OBLOMOV

(Roman. 1859)

Ilinskaya Olga Sergeevna - one of the main characters of the novel, a bright and strong character. A possible prototype of I. is Elizaveta Tolstaya, Goncharov's only love, although some researchers reject this hypothesis. “Olga in the strict sense was not a beauty, that is, there was neither whiteness in her, nor the bright color 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 form of grapes. But if she were turned into a statue, she would be a statue of grace and harmony.

From the time she was orphaned, I. lives in the house of her aunt Marya Mikhailovna. Goncharov emphasizes the rapid spiritual maturation of the heroine: she “as if listened to the course of life by leaps and bounds. And every hour of the slightest, barely noticeable experience, an incident that flies like a bird past the nose of a man, is grasped inexplicably quickly by a girl.

Andrey Ivanovich Stolz introduces I. and Oblomov. How, when and where Stolz and I. met is unknown, but the relationship connecting these characters is distinguished by sincere mutual attraction and trust. “... In a rare girl you will meet such simplicity and natural freedom of sight, word, deed ... No affectation, no coquetry, no lies, no tinsel, no intent! On the other hand, 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 ones fell from her tongue, unexpected and bold remarks, nor read or overheard judgments about music and literature ... "

Stolz brings Oblomov to I.'s house not by chance: knowing that she has an inquisitive mind and deep feelings, he hopes that with his spiritual inquiries I. will be able to awaken Oblomov - make him read, watch, learn more and more legibly.

Oblomov, in one of the very first meetings, was captured by her amazing voice - I. sings an aria from Bellini's opera "Norma", the famous "Casta diva", and "this destroyed Oblomov: he was exhausted", more and more plunging into a new feeling for himself.

I.'s literary predecessor is Tatyana Larina ("Eugene Onegin"). But as the heroine of a different historical time, I. is more confident in herself, her mind requires constant work. This was also noted by N. A. Dobrolyubov in the article “What is Oblomovism?”: “Olga, in her development, represents the highest ideal that a Russian artist can now evoke from the current Russian life ... There is something more in her than in Stolz, one can see a hint of a new Russian life; one can expect a word from her that will burn and dispel Oblomovism ... "

But this I. is not given in the novel, just as it is not given to dispel the phenomena of a different order, similar to her heroine Goncharov Vera from The Cliff. The character of Olga, fused at the same time from strength and weakness, knowledge about life and the inability to bestow this knowledge on others, will be developed in Russian literature - in the heroines of the dramaturgy of A.P. Chekhov - in particular, in Elena Andreevna and Sonya Voynitskaya from Uncle Vanya.

The main property of I., inherent in many female characters in Russian literature of the last century, is not just love for a particular 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 Stoltz had left, then read the newspapers every day and tell her the news, write letters to the village, complete the estate plan, prepare to go abroad, - in a word, he will not doze off with her; she will show him the goal, make him fall in love again with everything that he has stopped loving, and Stolz will not recognize him when he returns. And all this miracle will be done by her, so timid, silent, whom no one has obeyed until now, who has not yet begun to live! .. She even trembled with proud, joyful trembling; I considered it a lesson appointed from above.

Here you can compare her character with the character of Lisa Kalitina from I. S. Turgenev's novel "The Nest of Nobles", with Elena from his own "On the Eve". Re-education becomes the goal, the goal captivates so much that everything else is pushed aside, and the feeling of love gradually submits to teaching. Teaching, in a sense, enlarges and enriches love. It is precisely from this that the serious change occurs in I. that struck Stolz so much when he met her abroad, where she, together with her aunt, came after the break with Oblomov.

I. immediately understands that in relations with Oblomov she plays the main role, she "in an instant 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 wake up in I. along with the life of Oblomov. But in her this process takes place much more intensively than in Ilya Ilyich. I. seems to be testing on him her capabilities as a woman and a teacher at the same time. Her extraordinary mind and soul require more and more "complex" food.

It is no coincidence that at some point Obkomov sees Cordelia in her: all I.'s feelings are permeated by a simple, natural, like a Shakespearean heroine, pride, prompting to realize the treasures of one's soul as a happy and well-deserved given: “What I once called mine, that is no longer I’ll give it back, unless they take it away ... ”she says to Oblomov.

