All his life, Goncharov dreamed of finding harmony between feelings and reason. He reflected on the strength and poverty of the "man of reason", on the charm and weakness of the "man of the heart". In Oblomov, this idea became one of the leading ones. In this novel, two...

"Oblomov" met with unanimous recognition, but opinions about the meaning of the novel were sharply divided. N. A. Dobrolyubov in the article "What is Oblomovism?" I saw in "Oblomov" a crisis and the collapse of the old feudal Russia. Ilya Ilyich...

The protagonist of Goncharov's novel is Ilya Ilyich Oblomov. This is a man "about thirty-two or three years old, of medium height, of pleasant appearance, with dark gray eyes." He, "a nobleman by birth, a collegiate secretary by rank, has been living without a break for the twelfth year in St. Petersburg." Oblomov...

Ilyinskaya Olga Sergeevna is one of the main characters of the novel, 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, ...

The novel “Oblomov” by I. A. Goncharov has not lost its relevance and its objective significance in our time, because it contains a universal philosophical meaning. The main conflict of the novel - between the patriarchal and bourgeois ways of Russian life - is the writer ...

We all know that in every era there are people who are far ahead of their time in development and way of thinking. Today I would like to speculate about whether Andrei Stoltz was a new person in Goncharov's novel Oblomov. I would like to start my story...

In the novel "Oblomov" Ivan Goncharov touches upon the problem of the formation of a personality that grew up in an environment where they tried in every possible way to infringe on the manifestation of independence.

The image and characterization of Oblomov will help the reader figure out what people become who are accustomed from childhood to get what they want with the help of others.

External image of Ilya Ilyich Oblomov

"He was a man of about thirty-two or three years old, of medium height, with dark gray eyes, of pleasant appearance."

On the face of a man, certain emotions were hardly guessed. Thoughts wandered through him, but disappeared too quickly, like birds.

Ilya Ilyich Oblomov was fat. Small plump hands, narrow shoulders, pale color of the neck indicated excessive effeminacy. In his youth, the master was distinguished by harmony. The pretty blond liked the girls. Now he is bald. Andrey Stolz advises a friend to drop excess weight, arguing that it makes him sleepy. Visiting Oblomov's apartment, he often sees that the master is sleeping on the go, looking for any excuse, just to lie down on the sofa. Yes, and puffiness makes it clear that health is bad. The weight gain could be the reason.

Rising from the bed, Oblomov grunts like an old man. He calls himself:

"a dilapidated, worn, flabby caftan."

Recently, Ilya Ilyich attended all kinds of social events. Soon, going out into the world began to oppress him. Visiting guests required a neat appearance, and he was tired of the daily change of shirts and the requirement to be clean-shaven. Keeping track of his own appearance seemed to him a "stupid idea."

Always messy in clothes. Bed linen is rarely changed. Servant Zakhar often makes remarks to him. Stolz assures that they have not been walking in such dressing gowns as he wears for a long time. Socks on it from different pairs. He could easily wear a shirt inside out and not notice.

“Oblomov was always in the house without a tie and a vest. He loved space and freedom. The shoes on my feet were wide. Lowering his legs from the bed, he immediately hit them.

Many details appearance they say that Ilya is really lazy, indulges his own weaknesses.

Housing and life

For about eight years, Ilya Oblomov has been living in a spacious rented apartment in the very center of St. Petersburg. Only one of the four rooms is used. She serves him as a bedroom, and a dining room, and a reception room.

“The room where Ilya lay seemed perfectly cleaned. There was a mahogany bureau, two sofas upholstered in expensive fabrics, chic embroidered screens. There were carpets, curtains, paintings, expensive porcelain figurines.”

Interior items were expensive things. But this did not brighten up the negligence emanating from every corner of the room.

There were a lot of cobwebs on the walls and ceiling. The furniture was covered in a thick layer of dust. After meeting with his beloved Olga Ilyinskaya, he would come home, sit on the sofa, and draw her name in large letters on the dusty table. Placed on the table miscellaneous items. There were dirty plates and towels, last year's newspapers, books with yellowed pages. There are two sofas in Oblomov's room.

Attitude towards learning. Education

At the age of thirteen, Ilya was sent to study at a boarding school in Verkhlevo. Literacy did not attract the boy.

“Father and mother planted Ilyusha for a book. It was worth the loud screams, tears and whims.”

