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 in women had a different character, differently reflected in 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 a 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 native 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

The women in Goncharov's novel Oblomov are the 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 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 a new type of Russian woman for the Russian mentality. Brought up under the influence of the progressive ideas of Europe, the girl sees a whole world in front of her, 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 women figures, which Ilyinskaya 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.

AT symbolic sense 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 the formation and extinction of female nature, but also revealing the issues raised by the author of the search for female happiness and the peculiarities of female destiny.

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 areas 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 feminine 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 the temptations of the 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

Women's images in Goncharov's novel Oblomov, these are two prefabricated, typical female images of the 19th century, portraying 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 in our time.

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”.

Artwork 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 on time. On the agenda of the political life of Russia was Pushkin and Lermontov already created Onegin and Pechorin - extra people in Russian society, people who leave no trace in History. Ivan Alexandrovich Goncharov, guided by his creative skills, creates the image of an even more useless person - Ilya Ilyich Oblomov. He brings laziness in the nature of this landowner to terrifying 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 any work! In their understanding, work was a peasant occupation! Goncharov himself received a similar upbringing in his youth, so he knew what and how to write...

About the topic of the article

The subject of our article will be main character- Ilya Ilyich Oblomov. We are attracted by something else: the system of images skillfully created by the writer in the novel. "Oblomov" Goncharov, thanks to the well-chosen type of his heroes, the progressive thought of Russia in the person of Nikolai Dobrolyubov called the "sign of the times." As we have already mentioned, the book was written during the 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 reference book of Emperor Alexander II, nicknamed the Liberator, really contributed to its cancellation.

About the characters in the novel

There are few heroes in Ivan Aleksandrovich'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 antipodes he built himself: Stolz - Oblomov, Ilyinskaya - Pshenitsyna.

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

Images of women. Oblomov's mother

What are significant for the Russian literature XIX century creates Goncharov I. A. ("Oblomov") female images? Let's talk more about them.

The most destructive influence on the maturing Oblomov was his own mother. The upbringing that he received from her formed a socially passive person, indifferent to the surrounding life, immersed in the world of his dreams. Being 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 on her orders that the nannies ran after the lively and intelligent child Ilyusha, vigilantly making sure that the boy did not take on any work.

Female images in the novel "Oblomov" are characteristic, they actively participate in shaping him as a person. As a result of, for example, the influence of his mother, the boy grew up as a bankrupt local nobleman who had no business acumen, deceived by swindlers, the list of which should have begun with the manager of the estate.

Olga Ilinskaya

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

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

Widow Pshenitsyna

The author would not have been able to reveal the plot of the novel without the presence of another character - Agafya Matveevna Pshenitsyna, who organically complemented 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 to sacrifice for the sake of this love. This woman's origin is not from the nobility, like Ilyinskaya, she is from the middle class. Like the majority of the population at that time, she is illiterate.

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

Ilyinskaya is of noble origin, she is outwardly very harmonious: somewhat tall, with regular features and body shapes. She was introduced to Ilya Ilyich by their mutual friend Stolz. Olga likes the wealth of the mind, but his lifestyle is disgusting: laziness and empty reasoning. She sets herself the most important task - to return Ilya Ilyich to normal life, re-educating him.

The girl represents the ideal wife-friend, wife-companion. Ilyinskaya, in contrast to Oblomov's mother and Pshenitsyna, presents new, modern, active female characters in the novel. Oblomov is embarrassed by her pressure.

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

Literary critic Pisarev called Olga's type - "a woman of the future." After all, it is inherent, on the one hand, naturalness, and on the other, an organic combination of reflection and action.

Reasonableness of Olga's love

Arguing so abstractly, Olga crosses the line of what is permitted in relation to the protagonist. She is trying to manipulate Ilya Oblomov, using persuasion, sarcasm. The ancient Greeks once called such rational love 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, then the plot of the book would lose its red thread.

As a result, Oblomov, who until then had confessed his love for Olga, backs down. At the same time returning to his 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 inclines him, does not suit him.

The image of Olga ... Was it only education that aroused in her a desire for further development? Hardly. This type of woman is revolutionary for Russian literature.

Let's look at this with a comparative example. The image of Olga Ilyinskaya in Goncharov's novel Oblomov is somewhat reminiscent of Pushkin's Tatyana Larina. Same noble origin, education, similar appearance, grace. However, this is where the similarity ends. If Tatyana can be called a "gentle dreamer", then Olga is a self-sufficient person, active and energetic. This is character, this is the essence of a 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 her chosen one and leaves Oblomov with the words that she loved his future. The girl realizes: living together with Ilya Ilyich will mean for her in the future mutual rejection by each spouse of the life values ​​​​of the other. Therefore, she builds her life differently: she marries Stolz, who is just as active as she is. However, Ilyinskaya has even more vitality than her husband.

Olga expressed an interesting point of view on this feeling literary critic Nikolay Dobrolyubov. He believes that Ilyinskaya tends to choose partners based on her own interest, 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

The comparison of two female images 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.

