Literature lesson notes
“The theme of love in I.A. Goncharov’s novel “Oblomov.” Female images" Completed by: 5th year full-time student of the Faculty of Philology Bryukhnova Maria Borisovna Kolomna, 2013
Class: 10 "B" Topic:
The theme of love in I. A. Goncharov’s novel “Oblomov”, female images
Lesson type: combined Purpose: 1. Continue working on the image of Oblomov by comparing the comparative characteristics of Oblomov and Olga in relation to love. 2. Reveal the characters and ideals of Olga Ilyinskaya and Agafya Matveevna Pshenitsyna. 3. Develop a caring attitude towards such a feeling as love. Equipment: board, text of I.A. Goncharov’s novel “Oblomov”, workbooks, audio recording of the aria “Casta Diva” from Vincenzo Bellini’s opera “Norma”, projector, presentation. Lesson progress: 1. Organizational moment  Welcome  Checking the class's readiness for the lesson  Listen to me carefully!  Sit down 2. Main part of the lesson: Guys, today in class we continue to study I. A. Goncharov’s novel “Oblomov”. The epigraph to our lesson will be the words of Innokenty Annensky: “Love is not peace, it must have a moral result, first of all for those who love. It is no coincidence that the author puts his hero through the test of love. Ivan Aleksandrovich Goncharov believed in the almighty power of this feeling. “You are right,” he wrote to one of his acquaintances, “in suspecting me of believing in omnipotent, all-encompassing love and that only this force can move the world, control the human will and direct it to action.”  What do you think is the topic of today's lesson? (the theme of love in the novel, female images in the novel)  We write the theme in a notebook  In the novel “Oblomov” love is the basis. This feeling shows the hero in development. Let's remember under what circumstances Olga Ilyinskaya and Oblomov met?
(Stolz introduced them. Stolz brought Oblomov to the house for a reception with Olga’s aunt)  What impression did they make on each other? (Olga became curious. She watched Oblomov all evening. Oblomov was embarrassed)  Will Olga fall in love with Oblomov? (yes)  What do you think, did she fall in love with the current Oblomov with all his shortcomings or the Oblomov of the future? (Oblomov of the future)  Find confirmation of this in the text (part 2, chapter 6)  Doesn’t her plan remind you of any myth? (myth of Pygmalion and Galatea)  Remember this myth, what is it about? (listen to student responses)  Draw a conclusion based on the myth. Who is Olga in relation to Oblomov and vice versa? (Olga is a kind of Pygmalion, and Oblomov is Galatea, that is, Olga loves the future Oblomov, made by her hands)  But feelings still awaken in Olga? Find this in the text (part 2, chapter 9)  Guys, now I give you the opportunity to relax and listen to the aria “Casta Diva” (listen)  Why did I stage this particular piece? (firstly, Oblomov loved this work, and secondly, he falls more and more in love with Olga)  Let's read this episode (read p. 175)  You have now listened to this work. Do you think it is easy to perform? (no)  What conclusion can we draw from this? (Olga is truly talented. Her soul resonates)  Did Stolz notice this? (no, but Oblomov was able to feel it)  Remember what served as a symbol of the love of Olga and Oblomov? (lilac branch)  Find the episode of Oblomov’s first meeting with Olga in the park. Let's read it by role (read by role. p. 185)
 Oblomov thought that Olga was still angry with his confession, what did he advise her? (forget everything he said)  Find this moment in the text. Read (read)  And what does Oblomov understand from this conversation? (Olga loves him)  What are his next actions? (came the next day with a branch of lilac)  And what does Olga understand in turn? (Oblomov loves her too)  Goncharov illustrates this with the following episode: a week later, Ilya Ilyich met Olga in the park at the place where the lilac branch was picked and thrown. And what did Olga do? (embroidered a branch of lilac)  Why didn’t their happiness work out? (Oblomov wants to love and not lose peace. Olga Ilyinskaya demanded activity from Oblomov.)  What is the reason for their separation? Oblomov himself gives the answer to this (p. 333, part 3. chapter 11)  What conclusion can we draw? Was Ilya Ilyich right to leave Olga? (yes. He understood that love is not only the union of a man and a woman. For him it is a responsibility. But he is not ready for responsibility. He is noble. It’s all Oblomov’s fault)  Is Olga happy after marrying Stolz? (most likely not)  Is there spiritual warmth in their relationship? (no)  Let's read the moment when Olga agreed to marry Stolz. How did she feel about this? (p. 379. part 4, chapter 4)  Why do you think Olga married him? (most likely from despair)  Another loving woman in Oblomov’s life was the widow of a minor official, Agafya Matveevna Pshenitsyna. Let's find a portrait of Pshenitsyna (p. 266)  Summarize what kind of Agafya Matveevna is, what kind of housewife she is, what spiritual needs she has, does she read? (She doesn’t sit idle, her house is clean and tidy)
 So what attracted Oblomov to this simple, uncultured woman? (resemblance to mother)  What detail in Pshenitsyna’s image constantly attracts attention? (elbows)  Find in the text phrases related to the description of elbows (p. 265, p. 273, p. 282)  What kind of life does Pshenitsyna lead? Doesn't remind you of anything? (Life as a child in Oblomovka)  Did Pshenitsyna strive to re-educate Oblomov? (no, she just loved him)  What principle does Goncharov use here? (antithesis)  What exactly does Goncharov contrast in the images of these two women? (Olga is shown in development, and Agafya Matveevna flows with the flow of life)  Do you think the main character passed the test of love? (no, he is not able to take responsibility for the destinies of other people. Having married Pshenitsyna, he sinks even lower and goes into hibernation, and then dies physically) 3. Homework: Collect material about Zakhara
Self-analysis of the lesson
The lesson took place on October 8, 2015. It was dedicated to the topic “Love in the novel “Oblomov” and female images.” Now, analyzing this lesson, I can say that it turned out to be quite good. I prepared for it for a long time: I re-read the chapters dedicated to Olga Ilyinskaya and Agafya Pshenitsyna, compiled a supporting outline, looked for material for the presentation, and at the end made the presentation itself. Since I don’t have enough experience and I’m just learning, naturally there were some mistakes and mistakes that I subsequently tried to avoid.
Firstly, I couldn’t cope with my excitement and therefore taught the lesson at a fast pace. Secondly, I was afraid to pause. It seemed to me that if I paused, it would, on the contrary, be considered a mistake. Thirdly, the equipment let me down a little. It was necessary to listen to the aria “Casta Diva”, but the presentation did not work on time and this aria was cut off halfway. Despite all the shortcomings, I think the lesson turned out well. Every experience is valuable. The guys were able to independently summarize everything that was said and draw a certain conclusion. In my further work, I tried to avoid these mistakes and listened carefully to the students’ answers.

