The novel “Oblomov” by Ivan Goncharov is a significant work of 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 - images of Olga Ilyinskaya and Agafya Pshenitsyna. Both heroines have strong feelings for Oblomov at a certain stage of his life, however, the expression of love among women had a different character, differently reflected in the fate of Ilya Ilyich.
Like male, female images in Oblomov are also contrasted, which is clearly seen both when examining the external portrait of the heroines and when analyzing their inner world, character traits and temperament.
Portrait characteristics of female images
Both female characters - Olga and Agafya - are portrayed 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 compressed lips and a fold above her eyebrow “as if there was a thought rested there,” a keen, alert, 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 a noble family, where she received a good upbringing and education. The poetic, sensual nature of the girl, transforming during singing, was emphasized by Olga's seriousness and practicality.
Agafya Pshenitsyn appears to the reader quite differently. 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 oneself completely. A woman comes from a simple family, has no education, but does not need knowledge either, since the main field of activity that is comfortable for her has always been housekeeping - cooking and home improvement.
Two types of Russian women
Women in Goncharov's novel Oblomov are two main types of Russian women that were prevalent in Russian society in the 19th century and still exist today, albeit in a slightly modified form.
Agafya is a representative of the classic type of Russian woman, the keeper of the hearth, always inferior to her husband in activity, always agreeing with the opinion of her husband and adoring him in all its manifestations. She 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 quiet rest and pleasant dreams and thoughts. Unlike Olga, Agafya is not in an eternal search for knowledge, her own happiness or the purpose of life, she is not trying 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 Pshenitsyna's poor mind, 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 half-sleep and numbness, 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, close to herself - that is, in her own way, she cares about the continuous happiness of her husband.
Olga is a new type of Russian woman for the Russian mentality. Raised under the influence of the progressive ideas of Europe, the girl sees in front of her a whole world that does not end with frying pans and mending clothes for her husband. She does not stop learning, constantly asks Stolz and Oblomov to tell her something new, continuously develops and strives forward - to new knowledge, the acquisition of higher human happiness. However, Olga's image is tragic - Russian society was not yet ready for the emergence of strong women-leaders, which Ilyinskaya could become. The fate of even the most intelligent and well-read girl was predetermined and ended with a banal household and family, that is, the notorious "Oblomovism" - what Stolz was so afraid of and what Olga wanted to avoid in her relationship with Oblomov. After marriage to Stolz, Olga changes, she is more and more often overcome by boredom and sadness, the reason for which lies in the internal rejection of the monotonous everyday routine that puts pressure on the girl.
In a symbolic sense, the female characters in the novel represent 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 soporific, calm winter. At first glance, Ilyinskaya and Pshenitsyna are contrasted as a woman of the new Russian society and a woman in a patriarchal society. However, both heroines are different only at first glance, in fact, they complement each other, reflecting not only the natural cycle of the formation and extinction of female nature, but also revealing the questions raised by the author of the search for female happiness and the characteristics of female 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 light, all-encompassing feeling, for the sake of 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 according to her understanding of the right path. The separation of lovers was associated not only with the understanding that both loved illusory, partially invented and idealized images of each other, but also with the realization that love can only be based on accepting a person as he is. Oblomov understood this, and therefore subconsciously was 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 yield 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.
Agafya Oblomova 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 did not have to think about the vain life himself. Agafia's love is comparable to the blind love of a mother who is ready to do anything so that her child will always stay at home, not leaving her for the sake of the temptations of the real world, indulging his every come and the slightest desire. However, such care is always pernicious, and therefore led to illness, and then to the death of Oblomov.
Conclusion
The female images in Goncharov's novel Oblomov are two combined, typical female images of the 19th century, depicting which the author reveals a number of important social and philosophical issues. The writer ponders the fate of women in Russian society and the issues of achieving a woman not only family, but also personal happiness, analyzes two diametrically opposite, but leading to collapse, types of love. Goncharov does not give specific answers, but provides the reader with a vast field for reflection on these eternal questions that are of interest to people in our time.
A detailed description of women and a description of their roles in the novel will be especially relevant for the 10th grade when writing an essay on the topic "Female images in the novel" Oblomov ".
