MOU "Yayskaya secondary school No. 2"

Women's images in the life of the hero of the novel I.A. Goncharov "Oblomov"

Work for the XIII All-Russian Scientific and Practical Conference

« Scientific creativity youth"

Did the job:

Nekrasova A.G.

10 B class.

Supervisor:

Cherkashina G. G.,

teacher of literature and Russian

MOU "Secondary School No. 2" in the village of Yaya.

I. INTRODUCTION.

2. Task.

II. MAIN PART.

1. First meeting.

2. Similarities and differences between the two heroines of the novel.

3. Recognition of Olga Ilyinskaya

4. Recognition of Agafya Pshenitsyna

5. Images in the work

III. CONCLUSION

Introduction.

The amazing property of classical literature is that every time you re-read it, you discover something new and wonder: “How did I not see it? Why didn't you respond?"

It's the same with Oblomov. Having read it once, just because they are in school, you don’t understand the subtle meaning hidden between the lines by a caring author. Only after reading it again in the second, in the third you begin to delve into and understand the subtext essence of the work.

Of course: in the history of "the kind-hearted-sloth Oblomov, Russian life was reflected, a living modern Russian type appears in it." By singling out this definition, I have in mind not the 19th century, but our present, our era.

Yes, Oblomov is modern, because, in my opinion, he is an expression one of national traits Russian character. We still have faith in fairy tales about what wonderful Life awaits us in the future. But it is worth confronting reality, social apathy sets in, fear of change, that is, Oblomov's lying, as a way of escaping reality.

Oblomov helps us understand ourselves. Therefore, the feeling that engulfs us when the last page is read is pity. And we do not feel sorry for Oblomov, but for ourselves. The author of the book on Oblomov also argues about this: “Goncharov attempted to put into his Ilya Ilyich the weaknesses and ailments of every person, each of us, weaknesses excusable, excusable or inexcusable. In the whole image, many good inclinations, sweet and sympathetic properties, also inherent in every person, were organically combined with them. And therefore Oblomov touches, worries and worries every person.

Most of all in the life of this hero, I became interested in his childhood and episodes from his personal life. Nothing reveals a person like a love test. In this case, his actions, actions, words, feelings of experience, and much more that accompanies the hero in this difficult test are very interesting. That is why I took this topic for research.

Target my work is a comparison of the images of Olga Ilyinskaya and Agafya Pshenitsyna and their role in the life of Oblomov.

Tasks:

Analyze chapter 1 of part 4 and chapter 6 of part 2 of the novel by I. A. Goncharov "Oblomov";

Compare the images of Goncharov's heroines Olga Ilyinskaya and Agafya Pshenitsyna;

Draw conclusions about the role of the heroines and their participation in the fate of Ilya Oblomov.

In my work, I was guided by comparative and comparative method.

The main part (comparison).

It is well known that Goncharov great importance gave a feeling of love. Through the mouth of Stolz in the novel, he said that "love by the power of the Archimedean lever moves the world." Under the influence of love, a person can change internally, find a purpose in life, in love he draws energy. Without love, life loses its meaning, love fills it with poetry6. The significance of this theme in the work was determined by the choice of two subsequent episodes: an explanation with Olga Ilyinskaya and an explanation with Agafya Pshenitsyna. The analysis of episodes helps to comprehend the artistic features, the symbolism of the novel, to understand the hero and evaluate his nature.

So let's start first with the moment of the meeting of Oblomov and two heroines. First, Oblomov meets with Olga Ilyinskaya, an active and dynamic nature. His friend childhood - Stolz, leaving, instructs her to keep an eye on a friend so that he does not lie all day long. Olga was inspired by this and was already looking forward to her victory over Ilya's laziness. She saw the undoubted changes of the hero when he was next to her: apathy was replaced by activity, and she may have understood that such a change comes from Oblomov's love for her. Olga sings "Casta diva" and in Oblomov, under the influence of the song, a deep, spiritual feeling of love awakens. The hero admires Olga and looks for a beautiful soul in her: “... He looked at her as if not with his eyes, but with his thought, with all his will ...., but he looked involuntarily, not having the strength not to look, “My God, how pretty she is! There are such things in the world! he thought, looking at her with almost frightened eyes. Unexpectedly for the heroine and for himself, after singing Olga, Oblomov confesses his love: “Her gaze met his gaze fixed on her: this gaze was motionless, almost insane; it was not Oblomov who looked at them, but passion. Olga understood that the word escaped from him, that he had no power in it, and that it was the truth.

As for Agafya Pshenitsyna, Oblomov also gets to know her through another person, and this is now Agafya-Tarantyev's godfather, an unceremonious and untidy person who promises Oblomov to change his apartment for a fee. Agafya sees a pleasant gentleman in the hero and tries to possible ways improve his life. She saw that Oblomov was in everything the opposite of her late husband, collegiate secretary Pshenitsyn; looks at everyone “boldly and freely, as if demanding obedience to himself”; his face is white and tender; hands are white and small; His manners are calm and beautiful; the conversation is smart and beautiful; he wears thin underwear, changes it every day; washes with fragrant soap, cleans nails. In the representation of the heroine: “He is a gentleman! It shines and shines! Moreover, he is so kind: how softly he walks, makes movements, touches his hand - like velvet ... ..<…>And he looks, and speaks just as softly, with such kindness ... ".

Similarities and differences

This is how the hero appears to the heroines, but how do they appear to the reader and the hero? To begin with, we highlight the similarities of the heroines, since there are fewer of them than differences. Similar in these women will be that they were both in love with Oblomov and were loved by him, both, by their very essence, are not accidental in his life and played in it significant roles. In the rest, their obvious differences from each other can be traced. They

antipodes, if Olga is a strong, active person, her appearance is surprisingly harmonious: she looks like an antique statue, the embodiment of the grace of the mind, with complete harmony of soul and body, then Agafya is a full, round woman with a soft character, attached to the hearth.

For Oblomov, Olga is a perfect woman, endowed with the talents of a man. She is a heavenly creature, a beautiful flower, something beyond his reach. Agafya, more earthly, ordinary, always nearby, ready to please. Meanwhile, calling us Olga Ilyinskaya, the author indicates her direct involvement in Oblomov. She, firstly, bears a surname formed from his name, and secondly, her name means “torch”6, “holy”7, something radiating light and radiance. The name Ilya indicates that the fiery element is related to the hero. According to Old Testament motives, Elijah is associated with heavenly fire.4 folk performances Ilya the prophet, thunderer, god of thunder - “a mighty, gray-haired old man” who rides a fiery chariot and pours fiery arrows.5 The planet to which Olga Luna8 belongs, a source of light, one of the heavenly bodies deified by the Slavs9. Olga is a constant driver for the hero, the same Pygmalion who instructed Galatea. All the actions of Ilya were directly related to Olga - what she did depended on what he did.

