Oblomov, The ideal of love and family in the understanding of I. A. Goncharov. All school essays on literature Portrait characteristics of female images

Critics note that I. A. Goncharov is “a pure and independent artist, an artist by vocation and in all the value of what he has done. He is a realist, but his realism is constantly warmed by deep poetry ... ”I think that this statement is quite true for the entire system of images in the novel“ Oblomov ”, and for female images in particular. Olga Ilyinskaya and Agafya Matveevna are especially interesting.These women played a significant role in the life of the main character of the work. We can say that they embody two ideals, two ideas about a woman.

Olga is that bright, joyful, that was in the life of Ilya Ilyich Oblomov. Without her, without her drama, readers would not be able to understand the hero. Ilyinskaya - nature is unusually deep, subtle. It was Olga who was able to see the wonderful qualities of Oblomov, to realize that he "is illuminated through love." It is no coincidence that the image of Olga Ilyinskaya attracted the attention of critics. Thus, N. A. Dobrolyubov emphasized that "Olga, in her development, represents the highest ideal that a Russian artist can now evoke from today's Russian life."

Ilyinskaya is not only a clear, bright, sensitive person, but also an extremely integral nature, striking with the harmony of "heart and will." Throughout the entire work, she is true to herself. Having met Oblomov, having fallen in love with him, Olga sincerely tries to change his existence, awaken him to life. The heroine is very peculiar, people's opinions about her are sometimes diametrically opposed. What one seems to be an advantage, others consider it almost a disadvantage. Thus, Andrei Shtolz “spoke to her more willingly and more often than to other women, because, although unconsciously, she followed a simple, natural way of life. No pretense, no coquetry, ... no intent! " And a little later, the author notes that some considered her simple, narrow-minded, shallow, because neither sophisticated maxims about life, ... nor read or overheard judgments about music and literature ... "Probably, these are the qualities attracted Ilya Ilyich to Olga. Under her influence, he comes to life, he is even able to perform actions that are almost a feat for him. Oblomov no longer lies after dinner, leaves with Olga to the theater, discusses books with her. But the closer the decisive moment, the less capable the hero is of it. He refuses her love in the name of her own happiness. Olga joins her destiny with Andrei Stolz. It is the attitude towards Ilyinskaya that shows how different Ilya Oblomov and Stolz are. If Oblomov is sure that she is that loving woman who is capable of creating a serene life, then Stolz is trying to develop her mind, to cultivate an active principle in her. However, Olga Ilyinskaya is deeper, smarter, thinner than the people around her. It is no coincidence that in the finale of the novel, she realizes that her active life with Stolz is probably no less empty and useless than Oblomov's.

It seems to me that Agafya Matveevna Pshenitsyna is the embodiment of a different ideal of a woman. In the life of the protagonist of the novel Oblomov, she played no less significant role than Olga. At first glance, this woman is the complete opposite of Ilyinsky. Simple, not very educated, Agafya Matveyevna knew only a life full of the most ordinary worries. But she, like Olga, had the ability to understand, sympathize and care. Ilya Oblomov amazed her not only by the fact that "he is a gentleman) he shines, he shines", but also by the fact that he is kind, soft! Pshenitsyna "silently assumed the responsibilities of relating to Oblomov." She completely sincerely cares about him, keeps him calm, does not try to change anything in him. She is already happy that she can serve Ilya Ilyich. For Oblomov, Agafya Matveyevna is "the ideal of that boundless, like an ocean, indestructible peace of life, the picture of which indelibly fell on his soul in childhood ..." but he is unusually calm, comfortable with this woman. We can say that the hero found his happiness. It is as if he has returned to the sweet Oblomovka, he does not need to worry about anything, about anything to worry about. However, he probably did not forget the high feeling that for a moment illuminated his life. It is no coincidence that he asks Stolz not to tell Olga Ilyinskaya anything about his present life.

Agafya Matveyevna found real life only in caring for Ilya Ilyich: “she lived and felt that she lived fully, as she had never lived before ...” She prayed to God, “to prolong the life of Ilya Ilyich,” thinking only about his peace and comfort. Many critics believed that this image was negative, that Pshenitsyn was the personification of the vulgarity and routine of life. But she also has self-sacrifice, and sincerity and kindness. She illuminates Oblomov's life, albeit differently than Olga Ilyinskaya. Although this light is not bright, but if it were not for it, what would the existence of Ilya Ilyich on the Vyborg side, far from both Stolz and Olga, have become! After the death of the beloved Ilya Ilyich, Agafya Matveyevna takes care of Andryusha with particular tenderness, agrees to give him up to Stolz to be raised, realizing that "his real place is there." She does this out of love for her son, in memory of his father.