Product test
This outstanding novel was created in the middle of the 19th century and was immediately recognized as a classic. The name of the protagonist has become a household name. The book was written in time. Pushkin and Lermontov had already created Onegin and Pechorin on the agenda of Russia's political life - superfluous people in Russian society, people who leave no trace in history. Ivan Aleksandrovich Goncharov, guided by his creative skill, creates the image of an even more useless person - Ilya Ilyich Oblomov. He brings laziness in the character of this landowner to appalling proportions. How important it was to read this to the nobles who were brought up in the 19th century in the traditional style - in disregard for all work! In their understanding, work was a peasant's occupation! Goncharov himself, in his youth, received a similar upbringing, so he knew what and how to write ...
About the topic of the article
The subject of our article will not be the main character - Ilya Ilyich Oblomov. We are attracted by something else: the system of images masterfully created by the writer in the novel. Goncharov's “Oblomov”, thanks to the well-chosen type of his heroes, the progressive thought of Russia in the person of Nikolai Dobrolyubov called “a sign of the times”. As we have already mentioned, the book was written during the period of awakening of national consciousness, on the eve of the liberation. Serfdom, this long obsolete phenomenon, was about to be eliminated. And Goncharov's novel, which was the handbook of Emperor Alexander II, nicknamed the Liberator, really contributed to its cancellation.
About the characters of the novel
There are few heroes in Ivan Alexandrovich's book. This allows the author to present a detailed description of each of them in the course of the novel. Moreover, Goncharov talentedly uses the system of images-antipodes built by him: Stolz - Oblomov, Ilyinskaya - Pshenitsyna.
The female images in the novel Oblomov are plot-forming. At first it was the mother, then the subject of the protagonist's love - Olga Ilyinskaya and, finally, the woman who became his wife and gave birth to his son Andryusha - Agafya Matveevna Pshenitsyna. Ilya Ilyich Oblomov himself is an extremely inert and inert person, cherishing his laziness and constantly dwelling in passive thinking. He is by nature a follower. Therefore, his whole life, as it were, proceeds in a channel designated by other people. More precisely - women close to him.
Images of women. Oblomov's mother
What are the significant female images for Russian literature of the XIX century created by I. A. Goncharov ("Oblomov")? Let's tell you more about them.
The most devastating influence on the maturing Oblomov was his own mother. The upbringing that he received from her formed a socially passive personality, indifferent to the life around him, immersed in the world of his dreams. As a landowner in the village of Oblomovka, the mother of Ilya Ilyich personally contributed to the establishment of the cult of idleness there. It was by her order that the nannies ran after the living and intelligent child Ilyusha, vigilantly making sure that the boy did not undertake any work.
Female images in the novel "Oblomov" are characteristic, they actively participate in the formation of him as a person. As a result, for example, of the influence of the mother, the boy grew into a ruinous local nobleman who did not have a business acumen, deceived by swindlers, the list of which should start with the estate manager.
Olga Ilyinskaya
Another female character is Olga Ilyinskaya. She won the heart of Ilya Oblomov with her beauty, the unacceptability of any coquetry, and her dissimilarity to other girls. This character is most fully revealed by the writer Goncharov. The female characters in the novel Oblomov acquired the most striking component in it.
In Olga, intelligence, intelligence, simplicity and free disposition organically coexisted. Her personality is multifaceted. The girl is attracted by literature, music. She perceives the beauty of nature. It was the acquaintance with her that made the seemingly impossible: made Ilya Ilyich tear himself away from the sofa, start communicating with people and even try to improve his life.
Pshenitsyn's widow
The author would not have been able to reveal the plot of the novel without the presence of one more character - Agafya Matveevna Pshenitsyna, who organically supplemented the female characters in the novel. She really loved Oblomov. Agafya Matveevna is a real mistress of the hearth: kind, loving, caring. Moreover, she is ready for sacrifice for this love. This woman does not come from the nobility, like Ilyinskaya, she is from the bourgeoisie. Like most of the population at the time, she was illiterate.
The idea of \u200b\u200bcreating the image of Olga
Ilyinskaya is of noble origin, she is outwardly very harmonious: somewhat tall, with regular facial features and body shapes. She was introduced to Ilya Ilyich by their mutual friend Stolz. Olga likes the wealth of the mind, however, he abhors his lifestyle: laziness and empty reasoning. She sets a super task for herself - to return Ilya Ilyich to a normal life by re-educating him.
The girl represents the ideal of a wife-friend, wife-colleague. Ilyinskaya, in contrast to the mother of Oblomov and Pshenitsyna, presents new, modern, active female images in the novel. Oblomov is confused by her pressure.
