resting on a thin, proud neck; moved with her whole body evenly, stepping lightly, almost imperceptibly ... "

Despite such immediacy of the heroine, the attitude towards her in society was ambiguous: “... looking at her, the most kind of young people were taciturn, not knowing what and how to tell her

Some considered her simple, short-sighted, shallow because neither wise maxims about life, about love, nor quick, unexpected and bold remarks, nor subtracted or overheard judgments about music and literature fell from her tongue: she spoke little and then her own , unimportant - and she was bypassed by smart and lively "cavaliers"; the timid, on the contrary, considered her too tricky and were a little afraid ” ".

But Stoltz appreciated Olga, and it was to her that he entrusted his friend Oblomov. Olga, striving for vigorous activity, wanting to benefit people, free from personal aspirations, enthusiastically undertook to “awaken” Oblomov from his eternal sleep. She liked to fix a curious look at him, “kindly stung him with mockery of lying over laziness, over awkwardness ... She, in her clever little head, had already developed a detailed plan ... she dreamed of how he would “order” him read books ... then read newspapers every day and tell her the news, write letters to the village, complete the plan for arranging the estate, prepare to go abroad ... "

The girl liked to recognize herself as powerful over Oblomov: “And she will do all this miracle, so timid, silent, whom no one has obeyed until now, who has not yet begun to live! She is the culprit of such a transformation! .. She even trembled with proud, joyful trembling; I considered it a lesson appointed from above.

And she manages to awaken Oblomov to life. If earlier we saw him in a greasy bathrobe, constantly lying on the sofa, flabby beyond his years, then after meeting Olga, his lifestyle changed dramatically: “He gets up at seven o’clock, reads, wears somewhere books. On the face of no sleep, no fatigue, no boredom. Even colors appeared on him, a sparkle in his eyes, something like courage, or at least Robe's self-confidence is not to be seen on him ... Oblomov sits with a book or writes in his house coat; a light scarf is worn around the neck; the collars of the shirt are released on a tie and shine like snow. He comes out in a frock coat, beautifully tailored, in a smart hat ... He is cheerful, sings ... "

But not only Oblomov has changed. Olga has also changed: constantly communicating with Ilya Ilyich, she falls in love.

“She loves me, she has a feeling for me. Is it possible to? She dreams of me for me she sang so passionately ... ”- such thoughts aroused pride in Oblomov. But at the same time, the thought is born that this cannot be: “To love me, funny, with a sleepy look, with flabby cheeks ...”

But Oblomov, as in his former service and hobbies, is also not persistent and unsure of himself in love. As soon as he assumes that Olga is indifferent to him, he is again ready to plunge into his former hibernation: “No, it’s hard, boring ! he concluded. - I will transfer to the Vyborg side, I will read, I will study, read, I will leave for Oblomovka ... alone! he added later with deep despondency. - Without her! Farewell, my paradise, my bright, quiet ideal of life!

He did not go on the fourth or fifth day; I didn’t read, I didn’t write, I went for a walk, went out onto a dusty road, then I had to go uphill.

“Here is the desire to drag yourself into the heat!” he said to himself, yawned and turned back, lay down on the sofa and fell into a heavy sleep, as he used to sleep in Gorokhovaya Street, in a dusty room with the curtains drawn.

Gradually, their relationship was determined: "love became stricter, more exacting, began to turn into some kind of obligation, mutual rights appeared." But at the same time, the former opposition remained: “... she switched to a despotic manifestation of the will, courageously reminded him of the goal of life and duties and strictly demanded movement, constantly called out his mind ...

And he fought, racked his brains, dodged, so as not to fall hard in her eyes ...

Sometimes, as soon as he is about to yawn, he opens his mouth - he is struck by her astonished look: he will instantly close his mouth, so that his teeth will knock. She pursued the slightest shadow of drowsiness even on his face ...