On the Vyborg side, dream and life coincided. In the house of Agafya Matveevna, who for the hero is a "good" "God's gift" (this is how her name is read), a hearth burns, and she herself keeps it. Service to fire and service to Oblomov merge into one. Oblomov loves and appreciates Agafya Matveevna for neatness, calls her: “Neatness itself!” In her house, life moves in a circle, and she is happy with this life. The heroes living in the solar circle themselves gravitate toward roundness: Oblomov is full and round, Agafya has become stout and round, even objects in the kitchen are round: pot-bellied and miniature teapots, saucepans, cups, cans, vessels.

Another well-known fact is that Elijah the prophet is comprehended by the Slavs and as God, who creates the harvest. “With Elijah, they started harvesting and finished harvesting. “Peter with a spikelet, Ilya with a pie,” the people say. 24 Therefore, it is important in the context that Agafya bakes pies, cheesecakes, cakes. She bears the "bread" surname Pshenitsyn. She reveres the hero and the greenhouse in his rays.

Having learned the heroines, their similarities and fundamental differences, you can go directly to comparing their confessions with Oblomov.

Olga's confession

Both Oblomov and Olga are undoubtedly Goncharov's favorite characters. Both of them are drawn by the author with great sympathy. Goncharov shows Oblomov, who is able to deeply experience and poeticize the events of life. From childhood, the hero's soul was subject to poetry: he was captured by the nurse's tales, he perceived them as reality. In his youth, “the poets touched him to the core: he became a young man, like everyone else. And for him, a happy moment has come .... a moment of life, flourishing of strength, ... a desire for good, valor, activity, an era of strong heartbeat, pulse, trembling, enthusiastic speeches and sweet tears. The mind and heart were enlightened: he shook off drowsiness, the soul requested activity.

And although the time of youth is long behind, Oblomov remains a young man in his soul, Stolz calls him a "poet." During Olga’s singing, the hero “flared up, fainted, with difficulty holding back tears, and it was even more difficult for him to stifle a joyful cry ready to break out of his soul. For a long time he had not felt such cheerfulness, such strength, which, it seemed, all rose from the bottom of his soul, ready for a feat. But the author is aware of the transience of this phenomenon and ironically remarks: “He would even go abroad at that moment if he had only to sit down and go.”4

Olga sings "Casta diva" and in Oblomov, under the influence of the song, a deep, spiritual feeling of love awakens. The hero admires Olga and looks for a beautiful soul in her: “... He looked at her as if not with his eyes, but with his thought, with all his will ...., but he looked involuntarily, not having the strength not to look, “My God, how pretty she is! There are such things in the world! he thought, looking at her with almost frightened eyes. Olga's reciprocal feeling is also spiritual and poetic.

The love of heroes reveals the true relationship of their souls. Between them there is an exchange of secret thoughts and feelings, an understandable, only for the two of them, spiritual communication, sung in the work of Zhukovsky V.A., other romantic poets: “Yes, I get something from her,” he thought, - from something passes into me!” She: “Don’t look at me like that…. I feel awkward! It's like you're extracting something from my soul!" The love of Olga and Ilya is a fire that burns in their souls, bringing them closer: “Both of them, motionless on the outside, burst with inner fire, trembled with the same trembling, tears stood in their eyes, caused by the same mood”4. Active, dynamic Olga and couch potato Oblomov are not inferior to each other in the subtleties of the soul.

Unexpectedly for the heroine and for himself, after singing Olga, Oblomov confesses his love: “Her gaze met his gaze fixed on her: this gaze was motionless, almost insane; it was not Oblomov who looked at them, but passion. Olga understood that the word escaped from him, that he had no power in it, and that it was the truth.

The characters understand love in different ways. Oblomov - the whole feeling. In every step he is extremely sincere. Olga, on the other hand, is proud, reason lives in her next to feeling. But after Ilya's inadvertent confession, they both understand the need for an explanation and go towards each other, experiencing strong emotional excitement. Olga, of course, hopes that the hero will repeat his words about love, but remembers that she herself must be restrained and within the bounds of decency. Oblomov knows that a decisive act will be needed: either to confirm the confession or to refute it, but he is not ready for either one or the other. Going to the park, he did not decide what to do, although he knew for sure that he would meet Olga.

Goncharov, the great master psychologist, builds the very beginning of the scene of explaining the characters at the end of the 6th chapter of the 2nd part of the novel in such a way as to emphasize the constant parallel in their state of mind and thereby prove to the sensitive reader the equality of heroes in love, the kinship of their souls: “Suddenly someone is coming, she hears. “Someone is coming…” thought Oblomov. And they came face to face.

Olga Sergeevna! he said, shaking like aspen leaf.

Ilya Ilyich!” she answered timidly, and they both stopped.

Hello, he said.

Hello, she said.

Also proof that Ilya lives only by feeling, and Olga also by reason, is the fact that when explaining, Ilya actively uses enthusiastic and distressed exclamations, remarks filled with thought “Already ... no, tomorrow ... how can I manage.” "Trust me, it was unwitting... I couldn't resist...". In replicas and small volumes internal monologues Oblomov, dots are frequent, disrupting the feelings that overwhelmed the hero, but at the same time, indecision, ambiguity, novelty for him of the feelings he experienced. In front of Olga, he is not sure, he does not know whether she will give him a tender look or let go of a taunt that will make him exclaim "to himself": "Oh, evil!"

When describing Olga, the author uses the method external characteristics, which describes gestures, intonation, look. And this in itself makes it clear that Olga is movement and action itself. Those remarks that she says "to herself" are full of brevity, energy, movement and action. She either encourages something, or asks: “What does he write?”; "What are you?"; “Smell how good it smells!”. In the speech of the heroine, the swiftness of her nature is manifested, the inner fire burns in spots on her cheeks. Olga has to deliberately hide the movements of her soul.

Goncharov builds the scene like a dramatic action, which has its own plot, climax, denouement. Its tie is Oblomov's words that his declaration of love was accidental, "only from music." This apology deeply upsets Olga, she straightens up and drops the flowers, her eyes grow dim, two pink spots disappear on her cheeks, she “with force pulled a branch from a tree in passing ... immediately threw it ... onto the path”, “tears stood in her throat.” She quickly walked towards the house. Oblomov tries to keep Olga, he is surprised that his confession upset Olga so much. Now it is important for him not to apologize for the inadvertent confession, but forgiveness for upsetting her with his apology, especially since it was not true. I hold the heroine, he is sincere and not ashamed to open his heart: "... for God's sake, don't leave like that, otherwise a stone will remain in my soul."