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“To analyze the female images created by I. A. Goncharov means making a claim to be a great connoisseur of the female heart” N.A. Dobrolyubov

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The image of Olga Ilyinskaya embodied not only the best features of a Russian woman, but also all the best that the writer saw in Russian people in general.

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“Olga in the strict sense was not a beauty, that is, there was no whiteness in her, no bright coloring of her cheeks and lips, and her eyes did not burn with rays of inner fire... But if she were turned into a statue, she would be a statue of grace and harmony ” I. A. Goncharov

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In Olga we see those features that have always attracted Russian writers in any woman: the absence of artificiality, beauty that is not frozen, but alive. “In a rare girl,” the author emphasizes, “you will find such simplicity and natural freedom of look, word, action... No affectation, no coquetry, no lies, no tinsel, no intent.”

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Olga is a stranger in her own environment. But she is not a victim, because she has both intelligence and determination to defend the right to her position in life, to behavior that is not oriented towards generally accepted norms. “Where did she take her life lessons?” - Stolz thinks about her with admiration.

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It is no coincidence that Oblomov perceived Olga as the embodiment of the ideal that he dreamed of. As soon as Olga sang “Casta diva”, he immediately “recognized” her. Not only Oblomov “recognized” Olga, but she also recognized him. Love for Olga becomes not only a test.

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It is the relationship of the main character of the novel with Olga that allows us to better understand the character of Ilya Oblomov. It is Holga’s look at her lover that helps the reader look at him the way the author wanted.

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What does Olga see in Oblomov? Intelligence, simplicity, gullibility, the absence of all those secular conventions that are also alien to her. She feels that there is no cynicism in Ilya, but there is a constant desire for doubt and sympathy. But Olga and Oblomov are not destined to be happy.