Even stronger than from reproaches, cheerfulness woke up in him when he noticed that she, too, got tired of his fatigue, became careless, cold. Then a fever of life, strength, activity appeared in him ... "

Finally, Oblomov comes to the conclusion that Olga’s love for him is a mistake, “... this is only a preparation for love, an experience, and he is the subject who turned up first, a little tolerable, for experience, on occasion ...” Ilya Ilyich honestly conveys his thought to Olga in a letter, at the same time saying goodbye to her. But Olga withstood this test, having managed to understand both her feelings and Oblomov's feelings. After the explanation in the alley, a time of cloudless happiness came, but Olga sometimes “fell into painful thoughtfulness: something cold, like a snake, crawled into her heart, sobered her from her dream, and the warm, fabulous world of love turned into what it's an autumn day...

She was looking for what causes this incompleteness, dissatisfaction with happiness? What does she lack? What else is needed?..

What's the matter, that not every glance of her he answers with an understandable look, which sometimes does not sound in his voice, which seems to have already sounded to her once, either in a dream, or in reality ... "

But what about Oblomov? And he “... did not learn to love, he fell asleep in his sweet slumber ... At times he began to believe in the constant cloudlessness of life, and he again dreamed of Oblomovka ...” And if we recall the conversation of Ilya Ilyich with Stolz, we will see that ideal image of a life partner that is drawn in his imagination: “... Around him, his little ones frolic, climb on his knees, hang on his neck; behind the samovar sits ... the queen of everything around, his deity ... a woman! wife! .. Then, embracing his wife by the waist, go deeper with her into the endless, dark alley; walk with her quietly, thoughtfully, in silence, or think out loud, dream, count moments of happiness as a pulse; listen to how the heart beats and stops ... "We see that the ideal of Oblomov's future life is contemplative. This is the same Oblomovka, but with notes, books, a piano and elegant furniture.

As R. Rubinstein noted, ideally a woman, Oblomov's wife, “two beginnings, one of them to meet in Olga, the other in Pshenitsyna. Immediately after the festivities, the wife is waiting for Oblomov on the balcony, in a blouse and cap, and gives him a luxurious kiss. But then: “Tea is ready!” ... there is no bright passion here, which Oblomov was afraid of - only calm love.

I don’t think that Olga would have been satisfied with the way of life that Oblomov saw. Yes, he did not bring the matter to marriage. Even those "strange" looks at him (as at the groom) from the guests of the Ilyinskys terrify him. Oblomov worries about Olga's reputation, is afraid to compromise her, while realizing that he must make an offer. Scolding Za-khara for spreading rumors about the upcoming marriage, Oblomov describes to him all the difficulties that are associated with this step and ... he himself is horrified!

Lack of money, disorder of the estate, debts - all this seems insoluble to Ilya Ilyich and gives rise to other thoughts: “Lord! Why does she love me? Why do I love her? Why did we meet? .. And what kind of life is this, all the excitement and anxiety! When will there be peaceful happiness, peace? He “everyone was looking for ... such an existence that would be full of content, and would flow quietly, day after day, drop by drop, in the mute contemplation of nature and the quiet, barely creeping phenomena of family, peacefully busy life. He did not want to imagine it as a wide, noisily rushing river, with ebullient waves, as Stoltz imagined it. Therefore, Oblomov avoids meeting with Olga, imperceptibly returning to his former way of life, but now on the Vyborg side, in the house of Agafya Matveevna Pshenitsyna; Olga understands that she made a mistake in Oblomov, that neither now nor in a year will he arrange his affairs, and she parted with him: “... I thought that I would revive you, that you could still live for me, - and you died a long time ago ... The stone would come to life from what I did ... I recently found out only that I loved in you, that I wanted to be in you, that Stoltz pointed out to me that we thought out with him. I loved the future Oblomov!”