It seems that it was the image of Agafya Matveyevna that served as a source, for example, for the heroine of Chekhov's story "Darling". The main character trait of Pshenitsyna is the eternal ability to imperceptible, requiring nothing love. Olga Ilyinskaya and Agafya Pshenitsyna, apparently, are united by the fact that they are able to illuminate the life of other people, to give them love. But these women are significantly different from each other. If Olga is the poetry of life, a person walking forward, yearning for something new, then Agafya Matveyevna is peace dear to the hearts of many, the embodiment of the inviolability of the very way of existence.

The work "Oblomov" by I. A. Goncharov was presented to the world in 1859. During these times, much attention was paid to the problem of serfdom, but the author gave a significant role in the novel to a woman, whose image he endowed with truly high character traits.

This is Olga Ilyinskaya. Her character has become a collective image not only of the fairer sex, but also of the best qualities of the Russian person in general. This woman was not the ideal of physical and flashy beauty. Her lips were not bright, her skin was not striking with whiteness, there was no recklessness in her eyes. But, if, at one moment, she was presented in the form of a statue, then her harmonious and graceful figure would be striking.

Goncharov emphasizes that there are no artificial indicators of beauty in this woman, only everything is natural and natural. She is the image of a Russian woman who, even without whitewash and blush, will attract the exciting glances of true connoisseurs of beauty.

Directly through the image of the protagonist Ilya Oblomov, one can guess how the author relates to Olga herself. In her, Ilya notices her decisive character, intelligence, and even the courage with which she defends her beliefs. Oblomov, struck by Olga's qualities, admits that she is the ideal of a Russian woman.

Initially, Olga, under the impulse of feelings of mercy, which are inherent in most Russian women, hopes to change Oblomov. She notices his intelligence, lack of snobbery, gentleness of character and even some determination.

Ilyinskaya really wants to be a good friend of Oblomov and make up for the strength he lacks in everyday affairs. Determination matures in the woman again to make him fall in love with what Ilya has already stopped loving, and to which he has ceased to pay attention. She dreamed of becoming his guiding star, who would guide him throughout his life. But her wishes were not destined to come true.

It occurred to Oblomov that their relationship with Ilyinskaya cannot always be ideal, and the time will come to fulfill the various conventions and responsibilities that society dictates to them.

Olga begins to perceive her love, or rather a kind attitude towards Oblomov, as a mission dictated to her by a sense of duty. At the same time, she honestly confesses to Ilya that she will not show various extravagances that are inherent in a woman in love.

Ilyinskaya in her head created the image of Oblomov, to which his living original certainly did not reach. And most importantly, why Olga was disappointed in him was the lack of desire to achieve anything. This characteristic laziness and could not forgive her former "protégé" merciful woman. And he, in turn, did not forgive her for the absence of reckless love.

Disappointed in Oblomov, Ilyinskaya marries Stolz, who possesses the qualities of a leader, but perhaps lacks the moral beauty of the soul, which Oblomovism ruined.

You need to have something in common in order to understand each other,
and be different in order to love. (Paul Geraldi)

Oblomov is the protagonist of the novel of the same name by I.A. Goncharova. His passive life was not at all conducive to love experiences. Ilya Ilyich spent almost all his time on the couch in fruitless dreams, doing nothing to realize them. In his imagination, there was an ideal image of a future girlfriend. But he did nothing to find her in life. True to his childhood dream of the fairytale princess Militrisa Kirbityevna, he calmly waited for her appearance in his life.

Oblomov was loved by two women: Olga Ilyinskaya and Agafya Pshenitsyna. The first girl is an active person, educated and charming. She sings great, is interested in literature, art, science. Olga made out the noble, pure soul of Oblomov, hidden under the thickness of inaction. But Olga does not close her eyes to Oblomov's shortcomings - laziness, passivity, a habit of inactivity.

She is flattered by the thought that love will push Oblomov to activity, spiritually revive him. She thinks that he will find something to his liking, useful not only for the development of his personality, but also necessary for society. Olga hopes that Oblomov will become a good owner of his estate, take an interest in what is happening around. Ilyinskaya is pleased with the idea that, thanks to her influence, Oblomov will become a business person and say goodbye to a robe and a sofa.