Feeling a loving soul in Oblomov, Olga begins to seek new recognition. She gets it with her persistent questions “Why?”; "What's in it?" She waits impatiently, slowly, as if with difficulty, climbing the stairs. And Oblomov again speaks of love. To Olga’s energetic demand, he answers vaguely, slowly: “I don’t know myself ...<…>My shame is gone now: I am not ashamed of my word ... It seems to me in it .. ”; “….Same…excitement…same feeling…sorry, sorry, by God, I can’t control myself..” These words of his are the culmination of the confession. Its denouement is the call of the heroine: “....forward! Only forward!" In this, in the last phrase of Olga, one can hear a warning to the hero "forward" to be more careful in his speeches. And yet, it seems that these words are symbolic, they sound an appeal to Oblomov, the expressed life position of the heroine, her dynamics, which even Stolz will hardly keep up with. The symbolism of the words is also confirmed by gestures: she "instantly fluttered through the glass door, and he remained standing as if rooted to the spot." The fate of their love depends on whether Oblomov can follow Olga's call.

In the scene of explanation, as in general in relations with Ilya, Olga takes on the role of a man. The novel has mythological overtones: Olga thought of Oblomov as some kind of Galatea, “with whom she herself would have to be Pygmalion.”3 Indeed, at some point she managed to “breathe the soul” into Oblomov: she captivates him with a loving with a glance, a smile, in a whisper, “she spoke and sang for him, so that he would not sit hanging his nose, lowering his eyelids, so that everything would speak and sing in him.” And when he remains on the Vyborg side, Olga secretly meet him in summer garden, on the Neva, will come to his apartment. Oblomov himself understood that he lived only next to Olga. She won't be he is dead Human. He warns her about this even when Olga did not think about separation. But Olga's feeling is proud and reasonable ... Love for Oblomov is gradually turning into a burdensome duty. She will realize that he cannot reach her, and a sense of self-preservation is triggered and she leaves him. In the scene of their last explanation, she will say: "The stone would come to life from what I did ...". Having fallen in love with Stolz, she will be ashamed of the hero of her first novel, she will call him the word Sonechka and Tarantiev - a bag. The role of Pygmalion was beyond the power of the heroine.

The love relationship between Olga and Oblomov develops against the backdrop of nature, their hearts are open to her. The moment of the highest spiritual rise, the flowering of feelings - the meeting and explanation of the heroes - is connected with the most poetic moment life of nature spring and early summer, sometimes flowering grasses and trees. Dates take place in a beautiful fragrant garden. Nature itself is involved in the explanation of the heroes, which helps their souls to open up. Subsequently, the love of Olga and Oblomov from spiritual communication develops into passion. But now Oblomov made an offer, and love turns into a heavy duty. He compares it with the "smallpox" that Stoltz instilled in him and Olga. Dissatisfaction with Oblomov also grows in Olga’s soul: “... She fell into painful thoughtfulness: something cold, like a snake, crawled into her heart, sobered her dreams, and the warm, fabulous world of love turned into some kind of autumn day, when all objects seem to gray color". This happens when “the summer, moving forward, was leaving. Mornings and evenings became dark and damp. They will part when the Neva is covered with ice. Returning to the Vyborg side after breaking up with Olga, Oblomov will see snow: “Snow, snow, snow!<….>I fell asleep!”

Agafya's confession

What is Oblomov's love for Agafya? Goncharov does not want to call the hero's feeling for the widow Pshenitsyna love, he speaks of him with unfailing humor. This feeling is nothing like the one that Oblomov had for Olga. That romantic, spiritual feeling awakened consciousness, self-loving desires and anxieties, striving for exploits, painful torments that “time is running out, that his strength is perishing, that he has done nothing, neither good nor evil, that he is idle, and does not live, but vegetates. But that love was like smallpox, measles, fever, which almost killed the hero. Oblomov "shuddered when he remembered her." After the fever he had endured, “Ilya Ilyich was gloomy, for whole hours he was subjected to painful thoughtfulness ...<…>hostess…. made him cry. Then, little by little, the place of living grief was replaced by mute indifference. Oblomov gradually acquires immobility, turns to stone. Even during a love explanation with Agafya, "his eyes did not shine."

The feeling for the widow Pshenitsyna brings him the long-awaited peace. This is proved by his words, which convey his experiences and actions: “I willingly remained”; "stopped his eyes"; “I slowly opened the door with my foot”; “joking with the hostess”, “everything was done calmly”; “did not worry about anxiety”; he wanted to "sit on the sofa and keep his eyes on her elbows"; “as if some invisible hand has planted, like a precious plant, in the shade from the heat, under the roof from the rain and cares for it, cherishes it.” Goncharov characterizes only the external manifestations of feelings: the soul, heart, mind of Oblomov, with the loss of Olga's love, fell silent.

Does Agafya love Ilya? Nothing like this had ever happened in her life before she met him. Goncharov ironically compares the birth of love in the soul of the heroine, like the formation of sediment on the bottom of the sea, with the shedding of mountains, with a cold. He conveys Agafya's feelings with humor, as if not believing himself, he only allows himself to guess about them. The heroine did not ask herself about her feeling, it has no name for her, and found it, as it were, by itself. And then she became not herself: she "passed under this sweet yoke, of course, without resistance and enthusiasm, without trembling, without passion, without vague forebodings, languor, without the play of music and nerves." Appearance Agafya, her behavior now depends directly on Oblomov. After the break with Olga, he is ill, gloomy, barely speaks to her - she is losing weight, becoming like a stone, flaws are noticeable in the household; Oblomov comes to life, he has a joyful smile, he “began to look at her as before affectionately, look at her door, joke - she again gained weight, again her household went lively, cheerfully, cheerfully ....”. At the same time, “she was not only able to flirt with Oblomov, to show him some sign of what was happening in her, but she ... never realized and did not understand this ...”.

The love of Agafya Matveyevna manifested itself, like the love of a Russian peasant woman, in devotion to the grave. She voluntarily put on this collar, worries to carry this cart with joys. The meaning of her life was the care and peace of Ilya Ilyich. All her love is manifested in action: “she will make a remark” if the roast burns or the ear is overcooked; does not sleep, “turns from side to side, crosses himself, sighs,” if Ilya Ilyich is absent for a long time in the evening; “Jumps up from the pastel, opens the window, throws on a skirt, runs into the kitchen,” pushes Zakhar, Anisya and sends to open the gate if he arrives late; “in three jumps he comes to the kitchen” to see if the coffee is well brewed for Ilya Ilyich. Her disinterested devotion is expressed in the fact that when Oblomov was ill, she sat up all night with him, forgetting about the children, ran to church to pray for his health. She "rushed to her knees and lay on the floor for a long time ...". Secretly from the whole house, she sold the last things - pearls, furs, clothes - just to feed Ilya Ilyich, when her brother robbed them both. After the blow that happened to Oblomov, through the efforts of Agafya Matveevna, the hero was brought back to life.