Agafya Matveevna Pshenitsyna is the complete opposite of Olga. “She was in her thirties. She was very white and full in the face, so that the blush could not seem to break through her cheeks. She had almost no eyebrows at all, and in their places were two slightly swollen, shiny stripes, with sparse blond hair. The eyes are greyish-ingenuous, as is the whole expression of the face; the arms are white, but hard, with large knots of blue veins protruding outwards. Not far away, she finds happiness in household chores, taking care of children and ... Oblomov. She is the embodiment of that “Ob-Lomov’s” wife-mistress, one of the beginnings of Ilya Ilyich’s dream: “She is all at work, she strokes everything, pushes, rubs ...” Having also received the household Oblomov, "Agafya Matveevna grew up ... and life began to boil and flow like a river."

“The gradual sedimentation of the seabed, the shedding of mountains, alluvial silt, with the addition of light volcanic explosions - all this happened most of all in the fate of Agafya Matveevna, and no one, least of all herself, noticed it,” the author writes about the emerging love feeling to Oblomov of this heroine. Her worries are no longer just the cares of the hostess about the tenant. She violently experiences a failed dish, does not sleep if Ilya Ilyich lingers at the theater or sits up with Ivan Gerasimovich, sits all night long at his bedside when Oblomov becomes ill; she lost weight and became "like a stone" when Oblomov "was gloomy all winter, barely spoke to her, did not look at her."

The author sees the reason for Agafya Matveevna's love in the fact that Ilya Ilyich was not like those people whom this woman had seen before. “Ilya Ilyich walks differently than her late husband walked ..., he looks at everyone and everything so boldly and freely, as if demanding obedience to himself. His face is not coarse, not reddish, but white, tender; his hands don't look like his brother's... He wears thin underwear, changes it every day, washes with fragrant soap, cleans his nails - he's all so good, so clean, he can and doesn't do anything... He's a gentleman, he shines , shine! Moreover, he is so kind: how softly he walks, makes movements ... And he looks and speaks just as softly, with such kindness ... ". Now "her whole household, pounding, ironing, sifting, etc. - all this has received a new, living meaning: the peace and comfort of Ilya Ilyich."

And Oblomov, with his inherent “lordly” egoism, took the hostess’s care for him for granted and “did not understand .. what an unexpected victory he had made over the mistress’s heart.” “His relationship to her was much simpler: for him, in Agafya Matveevna, in her ever-moving elbows, ..., in the omniscience of all household and household amenities, the ideal of that indisputable as an ocean and inviolable peace of life was embodied, the picture which indelibly lay on his soul in childhood, under the paternal roof. He liked to joke with this woman, to look at her, but it was not boring if he did not see her. "Longing, sleepless nights, sweet and bitter tears - he experienced nothing." Living with Pshenitsyna, “... he does not have any selfish desires, urges, aspirations for feats, painful torments that time is running out, that his strength is dying, that he has done nothing, neither evil nor good, that he is idle and does not live, but vegetates. Our hero always aspired to such a life, and, probably, it was precisely such a woman that he needed after his “education” by demanding Olga. Oblomov did not have to worry about what Agafya Matveevna would think of him, "... what to tell her, how to answer her questions, how she would look ..."

The whole meaning of life for Agafya Matveevna began to lie in Oblomov so much that in a difficult period (when all income went to debts to her brother) she worries not because of her children, but about “... rin ... will eat turnips with butter instead of asparagus, lamb instead of hazel grouses, instead of Gatchina trout, amber sturgeon - salted pike perch, maybe jelly from a shop ... "The author tells with undisguised irony about how Agafya Matveevna decides to go to her husband's relatives in order to take money from them. She is firmly convinced that “they will give it as soon as they find out that it is for Ilya Ilyich. If it were for her coffee, for tea, for her children for a dress, for shoes, or for other similar whims ... otherwise, for extreme need, to the bitter end: to buy asparagus for Ilya Ilyich, grouse for roast, he loves French peas. ..” Having been refused, she decides to pawn the pearls received as a dowry, then silver, salop ... In the person of Agafya Matveevna O-lomov found his happiness: “Peering, pondering his life .., he finally decided that he has nowhere else to go, nothing to look for, that the ideal of his life has been realized, although without poetry, without those rays with which the imagination once painted for him the lordly, wide and carefree course of life ... ”After Oblomov’s death, Agafya Matveevna’s life lost every meaning: “She realized that she lost and shone her life, that God put her soul into her life and took it out again; that the sun shone in it and faded forever ... "