I.'s feeling for Oblomov is whole and harmonious: she simply loves, while Oblomov is constantly trying to find out the depth of this love, and therefore suffers, believing that I. “loves now how she embroiders on the canvas: the pattern comes out quietly, lazily, she is even lazier unfolds it, admires it, then puts it down and forgets it. When Ilya Ilyich tells the heroine that she is smarter than him, I. replies: “No, simpler and bolder,” thereby expressing the almost defining line of their relationship.

I. hardly knows herself that the feeling she experiences is more reminiscent of a complex experiment than first love. She does not tell Oblomov that all matters on her estate have been settled, with only one goal - “... to follow to the end how love will make a revolution in his lazy soul, how oppression will finally fall from him, how he will not resist his loved ones happiness..." But, like any experiment on a living soul, this experiment cannot be crowned with success.

I. needs to see his chosen one on a pedestal, above himself, and this, according to the author's concept, is impossible. Even Stolz, whom I. marries after an unsuccessful affair with Oblomov, only temporarily stands higher than she, and Goncharov emphasizes this. By the end, it becomes clear that I. will outgrow her husband both in terms of the strength of feelings and the depth of reflection on life.

Realizing how far her ideals diverge from the ideals of Oblomov, who dreams of living according to the old way of his native Oblomovka, I. is forced to abandon further experiments. “I loved the future Oblomov! she says to Ilya Ilyich. - You are meek, honest, Ilya; you are gentle ... like a dove; you hide your head under your wing - and you want nothing more; you are ready to coo all your life under the roof ... yes, I’m not like that: this is not enough for me, I need something else, but I don’t know what! This “something” will not leave I.: even after surviving a break with Oblomov and happily marrying Stolz, she will not calm down. There will come a moment when Stolz will also have to explain to his wife, the mother of two children, the mysterious “something” that haunts her restless soul. "The deep abyss of her soul" does not frighten, but disturbs Stolz. In I., whom he knew almost as a girl, for whom he first felt friendship, and then love, he gradually discovers new and unexpected depths. It is difficult for Stolz to get used to them, because his happiness with I. seems to be largely problematic.

It happens that I. is overcome by fear: “She was afraid to fall into something similar to Oblomov's apathy. But no matter how hard she tried to get rid of these moments of periodic numbness, sleep of the soul, no, no, yes, first a dream of happiness would sneak up on her, surround her with a blue night and envelop her in drowsiness, then again there would come a thoughtful stop, as if the rest of life, and then embarrassment, fear , languor, some deaf sadness, some vague, foggy questions will be heard in a restless head.

These confusions are quite consistent with the final reflection of the author, which makes one think about the future of the heroine: “Olga did not know ... the logic of resignation to blind fate and did not understand women's passions and hobbies. Having once recognized the dignity and rights to herself in the chosen person, she believed in him and therefore loved, but stopped believing - stopped loving, as happened with Oblomov ... But now she believed in Andrei not blindly, but with consciousness, and in him her ideal of masculine perfection was embodied ... That is why she would not bear a drop in the dignity she recognized; any false note in his character or mind would produce a tremendous dissonance. The destroyed building of happiness would have buried her under the ruins, or, if her strength had still survived, she would have searched ... "

The novel "" became the crowning achievement of the great Russian writer I.A. Goncharova. The author worked on his brainchild for ten long years, honing every line, every scene, bringing it to the ideal. The problems that Goncharov raises in his work have not lost their relevance in our time. That is why we enjoy reading this great novel.

The basis of the plot of the novel "Oblomov" lies in the dramatic relationship between the protagonist and Olga Ilyinskaya.

The protagonist of the work is a classic representative of the Russian nobility of the mid-19th century. Oblomov leads a rather inert lifestyle. He spends almost all his time lying on the couch, immersed in dreams. Reading books and newspapers, Ilya Ilyich considers an empty occupation, which is not worth wasting time on. So Oblomov would have lived if one day his childhood friend Andrei Stoltz had not come to him. Andrei was the complete opposite of Ilya Ilyich. Life was beating out of him. Stolz was outraged by his friend's way of life, so he decides to get him out of bed and make him live for real.