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Oblomov has a presentiment that his relationship with Olga cannot always be their personal matter; they will certainly turn into a lot of conventions and responsibilities. You will have to “conform”, do business, become a member of society and the head of the family, and so on.

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Olga constantly thinks not only about her feelings, but also about the influence on Oblomov, about her “mission”: “And she will do all this miracle, so timid, silent, to whom no one has listened until now, who has not yet begun to live!” And love becomes a duty for Olga, and therefore can no longer be reckless, spontaneous.

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Olga is not ready to sacrifice everything for love. “Would you like to know if I would sacrifice my peace of mind for you, if I would go down this path with you?.. Never, never!” - she decisively answers Oblomov.

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Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy; in her mind, he should become like Stolz, but only while preserving the best that is in his soul. He is from her - reckless, selfless love. And both of them are deceived, convincing themselves that this is possible, and therefore the end of their love is inevitable.

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Olga loves the Oblomov whom she herself created in her imagination, whom she sincerely wanted to create in life. “I thought that I would revive you, that you could still live for me, but you have died a long time ago,” Olga hardly pronounces a harsh sentence and asks a bitter question: “Who cursed you, Ilya? What did you do? What ruined you? There is no name for this evil...” “There is,” answers Ilya. - Oblomovism!” The tragedy of Olga and Oblomov becomes the final verdict on the phenomenon that Goncharov portrayed.

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Olga marries Stolz. It was he who managed to ensure that in Olga’s soul common sense and reason finally defeated the feeling that tormented her. Her life can be called happy. She believes in her husband, and therefore loves him. But Olga begins to feel an inexplicable melancholy. Stolz's mechanical, active life does not provide those opportunities for the movement of the soul that were in her feelings for Oblomov. And even Stolz guesses: “Once you know him, it’s impossible to stop loving him.” With love for Oblomov, part of Olga’s soul dies; she remains a victim forever.

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“Olga, in her development, represents the highest ideal that a Russian artist can now evoke from present-day Russian life; a living face, only one we have never met before,” wrote Dobrolyubov. We can confidently say that Olga Ilyinskaya continues the gallery of beautiful female types that Tatyana Larina opened and which will be admired by more than one generation of readers.

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The purpose of the lesson

Consider the female characters of the novel Analyze the relationship of the central character with the female characters of the work Contrast the images of Olga Ilyinskaya and Agafya Pshenitsyna in order to further reveal the character of the main character, Ilya Ilyich Oblomov

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Olga Ilyinskaya

“Olga in the strict sense was not a beauty... but if she were turned into a statue, she would be a statue of grace and harmony. The size of the head strictly corresponded to a somewhat tall stature; the size of the head corresponded to the oval and size of the face; all this, in turn, was in harmony with the shoulders, the shoulders with the figure... The nose formed a slightly noticeably convex, graceful line; the lips are thin and mostly compressed: a sign of a thought constantly directed at something. The same presence of a speaking thought shone in the vigilant, always cheerful, never-missing gaze of dark, gray-blue eyes. The eyebrows gave special beauty to the eyes: they were not arched, they did not round the eyes with two thin strings plucked with a finger - no, they were two light brown, fluffy, almost straight stripes, which rarely lay symmetrically: one was a line higher than the other, hence above the eyebrow there lay a small fold in which something seemed to say, as if a thought rested there. Olga walked with her head tilted slightly forward, resting so slenderly and nobly on her thin, proud neck; she moved her whole body evenly, walking lightly, almost imperceptibly..."

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Agafya Matveevna

“...with a bare neck and elbows. She was about thirty. She was very white and full in the face, so that the blush, it seemed, could not break through her cheeks. She had almost no eyebrows at all, but in their place there were two slightly swollen, shiny stripes with sparse blond hair. The eyes are grayish-simple, like the whole facial expression; the hands are white, but hard, with large knots of blue veins protruding outward. The dress fit her tightly: it is clear that she did not resort to any art, not even an extra skirt, to increase the volume of her hips and reduce her waist. Because of this, even her closed bust, when she was without a headscarf, could serve a painter or sculptor as a model of a strong, healthy breast, without violating her modesty. Her dress, in relation to the elegant shawl and ceremonial cap, seemed old and shabby.” Agafya Matveevna: widow; hardworking, not mean by nature, honest and conscientious, limited, “obsessed” with housekeeping, dependent, very homely.