Both Olga Ilyinskaya and Agafya Matveevna did a lot for Oblomov. But one cannot think (for all the seeming inactivity of Ilya Ilyich) that he only took. He spiritually enriched Olga, helped her grow up, prepared her for a future relationship with Andrei; With his existence, Oblomov made up the quiet happiness of Agafya Matveevna.

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27. Female images in the novel by I. A. Goncharov "Oblomov"

Despite the significant volume of the work, there are relatively few characters in the novel. This allows Goncharov to give detailed characteristics of each of them, to draw up detailed psychological portraits. The female characters in the novel were no exception. In addition to psychologism, the author widely uses the method of oppositions and the system of antipodes. Such couples can be called "Oblomov and Stolz" and "Olga Ilyinskaya and Agafya Matveevna Pshenitsyna." The last two images are complete opposites to each other, they can safely be called lines that will never intersect - they are simply in different planes. The only thing that unites them is Ilya Ilyich Oblomov.

Olga Ilyinskaya is a young determined girl. Her demands on life are high, but she herself is ready to put in enough effort to get what she wants. Olga's life is like a turbulent river - constantly in motion. Olga will not back down from the task, but she will not waste time on the implementation of her plans if she sees that the idea is doomed to failure. She is too intelligent to waste her precious time on nonsense. With her brightness and eccentricity, she attracted the attention of Oblomov. Oblomov fell in love with her with that pure, ingenuous and sincere love, which, of all Olga's entourage, perhaps only he is capable of. She delighted him, fascinated and at the same time tired. She loved herself too much to notice him in her dazzling brilliance. The image of Olga Ilyinskaya is ambiguously interpreted by critics. Someone sees in it a worthy synthesis of rationality, education and spirituality. Someone, on the contrary, blames her for superficiality and inability to have a high feeling. It seems to me that Olga is an ordinary person striving for comfort and coziness, only her concept of well-being is somewhat different than that of Oblomov. In fact, they turned out to be too different people who had the courage to admit it at the time. Why was it necessary to torture each other, if it is clear that nothing will come of it? Olga is indeed more suitable for Stolz, the same sane person as she herself.

Agafya Matveevna Pshenitsyna is a completely different image. This is the type of a real Russian woman, mature, conscious, possessing simple worldly wisdom, which is much more useful than all treatises on psychology put together. It will never occur to her to neglect the interests of the person living next to her, she will not rush to defend her rights. Perhaps, for her sake, a man will not accomplish a feat, but it is next to such a woman that he will feel needed and strong. Agafya Pshenitsyna will never think of trying to remake a person. Psychologically, she is much closer to Oblomov, she has that naturalness that helps to guess the secret thoughts of another person. Everything that Olga was deprived of, Oblomov finds in Agafya.

Olga and Agafya are complete antipodes both in terms of character and lifestyle. But it is no coincidence that Agafya Pshenitsyna appears in Oblomov's life to replace Olga. Goncharov sincerely believed that it was necessary to describe life as it is, without embellishment. That is why his works are completely devoid of any didactics, he trusts the reader that he will make a correct judgment about the novel. It seems to me that Goncharov's heroes, being taken from real life, described without embellishment, are neither "bad" nor "good", just as an ordinary person cannot be only bad or only good. Olga is young, attractive, smart. Agafya, in turn, is a wise woman, her desires are similar to Oblomov's ideals. She wants simple female happiness and to be able to take care of someone. Oblomov, on the other hand, wants to experience the comfort that he yearned for. But Olga has other ideas about happiness, and in this case you can’t judge anyone.