When he should have left for training, he came to his mother and asked to stay at home.

“He sad came to his mother. She knew the reason, and secretly sighed about being separated from her son for a whole week.

I studied at the university without enthusiasm. Absolutely not interested additional information, read what the teachers asked.

He was satisfied with notes in a notebook.

In the life of a student Oblomov there was a passion for poetry. Comrade Andrei Stoltz brought him various books from the family library. At first he read them with delight, and soon gave up, as was to be expected of him. Ilya managed to graduate from the university, but the proper knowledge was not deposited in his head. When it was necessary to show his knowledge in jurisprudence and mathematics, Oblomov could not cope. I always believed that education was sent to a person as retribution for sins.

Service

After training, time flew by faster.

Oblomov "did not advance in any field, continued to stand at the threshold of his own arena."

Something had to be done, and he decided to go to St. Petersburg to prove himself in the service of a clerical clerk.

At 20, he was quite naive, certain views on life could be attributed to inexperience. The young man was sure that

"The officials were a friendly, close family, worried about mutual peace and pleasure."

He also believed that there was no need to attend the service every day.

“Sleet, heat, or just a lack of desire can always serve as a legitimate excuse for not going to work. Ilya Ilyich was upset when he saw that he had to be in the service strictly adhering to the schedule. I suffered from longing, despite the condescending boss.

After working for two years, he made a serious mistake. When sending an important document, I confused Astrakhan with Arkhangelsk. Didn't wait for a response. He wrote a report about leaving, and before that he stayed at home, hiding behind his shaky health.

After the incident, he did not attempt to return to the service. He was glad that he did not need now:

"from nine to three, or from eight to nine to write reports."

Now he is sure that work cannot make a person happy.

Relationships with others

Ilya Ilyich seems quiet, absolutely non-confrontational.

“An observant person, glancing briefly at Oblomov, would say: “Good man, simplicity!”

His communication with the servant Zakhar from the first chapters can radically change his opinion about not. He often raises his voice. The footman really deserves a little shake-up. The master pays him for maintaining order in the apartment. He often puts off cleaning. Finds hundreds of reasons why it's impossible to get out today. There are already bedbugs, cockroaches in the house, and occasionally a mouse runs through. It is for all sorts of violations that the master scolds him.

Guests come to the apartment: Oblomov's former colleague Sudbinsky, writer Penkin, countryman Tarantyev. Each of those present tells Ilya Ilyich, lying in bed, about an eventful life, they invite him to take a walk, to unwind. However, he refuses everyone, it is a burden for him to leave the house. The master is afraid that he will not slip through. In each proposal, he sees a problem, expects a catch.

“Although Oblomov is affectionate with many, he sincerely loves one, believes him alone, maybe because he grew up and lived with him. This is Andrey Ivanovich Stolz.”

It will become clear that despite the indifference to all kinds of entertainment, Oblomov does not cause hostility among people. They still want to cheer him up, make another attempt to pull him out of his beloved bed.

Living with the widow Pshenitsyna, Ilya takes great pleasure in taking care of her children, teaching them to read and write. With the aunt of his beloved Olga Ilinskaya, he easily finds common topics for a conversation. All this proves the simplicity of Oblomov, the absence of arrogance, which is inherent in many landowners.

Love

With Olga Ilinskaya Oblomov his friend Andrey Stolts will introduce him. Her piano playing will make a lasting impression on him. At home, Ilya did not close his eyes all night. In his mind, he drew the image of a new acquaintance. He remembered every feature of his face with trepidation. After that, he began to visit the Ilyinsky estate often.

Confessing love to Olga, will plunge her into embarrassment. They didn't see each other for a long time. Oblomov moves to live in a rented dacha located near the house of his beloved. I could not help myself to visit her again. But fate itself will bring them together, organizing a chance meeting for them.

Inspired by feelings, Oblomov is changing for the better.

"He gets up at seven o'clock. There is neither fatigue nor boredom on the face. Shirts and ties shine like snow. His coat is beautifully tailored."

Feelings have a positive effect on his self-education. He reads books, does not lie idle on the couch. Writes letters to the manager of the estate with requests and instructions to improve the situation of the estate. Before his relationship with Olga, he always put it off until later. Dreams of family, children.

Olga is more and more convinced of his feelings. He does all her errands. However, "Oblomovism" does not let the hero go. Soon it begins to seem to him that he:

"is in the service of Ilyinskaya."