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Appearance

Olga Ilyinskaya Agafya Pshenitsyna Both women are attractive: one with grace, the other with article It notes truly Russian beauty: “... the chest and shoulders shone with contentment, fullness, meekness shone in the eyes.” A kind and modest woman, an excellent housewife, caring and sensitive. There is “no affectation, no coquetry, no lies, no tinsel.” “If she were turned into a statue, she would be a statue of grace and harmony.” She was not a beauty, but she was transformed while singing. They are antipodes!

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Social background

Olga Ilyinskaya Agafya Pshenitsyna From the people, not distinguished by education, very simple. She is not able to understand the books that Olga reads or to sing “Casta diva”. From the nobility, she received an excellent education. He is distinguished by his exceptional mind and desire for new positions. He sings well and puts his soul into his singing. They are antipodes!

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Role in Oblomov's life

Olga Ilyinskaya Agafya Pshenitsyna Her love is spiritualized, but selfish: she loves her efforts and efforts in Oblomov, she loves the future Oblomov, whom she and Stolz will create. Oblomov cannot become like that, and this is not his fault. Olga is not at all like the woman that Ilya Ilyich himself imagined in his dreams. He admired the sublimity of her soul. But he was tired of her restless nature. She was the woman who made Oblomov get up from the couch, take off his robe and experience romantic love. Her love is selfless and sacrificial, rests on spiritual affection and is expressed in constant care. She accepted Oblomov as he is, without trying to change him or get rid of any shortcomings. Yes, she doesn’t see any flaws in him - Oblomov was her ideal. She understood his dream, although he hardly talked about it. In her house on the Vyborg side, all Oblomov’s dreams about Oblomovka came true. Agafya surrounded him with care, protected him from all adversity - not a single storm of life reached him. She was the woman thanks to whom Oblomov put on his robe again and found his human happiness and peace. They are antipodes!

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Let's think about what we read

Did Olga love Oblomov? Why did Olga and Andrei Stolts marry after a love failure with Oblomov? Is the love of Olga or Agafya Matveevna necessary for Oblomov? For Olga, “life is a duty, a duty, therefore love is also a duty.” Olga's feelings are rational, they lack cordiality and self-denial. Pshenitsyna's love is not rational, but heartfelt. Her feeling is akin to maternal, protective love. With Agafya Matveevna Oblomov builds his “Oblomovka”

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How do you see the action of Agafya Matveevna, who gave Andryusha Oblomov to be raised by the Stolts? How will Andrei Ilyich Oblomov grow up? What, according to the author of the novel, is the ideal image of a Russian woman? ?

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Presentation on the topic “Women’s images in Goncharov’s novels”(
Completed by: student of group A-62
Tarasov Alexander

Goncharov believed in the almighty power of love.
“You are right,” he wrote to one of his acquaintances, suspecting me of believing in a universal, all-encompassing
love and the fact that only this force can move the world,
control the will of man
and direct it to activity.”
It is love, according to the writer, that can
radically change a person's life, and precisely in
love reveals its best and worst sides

Most of Goncharov’s novel is devoted to the love story of Oblomov and Olga Ilyinskaya

Olga Ilyinskaya

“Olga in the strict sense was not a beauty... but
if she were turned into a statue, she would be a statue
grace and harmony. Somewhat tall
the size of the head strictly corresponded to the size of the head
- oval and dimensions of the face; all this, in turn,
harmonized with the shoulders, shoulders - with the waist...
The nose formed a slightly noticeably convex, graceful
line; lips are thin and mostly compressed:
a sign of continuously striving for something
thoughts. The same presence of speaking thought
shone in the vigilant, always cheerful, nothing
the passing gaze of dark, gray-blue eyes.
Eyebrows gave special beauty to the eyes: they did not
were arched, did not round the eyes with two
thin threads plucked with a finger -
no, they were two fair-haired, fluffy, almost straight
stripes that rarely lay symmetrically: one
one line was higher than the other, from this above the eyebrow
there lay a small fold in which something seemed to speak, as if a thought rested there.
Olga walked with her head bent slightly forward
head, so slender, nobly resting on
thin, proud neck; moved her whole body smoothly,
walking lightly, almost imperceptibly..."