Friends begin to attend various social events, dine in restaurants, go to the theater. One day he introduces Oblomov to Olga Ilyinskaya. This acquaintance awakened in Oblomov feelings that had not previously existed. Ilya Ilyich confesses his love to the girl. In turn, Olga understands these feelings as a duty to save a person. After all, these relations were provoked by Stolz and Ilyinskaya in order to save Oblomov.

Needless to say, she did a great job in her role. Oblomov "wakes up". He throws off his dressing gown, wakes up at seven in the morning, leads an active lifestyle. According to Goncharov, Ilya Ilyich at that moment showed his best human qualities.

Oblomov experienced a "poem of graceful love." Under the strict guidance of Ilyinskaya, he made up for his lost life. He showed interest in newspaper articles, foreign literature. True, Goncharov tells us that Oblomov learned only “what revolved in the circle of daily conversations in Olga's house. Everything else was buried in the realm of pure love.”

Life's problems and troubles (building a house and a road in his native village) haunted Ilya Ilyich. Over time, Oblomov began to lose confidence in his abilities, and with them feelings for Olga faded. Now love for Ilya Ilyich is a definite duty. That is why the heroes of the novel are forced to leave.

Oblomov finds his happiness in the house of Agafya Pshenitsyna, who was able to surround the protagonist with the necessary comfort and care. She was able to revive his native Oblomovka for him. And Olga married Stolz.

In my opinion, the love feelings of Oblomov and Olga were doomed from the very beginning. If Ilya Ilyich gave himself completely to them, then in the actions of Ilyinskaya we see a cold calculation. The only thing Olga needed was to change Oblomov. It was the future Oblomov that she fell in love with. This is what Ilya Ilyich said at the time of their last conversation. Oblomov, in turn, needed care and peace of mind, which he found in Pshenitsyna's house.

Ilya Ilyich and Olga were completely different people with their own ideals and values. That is why their paths diverged.

(375 words) In Goncharov's work "Oblomov" we get acquainted with two central female images: Olga and Agafya. Despite the fact that both of them have a romantic relationship with the main character, each of them is unique in its own unique nature. The contrast that arises between the characters not only completes the artistic picture of the novel, but also allows the reader to see Oblomov's personality from two different perspectives.

Starting with the portrait characteristics of the heroines, the author emphasizes the obvious difference between them. Olga appears before us as a young beautiful girl with refined features, thanks to which Oblomov drew attention to her. A slender silhouette and easy gait are key attributes that complement Olga's appearance, while Agafya's appearance was not exceptional. Being a plump middle-aged woman, she did not stand out from the others. That is why the author speaks of her face as "simple". However, physiological differences only frame the comparison of the two girls, full of contrasts. Differences continue in their way of life, which is formed based on their social status. As we know, Olga is a young noblewoman who has a small estate. We can say that she is literally at the beginning of her life path, which is why she is attracted to movement and adventure. Goncharov says that she is full of energy, which charges everyone around. Agafya, on the contrary, is the wife of the late official, who was left with two children. All her income is provided by the livestock she keeps at home. Despite the fact that she is an economic and active woman, and is constantly at work, she does not strive for her own intellectual development: she does not attend theaters, she is not interested in literature, she writes poorly in Russian. Agafya carries the image of a domestic woman, a modern housewife. And Olga personifies the Russian aristocracy of the nineteenth century.

Differences in lifestyle and characters explain Oblomov's nature, which is revealed in his relationship with them. Being together with Olga, the hero was charged with energy, he had a desire to participate in the seething life of high society. But he did not manage to hold out for long. Returning to his lazy routine, he began to burden the girl. The rhythms of the lives of the heroes simply did not match, so their relationship was obviously doomed. Oblomov needed someone who would take care of him, as his mother once did; one who will not change the routine. That is what he found in Agafia. The woman became for him the guardian of the hearth. She blew dust particles off him, busied herself around the house and treated him like a gentleman. In relations with her, he found that "Oblomovism" that he dreamed of.

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