Goncharov contrasts the scene of explanation in everything with the explanation with Olga. The love confessions of Olga and Oblomov happened in the spring, in a flowering park, the explanation of the latter happens in the kitchen, where the seasons are not important: life on the Vyborg side flows just as smoothly as in Oblomovka, the same way in winter or summer - this is life in cyclic time. Calendar time here is replaced by household time. In the hands of the heroine is not a lilac branch, but a pestle with a mortar. The characters talk in the same way about cinnamon, a bathrobe, the prospect of a future life, a kiss and love.

The first confession ended with Olga's energetic confession, the second with Oblomov's call: "Let's go to the village!" Oblomov calls Agafya to Oblomovka, to his ideal world. In response, she says: “We were born here, we lived for a century, and we must die here.” In these words, the whole life philosophy of Pshenitsyna was expressed. She does not know another, and therefore her call is in everything opposite to Olga's. And the hero agrees with the heroine, because they are both heroes of an idyll in which attachment to a place is obligatory.

If in relations with Olga it was she who took on the “male” role, then in relations with Agafya Oblomov was a “strength”. He feels superior to the heroine, whose behavior is always predictable. In the explanation scene, he is self-confident, his words are short and energetic: “And if I interfere with you?”; "And if I kiss you?"; "Well, kiss me!" In the speech of the hero there are no those frequent dots, personifying an unspoken, contradictory feeling. Olga is all impulse and feeling, while Agafya is calm. Her only expression is a smile, she smiles even when Oblomov kisses her. It would seem that the “stone Galatea” will never be revived, but this is not so. After Oblomov's death, she realizes that she has lost something important and valuable in her life.

Olga's feelings are pure, she is divine and inviolable for Oblomov, her image is correlated in his dream with the image perfect woman, wives. Agafya is also from a dream. This is that “red-cheeked servant, with tanned elbows, timidly lowered eyes, but sly eyes.” Oblomov himself starts a conversation, takes her by the arms, making it difficult to grind cinnamon. And she only allows you to show signs of attention, while slightly defending yourself from the gentleman’s caress: “Look, I’ll spill cinnamon, you won’t have anything to put in pies!” This whole scene is classic. lordly love. That is why the author speaks of their feelings with such humor: “He moved towards her as if to a warm hearth,” and “she took the kiss motionless, like a horse on which a collar is put on.”

images

In the scenes of love meetings between Olga and Oblomov, there are recurring images: a lilac branch, fire as symbols of life. Other images will also resist them: cold, darkness, snow - symbols of death.

One of symbolic images passing through the whole novel-image of fire. The image of the fire present in the explanation scene is the fire of love. It burns in the souls of heroes and determines their external and internal transformation. “Slavic rites and incantations reflected the likening of fire to a love fire”10. The love of Oblomov and Olga is the burning of hearts: life burns, boiling of the heart. “Both of them, motionless on the outside, were bursting with internal fire…”. The scorching rays of love for Oblomov are both desirable and destructive. Fire correlates with the poetic image of “heartfelt ardor”, you can burn out in the fire of passions. if this same fire burned me, this one burns now - tomorrow and always! And then there is no you - I go out, I fall! Olga for him is the desired source of this fire: “Everything is disgusting to me, everything is boring; I'm a machine: I walk, I do, and I don't notice what I'm doing. You are the fire and strength of this machine….” But under the scorching rays of passion, Oblomov’s heart burned out: he was tired of an unnatural role for himself and asked Olga to rest: “... My whole body is shocked: it goes numb, it needs at least temporary calm ...” The break with Olga was followed by the hero’s illness, fever. The fiery arrows of Ilya, the god of thunder, reached their goal: Olga also fell in love with Ilya Ilyich. In the scene of a love declaration with Oblomov, when she feels loved, two pink spots burn on her cheeks. When Oblomov says that his words were not true, but only from music, “she changed her face: two pink spots disappeared and her eyes grew dim.” The hero repeats his confession and the spots reappear like two witnesses. inner fire. The influence of a feeling of love for Oblomov is fruitful for the heroine. Just as each fruit ripens under the rays of the hot sun, so Olga, according to Stolz, “ripe”, “developed”. But Olga, like Oblomov, experienced the destructiveness of fire-passion, he also singed the heroine, as he scorched the hero. Stoltz barely recognized Olga in Paris: “Her features, but she is pale, her eyes seem to have fallen a little, and there is no childish smile on her lips, there is no naivety, carelessness.” This image is also present in the second scene. However, in this case it is not the fire of passion, but the flame of the family hearth. According to folk legends, the god of thunder sent lightning to the earth and kindled the flame of the hearth with them. Oblomov was brought up just in the conditions of home warmth, his image lives in his dreams, around which his whole life, the life of friends and relatives, would be built.

Goncharov uses the symbolism of flowers in his work. Oblomov offers Olga a lily of the valley. In the book of N. F. Zolotnitsky "Flowers in Legends and Traditions" this flower is spoken of as a symbol of spiritual outpourings, love and happiness.16 Olga plucked a lilac branch and sniffed it, covering her face and nose.

“Smell how good it smells!” she said and closed her nose to him too.

The lilac branch appears more than once in the novel. Olga s big love will embroider lilacs in memory of the first date. The heroes will part when winter replaces summer and "the lilacs have departed, disappeared." N. F. Zolotnitsky writes about this flower: “In the east, where, as we know, lilac comes from, it serves as an emblem of a sad parting, and therefore a lover usually gives it to his beloved only when they part or part forever.”16 Choosing lilac as an emblem of love, the heroes doom themselves to eternal separation in advance. Oblomov says: “I don’t like roses or mignonette,” and does not assume that he refuses those flowers that are symbols of love and love attraction.18

In the second scene of the explanation, there is also another robe image. It becomes fate for the hero: Oblomov put it on 12 years ago, when he left the service, closed himself in his own apartment and lay down on the sofa. He admires his own dressing gown, sees in it only best qualities: it is soft, flexible; the body does not feel it on itself; obedient slave of his master. Wrapped up in a dressing gown, Oblomov tries to hide from the turmoil in life. The bathrobe disappears from his life when he meets Olga (Tarantyev takes him with other things to the Vyborg side). With Olga, Oblomov's life bursts into the light. But as soon as Ilya begins to grow to the Vyborg side, Agafya will remind him of his dressing gown: he will fix and clean it. The robe will become an invariable attribute family relations: “What is the stain on your robe?” she exclaims thoughtfully in the scene of a love explanation. “Put it off and give it as soon as possible, I will wash it” The heroine may be talking about the robe with such love and care that it is a kind of guarantee for her the fact that Oblomov belongs to her and only to her: Olga left claims on him; dressed in a robe, she does not need it.

Conclusion: Comparison of these episodes led to certain conclusions. Of course, the heroines are different and appear to Oblomov in a different light.