In his soul there is a struggle between apathy and love. Oblomov believes that it is impossible to feel sympathy for someone like him. "Loving someone like that is ridiculous, with flabby cheeks and a sleepy look."

The girl responds to his guesses with crying and suffering. Seeing the sincerity in her feelings, he regrets what was said. After a while, he again begins to look for a reason to avoid meetings. And when her beloved comes to him herself, she cannot see enough of her beauty, and decides to make her a marriage proposal. However, the established way of life takes its toll.

Ivan Aleksandrovich Goncharov worked on the novel Oblomov for ten years. The characterization of the protagonist is so convincingly presented by the classic that it went beyond the scope of the work, and the image became a household word. The quality of the author's elaboration of the characters of the story is impressive. All of them are integral, possessing features contemporary writer of people.

The topic of this article is the characterization of the heroes of Oblomov.

Ilya Ilyich Oblomov. Sliding on the plane of laziness

The central image of the book is a young (32-33 years old) landowner Ilya Ilyich Oblomov, a lazy imposing dreamer. He is a man of medium height, with dark gray eyes, pleasant features, and puffy hands, pampered like a child. This person lives in a St. Petersburg apartment on the Vyborg side is ambiguous. Oblomov is an excellent interlocutor. He is by nature incapable of harming anyone. His soul is pure. Educated, has a broad outlook. At any given time, his face reflects a continuous stream of thoughts. It would seem that we are talking about if it were not for the enormous laziness that had taken root in Ilya Ilyich. From childhood, numerous nannies took care of him in detail. "Zakharki da Vanya" from the serfs did any work for him, even small work. In idleness and lying on the couch, his days pass.

Confiding in them, Oblomov signed an enslaving contract for his Vyborg apartment, and then paid the fake "moral damage" to Agafya Mukhoyarov's brother in the amount of ten thousand rubles by means of a fake loan letter. A friend of Ilya Ilyich Stolz exposes the scoundrels. After that, Tarantiev "goes on the run."

People close to Oblomov

The people around him feel that soulful person, Oblomov. A characteristic is a characteristic, however, the self-destruction of the protagonist by laziness does not prevent him from having friends. The reader sees how a true friend Andrey Stolz is trying to wrest Oblomov out of the tight embrace of doing nothing. He also became, after the death of Oblomov, according to the will of the latter, the adoptive father for his son Andryusha.

Oblomov has a devoted and loving civil wife - the widow Agafya Pshenitsyna - an unsurpassed hostess, narrow-minded, illiterate, but honest and decent. Outwardly, she is full, but okay, hardworking. Ilya Ilyich admires her, comparing her with a cheesecake. The woman breaks off all relations with her brother Ivan Mukhoyarov, having learned about the low deception of her husband by him. After death civil husband the woman feels that "the soul has been taken out of her." Having given her son to be raised by the Stolts, Agafya simply wants to leave after her Ilya. She is not interested in money, which is evident from her refusal of the due income from the Oblomov estate.

Ilya Ilyich is served by Zakhar - untidy, lazy, but idolizing his master and devoted to the end servant of the old school. After the death of the master, the former servant prefers to beg, but is near his grave.

More about the image of Andrei Stolz

Often the topic school essays is Oblomov and Stolz. They are even opposite in appearance. Lean, swarthy, with sunken cheeks, it seems that Stolz is all made up of muscles and tendons. He has a rank behind him, a guaranteed income. Later, while working for a trading company, he earned money to buy a house. He is active and creative, he is offered an interesting and money work. It is he who, in the second part of the novel, is trying to bring Oblomov to Olga Ilyinskaya, introducing them. However, Oblomov stopped building relationships with this lady, because he was afraid to change housing and engage in active work. Disappointed Olga, who planned to re-educate the lazy man, left him. However, the image of Stolz is not ideal, despite his constant creative work. He, as the antipode of Oblomov, is afraid to dream. In this image, Goncharov invested rationality and rationalism in abundance. The writer believed that the image of Stolz had not been finalized by him. Anton Pavlovich Chekhov, on the other hand, even considered this image negative, the judgment that he was “too pleased with himself” and “thinks too well of himself.”