Image of Olga Ilyinskaya

A.M. Pshenitsyna

She was about thirty. She was very white and full
in the face, so that the blush, it seems, could not break through
through the cheeks. She had almost no eyebrows at all, and
there were two in their places that looked a little swollen,
glossy stripes, with sparse blond hair.
The eyes are grayish-simple, like the whole expression
faces; the hands are white, but hard, with protruding
outward with large nodes of blue veins.
the dress fit her tightly: it was clear that she was not
resorted to no art, not even unnecessary
skirt to increase the volume of the hips and reduce
waist This is why her bust is even closed when she
was without a scarf, could have served as a painter or
the sculptor model of strong, healthy breasts, not
breaking her modesty. Her dress, in relation to
elegant shawl and ceremonial cap seemed old
and worn out.”

Image of A.M. Pshenitsyna

Olga

“...incomparable mocking, lively
Olga...sees all the funny features of the hero, not
deceived at all, he plays with them, almost
enjoys them and is deceived only in
calculations on the solid foundations of Oblomov’s character.”
A.V.Druzhinin

Agafya Matveevna

"…candid
and not darkened by theories
the mind will choose, as Oblomov chose,
Agafya Matveevna, not only because
elbows are seductive and what
she cooks pies well, but because she is much more
woman than Olga."
A. Grigoriev

Presentation on the topic: Love in the life of Ilya Ilyich Oblomov (novel “Oblomov”)

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Presentation on the topic: Love in the life of Ilya Ilyich Oblomov (novel “Oblomov”)

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Love in Oblomov's life Olga Ilyinskaya and Agafya Matveevna Pshenitsyna personify Oblomov's two ideas about love. In Olga he sees the ideal of a bride, a future wife, and an equal by birth. Agafya Matveevna is the subject of “lordly affection” - a woman of low origin, you don’t have to stand on ceremony with her (it’s not for nothing that Oblomov first of all notices her bodily attractiveness, bare neck and elbows). In addition, Agafya Matveevna Pshenitsyna personified the peace that the hero so dreamed of. The meaning of Agafya Matveevna’s life lies in the desire to love and care for someone. She is an ideal housewife; she never sits idle for a minute. Silence, peace, delicious food - she creates all this for Oblomov. Agafya Matveevna became a caring nanny for him. Days passed measuredly and quietly in the house on Vyborgskaya, and Oblomov seemed happy, but deep down in his soul he continued to yearn for unfulfilled dreams, his creative powers, his “faithful heart” were dying in complete passivity.

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Olga Ilyinskaya Bright and strong character. “Olga in the strict sense was not a beauty, that is, there was no whiteness in her, no bright coloring of her cheeks and lips, and her eyes did not burn with rays of inner fire; there were no corals on the lips, no pearls in the mouth, no miniature hands, like those of a five-year-old child, with fingers in the shape of grapes. But if she were turned into a statue, she would be a statue of grace and harmony.”

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The girl's perception in society is introduced to Olga and Oblomov by Andrei Ivanovich Stolts. How, when and where Stolz and the girl met is unknown, but the relationship connecting these characters is distinguished by sincere mutual attraction and trust. “... In a rare girl you will find such simplicity and natural freedom of look, word, action... No affectation, no coquetry, no lies, no tinsel, no intent! But almost only Stolz appreciated her, but she sat through more than one mazurka alone, not hiding her boredom... Some considered her simple, short-sighted, shallow, because neither wise maxims about life, about love, nor quick, unexpected and bold remarks, nor read or overheard judgments about music and literature..."

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Love in Olga's concept The main property of Ilyinskaya, inherent in many female characters of Russian literature of the last century, is not just love for a specific person, but an indispensable desire to change him, raise him to his ideal, re-educate him, instilling in him new concepts, new tastes. Oblomov turns out to be the most suitable object for this: “She dreamed of how she would “order him to read the books” that Stolz left, then read newspapers every day and tell her the news, write letters to the village, complete a plan for organizing the estate, get ready to go abroad, - in a word, he will not fall asleep with her; she will show him his goal, make him love again everything that he has stopped loving, and Stolz will not recognize him when he returns. And she will do all this miracle, so timid, silent, whom no one has listened to until now, who has not yet begun to live!.. She even trembled with proud, joyful trepidation; I considered this a lesson ordained from above.”