The author deliberately immerses, in the case of Olga, the hero in an immense, all-consuming, burning him from the inside, love. In the case of Agafya, on the contrary, it makes love a safe haven, a haven in which it is wonderful, warm and very comfortable. And we reluctantly think: “Which is better?”. And indeed, from the first time you can’t make out what is more pleasant: to love, but for this to give all of yourself, strive for ideals, constantly be in motion, “burn” in love, or be loved and at the same time do nothing, lie down instead of in order to live, gain weight and grow round, as a result of which to be caressed and completely lazy. But in this case, the caring author gives a lesson: one must live, move and love without fail. And of course, to be loved, but not in such a way that you will soon get tired of getting out of bed. And this, I think, is his great merit.

Even personally for the reader, this work serves as a universal guide to actions in life. Yes, exactly actions. The author clearly says, or rather prescribes to us what can be done and what should not be abused. Our hero, in essence, behaves like a child: he cannot decide on an act, recognition, and if he does it, then by accident. Constantly in dreams. Because Oblomov is a typical dreamer who confuses reality and dream. And he mixes these concepts into a single mass, but you need to clearly and correctly distinguish between them. Dreaming, of course, is not forbidden to anyone, but you should not go headlong into a parallel world dreams and utopias.

Also, the theme of raising children in this work is important. Not much is said about it, but Goncharov speaks sharply about this with the words of his hero Stolz: “All this is Oblomovism!”, thereby making it clear to the reader where this perception of the world by Oblomov comes from, who taught him to live like this. And all paths, of course, lead to the family, to the parental hearth, the very one that Oblomov and his household so fiercely revered. They “cherished, loved” Oblomov, turned him into a lazy person, although in the very early childhood he was a cheerful and active child, and as the author himself writes: “he was in a hurry to run away from the nanny”, but soon “... all manifestations external force turned inward, and drooped, withering. And now there are many such Oblomovs. Parents do not have more than one child, and therefore all care goes to him alone. This is not bad, but everything should be in moderation and not reach the point that a spoiled child, in a fit of whim, lays on the floor and begins to be kicked. Although, in principle, this child is not to blame that his parents fulfill his every whim, just as Oblomov was not to blame for the fact that he was raised only by nannies. And in general, in the work, the author presents us with a hero crystal pure man, with a transparent soul and the ability to love, as children love, disinterestedly, just like that. This is what we should learn from, which is why I took as a basis not Onegin, not Pechorin, but Oblomov, the last and, in my opinion, purer extra person.

There is another, also important function of the novel - the author through it tells our generation about the current situation in the 50-60s. XIX years century, about laziness and the impossibility of confronting the emerging problems of the then generation of the country. Through the images of Oblomov's visitors and himself, Goncharov gives us an idea of ​​life and its prospects at that time.

I believe that classic literature should seem to us neither torment nor compelled to read, but a special pleasure. From it, the younger generation should extract a lot of things laid down by the author, which the reader does not suspect, but will definitely learn to find them. After all, just think - many mistakes in life can not be made if you carefully read the lines and learn from the mistakes of the heroes. This is such a magical property of literature, such a genius is nearby. After all, not only Goncharov displayed magnificent and wise ways out of life situations, not only he taught us a lesson, but all the classics did it. Therefore, I believe that this direction in the study of literature can and should continue.

Therefore, I consider Goncharov a great master psychologist, a real engineer human souls. He was remarkably able to describe such ageless situations. That is why Goncharov is a classic, that is why Oblomov is each of us.

Literature.

1. Loshchits Yu. The phenomenon of Goncharov // Ogonyok.-1982.

3. For more on Goncharov's style, see: Yu.

4. Goncharov I.A. Oblomov.-M.-1996.

5. Quoted. Quoted from: Shevtsova L.About criticism of A.V. Druzhinina // Literature at school.-2005.-№1.-P.10.

6. See: Nedzvetsky V.A. I.A. Goncharov and the Russian Philosophy of Love// Russian Literature.-1993.-No.1.-S.-48-60.

7. See: Nedzvetsky V.A. I.A. Goncharov-novelist and artist.-M., 1992.-S.97.

8. See: Slavic mythology.-M., 1995.-S.205

9.Maximov S.V. Literary travels.-M., 1986.-S.347.

10. Superanskaya A.V. Dictionary of Russian Personal Names.-2003.- P.421

11. Lives of the saints.-M., 1999.-p.690.

12. See: The name of the secret power.-M., 1998.-S.240

13. See: Afanasiev A.N. Poetic views of the Slavs on nature.-M., 1994.-T.2.-S.72.

14.Slavic mythology.-S.284.

15. Biderman G. Encyclopedia of Symbols.-M., 1996.-S.185.

16. Zolotnitsky N.F. Flowers in legends and traditions.-Kyiv, 1994.-p.62-69.

17. Ibid.-p.252.

18. See: Gracheva I.V. “Each color is already a hint” / / Literature at school. -1997. - No. 3. - P. 50-51.

19. Otradin M. "Oblomov's Dream" as an artistic whole: Some preliminary remarks / / Russian literature. -1993. - No. 1. - P. 5

20. See: Afanasyev A.N. Poetic views of the Slavs on nature.-M., 1994.-S.75,70.

21. Afanasiev A. N. Religious and pagan meaning of the Slav's hut // People-artist: Mif. Folklore. Literature.-M., 1986.-S.66

22. Lives of the saints.-M., 1999.-p.689.

23. See: Afanasiev A.N. Poetic views of the Slavs on nature.-M., 1994.-T.2.-S.13.

24.Slavic mythology.-S.206.

24. Main material from: Ermolaeva N.L. Declaration of love in the novel by I.A. Goncharov Oblomov, Golysheva G.E. On the benefits of rereading the classics// Literature at school.-2006.-№8.-S.19-23,28-31.

25. Dobrolyubov N. A. Decree. op. -WITH. 483

(362 words)

I.A. Oblomov in his work created a large-scale picture of the public mood of his era, depicted a hero whom you condemn, but still sympathize with. The merit of this writer is also enormous in his skillfully drawn female images: not generalized and pale, but bright and lively. Often it is the women in his novels who have the true strength of character and spirit.

Despite the fact that Oblomov spent his whole life on the couch, he was not deprived of female attention. A friend of Stolz introduced the main character to Olga Ilyinskaya. This 20-year-old girl is full of grace and harmony. She is devoid of coquetry, desire to please the opposite sex. The heroine is talented: she sings beautifully. Everything in her appearance suggests that she is constantly thinking, she has a seething thirst to live, to act. She is proud, assertive, but at the same time kind and compassionate. With such qualities, after 50 years they went to war as sisters of mercy. Olga's missionary activity was expressed in the fact that she wanted to "correct" Oblomov, reshape him in her own, active way for the sake of his own good. But the main character does not want to burn with the girl, therefore, despite their mutual affection, he breaks up with her. Olga for Oblomov is a deity, an ideal that can never be reached. The heroine, although not ideal, evokes sympathy, her persistent desire to reshape her lover is associated with her inexperience and youthful maximalism: for the sake of good goals, you can redo everything in your own way, regardless of the life truth of others.