Olga's purposefulness and Oblomov's compliance, it would seem, create the preconditions for the reincarnation of Ilya Ilyich, which Olga is trying to achieve. But that doesn't happen. Soon, their relationship breaks down. Oblomov's activity is completely artificial, it is the result of Olga's influence. As soon as Oblomov is left without guidance for several days, he returns to his old way of life. He has no inner need to change himself. Gradually, he begins to be weighed down by the lifestyle that Olga imposes on him. To be on the same level with her, he has to be in motion all the time, to do business.

Olga does not correspond to Oblomov's ideal, which he cherishes since childhood. He dreams of a life partner who will be the embodiment of inner peace and harmony. Peace, not a hurricane of passions, values ​​Oblomov. And he finds this peace in another woman. This, Agafya Matveevna, is the owner of the apartment that Oblomov rented.

At first, he barely notices her. Ilya Ilyich is pleased to see her. He likes that she is economic, hospitable, kind. He does not feel love for her. She does not cause any emotional disturbances in him. Agafya Matveyevna is not as educated as Olga, but Oblomov easily finds a common language with her, she has a peaceful, even, calm disposition.

Olga seeks to raise Oblomov to the image that exists in her imagination, and Agafya Matveyevna accepts him as he is and does not think about the possibility of any changes. Olga tries to make Oblomov happy, guided by her own ideas about happiness, and Agafya Matveyevna cares about the comfort and peace of Ivan Ilyich.

Olga constantly demands from Oblomov an account of what he is doing, and Agafya Matveyevna, on the contrary, does not demand anything, she only works to keep Oblomov calm. In a difficult moment, she, without hesitation, pawns her things, if only Ilya Ilyich does not limit himself in his habits. Agafya Matveevna turned out to be the ideal woman that Oblomov had dreamed of since childhood. Ilya Ilyich married her.

It was impossible to change Oblomov. He understood this himself, and Olga also understood this. If they got married, they would be unhappy. And with Agafya Matveyevna it is calm and comfortable. Happiness for Oblomov is peace, not love. And she, too, is happy with him. Love for Oblomov gave meaning to her life. This simple, kind and hardworking woman found her purpose in caring for her beloved. Oblomov, on the other hand, seemed to have returned to childhood, to the environment that was for him the ideal of existence.