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Feelings for Oblomov Olga immediately understands that in her relationship with Oblomov she has the main role, she “instantly weighed her power over him, and she liked this role of a guiding star, a ray of light that she would pour over a stagnant lake and be reflected in it.” Life seems to awaken in the heroine along with Oblomov’s life. But in her this process occurs much more intensely than in Ilya Ilyich. Olga Ilyinskaya seems to be testing her capabilities as a woman and teacher at the same time. Her extraordinary mind and soul require more and more “complex” food.

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Olga’s feeling for Oblomov is complete and harmonious: she simply loves, while Ilya Ilyich is constantly trying to find out the depth of this love, which is why she suffers, believing that the girl “loves now, like embroidering on a canvas: the pattern comes out quietly, lazily, she unfolds it even more lazily.” admires it, then puts it down and forgets.” When Oblomov tells the heroine that she is smarter than him, Ilyinskaya replies: “No, simpler and bolder,” thereby expressing almost the defining line of their relationship. She hardly knows that the feeling she experiences is more reminiscent of a complex experiment than first love. She does not tell Oblomov that all the affairs of her estate have been settled, with only one goal - “... to see to the end how love will make a revolution in his lazy soul, how the oppression will finally fall from him, how he will not resist near happiness... " But, like any experiment on a living soul, this experiment cannot be crowned with success.

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Life. Goal: at first there was no precisely defined goal, but later it began to appear: knowledge of everything, intelligence, complete understanding of loved ones and everything around. Perception: at first, for her, life was an easy, necessary gift, then - a form for thought and constant analysis. Principles: “followed the simple, natural path of life”, “did not shy away from the natural manifestation of thought, feeling, will, even to the slightest, barely noticeable movement of the eyes, lips, hands”, “no affectation, no coquetry, no lies, no tinsel, no intention”, “so that nothing is inaccessible.” Love. “Olga does not tremble,” “life is a duty, an obligation, therefore, love is also a duty: it’s as if God sent it to me,” no passions, no jealousy, no tears - love for Olga is silent, “reasonable” happiness. Friendship. “she sat through more than one mazurka alone, not hiding her boredom; but, looking at her, the most kind young people were taciturn, not knowing what or how to say to her,” Olga did not have many friends, but those who were real. Relationships with others. “Some considered her simple, short-sighted, shallow... she spoke little, and only her own, unimportant ones - and smart and lively “gentlers” bypassed her; the quiet ones, on the contrary, considered her too sophisticated and were a little afraid.” Olga was often in a society in which she was bored. Most of all I was afraid of losing my loved ones.

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Olga and Stolts Ilyinskaya needs to see her chosen one on a pedestal, above herself, and this, according to the author’s concept, is impossible. Even Stolz, whom Olga marries after an unsuccessful romance with Oblomov, only temporarily stands higher than her, and Goncharov emphasizes this. By the end, it becomes clear that the heroine will outgrow her husband both in the strength of her feelings and in the depth of her thoughts about life. The moment will come when Stolz will be faced with the need to explain to his wife, the mother of his children, the mysterious “something” that haunts her restless soul. “The deep abyss of her soul” does not frighten, but worries Stolz. In Olga, whom he knew almost as a girl, for whom he felt first friendship and then love, he gradually discovers new and unexpected depths. It’s difficult for Stolz to get used to them, which is why his happiness with his chosen one seems problematic in many ways.

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Psychological portrait of the heroine “She was about thirty. She was very white and full in the face, so that the blush, it seemed, could not break through her cheeks. She had almost no eyebrows at all, but in their place there were two slightly swollen, shiny stripes with sparse blond hair. The eyes are grayish-simple, like the whole facial expression; the hands are white, but hard, with large knots of blue veins protruding outward.” Pshenitsyna is taciturn and is used to living without thinking about anything: “Her face took on a practical and caring expression, even dullness disappeared when she started talking about a subject familiar to her. To every question that did not relate to some goal positively known to her, she answered with a grin and silence.” And her grin was nothing more than a form that covered up ignorance of the subject: not knowing what she should do, accustomed to the fact that “brother” decides everything, Agafya Matveevna achieved perfection only in the skillful management of the house. Everything else passed by the undeveloped mind for years and decades.