Olga is completely passionate about her plan - to re-educate Ilya Ilyich. She sees this as her mission. In her understanding, both life and love are, in large measure, the fulfillment of duty. Therefore, she takes her rational desire - to change Oblomov - for love, without supplementing it with warmth. At the same time, Olga herself admits that earlier she had never presented such serious criteria to her close people. Oblomov is confused by new aspects in their relationship.
Literary critic Pisarev called Olga's type “the woman of the future”. After all, it is inherent, on the one hand, naturalness, and on the other, an organic combination of thinking and action.
The rationality of Olga's love
Arguing so abstractly, Olga oversteps the boundaries of what is permissible in relation to the main character. She tries to manipulate Ilya Oblomov, using persuasion, sarcasm. The ancient Greeks once called such rational love with the short word pragma. Thus, Olga's pragmatic love, as we see, could not overcome Oblomov's shortcomings. It is not given to such a feeling to heal!
The role of female images in Goncharov's novel Oblomov is great. Agree, if it were not for the intrigue introduced by Olga Ilyinskaya, the plot of the book would have lost its red thread.
As a result, Oblomov, who had previously confessed his love for Olga, backtracks. At the same time, returning to their usual way of life. He breaks up with her by writing a farewell letter. Ilya Ilyich understands that the public way of life, to which Olga is persuading him, does not suit him.
Olga's image ... Was it only education that made her strive for further development? Hardly. This type of woman is revolutionary for Russian literature.
Let's look at a comparative example. The image of Olga Ilyinskaya in Goncharov's novel Oblomov is somewhat reminiscent of Pushkin's Tatyana Larina. The same noble origin, education, similar appearance, grace. However, this is where the similarity ends. If Tatiana can be called a "gentle dreamer", then Olga is a self-sufficient person, active and energetic. This is character, this is the essence of the warrior woman. Thus, the female images in the novel by I.A.Goncharov, created a quarter of a century after Pushkin's, evolved, became different, corresponding to the dynamics of the development of Russian society.
The fact that she will part with Oblomov is inevitable. Olga Ilyinskaya finally admits her incompatibility with the chosen one and leaves Oblomov with the words that she loved his future. The girl realizes: living together with Ilya Ilyich will for her in the long run mean mutual rejection by each spouse of the life values \u200b\u200bof the other. Therefore, she builds her life in a different way: she marries the same active as she is, Stolz. However, Ilinskaya has even more vital energy than her husband.
An interesting point of view on this feeling of Olga was expressed by the literary critic Nikolai Dobrolyubov. He believes that it is typical for Ilinskaya to choose partners based on his own interests, that is, personal benefits. Therefore, in his opinion, if Stolz ceases to suit her mercantile interest, Olga will leave him too.
Simple and sincere Pshenitsyna Agafya
Comparison of two female characters in Goncharov's novel Oblomov begins from the moment of his falling out with Olga and moving to the Vyborg side to stay with the widow Pshenitsyna.
Earlier, this widow lost her husband, an official, and was left with two children. This is an adult woman who sincerely desires quiet family happiness. At the time of her acquaintance with Ilya Oblomov, she was about thirty years old. Agafya is not inherent in the aristocratic sophistication of appearance, which distinguishes the image of Olga Ilyinskaya. Outwardly, it is full and white-faced. She has large arms and rounded elbows. Her gray eyes - the mirror of the soul - are simple-minded and naive.
Indeed, Agafya Matveyevna is not interested in everything that does not concern the household. She is silent herself, she does not even try to listen to conversations that do not interest her. However, as a hostess, this woman is omniscient and all-knowing. If a topic that interests her is being discussed, Pshenitsyn's widow, as if by magic, becomes businesslike and quick-witted.
Ilya Ilyich liked this woman immediately, when, on the advice of Tarantiev, he came to her - to live on the Vyborg side. Her image is undoubtedly closer to Oblomov's soul than the image of Olga Ilyinskaya. It was such a woman that he imagined in childhood, when he read about the fabulous beauty Militris Kirbityevna. The fact is that the protagonist of the novel, infantile by nature, subconsciously wanted a wife-mother caring for him.
By nature, Agafya Matveyevna is kind. She is helpful to her close people. She is not attracted to entertainment: visiting theaters or walking. Concerns: to feed, clothe, help - became the meaning of her life. Therefore, when Ilya Ilyich appeared in her house, he became an object of care for her.
