The image of Agafya Pshenitsyna in the novel “Oblomov. Olga Ilyinskaya and Agafya Matveevna Pshenitsyna

I. A. Goncharov’s novel “Oblomov” is the pinnacle of the writer’s creativity. This is a work in which it was possible to embody numerous female types with expressive details of their appearance, character, and behavior. It is not without reason that critics drew attention to Goncharov’s portrayal of the “eternal feminine” in the novel “Oblomov.” M.V. Kirmalov believed that Goncharov, not without reason, gained the reputation of a “great expert on women.”

In the novel, two female characters run through the entire thread of the narrative: Olga Ilyinskaya and Agafya Pshenitsyna.

Goncharov, as a subtle psychologist, managed to embody the best features of a Russian woman in these two images. Both of these women not only occupied an important place in the life of Ilya Oblomov, but also influenced his personality. It is difficult to find similarities in the features of Olga Ilyinskaya and Agafya Pshenitsyna, except that both of these women were attractive in appearance, they both had Russian beauty. They loved Oblomov, but each had their own love. Olga's love was expressed spiritually. She manifested herself in art, in walks in the park, in meek confessions, completely differently from Agafya’s love. Her love is the constant concern of a thrifty woman, who will always be able to feed her a delicious dinner, give her hot coffee and make a snow-white bed.

Oblomov's relationship with Agafya Pshenitsyna just corresponded to his gentle character. And Olga’s attempt to “wake up” Oblomov, to induce in him a thirst for activity ended in complete failure. In anguish, Olga asks: “Why did everything die? Who cursed you, Ilya?.. What ruined you? There is no name for this evil...” Both Oblomov and Olga understood their ideal of happiness differently. Olga wanted to mold Oblomov into an active and strong-willed person. But Agafya Matveevna, on the contrary, did not demand anything from the soft-bodied nobleman; her spiritual needs did not reach Oblomov’s consciousness, because they themselves did not have time to arise in her own consciousness. When Oblomov asked her: “Are you reading anything?”, she only “looked at him blankly” in response. Pshchenitsyna was close to Oblomov because her way of life did not interfere with the way of life of Ilya Ilyich himself. He loved her house, in which Agafya provided Oblomov with everything that she loves so much - tranquility, delicious food, and if she becomes completely bored - her company. Agafya Matveevna did not demand loud words of love from Ilya Ilyich, did not sort things out with him, which cannot be said about Olga. In place of his relationship with Olga, Oblomov found Agafya to be a kind, attentive and caring mother, with whom he felt calm and serene. According to critic A.A. Grigoriev, “Oblomov chose Agafya Matveevna not because her elbows are seductive and that she cooks pies well, but because she is much more of a woman than Olga. If Stolz is the antipode of Oblomov, then Pshenitsyna is to the same extent the antipode of Olga, whose “head”, rational-experimental love is contrasted with spiritual-heartfelt love, about which we can say that it is “as old as the world.” Marrying Agafya Matveevna is a combination of Oblomov’s image and spirit of life.”

Thus, one can see that Oblomov was loved by women of different circles: Olga Ilyinskaya - an educated woman, with a bright and strong character, loving art, the “faith” of the novel, and Agafya Pshchenitsyna - a taciturn, economic woman, in whose everyday life Oblomov found something about than I dreamed of. It is possible that with her “dome of care”, with which Agafya Matveeva covered Oblomov, she extinguished the last human feelings in him and contributed to his spiritual death.

We don’t know whether Oblomov consciously made his choice by staying with Agafya Matveevna on the Vyborg side. But what is a choice for Oblomov? This is a lever whose mechanism can change the usual way of life, which is completely unusual for the apathetic Ilya Oblomov.

The characterization of Olga Ilyinskaya in Goncharov’s novel “Oblomov” allows us to better know and understand this character. This is the main female image that plays a significant role in the work.

Roman Goncharova

The characterization of Olga Ilyinskaya is necessary to better understand the essence of this work.

It is worth noting that Ivan Goncharov worked on the novel for 12 years - from 1847 to 1859. It was included in his famous trilogy, along with “The Precipice” and “An Ordinary Story.”