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Awakening of feelings Gradually, as Oblomov realizes that he has nowhere else to strive, that it was here, in a house on the Vyborg side, that he found the desired way of life for his native Oblomovka, a serious internal change occurs in the fate of Agafya Matveevna herself. In the constant work of mastering and maintaining the house, in the chores of the house, she finds the meaning of her existence. Something unknown to her before began to awaken in this woman: anxiety, glimpses of reflection. In other words, love, more and more deep, pure, sincere, unable to express itself in words, but manifested in what Pshenitsyna knows and can do well: in caring for Oblomov’s table and clothes, in prayers for his health, in sitting nights at the bedside of the sick Ilya Ilyich.

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Pshenitsyna and Oblomov The heroine’s feeling, so normal, natural, disinterested, remained a secret for Oblomov, for those around her and for herself. Oblomov “was getting closer to Agafya Matveevna - as if he was moving towards a fire, from which it becomes warmer and warmer, but which cannot be loved.” Pshenitsyna is the only absolutely unselfish and decisive person around Oblomov. Without delving into any complications, she does what is necessary at the moment: she pawns her own pearls and silver, is ready to borrow money from the relatives of her late husband, just so that Oblomov does not feel lacking in anything. When the intrigues of Mukhoyarov and Tarantiev reach their peak, Pshenitsyna decisively renounces both “brother” and “godfather”.

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Slide no. 17

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Life. Goal: there was no final goal, the goal of every day was to feed and put in order the clothes of the master and all the household. Perception: life for her has always been an environment where Agafya Matveena served everyone. And she loved it! And after Oblomov moved, everything additionally “... received a new, living meaning: the peace and comfort of Ilya Ilyich...” Principles: always be the goddess of the kitchen, develop the economy, “on which her pride and all her activities were focused!” Love. “It somehow fell on her by itself, and she walked right under a cloud, not backing away or running forward, but fell in love with Oblomov simply, as if she had caught a cold and had an incurable fever.” Even with Oblomov’s peculiar confession, she responds “without surprise, without embarrassment, without timidity, but standing straight and motionless, like a horse on which a collar is being put on.” Friendship. She didn't have anyone who could be called real friends. Relationships with others. Her entire social circle consisted of the shopkeeper, the butcher, the greengrocer and the kitchen assistants. These were her good friends. Everyone respected her as a very good housewife. Most of all I was afraid of “inconvenience” for the master (in the broad sense).

Slide no. 18

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After Oblomov's death, Pshenitsyna and Oblomov have a son. Understanding the difference between this child and the children from her first husband, Agafya Matveevna, after the death of Ilya Ilyich, meekly gives him up to be raised by the Stolts. Oblomov’s death brings a new color to Pshenitsyna’s existence - she is the widow of a landowner, a master, which her “brother” and his wife constantly reproach her for. And although Agafya Matveevna’s lifestyle has not changed in any way (she still serves the Mukhoyarov family), the thought constantly pulsates in her that “her life was lost and shone, that God put his soul into her life and took it out again... now she knew why she lived and that she did not live in vain... Rays, a quiet light from the seven years that flew by in an instant, spilled over her whole life, and she had nothing more to desire, nowhere to go.” The unselfishness of this woman is made clear to Stolz at the end of the novel: she does not need his reports on the management of the estate, just as she does not need the income from Oblomovka, which Stolz put in order. The light of Agafya Matveevna’s life faded along with Ilya Ilyich.

Slide no. 19

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Information about the presentation Materials used: 1. “All the heroes of works of Russian literature” Dictionary-reference book, publishing house “AST” 2000 2. “Russian literature of the 19th century in 10th grade” Part one Textbook, publishing house “Moscow Lyceum” 2003 3. “ Lesson developments in Russian literature The first half of the 19th century" Methodological manual, publishing house "VAKO" 2002 4. "Literature in the 10th grade. Lesson by lesson" Methodological guide, publishing house "Russkoe Slovo", 2003 5. "Russian literature of the 19th - 20th centuries" Study guide for those entering universities, publishing house Moscow State University, 2003 6. Feature film by N. Mikhalkov "A few days in the life of Oblomov »