Oblomov moves to the Vyborg side, where his relationship with the mistress of the house, 30-year-old Agafya Pshenitsyna, is born. For the hero, she is the personification of her native Oblomovka. And outwardly: full, healthy, pleasant. And inwardly: just as calm, simple-hearted (even stupid in matters not related to the economy), bashful, affectionate, homely. Agafya sees her main purpose in the economy, therefore she gives herself to him with passion and always does something, but does not even think about abstract matters. The heroine fell in love with Oblomov for who he is, did not want to change him, which is why their relationship led to happy ending. He is for her a deity and an ideal, as well as her first love (despite her late husband). Ilya Ilyich fell in love with her because Agafya is earthly and understandable, you don’t have to reach out for her, you don’t need to guess her.

In the novel "Oblomov" two opposite types of women are drawn, and not in two or three strokes, but in depth and relief. These images are remembered and are in no way inferior to men's. This is the author's innovation and his great creative success.

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1. The idea of ​​the novel

♦ The novel appeared on the eve of the abolition of serfdom in Russia.

♦ The main source of the novel was the future writer's observations of reality, in particular, of life. native family And hometown Simbirsk: “It seems to me,” he later recalled, “I, a very sharp-sighted and impressionable boy, even then, at the sight of all these figures, this carefree life, idleness and lying, vague ideas about “Oblomovism” arose.

A. N. Dobrolyubov in the article “What is Oblomovism?” called Goncharov's novel a "sign of the times", that is, very topical, of great social importance, of the very way that gives rise to the Oblomovs.

2. Genre, plot and composition

♦ "Oblomov" is a realistic social and at the same time socio-psychological novel.

♦ The plot of the novel "Oblomov" is easy to describe with a phrase: a couch potato landowner is depicted, accustomed to doing nothing, he turns out to be not adapted to life and ingloriously ends it from an apoplexy while still a relatively young man.

♦ The main content of the novel lies in the depiction of the struggle in Oblomov of two feelings: love for Olga Ilyinskaya and an imperious desire for peace and laziness. The last one wins.

♦ The action of the main part of the novel lasts about eight years and refers to the 40s (1843-1851). The content of the entire novel, if we consider Oblomov's background and epilogue, covers a huge period of time - about 37 years. It's not just history whole life hero, but whole era Russian history.

♦ The composition of the novel is characterized by the presence of a double storyline, contrast of images: Stolz is opposed to Oblomov, Olga - Pshenitsyna, Zakhar - Anisya.

3. Oblomov's dream: its place and meaning in the novel

To understand the character of Oblomov, it is necessary, following the author, to turn to his origins. Together with the hero, who asks himself the question: “Why am I ... like this? ..”, we will be transported to the fertile Oblomovka, which arose as a sweet vision in a dream of Ilya Ilyich.

What characterizes the atmosphere in Oblomovka

love and peace

What influenced the formation of the consciousness of the hero

legends and fairy tales, epics and parables

What qualities are formed in the hero

poetic daydreaming, a sense of inner freedom

What is rejected by Ilya Ilyich as alien to him moral ideals

Service devoid of human understanding

Friends who only dream of a career

Women unable to love

“They are all dead. Sleeping people, worse than me, these members of the world and society!” - so Ilya Ilyich argues. Oblomov is looking for perfection in this world, "the norm, the ideal of life, which nature has indicated as a goal for man."

4. Oblomov and Stolz

Oblomov

Stolz

Social status

master

representative of the new bourgeois class

Distinctive feature

paralysis of will and unrestrained laziness

unbending will and a huge store of activity and energy

What lives

imagination

practice, experience, facts

Ideals of life

serene peace

cult of labor and enterprise

Life position

apathetic to what is happening, perceives any activity only as fuss

always doing something, towards something

striving for something

Stolz is a friend of Oblomov since childhood. Stolz's life does not turn out the way Oblomov's life does. He does everything to awaken Oblomov to life and activity. These attempts came to nothing, and life paths the two heroes part ways. And yet the presence of Stolz in the novel is justified and necessary. It is, as it were, the background against which those positive traits Oblomov's character, which Stolz and Olga call "crystal", pure soul.

5. Women's images in the novel

Olga Ilinskaya

Agafya Matveevna Pshenitsyna

According to Dobrolyubov, it harmoniously combines “heart and will”, a conscious outlook on life, perseverance in the struggle for a permanent goal, inquisitive mind, depth of feelings and femininity has become one of the most harmonious, bright images in Russian literature XIX century.

A kind, modest woman, a wonderful hostess, reveres her “tenant”, for her he is a being of a higher order, the ideal of a gentleman for Oblomov is the ideal of “the inviolable peace of life”. Oblomov's love for Agafya Pshenitsyna grew up on the basis of lordly habits. From her, Ilya Ilyich finds what was his life dream.

In comparing these female types in the novel, there are deep meaning. Clever Olga and patriarchally quiet Pshenitsyna each in their own way help to reveal the idea of ​​the novel, revealing the essence of Oblomov.

6. Oblomovism as the leading theme of the novel

What is oblomovism?

Drama of the mental and moral hero development,

the image of how his best inclinations “wither and fade”,

through which internal compromises the hero gradually comes to justify apathy and spinelessness, to his surrender to them.

The origins of Oblomovism

Oblomovism as a way of typing

The author creates typical concrete historical characters embodying the features of a certain social environment. Pushes the narrow time frame of the novel, revealing the features of Oblomov not only in the era, environment, but also in the bowels of the Russian national character.

Oblomovism as a sign of the times, its main features

« Oblomovism "- the problem is not one person, but a sign of the times, generated by the patriarchal-noble way of life:

apathy and laziness

cowardice and selfishness, as a result of exaggerated guardianship of elders, limited aspirations, detachment,

closeness from real life,

desire to protect, protect from possible problems.

The fault of Ilya Ilyich is that he extinguished God's spark, bestowed upon him from above. Ilya Ilyich could not realize that good, bright beginning, lying "like gold" in the bowels of his sensitive and kind soul. Oblomov did not understand himself, did not give an outlet to the light, which, as he believed, was locked in him. The hero of Goncharov remained a fragment of that imperfect world that tried to subjugate him. But is it the fault of one Oblomov? “Our name is legion,” the hero will say to Stolz, and he will be right. How many people could not throw off the robe of Oblomovism, drowned out their will, fortitude for the sake of calmness, their own well-being?