In many ways, Goncharov took so long to write “Oblomov” because his work constantly had to be interrupted. Including because of the trip around the world, which the writer went on on this trip, he devoted travel essays; only after publishing them did he return to writing “Oblomov”. A significant breakthrough occurred in the summer of 1857 at the resort of Marienbad. There, in a few weeks, Goncharov completed most of the work.

Plot of the novel

The novel tells about the fate of the Russian landowner Ilya Ilyich Oblomov. He lives in St. Petersburg with his servant named Zakhar. He spends many days lying on the sofa, sometimes without getting up from it at all. He doesn’t do anything, doesn’t go out into the world, but only dreams of a comfortable life on his estate. It seems that no troubles can move him from his place. Neither the decline into which his economy is falling, nor the threat of eviction from his St. Petersburg apartment.

His childhood friend named Andrei Stolts is trying to stir up Oblomov. He is a representative of the Russified Germans and is the complete opposite of Oblomov. Always very active and energetic. He forces Oblomov to go out into the world for a while, where the landowner meets Olga Ilyinskaya, whose characterization is in this article. This is a modern and progressive-minded woman. After much thought, Oblomov makes up his mind and proposes to her.

Oblomov's move

Ilyinskaya is not indifferent to Oblomov, but he himself ruins everything when he succumbs to Tarantiev’s intrigues and moves to the Vyborg side. At that time it was actually the rural outskirts of the city.

Oblomov finds himself in the house of Agafya Pshenitsyna, who eventually takes over his entire household. Ilya Ilyich himself is gradually fading away into complete inactivity and lack of will. Meanwhile, rumors are already circulating around the city about the upcoming wedding of the heroes. But when Ilyinskaya comes to his house, she is convinced that nothing will ever be able to awaken him. Their relationship ends after this.

In addition, Oblomov finds himself under the influence of Pshenitsyna’s brother Ivan Mukhoyarov, who entangles the protagonist in his machinations. Upset, Ilya Ilyich becomes seriously ill, and only Stolz saves him from complete ruin.

Oblomov's wife

Having parted with Ilyinskaya, Oblomov married Pshenitsyna a year later. They have a son, who is named Andrei in honor of Stolz.

Disappointed in her first love, Ilyinskaya eventually marries Stolz. At the very end of the novel, he comes to visit Oblomov and finds his friend sick and completely broken. Due to his inactivity at an early age, he suffered a stroke. Ilya Ilyich foresees his imminent death and asks Stolz not to abandon his son.

Two years later, the main character dies in his sleep. His son is taken in by Stolz and Ilyinskaya. Oblomov's faithful servant Zakhar, who outlived his master, although he was much older than him, out of grief begins to drink and beg.

Image of Ilyinskaya

The characterization of Olga Ilyinskaya must begin with the fact that this is a bright and complex image. At the very beginning, the reader gets to know her as a young girl who is just beginning to develop. Throughout the novel, we can watch how she grows up, reveals herself as a woman and mother, and becomes an independent person.

As a child, Ilyinskaya receives a quality education. She reads a lot, understands things. She is constantly developing, striving to achieve new goals. Everything about her speaks of her own dignity, beauty and inner strength.

Relations with Oblomov

In the novel "Oblomov" Olga Ilyinskaya, whose characterization is given in this article, appears before us as a very young girl. She explores the world around her, tries to figure out how everything works around her.

The key moment for her is her love for Oblomov. Olga Ilyinskaya, the character description you are reading now, is overcome by a strong and inspiring feeling. But it was doomed because the young people did not want to accept each other for who they really were. Instead, they created some ephemeral, semi-ideal images that they fell in love with.

Why can’t they decide to make fundamental changes in themselves so that their likely joint relationship becomes a reality? For Olga herself, love for Oblomov becomes a duty; she believes that she is obliged to change the inner world of her lover, re-educate him, turning him into a completely different person.

It is worth recognizing that, first of all, her love was based on selfishness and personal ambitions. More important than her feelings for Oblomov was the opportunity to revel in her achievements. She was interested in this relationship in the opportunity to change a person, to help him rise above himself, to turn into an active and energetic husband. This is exactly the fate Ilyinskaya dreamed of.

In the novel "Oblomov" the comparative characteristics in the table of Olga Ilyinskaya and Pshenitsyna immediately make it clear how different these heroines are.