Olga Ilyinskaya - woman of the future

The image of Olga Ilyinskaya is strong, complete, beautiful. Not a beauty, but surprisingly harmonious and dynamic. It is deeply spiritual and at the same time active. met her singing the aria "Casta diva". This woman turned out to be able to stir up even such a penny. But the re-education of Oblomov turned out to be an extremely difficult task, no more effective than training woodpeckers, laziness took deep roots in him. In the end, Oblomov is the first to refuse a relationship with Olga (due to laziness). A characteristic of their further relationship is Olga's active sympathy. She marries the active, reliable and faithful Andrei Stolz who fell in love with her. They have a wonderful harmonious family. But an astute reader will understand that an active German "does not reach" the level of his wife's spirituality.

Conclusion

A string of Goncharov's images passes before the eyes of the reader of the novel. Of course, the most striking of them is the image of Ilya Ilyich Oblomov. Having wonderful prerequisites for a successful, comfortable life, he managed to ruin himself. At the end of his life, the landowner realized what had happened to him after all, giving this phenomenon a capacious laconic name “Oblomovism”. Is it modern? And how. Today's Ilya Ilyichs have, in addition to a dream flight, also impressive resources - computer games with amazing graphics.

The novel did not reveal the image of Andrei Stolz to the extent conceived by Ivan Aleksandrovich Goncharov. The author of the article considers this natural. After all, the classic depicted two extremes in these heroes. The first is a useless dream, and the second is a pragmatic, unspiritual activity. Obviously, only by combining these qualities in the right proportion, we get something harmonious.

Indeed, are the intentions of the first and subsequent parts of the novel really so sharply at odds with each other? To answer this question, consider the system of its images. It is made according to the classical principle of antithesis. Reclining on the sofa "master" and projector-dreamer Ilya Ilyich Oblomov, the author arranges peculiar " confrontation". As if on theater stage, characters successively replace each other, designed to demonstrate to Oblomov the advantages of an alternative - active - lifestyle. First, the serf servant Zakhar appears.

Then St. Petersburg acquaintances Volkov, Sudbinsky, writer Penkin, Alekseev, countryman Mikhey Andreevich Tarantiev. And finally, the true "hero of the deed" and also a fellow countryman, childhood friend Andrei Karlovich Stolz ... The reader sees: with each subsequent visitor, the authority of the "man of deeds" grows. But - and this is the whole paradox! - at the same time, the reader's trust and sympathy for the "master" Oblomov, for the contemplative-dreamy view of life he professes, increases. Both positions do not begin to deny each other, but it is difficult to correlate with each other.

Here is the antithesis of "Oblomov - Zakhar", a master and a servant. One dreamed all his life, the other at that time worked for him. But on the very first pages, a deep similarity between the antagonists is revealed. No matter how Zakhar reproached his master with “others” who easily move from apartment to apartment and go abroad, he himself is a fan of the same calmly contemplative philosophy of life, only in its reduced version. Zakhar is not allowed to fight dirt, cockroaches and bedbugs by the thought that they are invented by the Lord himself... It turns out that the "philosophy of the case" can also be quite lordly. Zakhar is a crooked mirror of Oblomov, his double, as, indeed, Oblomov is also a crooked reflection of the image of his servant. Like famous Sancho Panse and Don Quixote, they look like inseparable rivals. Oblomov dies - and Zakhar's life loses all meaning.

Activity as a disguised form of "Oblomovism" - this motif, becoming more complicated from antithesis to antithesis, is gaining meaningful strength in the novel.

Petersburg acquaintances of Oblomov, each in their own way, show examples of pseudo-activity to the hero’s spiritual gaze, whether it be Volkov’s thoughtless “fluttering” around the capital’s living rooms or Sudbinsky’s empty arguments about the advisability of building dog kennels in provincial government offices. Such activities Stolz later aptly call "Petersburg Oblomovism." Oblomov is also not mistaken about her: “Where is the man here? What does it break up and crumble into?” A little later, in a dispute with Stolz, he will express himself even more clearly: “Under this comprehensiveness lies emptiness, a lack of sympathy for everything.” He confidently prefers the dreamy, but in its own way sincere "Oblomovism" to the same "Oblomovism", but sanctimoniously covered up with the guise of "deeds". And this one moral choice, undoubtedly, speaks in favor of the protagonist. At the same time, Goncharov does not hide: the roots of the Russian "nobility" are common - both among the supporters of the "dream", and among the adherents of the "cause". No wonder they are so attracted to each other. “Oblomov could listen, look, without moving his fingers, at something lively, moving and speaking in front of him.”