Ekaterina BOSINA,
10th grade
school number 57, Moscow
(teacher -
Ekaterina Vladimirovna
Vishnevetskaya)

Female images in Goncharov's novel "Oblomov"

Olga Ilyinskaya and Agafya Pshenitsyna

"Oblomov" always gives the reader a feeling of some kind of ambiguity; there are no conclusions in this novel. When we feel that we cannot independently answer questions that are somehow "eternal", we turn to literary works hoping to find answers there. What is truly valuable? What is happiness? Who is considered "fallen"? Does a person need to try to get up, to escape from the "abyss", if he "falls"? And so we read last page"Oblomov" - and we do not see any conclusions. But we get the right to choose one of several significant truths - at our own discretion (writers so often leave this right to themselves!). More cannot be desired. Goncharov creates amazing, almost tangible images, places them in ordinary circumstances, and we ourselves try on this life for ourselves. literary reality and we take out the grain of truth from there.

Truth is relative. Truth has many faces - this is how Goncharov shows it. Here we have two female images - Olga Ilyinskaya and Agafya Pshenitsyna. If there weren’t them, we wouldn’t have known that Oblomov, this apathetic “babe”, is able to sincerely love - love really transforms him, makes him live. In Goncharov's understanding, love is the only thing that can lead a person to happiness (here is the truth) - but what kind of love? After all, the feelings of two women for Oblomov are absolutely opposite in essence. How could it be otherwise: Olga Ilyinskaya is the “highest ideal” (in particular, in the mouth of Dobrolyubov), Agafya Pshenitsyna is a collegiate secretary ...

Olga loves selfishly. Olga is proud, - however, a young, quite beautiful and intelligent girl should be just like that. The whole world is open to her, she can draw knowledge, she can enjoy life, boredom is disgusting to her. Such is youth, not overshadowed by disappointments.

Olga is inquisitive, sincere by nature, alien to any affectation, not fond of brilliant secular youths and empty tinsel, she is interested in what Stolz tells her about the eccentric Oblomov. Innocent curiosity, but later a secret delight is added to it. The insightful Olga cannot but see in Oblomov his “honest, faithful heart”, “crystal, transparent soul” - how not to lend a hand to such a person? Olga is pleased to feel like the “savior” of Oblomov, “bequeathed” to her by Stolz, the culprit of the “miraculous transformation”. She does not want to accept Oblomov as he is; she appreciates his kindness and honesty, but does not deviate from the desire to direct him on the path to excellence, she loves the “future Oblomov”. Love for Olga is a duty; her heart rarely wins over her mind. She comes to Oblomov, disregarding decorum ... in order to tell him: “Why are you frightening me with your indecision? I am your goal, you say and go towards it so timidly, slowly ... and you must become taller than me.

Olga cannot understand that indecision is too deeply rooted in Oblomov, that this is how he was created ... He is afraid of the very word “duty”, afraid of the unattractive restless reality, afraid to go to the village. “Debt” is a wedding when a person is not called Ilya Ilyich, but a groom. And people, people around, with their stupid gossip... All this is so far from love, from poetry, from the incomprehensible and beautiful. In Oblomov's love for Olga there is no place for logic, "duty". Oblomov just gives in to feelings. Why does he love Olga? For the fact that she gave him hope and the meaning of existence, for her determination and sincerity, which is manifested in everything (in words, even in singing - remember how expressively she sings the aria “Casta diva”, reviving in Oblomov the feelings that he long forgotten, hidden in the depths, under all sorts of "trash").

However, Olga hurts Oblomov with her reproaches, the proud logic of judgments dictated by irritation (“I will feel bad, you write ... But then it will be good for me if I love another: it means I will be happy!” - and so on), and that’s just prevents her from reaching her goal. After all, ridicule and reproaches, even if aimed at good, still remain ridicule and reproaches. Oblomov, as he himself says, has no self-esteem, and in such a person even the caustic remarks of his beloved cannot ignite that vague rage, which, in turn, causes a desire to act, to change oneself. Oblomov is even more affirmed in thoughts about his own weakness. Olga shows him how ridiculous he is, and, reflected in the mirror of these ruthless words, Oblomov only torments himself, goes back rather than forward. And now he is sitting in front of Olga with a smile of impotence, his look says: “Yes, I am poor, pitiful, poor ... beat me, disgrace me! ..” - and he refuses everything, returns to the sofa and dressing gown, infinitely tired, looks on the snow from the window of Pshenitsyna's house ...

Agafya Matveevna is a narrow-minded, naive woman, but in her, as in Olga, there is no falseness, no far-fetched coquetry. She, in fact, knows nothing about life, does not read books, the meaning of everyday fuss and completely eludes her. When Oblomov asks exactly where her brother serves, she says: “In the office ... Where men are recorded ... I keep forgetting what it is called” - and justifies her ignorance with an innocent smile. Household chores, monotonous, meaningless, some even mechanical life. And in this gray life, Oblomov suddenly appears, an amazing person, a kind, honest “master”, he does not look like either the rude godfather Tarantiev, or the late husband, who walked with “petty, businesslike agility”, or a brother with shaking, red hands, - does not look like anyone else! - and "does not look at everyone as if asking to saddle him and ride." Without reasoning, without understanding yourself, without thinking, selflessly fell in love with Agafya Matveevna Oblomova; to equip “peace and comfort of Ilya Ilyich” for her is no longer a duty, but a pleasure. She fell in love with everything in Oblomov, even that which Olga so fiercely condemned, accepted him with all his shortcomings (which she does not see - complete, does he have any shortcomings?). Oblomov is happy with Agafya Matveevna, he no longer feels worthless, he does not feel anxiety for the future; in the house of this woman he finds happiness. With pleasure, he drinks coffee prepared by her, watches how she sews, how deftly she manages in the kitchen, looks at her round elbows (“like some kind of countess”), and “he doesn’t need anything, he doesn’t want anywhere, everything is here he has what he needs." Pshenitsyna touchingly takes care of him both in happy and unhappy days (he even pawns his things when there is not enough money). Her love is self-sacrifice. And this love gives Oblomov what he always dreamed of. A smooth, peaceful, unhurried course of life, contemplation, the return of the calm, bright serenity of childhood.

The active Stolz sees in all this a “dirty life” and a “suffocating atmosphere of stupidity”, contemptuously says “fi”. And Oblomov sometimes “wakes up”, looks around - bitter pity for the past, full of unfulfilled hopes, is still awake in the soul. But he calm and understands that it was impossible for him to go the other way ... Stolz and Olga came up with “wings” for him, but you can’t take off on fictional wings ... A determination appears in Oblomov, which he never had.

“Stoltz took a step back from him.

Is that you, Ilya?<…>How you fell! This woman... what is she to you...

Wife! Oblomov said calmly.

Stolz turned to stone.

This child is my son! His name is Andrei, in memory of you!..”

Is Olga happy with Stolz? Forward, only forward along the restless road... Activity, work... As long as Stolz deserves her love, while he saturates her inquisitive mind and answers her questions; but doubts are already creeping into Olga's soul, for the first time she encounters ambiguity, loses her former determination, often recalls Oblomov; cannot comprehend his strange longing (“Where to go?”), but it is impossible to comprehend mind this sadness!