Love in Oblomov, as in other Russian novels, plays a huge role. Falling in love can explain many of the actions of the heroes, she (love) is the cause of joy and suffering, this is the main feeling that awakens the soul to life. In Oblomov's novel, love revives the protagonist and brings happiness. She makes him suffer - with the departure of love in Oblomov, the desire to live disappears.
Why are we talking about types of love? Because everyone loves in their own way. It is impossible to draw clear boundaries between different types of love, as well as to define this feeling. For some, love is an all-consuming passion, for others it is just the expectation of another, true love, the need for tenderness. That is why Goncharov in his novel Oblomov presents us with several types of love.
According to Stendhal, love is divided into four kinds: love - passion, love - attraction, love - vanity, physical love. To which of these kinds does the feeling that arises between Olga and Oblomov belong?
Both heroes have been waiting for love for a long time. Ilya Ilyich, perhaps, did not even suspect about it, but he waited instinctively. And now love comes to him and absorbs him completely. This feeling ignites his soul, feeding on the tenderness accumulated during hibernation and seeking a way out. It is new to Oblomov's soul, accustomed to burying all feelings at the bottom of consciousness, therefore love revives the soul to a new life. For Oblomov, this feeling is burning love - a passion for a woman who managed to change him so.
What is special about Olga's love for Oblomov? I would compare this feeling with the love of a sculptor for his ingenious creation. Olga manages to change Ilya Ilyich, beat laziness and boredom out of him. For this she loves Oblomov! This is what the hero writes to his beloved: “Your present“ love ”is not true love, but future love. This is only an unconscious need to love, which, due to the lack of real food, sometimes expressed by women in affection to a child, to another woman, even just in tears and hysterical fits ... dreamed. Wait - he will come, and then you will wake up, you will be annoyed and ashamed of your mistake ... ”. And soon Olga herself is convinced of the validity of these lines, having fallen in love with Andrei Stolz. So, her love for Oblomov was just an expectation, an introduction to a future novel? But this love is pure, disinterested, selfless; and we are convinced that Olga can love and believes that she loves Oblomov. Unfortunately, her heart is wrong, and the mistake is monstrous. Oblomov understands this before Olga.
With the departure of this love, Oblomov does not find what to do with the emptiness in his soul, and again sleeps for whole days and lies idle on his sofa in St. Petersburg, in the house of Agafya Pshenitsyna. It seemed that nothing could replace Oblomov's departed love. Over time, having got used to the measured life of his mistress, our hero will humble the impulses of the heart and will be content with little. Again, all his desires will be limited to sleep, food, rare empty conversations with Agafya Matveyevna. Pshevitsyna is contrasted by the author to Olga: the first is an excellent hostess, a kind, faithful wife, but there is no high soul in her; Stolz says about her: “a simple woman; dirty life, suffocating sphere of stupidity, rudeness - fi! " The second is a refined nature, far from routine life. Probably Oblomov, and any man, would like to meet a woman who combined the features of both Ilyinskaya and Pshenitsyna.
Having plunged into a simple semi-rural life in Pshenitsyna's house, Ilya Ilyich seemed to have ended up in the former Oblomovka. Only everyone in this house, in contrast to this "fragment of paradise", toil and work, trying for Ilya Ilyich. Lazily and slowly dying in his soul, Oblomov falls in love with Agafya Matveyevna. It seems to me that his love is not worth much, because it has not been achieved by him. She is closer to physical love - Oblomov admires Pshenitsyna's round elbows, always moving at work. I perceive this love as the gratitude of the hero Agafya and as a dream come true for a resident of Paradise Oblomovka.
And Agafya Matveevna? Is her love like that? No, she is selfless, devoted; in this feeling, Agafya is ready to drown, to give all her strength, all the fruits of her labors to Oblomov. It seems that her whole life was spent in anticipation of a person whom she could loyally love, take care of him like her own son. Oblomov is just that: he is lazy - this allows you to take care of him like a child; he is kind, gentle - it touches a woman's soul, accustomed to masculine rudeness and ignorance. How touching is the love and sympathy of a rude woman for a helpless master who has sunk to the point of complete decay of his soul! This feeling is full of maternal tenderness. Where do such feelings come from in an ordinary woman? Perhaps it is this quality of her soul that attracts our hero.
Oblomov's friend, Stolz, does not understand this love. Far from him, an active person, are lazy home comfort, Oblomovka's orders, and even more so a woman who has become coarse in her midst. That is why Stolz's ideal is Olga Ilyinskaya, a subtle, romantic, wise woman. It lacks even the slightest shadow of coquetry.
Once, while traveling across Europe, Stolz falls in love with Olga. From what? Andrei does not recognize in her his former girlfriend, a young girl, on whose face he always read without difficulty a question, a living thought.
He went too deep into unraveling the change in Olga ... “How ripe she is, my God! How has this girl developed! Who was her teacher? .. Not Ilya! .. ”Andrei seeks and does not find an explanation for the change in Olga. Finally, asking himself the question “does he love it or not?”, Stolz himself falls madly in love with a recent girlfriend. There comes a minute of explanation - and Andrei begs Olga for help. He asks to explain her unexpected change. And then he learns from Olga about their romance with Oblomov and does not believe that it is possible to love Ilya. It seems to Olga that she still loves him and, passionately desiring to give this love to Stolz, finds the answer in herself: "A woman truly loves one day." Stolz invites Olga to marry him - and she agrees.
So, Stolz falls in love with the “new” Olga. It is this unknown, the secret of the “new” Olga that captures Andrei. He knows that due to his character he will be happy only with a lively, active Olga. His love. pure and unselfish, he does not seek profit in her, no matter how restless “businessman” he is.
What's going on with Olga? Torment torments her. It seems to her that the only love is Oblomov. By agreeing to marry Stolz, Olga believes that someday love will come to her too. And now she cannot distinguish her friendship from love and does not know what is happening in her soul. I would call her present and future feeling: love - friendship - duty, since these three concepts are too closely intertwined in her relation to Stolz.
Summing up, I want to say once again that the strength, depth and quality of love depend on the people themselves. But people also change from this feeling! Oblomov suddenly comes to life when he sees that his happiness with Olga depends on the victory over laziness! And Olga herself is growing up, gaining experience after the story with Oblomov. How happy the mistress Agafya is when her daily chores and perpetual movement take on meaning for the sake of the convenience of Ilya Ilyich. And Oblomov sincerely thanks her for this. Many feelings cannot be said with certainty that they are love or not. Goncharov does not want to open before the reader all the doors of the holy of holies of the souls of his heroes. And if he did this, we would not have the eternal question: to move forward or to rest? To love or not to love?