So, the more Oblomov's antagonists strive to oppose their "business" to the idle existence of a dreamer-projector, the more obvious their internal dependence on him becomes. Goncharov emphasizes the most important meaning of "Oblomovism" as a generic sign of the character of a Russian person in general. This is a fatal vicious circle, beyond which neither Oblomov himself nor his opponents can go.

But at the end of Part I Andrey Stoltz appears. Goncharov diligently separates this genuine "hero of the deed" from the previous "active Oblomovs." Separates by focusing on main line character of Stolz. This is a habit brought up by the father from childhood to rely only on one's own strength in life and to achieve everything with one's own labor. Only then can a career, which the ambitious Stoltz does not shy away from, not humiliate, but morally elevate the personality. And, according to Goncharov, there is nothing reprehensible in this principle of bourgeois morality. In it is a sign of a new European civilization, which Russia entered in the 1860s. Moreover, it has its own new, previously unknown beauty and romance.

Starting with Dobrolyubov, it has become good form in all critical articles to reproach Goncharov for the abstractness and schematism of the depicted character of Stolz. Like, since the writer did not show what exactly the “case” consisted of goodie, therefore, either the time for the “real business” has not come to Russia, or something is wrong in the “business” itself, which Stolz is engaged in. Hence the rumors about the discrepancy between intent and execution in relation to the image of Stolz, as well as the tendentious search for all sorts of flaws in the actions of the hero.

Meanwhile, everything is much simpler and more complicated at the same time. "Hero of deed" for Goncharov is not so much a certain profession as the ideal state of the soul of a person of a new, bourgeois formation. Stolz treats work disinterestedly. He loves her not for specific content (and therefore does everything at once - commerce, tourism, writing, public service) and not for material results (Stolz is indifferent to comfort), but for the almost aesthetic pleasure that he receives from the very process of labor . To Oblomov’s question: “Why suffer for the whole century?” - Stolz proudly replies: “For the work itself, nothing else. Labor is the image, content, element and purpose of life ... "Stolz is as much a" poet of labor "as Oblomov is a" poet of dreams ". Both are incorrigible idealists, only the form in which they clothe their idealism is different. The activity of the spirit, devoid of considerations of its usefulness and benefit, valuable in itself - this is the area in which the "romantic" of the old time and the "practitioner" of the new time can peacefully coexist.

If we interpret the character of Stolz in this way, it immediately becomes clear that the former belonging of Verkhlev (the estate of the Stolts) to Oblomov’s possessions, and that sincere tone that accompanies almost all meetings and conversations of two friends, and the romantic “grafting” to the character of Stolz, introduced by maternal upbringing ( Hertz's music, the atmosphere of dreaminess and patriarchal comfort). In the upbringing of Stolz, undoubtedly, there is an “Oblomov element”. Only, unlike the previous "active Oblomovs", this "element" in the eyes of the reader does not reduce, but, on the contrary, elevates the inseparable pair of "dreamer" and "doer". For a final answer, let's turn to Oblomov's Dream, which immediately precedes the appearance of Stolz on the pages of the novel. It is not for nothing that Goncharov called The Dream an “overture” and a “key” to the whole work, and even published this chapter separately back in 1849.

In accordance with the ideological and thematic content, a system of images of the novel is built, in the center of which is main character- Oblomov. He received extremely controversial interpretations and assessments in criticism. Dobrolyubov’s critical assessment of Oblomov, who saw in him a symbol of the collapse of the entire serf system, a reflection of the complex “ extra person”, brought to its logical end, after which only decay and death are possible, was disputed by the critic A.V. Druzhinin. He is in the article “Oblomov”, a novel by I. A. Goncharov “converges with Dobrolyubov