The two main female characters in Goncharov's novel Oblomov are two people who seemingly experience the same feeling. But, unlike the rational love of Olga Ilyinskaya, the love of Agafya Matveyevna Pshenitsyna for Ilya Ilyich is of a completely different nature. This heartfelt, not presupposing reservations of reason. The author speaks with warm irony about Pshenitsyna's love for Oblomov. She fell in love without hesitation, as if “falling under a cloud,” caught a cold and fell ill with a fever.
Loyalty to Agafya Pshenitsyna
It is no coincidence that character reaches the highest degree of spirituality in the female characters of I. A. Goncharov's novel Oblomov, and it is precisely in the character of the illiterate, outdated Agafya Matveyevna.
Pshenitsyn's widow, Oblomov's illegitimate wife, attracts the reader with her integrity and sincerity. For her, the main thing in family life is not the material aspect, but the sincerity of the relationship. Such a woman will really be next to her beloved person in sorrow and in joy, in wealth and poverty. To ensure proper care for the sick Oblomov, she sells her valuables. And when he finds out that her brother and godfather are deceiving and ruining Ilya Ilyich, he breaks off all relations with them.
After Oblomov's death, she loses all interest in life. “It’s like they took out the soul,” she says about herself. Isn't this a high feeling?
What is Agafya's love like?
Agafya Pshenitsyna intuitively perceives love as something natural, not connected with reason. She fell in love with Ilya Ilyich unselfishly, not for his inherent virtues. Her feeling also flared up not because of sacrifice, that is, not despite the fact that Oblomov is imperfect.
Agafya fell in love with him precisely as a person who is initially beautiful in itself. Such love in Russia was called Christian (earlier this feeling was not evaluated from the standpoint of rationality or cordiality). The essence of Christian love is simply to love, because such a feeling is characteristic of a person, and not because the other person - an object of love - deserves something of this. Agafya Pshenitsyna unselfishly loves Oblomov. Obviously, therefore, in order to emphasize the truth of their love, Ivan Aleksandrovich introduced an episode into the plot of the novel when the late mother, who came to Oblomov in a dream, blessed him for a relationship with Agafya.
Views on the love of Agafya and Olga
The role of female images in Goncharov's novel Oblomov is thus also reduced to the original author's philosophical interpretation of love. If Olga wants to see a real man in Ilya Ilyich and tries to re-educate him accordingly, then Agafya Matveyevna does not need all this. Ilyinskaya's love is an ascent to the ideal. Love Pshenitsyna - adoration. However, both of them, being in love with Oblomov, themselves experience a spiritual awakening. The female characters in Goncharov's novel Oblomov are highly artistic and unique. Even the sharp-sighted Belinsky subtly noticed this feature of Ivan Aleksandrovich Goncharov - to write out with a "thin brush" None of the heroines of Goncharov's books does not repeat in any way the other. All of them are individual, piece, special.
Output
IA Goncharov masterfully portrayed two really beautiful female characters in the novel Oblomov. This showed his talent, observation, knowledge of life. A woman who actively arranges life, and a woman is the keeper of the hearth. The female characters in the novel Oblomov are also relevant for our time. Ilya Alexandrovich, like a real magician of the word, subtly reveals the features of each of these characters. As a result, both Olga Ilyinskaya and Agafya Pshenitsyna are characters shown by their creator masterfully, with tremendous artistic force and persuasiveness.
It is characteristic that both Olga and Agafya, during the course of the book's plot, do not meet in person. Each of them lives and acts in its own environment. One is active, active, supportive and helpful; the other is cozy, homely, selfless, loving to the end. Which one do you like best? Decide for yourself.
Ivan Aleksandrovich Goncharov in the period from 1848 to 1859 wrote the novel "Oblomov", which is included in the trilogy with such works as "An Ordinary History", "Break". In his work, the author takes us along the entire life path of the main character - Ilya Oblomov. The novel is psychological, philosophical, makes you think about the meaning of life. If in the novel it is impossible to find an integral hero of the male ideal, then the female ideal Goncharov showed very well in the image of Olga Ilyinskaya.
The main character is Ilya Oblomov, thirty years old, a lazy, pampered man who lives his life in tranquility and laziness. But at heart he is a romantic and dreams of an ideal wife, who must combine intelligence and femininity in herself, must be a good housewife and mother of children, but must not forget about herself and be well-groomed and tidy. As R. Rubinstein noted in the ideal of Oblomov's wife, "there are two principles, and one will meet in Olga, the other in Pshenitsyna."