It is difficult to say what is the ideal of happiness and love for the writer Goncharov, who did not have his own family. However, the author, as a rule, embodies his dreams, ideas, ideas in the main character. They are spiritually linked and inseparable. It is he who will allow me to create an idea of ​​the author's ideal.
“The ideal of happiness, drawn by Oblomov, was nothing else than a hearty life - with greenhouses, hotbeds, trips with a samovar to the grove, etc., - in a dressing gown, in sound sleep, but for an intermediate one - in idyllic walks with a meek, but stout wife and in contemplation of how the peasants work ”. These are Oblomov's dreams, which have been imprinted in his imagination for years. Oblomov's dreams take him back to childhood, where it was cozy, quiet and calm. The ideal of a family for Oblomov comes precisely from childhood memories ... “The nanny is waiting for his awakening. She starts to pull on his stockings; he is not given, plays naughty, dangles his legs; the nanny catches him, and they both laugh ... "
“A child looks and observes with a sharp and perceptive gaze how and what adults do, what they devote the morning to. Not a single trifle, not a single feature escapes the inquisitive attention of a child ... "And if we compare the order of life of the Oblomov family and the life described by Oblomov to Stolz, we will get two very similar pictures: Morning ... Kiss of the wife. Tea, cream, crackers, fresh butter ... Walking with my wife under the blue sky, along the shady alleys of the park. Guests. A hearty lunch. "In the eyes of the interlocutors you will see sympathy, in a joke, a sincere, non-malicious laugh ... All to your liking!" Here is an idyll, “Oblomov's utopia”.
This idyll is partially personified in the relationship between Oblomov and Agafya Matveyevna. This woman, in whom Oblomov is so admired by full elbows with dimples, mobility, thrift, cherishes and takes care of him like a child. She provides him with peace and a well-fed life. Was it just the ideal of love? “He drew closer to Agafya Matveyevna - as if he was moving towards the fire, from which it becomes warmer and warmer, but which cannot be loved.”
Oblomov could not love Agafya Matveyevna, could not appreciate her attitude towards him. And he took her care for granted, as he was used to since childhood. “It was as if an invisible hand had planted it, like a precious plant, in the shade of the heat, under the shelter from the rain, and takes care of it ...”. Again, we see - "Oblomov's utopia." What else do you need for a happy life? Why is Goncharov stirring up this quiet, calm “pond”? Why does he introduce Olga into the novel as a powerful "antidote" to Oblomov's life?
The love of Ilya and Olga, I would say, even seems to be passionate. It runs between them like a spark, stirring up interest in each other. She makes Oblomov wake up, makes Olga feel her strength as a woman, she promotes her spiritual growth. But their relationship does not have the future, because Oblomov will never overcome the “ravine” separating Olga and Oblomovka.
At the end of the novel, I do not see the complete picture of love and family happiness. On the one hand, only Agafya Matveyevna is the personification of the family, on the other hand, Olga is love.
But we must not forget Olga and Stolz. Perhaps their union is close to ideal. They became as one whole. Their souls merged into one. They thought together, read together, raised children together - they lived in a varied and interesting way. Olga, peering into Stolz's eyes with radiant eyes, as if absorbed his knowledge, his feelings. Family life could not land their relationship.
"Stolz was deeply happy with his filled, agitated life, in which unfading spring bloomed, and jealously, actively, vigilantly cultivated, coast and cherished it."
It seems to me that it is Olga and Stolz who symbolize the ideal of love and family in the understanding of I. A. Goncharov.

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 - the 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, reflected in different ways on the fate of Ilya Ilyich.
Like male, female images in "Oblomov" are also contrasted, which is clearly seen both when considering the external portrait of the heroines, and when analyzing their inner world, characteristics of character and temperament.

Portrait characteristics of female images

Both female images - 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 she also does not need knowledge, 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 meager 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, constantly develops and strives forward - to new knowledge, the acquisition of higher human happiness. However, the image of Olga 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 increasingly 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 sleepy, 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 to escape even secretly from her aunt 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 to fit 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 Oblomov 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 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 concern 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 10 grades when writing an essay on the topic "Female images in the novel" Oblomov ".

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