This widow had previously lost her official husband and was left with two children. This is an adult woman who sincerely wants a 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 refinement of appearance, which distinguishes the image of Olga Ilyinskaya. Outwardly, she is full and white-faced. She has large hands and rounded elbows. Her gray eyes - the mirror of the soul - are simple-hearted and naive.

Indeed, Agafya Matveevna is not interested in everything that does not concern the household. Silent herself, she does not even try to listen to conversations that are not of interest to her. However, as a mistress, this woman is omniscient and omniscient. If a topic of interest to her is discussed, the widow Pshenitsyn, 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 desired for himself a wife-mother caring for him.

By nature, Agafya Matveevna is kind. She is helpful to her loved ones. 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 images in Goncharov's novel Oblomov are two people who seem to experience the same feeling. But, unlike the rational love of Olga Ilyinskaya, the love of Agafya Matveevna Pshenitsyna for Ilya Ilyich is of a completely different nature. This hearty, not suggesting the reservations of the mind. The author speaks with warm irony about Pshenitsyna's love for Oblomov. She fell in love without thinking, as if "having fallen under a cloud", she caught a cold and fell ill with a fever.

Loyalty of Agafya Pshenitsyna

It is no coincidence that the character reaches the highest degree of spirituality in the female images of I. A. Goncharov's novel Oblomov, and it is precisely in the image of the illiterate, outdated Agafya Matveevna.

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

After the death of Oblomov, she loses all interest in life. “It was as if the soul had been taken out,” she says of herself. Isn't that 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 disinterestedly, not for his inherent virtues. Her feeling flared up also not because of sacrifice, that is, not in spite of the fact that Oblomov is imperfect.

Agafya fell in love with him precisely as a person who was originally beautiful in itself. Such love in Russia was called Christian (previously 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 - the object of love - deserves something of it. Agafya Pshenitsyna disinterestedly loves Oblomov. Obviously, therefore, in order to emphasize the truth of their love, Ivan Alexandrovich introduced an episode into the plot of the novel when the late mother, who came to Oblomov in a dream, blessed him for a relationship with Agafya.

Views on the love of Agafya and Olga

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

Conclusion

I. A. Goncharov masterfully portrayed two truly beautiful female images 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. Women's images in the novel "Oblomov" are 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 great artistic power and persuasiveness.

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

Ivan Alexandrovich Goncharov in the period from 1848 to 1859 wrote the novel "Oblomov", which is included in a trilogy with such works as " ordinary story", "Cliff". In his work, the author takes us around life path the main character is 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 Goncharov showed the female ideal very well in the image of Olga Ilyinskaya.

The protagonist Ilya Oblomov is thirty years old, a lazy pampered man who lives his life in peace and laziness. But in his heart he is a romantic and dreams of an ideal wife, who should combine intelligence and femininity in herself, should be a good housewife and mother of children, but should not forget about herself and be well-groomed and tidy. As R. Rubinstein noted, in the ideal of Oblomov's wife, "there are two beginnings, 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 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, short-range, shallow" and only a few saw in her a whole and spiritualized nature. And among them was Stolz, who appreciated her and entrusted his best friend Oblomov. Olga, with her active lifestyle, enthusiastically undertakes to "awaken" Oblomov and soon she falls in love, but this is the love of "Pygmaleon for Galatea". Putting pressure on Oblomov and dictating her own rules, she tries to "blind" him into a suitable half for her. 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 is more suitable for her, having met after years Olga in Switzerland, he understands that Ilyinskaya has changed a lot.

The relationship between Andrei and Olga is very different, they spend a lot of time talking, walking. She does not experience the same feelings that she had for Oblomov, but "with courageous curiosity she looked at this new way of life, looked around 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 of the image of her mother in her behavior. Pshenitsyna was caring, she even cared more about Oblomov than about her children. All housework and housekeeping 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, Psheniyyna became thoughtful and pale, but if Ilya Ilyich was cheerful and kind, the mistress changed before her eyes.

Another quality of character that distinguished her so much from Olga Ilyinskaya was sacrifice, her caring attitude as if Ilya Ilyich was transferred back to Oblomovka.

In life, Oblomov met two loves: love for Olga, who sought to save him, and for Agafya Matveevna, with whom Oblomov was weakening more and more both spiritually and physically.

(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 a 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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In the novel Oblomov, Goncharov described many characters. With the help of a variety of characters, the actions of many heroes, it is easier for the reader to understand the author's train of thought, his intention. Female images in the novel "Oblomov" are revealed in great detail. They acquaint with the life of the past tense, mores and moral principles, allow you to better understand whether a woman can influence the fate of her beloved man.

Olga Ilinskaya. Her simplicity and talents

The beloved of Ilya Ilyich Oblomov, Olga Ilyinskaya, belonged to a noble noble family. A young twenty-year-old lady lived with her aunt. Rich parents are long dead. The girl inherited a huge estate.