The author endowed Olga Ilyinskaya with all the features that he would like to see in the ideal of a Russian woman, outwardly she did not stand out in any way, but "if she were turned into a statue, she would be a statue of grace and harmony." In society, the attitude towards her was ambiguous, "Some considered her simple, shorter, shallow" and only a few saw in her an integral and spiritualized nature. And among them was Stolz, who appreciated her and entrusted his best friend Oblomov. Olga with her active way of life enthusiastically undertakes to "awaken" Oblomov and soon she falls in love, but this is the love of "Pygmaleon for Galatea". Pressing on Oblomov and dictating her own rules, she tries to "blind" him to a suitable half. Olga is an idealist, in a relationship she completely gives up her feelings, but does not receive anything in return, no matter how hard Oblomov tries. He does not keep up with the rhythm of Olga's life. By temperament, the energetic, active Stolz suits her better, having met Olga in Switzerland after many years, he understands that Ilyinskaya has changed a lot.
The relationship between Andrey and Olga is very different, they spend a lot of time talking and walking. She does not feel the same feelings that she felt for Oblomov, but "looked at this new way of life with courageous curiosity, looked at him with horror and measured her strength."
Agafya Matveevna Pshenitsyna is completely different from Olga: intellect, character and even love for Oblomov. This is the mistress of the house in which Oblomov settled, limited in knowledge, unobtrusive. She reminds Oblomov's behavior of the image of a mother. Pshenitsyna was caring, she even cared more about Oblomov than about her children. All household chores and household chores lay on her shoulders, she looked after Ilya like a nanny. Outwardly, Agafya changed from Oblomov's attitude towards her, when he was silent and gloomy, Psheniyyn became pensive and pale, but if Ilya Ilyich was cheerful and kind, the hostess changed before our eyes.
Another character trait that distinguished her so much from Olga Ilyinskaya is sacrifice, her caring attitude seemed to be transferred by Ilya Ilyich back to Oblomovka.
In life, Oblomov met two loves: love for Olga, who sought to save him, and for Agafya Matveyevna, with whom Oblomov is increasingly weakening both spiritually and physically.
The novel “Oblomov” by Ivan Goncharov is a significant work of 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 - images of Olga Ilyinskaya and Agafya Pshenitsyna. Both heroines have strong feelings for Oblomov at a certain stage of his life, however, the expression of love among women had a different character, differently reflected in the fate of Ilya Ilyich.
Like male, female images in Oblomov are also contrasted, which is clearly seen both when examining the external portrait of the heroines and when analyzing their inner world, character traits and temperament.
Portrait characteristics of female images
Both female characters - Olga and Agafya - are portrayed 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 compressed lips and a fold above her eyebrow “as if there was a thought rested there,” a keen, alert, 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 a noble family, where she received a good upbringing and education. The poetic, sensual nature of the girl, transforming during singing, was emphasized by Olga's seriousness and practicality.
Agafya Pshenitsyn appears to the reader quite differently. 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 oneself completely. A woman comes from a simple family, has no education, but does not need knowledge either, since the main field of activity that is comfortable for her has always been housekeeping - cooking and home improvement.
Two types of Russian women
Women in Goncharov's novel Oblomov are two main types of Russian women that were prevalent in Russian society in the 19th century and still exist today, albeit in a slightly modified form.
Agafya is a representative of the classic type of Russian woman, the keeper of the hearth, always inferior to her husband in activity, always agreeing with the opinion of her husband and adoring him in all its manifestations. She 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 quiet rest and pleasant dreams and thoughts. Unlike Olga, Agafya is not in an eternal search for knowledge, her own happiness or the purpose of life, she is not trying 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 Pshenitsyna's poor mind, 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 half-sleep and numbness, 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, close to herself - that is, in her own way, she cares about the continuous happiness of her husband.