Pshenitsyna, after the death of Oblomov, lives in constant silent grief, far from the vulgarity, fuss, lies that make up the world of her brother and daughter-in-law, lives, clearly aware that her life “shone out,” that joy would never return to her. The more Agafya Matveevna appreciates the memories - "now she already knew why she lived and that she did not live in vain."

So did Oblomov really fall? Is it possible to call a fallen person who, perhaps, did not take off, did not rise, but found ground under his feet?.. Isn't this happiness?.. It's up to us to decide...

The novel "Oblomov" by Ivan Goncharov is significant work Russian literature, revealing many acute problems of the social and spiritual life of Russian society. A special place in the work is occupied by the theme of love, which the author reveals through female images in the novel Oblomov - the images of Olga Ilyinskaya and Agafya Pshenitsyna. Both heroines are connected by strong feelings for Oblomov at a certain stage of his life, however, the expression of love among women had different character, had a different effect on the fate of Ilya Ilyich.
Like male, female images in Oblomov are also opposed, which is clearly seen both when considering the external portrait of the heroines, and when analyzing their inner peace, traits of character and temperament.

Portrait characteristics of female images

Both female images - Olga and Agafya, are depicted positively and evoke sympathy from the reader. Olga appears before us as a serious, inquisitive nature, for whom it is important to constantly learn something new, hitherto unknown. The girl thinks a lot, as evidenced even by her portrait - thin pursed lips and a fold over her eyebrow “as if a thought rested there”, a sharp-sighted, not missing anything, peppy look. In the image of Olga there was no exceptional beauty, but she attracted with special elegance and grace, through which the spiritual depth, harmony and artistry of the girl was noticeable. Olga was brought up in noble family where she received a good upbringing and education. The poetic, sensual nature of the girl, transforming while singing, was set off by Olga's seriousness and practicality.

A completely different Agafya Pshenitsyna appears before the reader. The woman is portrayed by the writer as a primordially Russian beauty with fair skin and rounded shapes. The main features of Agafya are meekness, calmness, kindness, obedience, the need to take care of someone and give yourself completely. The woman comes from a simple family, has no education, but does not need knowledge, since the main area of ​​activity that is comfortable for her has always been housekeeping - cooking and home improvement.

Two types of Russian woman

Women in Goncharov's novel "Oblomov" are the two main types of Russian women that were prevalent in Russian society 19th century and still exist today, albeit in a slightly modified form.

Agafya is a representative of the classical type of Russian woman, the keeper of the hearth, always inferior to her husband in activity, always agreeing with her husband's opinion and adoring him in all his manifestations. It is like a part of that very distant and “beautiful” Oblomovka, a kind of paradise for every Russian person - a place where you can not worry about anything, spending time in calm rest and pleasant dreams and thoughts. Unlike Olga, Agafya is not in the eternal search for knowledge, her own happiness or the purpose of life, she does not try to change the world around her - she accepts everything that is given to her and loves the world in which she lives. Some researchers point to the stupidity of Pshenitsyna, but she cannot be called a fool - she does everything as her heart tells her. And if Olga tried to change, break Oblomov, bring him out of his half-sleep and deadness, then Agafya, on the contrary, tries in every possible way to preserve the atmosphere of “Oblomovism” around Ilya Ilyich, a state of inertia and a sleepy, measured and well-fed life that is close to her - that is, in her own way, she cares about the uninterrupted happiness of her husband.

Olga is new to Russian mentality type of Russian woman. Brought up under the influence of the progressive ideas of Europe, the girl sees before her the whole world, not ending with frying pans and mending clothes for her husband. She does not stop learning, constantly asks Stolz and Oblomov to tell her something new, constantly develops and strives forward - to new knowledge, gaining higher human happiness. However, the image of Olga is tragic - Russian society was not yet ready for the emergence of strong female figures, which Ilinskaya could become. The fate of even the most intelligent and well-read girl was predetermined and ended in a banal household and family, that is, the notorious "Oblomovism" - what Stoltz was so afraid of and what Olga wanted to avoid in relations with Oblomov. After her marriage to Stolz, Olga changes, she is increasingly overcome by boredom and sadness, the reason for which lies in the internal rejection of the everyday monotonous routine that puts pressure on the girl.

In a symbolic sense, the female images in the novel personify the seasons. Light, dreamy, active Olga represents spring (relationship with Oblomov) and summer (marriage with Stolz). Quiet, kind, economic Agafya - a fertile, well-fed autumn and a lulling, calm winter. At first glance, Ilinskaya and Pshenitsyna are contrasted as a woman of the new Russian society and a woman of a patriarchal society. However, both heroines are only at first glance different, in fact they complement each other, reflecting not only the natural cycle of formation and extinction female nature, but also revealing the questions raised by the author of the search for women's happiness and the peculiarities of women's fate.

Two types of love

In Oblomov, Goncharov reveals the theme of love precisely through female images, as more receptive and sensual. Olga's love, on the one hand, was filled with a bright, all-encompassing feeling, for which she was ready even secretly from her aunt to run away on a date with Oblomov. On the other hand, the girl's love was selfish - Olga did not think about the desires of Ilya Ilyich himself, trying to reshape both his personality and his life under her understanding of the right path. The parting of the lovers was connected not only with the understanding that both loved illusory, partially fictional and idealized images of each other, but also with the realization that love can only be built on accepting a person as he is. Oblomov understood this, and therefore he was subconsciously afraid of further relations with Olga, since their family life would turn into a struggle for the primacy of one of the spheres of values, because both of them were not ready to give in to the other and change. The impetuous, active Olga could only inspire Oblomov with her example, but in order to eradicate “Oblomovism” in his soul, she lacked the pliability and that female wisdom that comes with age.

Oblomov Agafya fell in love with a completely different love. The woman not only surrounded Ilya Ilyich with a comfortable atmosphere for him, recreating Oblomovka right in her apartment, but also adored, practically idolized her husband. Pshenitsyna accepted both the advantages and disadvantages of Ilya Ilyich, continuing to take care and create maximum comfort for him even in difficult moments, doing everything so that the man himself did not have to think about the vain life. Agafya's love is comparable to the blind love of a mother, ready for anything so that her child always stays at home, not leaving her for the sake of temptations real world, indulging his every come and slightest desire. However, such care is always detrimental, and therefore led to the illness, and then to the death of Oblomov.

Conclusion

The female images in Goncharov's novel "Oblomov" are two prefabricated, typical female images of the 19th century, depicting which the author reveals a number of important social and philosophical issues. The writer thinks about female destiny in Russian society and the achievement by a woman of not only family, but also personal happiness, analyzes two diametrically opposed, but leading to the collapse of the type of love. Goncharov does not give specific answers, but provides the reader with an extensive field for reflection on these eternal questions that are of interest to people today.

A detailed description of women and a description of their roles in the novel will be especially relevant for grade 10 when writing an essay on the topic “Female images in the novel Oblomov”.

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