"Has a village, a garden, and a house perfectly ready for living."

He enjoys singing and playing the piano. He likes to read books, occasionally embroiders.

Origin and talent did not make her proud and arrogant. The girl is always open to communication with people. Guests often come to the Ilinsky estate.

“She walked the easy way of life and according to a sound, not outwitted upbringing, did not deviate from the natural manifestation of feelings, will, thoughts.”

Andrei Ivanovich Stolz told Oblomov that everything in her is simple, down to “a barely noticeable movement of the eyes, hands or lips. There is no affectation, coquetry, lies, no tinsel, no intent! You don't often see such traits in a lady.

Appearance. Olga's love

“Olga could not be called a beauty, that is, there was no whiteness of the skin in her, the bright color of her lips and cheeks, her eyes did not burn with inner fire, without corals on her lips, there are no pearls in her mouth.”

Her intelligence and good manners seemed to complement those features of appearance that could make her even more attractive.

It is impossible to consider her too wise, rather, due to her young age. Too smart and serious gentlemen avoided her. At the first meeting, Ilya Ilyich also treats the girl with caution. He believes that she can play with other people's feelings.

Already at the first meeting with Oblomov, she will begin to show interest in him. Olga does not take her eyes off him all evening. And when the master confesses his love to her, this will plunge her into embarrassment. This fact speaks of the decency, sincerity, purity of thoughts of the young noblewoman.

Soon she and Oblomov will begin an affair. The girl surrenders to the feeling with her head. She is anxiously waiting for a meeting with her beloved, she cares about his health and mood. When a man cannot come on a date, the lady is ready to rush herself to a meeting in any other place. She is full of aspirations and plans for the future. Faced with the fact that Ilya Ilyich could not justify her hopes, he breaks off relations, continuing to love him.

No matter how positive Olya's character seemed, she could not change for the sake of elevated feelings. The girl erected certain limits. Ilya did not fit into them.

“Would you like to know if I would sacrifice my own peace, go along the path with you? Never, never!"

Acquaintance with the widow Pshenitsyna. Modesty and efficiency of a woman

The complete opposite of Olga is the widow Agafya Matveevna Pshenitsyna, in whose house Oblomov will settle. She was the wife of a late official, lived with her children Vanya and Masha. The character of the widow lacked pride and arrogance. The woman is very hardworking. She breeds poultry, sells eggs, goes to the market herself. He believes that there is nothing shameful in this, because it is necessary to feed the family.

“We have a lot of chickens; We sell eggs and chickens. They take everything from the count's house."

Pshenitsyna is constantly in the care of the house.

“She has everything in her hands! It flies from morning to evening, its economy goes cheerfully, cheerfully, with an original touch. The arms are white, but with large knots of veins protruding outward. She hid them under her shawl.

This suggests that Agafya is ashamed of her simplicity and hard work. And such human qualities should be proud of. It becomes clear that the young lady has excessive modesty.

The unpretentiousness of Agafya. Love for Oblomov

In clothing does not adhere to certain rules. I'm glad that there is an opportunity to throw at least something on my shoulders.

“The dress, in relation to the chic shawl, seemed old and worn.”

When he sells these things, he will walk around in cotton clothes and with an old scarf around his neck. New outfits will be exchanged for money to buy goodies for Oblomov.

She will love him with all her heart, unselfishly. She has no desire to change anything in him, as Olga planned. The woman says that until the age of thirty she did not experience such feelings. Compares the love that has settled in her heart to a sudden fever. Shows excessive custody of Ilya Ilyich. “Other wives don’t look like that - by God! She will see everything, there is not a single undarned stocking - everything herself.

After the death of Oblomov, he often goes to the cemetery, cannot come to terms with the bereavement. For the sake of their son, he gives him up to be raised by the Stolts.

The image of the mother of Ilya Oblomov

In the chapter Dream of Oblomov, the reader meets the mother of little Ilya. She was a noblewoman. She lived, adhering to the principle that it is necessary to rejoice at what you have. Striving for the best was absent in her character. Like many household members of the Oblomov estate, she was lazy, loved to sleep and talk.

I considered myself a good mother. She took care of her son excessively, fulfilled all his childhood and youthful requirements.

“Mother will put Ilyusha’s head on her knees, and comb his hair, admiring their softness. And she talks with them about the future of her son, makes him the hero of the epic she created.

She often allowed the child to stay at home, at times when he should be in a boarding house. This contributed to the fact that a lazy and weak-willed man grew out of him.

The image of the maid Anisya

“She was an active, agile woman, about forty-seven years old, with eyes running in all directions, a caring smile.”

Soon she became the wife of the old servant Zakhar. With her care, a keen female gaze, she managed to maintain order in the house. Her husband, though often grumbled at her, but helped.

Died of cholera. Very similar to Agafya Pshenitsyna. In their images, the author put the whole essence of a simple hardworking woman, ready for anything for the sake of loved ones.