The fact that the image of Oblomov reflects the essential aspects of Russian life. But at the same time, the critic asserts: “Oblomovism” is bad, “the origins of which are rottenness and corruption”; Another thing is if it is “the immaturity of society and the hesitation of pure-hearted people in the face of practicality”, which happens in young countries like Russia. Druzhinin's conclusion: Oblomov is not worthy of contempt, but of love. The critic even found in Oblomov the features of an epic hero, similar to Ilya Muromets sleeping until the time, and in Oblomovka - a lost patriarchal paradise.
In the future, the opinions of critics and readers tended either to a Dobrolyubov - critical - assessment, or to a point of view close to Druzhinin, in which Oblomov's character was regarded as positive. So, for example, the Russian philosopher and poet " silver age"B. S. Solovyov called Oblomov "an all-Russian type", "which we do not find equal in breadth in any of the Russian writers." The poet and critic of the same period, I. F. Annensky, without idealizing Oblomov, claims that the hero is not devoid of selfishness and softness, but “he does not have complacency, this main sign of vulgarity.” In the work of the largest philosopher of the middle of the 20th century, N. O. Lossky, it is emphasized that the explanation of Oblomov's laziness by the corrupting influence of serfdom is only partly true, in many respects it is connected with the peculiarities of the national character. This position is closest to the author's. The writer gives a versatile characterization of his hero with the help of various artistic means, one of which is the comparison of Oblomov with other heroes.
To reveal the features of “Oblomovism” in him, Goncharov uses “twins”. These are a number of minor images of the novel: Zakhar, Oblomov's servant, who is his caricature reflection; Alekseev, “a man without deeds”; Tarantiev is a “master of speaking” but not of doing. At the same time, each of these images has an independent meaning and function in the novel.
Another group is non-plot characters: these are visitors who come to Oblomov in his apartment on Gorokhovaya Street. They are designed to show the environment in which the hero lives, and at the same time represent the personification of the activity that captures the people of this circle. Frant Volkov is a secular success, official Sudbinsky is a career, fiction writer Penkin is “a game of accusation”. Such "activity" is not capable of filling Oblomov's life, cannot "awaken" him.
Much more significant is the comparison of Oblomov - Stolz, built on the principle of antithesis. Stolz is the antipode of Oblomov. As conceived by the author, it was supposed to combine different national-cultural and socio-historical elements. No wonder his mother is a Russian noblewoman with a tender heart and poetic soul- passed her spirituality to Andrei, and the father is a German, who instilled in his son the skills of independent and hard work, the ability to rely on one's own strength. Such a combination, according to the writer, was supposed to create a harmonious character, alien to any extreme. But the implementation of the plan made its own adjustments, revealing a certain limitation of such a person. Indeed, Stolz’s energy and dynamism are opposed to Oblomov’s apathy and inactivity, but the author’s sympathies are still not on his side, since rationality and practicality lead this hero to a loss of humanity, and the writer’s ideal is “mind and heart together”. Not without reason, starting with Dobrolyubov, critics treated Stolz mostly negatively. The hero was reproached for rationality, dryness, selfishness, and the author himself was doubtful of such a quality as practicality, which, with mid-nineteenth century stands out as distinguishing feature Russian business people, strong-willed, enterprising, but often overly rationalistic or morally unstable. Indeed, for the writer, as well as for Oblomov, it is not just the activity in itself that is important, but what it leads to.
The ideal of Stolz is too prosaic and mundane. “We are not Titans with you,” he says to his wife Olga, “we will bow our heads and humbly go through a difficult moment.” Such is the logic of a person who sees the practical side of things and is ready to focus on particular issues without resolving the main thing. But another thing is natures like Oblomov, tormented by a “general human disease”, and therefore not satisfied with the solution of particular problems. It is they who have the incomprehensible power of influencing female hearts.
play a special role in the novel. female images. The main ones - Olga Ilyinskaya and Agafya Pshenitsyna - are also presented on the basis of antithesis. Olga Ilyinskaya, according to the author, is close to the harmonious human norm that the writer dreamed of. Her moral formation was free from the influence of the class-limited environment. It combines spiritual purity and striving for the ideal, beauty and naturalness, artistry of nature and a sound mind. Olga is a character as much desired by the author as a real one, hence his certain uncertainty. She manages to awaken Oblomov from sleep for a while, but she is not able to change the essence of his character, and therefore their love ends in a break. Olga admits: "I loved the future Oblomov."
As he is, he is accepted by another heroine - Agafya Matveevna Pshenitsyna. She is the opposite of Olga in everything. Even them portrait characteristic sharply contrasted. The spiritual image of Ilyinskaya, whose features reflected the “presence of a speaking thought”, the richness of inner life, is emphasized, the portrait of Pshenitsyna with her “full, rounded elbows”, the “simplicity” of spiritual movements is contrasted. It is all the more surprising that it was Agafya Matveevna who managed simply and naturally, without hesitation, to embody that selflessness in love, which turned out to be unbearable for Olga in her love for Oblomov.