Olga is a new type of Russian woman for the Russian mentality. Raised under the influence of the progressive ideas of Europe, the girl sees in front of her a whole world that does not end with frying pans and mending clothes for her husband. She does not stop learning, constantly asks Stolz and Oblomov to tell her something new, continuously develops and strives forward - to new knowledge, the acquisition of higher human happiness. However, Olga's image is tragic - Russian society was not yet ready for the emergence of strong women-leaders, which Ilyinskaya could become. The fate of even the most intelligent and well-read girl was predetermined and ended with a banal household and family, that is, the notorious "Oblomovism" - what Stolz was so afraid of and what Olga wanted to avoid in her relationship with Oblomov. After marriage to Stolz, Olga changes, she is more and more often overcome by boredom and sadness, the reason for which lies in the internal rejection of the monotonous everyday routine that puts pressure on the girl.
In a symbolic sense, the female characters in the novel represent 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 soporific, calm winter. At first glance, Ilyinskaya and Pshenitsyna are contrasted as a woman of the new Russian society and a woman in a patriarchal society. However, both heroines are different only at first glance, in fact, they complement each other, reflecting not only the natural cycle of the formation and extinction of female nature, but also revealing the questions raised by the author of the search for female happiness and the characteristics of female 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 light, all-encompassing feeling, for the sake of 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 according to her understanding of the right path. The separation of lovers was associated not only with the understanding that both loved illusory, partially invented and idealized images of each other, but also with the realization that love can only be based on accepting a person as he is. Oblomov understood this, and therefore subconsciously was 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 yield 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.
Agafya Oblomova 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 did not have to think about the vain life himself. Agafia's love is comparable to the blind love of a mother who is ready to do anything so that her child will always stay at home, not leaving her for the sake of the temptations of the real world, indulging his every come and the slightest desire. However, such care is always pernicious, and therefore led to illness, and then to the death of Oblomov.
Conclusion
The female images in Goncharov's novel Oblomov are two combined, typical female images of the 19th century, depicting which the author reveals a number of important social and philosophical issues. The writer ponders the fate of women in Russian society and the issues of achieving a woman not only family, but also personal happiness, analyzes two diametrically opposite, but leading to collapse, types of love. Goncharov does not give specific answers, but provides the reader with a vast field for reflection on these eternal questions that are of interest to people in our time.
A detailed description of women and a description of their roles in the novel will be especially relevant for the 10th grade when writing an essay on the topic "Female images in the novel" Oblomov ".
Product test
IA Goncharov in his novel Oblomov tells the story of Oblomov's life - a typical representative of the nobility of his time. The author reveals the character of the protagonist, including through the image of his interaction with other characters. Among other characters in the novel are Olga Ilyinskaya and Agafya Matveevna.
In adulthood, Oblomov avoids communication with the fair sex, not wanting to cause himself unnecessary trouble. However, in his early youth, women did not leave the hero indifferent. But this period was very short. It was "back in that tender time when a person in every other person presupposes a sincere friend and falls in love with almost every woman and is ready to offer a hand and a heart to every woman ...".
Two women played a significant role in the life of the protagonist: Olga Ilyinskaya and Agafya Matveyevna. Olga can rightfully be called an extraordinary person. She is smart, intelligent, interesting. Ilyinskaya is not like the young ladies of her circle. This is how the author says about her: “Be that as it may, but in a rare girl you will find such simplicity and natural freedom of sight, word, and deed”.
Despite the many advantages of the girl, she is clearly underestimated by those around her. “... She spoke little, and that was her own, unimportant - and smart and lively" gentlemen "bypassed her; the unstable, on the contrary, considered her too tricky and were a little afraid. "
We see that Olga Ilyinskaya cannot boast of everyone's attention. But, apparently, this suits her perfectly.
Olga wants to transform Oblomov, wants him to join an interesting and active life. Paradoxically, Olga herself cannot understand why she is trying so hard to change Ilya Oblomov. Perhaps the internal energy needs to be released. That is why Ilyinskaya so zealously took up Ilya Ilyich. Soon the girl began to truly admire herself: “And she will do all this miracle, so timid, silent, to which no one has obeyed until now, who has not yet begun to live! .. He will live, act, bless life and her. To bring a person back to life - how much glory to the doctor when he saves a hopeless patient!
And to save the morally perishing mind, soul? She even shuddered with proud, joyful awe; considered it a lesson assigned from above. " We understand that Olga is trying not only and not so much for the sake of Ilya Ilyich, she herself needs to feel her importance and significance. In this case, the girl seeks to realize herself.
A gentle girl becomes despotic, tough. She literally subdues the weak and weak-willed Oblomov. Olga is sure that she is acting for the good. She often says that "life, duty, duty, therefore love is also duty."
We understand that Olga's "love" for Oblomov is a completely different feeling that does not correspond to the concept of "love" in the generally accepted sense. Ilyinskaya herself thinks about what she feels for Ilya Ilyich. The girl understands that Oblomov is important to her, that so far she has not loved anyone, including relatives. However, Olga's feeling does not look like sincere love, bright, exciting. The girl refers to Oblomov as an object with which she proves her strength, the ability to awaken a weak-willed and spineless person from sleep.
Olga is very glad to hear from Oblomov a declaration of love. After all, this proves to her herself that she was right in making attempts to influence Ilya Ilyich. Again we see that Oblomov's feeling itself is not very important for Olga. It is important for Ilyinskaya to realize that this love arose as a result of her purposeful efforts. The girl is delighted with her mission - she seeks to remake Oblomov. Of course, she fails. And there is nothing surprising in this. Oblomov for some period begins to change. But this is exclusively the external side.
In fact, Ilya Ilyich remains the same as he was before meeting Olga. Oblomov simply does not have the strength to resist. In addition, he sincerely wishes to please Olga, because he likes her.
Oblomov understands Olga better than she understands herself: “Now she loves how she embroider on the canvas: the pattern comes out quietly, lazily, she unfolds it even more lazily, admires it, then puts it down and forgets. Yes, this is just a preparation for love, an experience, and he is the subject who turned up first, a little bearable for experience, on occasion. " Olga Ilyinskaya is a bright and interesting female image.
The girl has an amazing strength of character: she has a thirst for action. Olga is confident in herself, self-sufficient, does not need approval of her actions. She needs to "remake" Oblomov, because she considers it necessary. It is important for Olga to see the result of her activities, so she does not take into account the peculiarities of Oblomov's character. Olga is short-sighted, she rejoices at the external changes in Oblomov, not realizing that this is all a mirage. It is impossible to remake another person if he does not have his own desire for it. Therefore, we can admit: despite her strong character, Olga is just a person who tends to be delusional.
Undoubtedly, Olga should have directed her activities towards something more important than wasting her energy on knowingly fruitless attempts to "re-educate" Oblomov. In connection with the analysis of Olga's image, a wonderful expression comes to mind: "Do not throw pearls in front of pigs."
In this case, it is very appropriate. Olga is wasting the treasures of her soul: Oblomov cannot appreciate her efforts. He is even frightened by Olga's zeal, it seems to him that he is just an experiment for her.
Another female image of the novel is the image of Pshenitsyna's widow Agafya Matveyev-ly. A simple woman, she has tender feelings for Oblomov, surrounds him with care and attention. Agafya Matveevna is sincere in her thoughts and actions. She cares about Oblomov for his own sake, and not for the sake of her own ambitions.
Pshenitsyna treats Oblomov not only with tenderness and love, but also with genuine admiration. After all, he is so different from her late husband: “Ilya Ilyich did not walk like her late husband, collegiate secretary Pshenitsyn, with his petty business agility, does not constantly write papers, does not tremble with fear that he will be late for office, does not look at everyone like that, as if he asks to saddle him and go, but looks at everyone and at everything so boldly and freely, as if demanding obedience to himself. "
Agafya Matveevna sacrifices a lot for the sake of Ilya Ilyich. In particular, she is ready to sell some of her poor property so that Oblomov does not starve to death. Pshenitsyn accepts Oblomov as he really is, does not try to remake him. Oblomov and Agafya Matveyevna even have a son named after Stolz, Andrey.
If we compare Agafya Matveevna with Olga Ilyinskaya, then the first one seems uninteresting, primitive, narrow-minded. But on the other hand, she is more sincere. She does not think about herself, she is ready to completely forget about her own interests for the sake of Oblomov. It is no coincidence that Ilya Ilyich feels happy with her. Now, he does not need to pretend, to observe external decency.
He is accepted for who he is, he is loved, he is taken care of. In Agafya Matveyevna we see sincere philanthropy. She is ready for help and self-sacrifice.
Of course, we can say that Agafya Matveyevna, with her indulgence to the weaknesses and whims of Oblomov, is ruining him. After all, Ilya Ilyich is slowly but surely degrading. He doesn't even make an attempt to change his life. And Pshenitsyna's worries only contribute to this. However, we have already seen in the novel that the aspirations of the active and purposeful Olga Ilyinskaya were also doomed to failure. Oblomov himself does not want to change, so any attempts by other people to change him are basically useless.