Married to Stolz

As we know, nothing came of the relationship with Oblomov. Ilyinskaya married Stolz. Their romance developed slowly and began with sincere friendship. Initially, Olga herself perceived Stolz more as a mentor, who was an inspiring figure for her, inaccessible in his own way.

In the characterization of Olga Ilyinskaya, a quote can be cited to better understand her relationship with Andrei. “He was too far ahead of her, too taller than her, so her pride sometimes suffered from this immaturity, from the distance in their minds and years,” - this is how Goncharov writes about her attitude towards Stolz.

This marriage helped her recover from her breakup with Oblomov. Their joint relationship looked logical, since the heroes were similar in nature - both active and purposeful, this can be seen in the novel "Oblomov". A comparative description of Olga Ilyinskaya and Agafya Pshenitsyna is given in this article below. It helps to better understand the actions of these characters.

Over time, everything changed. Stolz could no longer keep up with Olga, who was constantly striving forward. And Ilyinskaya began to become disillusioned with family life, with the very fate that was originally destined for her. At the same time, she finds herself as a mother for her son Oblomov, whom she and Stolz take in for upbringing after the death of Ilya Ilyich.

Comparison with Agafya Pshenitsyna

When describing Olga Ilyinskaya and Agafya Pshenitsyna, it should be noted that the second woman who fell in love with Oblomov was the widow of a minor official. She is an ideal housewife who cannot sit idle and constantly takes care of the cleanliness and order in the house.

At the same time, a comparative description of Agafya Pshenitsyna and Olga Ilyinskaya will be in favor of the latter. After all, Agafya is a poorly educated, uncultured person. When Oblomov asks her about what she is reading, she just looks at him blankly, without answering. But she still attracted Oblomov. Most likely, because it fully corresponded to his usual way of life. She provided the most comfortable conditions for him - silence, tasty and plentiful food and peace. She becomes a tender and caring nanny for him. At the same time, with her care and love, she finally killed the human feelings that had awakened in him, which Olga Ilyinskaya tried so hard to awaken. The characteristics of these two heroines in the table make it possible to better understand them.

Comparison with Tatyana Larina

It is interesting that many researchers give a comparative description of Olga Ilyinskaya and Tatyana Larina. Indeed, without going into details, at first glance these heroines are very similar to each other. The reader is captivated by their simplicity, naturalness, and indifference to social life.

It is in Olga Ilyinskaya that those traits appear that have traditionally attracted Russian writers in any woman. This is the absence of artificiality, living beauty. Ilyinskaya differs from women of her time in that she lacks the usual female domestic happiness.

You can feel the hidden strength of character in her; she always has her own opinion, which she is ready to defend in any situation. Ilyinskaya continues the gallery of beautiful female images in Russian literature, which was opened by Pushkin’s Tatyana Larina. These are morally impeccable women who are faithful to duty and agree only to a compassionate life.

In the novel "" Goncharov creates two female images, which at one time influenced the main character - and his inner world - in completely different ways. Oblomov has feelings for both women, but they are completely different and dissimilar.

Olga Ilyinskaya is a woman who diligently tried to awaken vitality and activity in Oblomov. She made every effort to save the main character from laziness and constant apathy.

– bright and full of vital activity. She was smart and independent, proud and patient. She appears in Oblomov’s life, like a ray of light that can lead him out of the darkness.

The relationship between Olga and Ilya Ilyich began simply as friendly, but over time grew into love. The woman experiences feelings of love for Oblomov and he reciprocates her feelings. She is interested in the idea of ​​reviving Ilya Ilyich. For her sake, Oblomov does things that are crazy for his nature - he goes to theaters and museums, climbs a hill for his beloved. He forgets about his favorite robe and starts sorting through his clothes. The main character changes before our eyes.

Feelings of love and sympathy change Olga herself. Each time, new traits of her character are revealed to us. She acted at the behest of her heart, not paying attention to social principles and the rules of public etiquette.

In exchange for her activity, Olga demanded such vibrant activity from Oblomov. But Oblomov was afraid of this. He was unable to break his lazy inner core and the relationship between Olga and Ilya Ilyich ends in farewell.

Another female image was the person of Agafya Pshenitsyna. This image is completely opposite to Olga Ilyinskaya. Agafya is a wonderful housewife; her house is clean and tidy. But spiritually, the woman was not very developed. Agafya Pshenitsyna helped Oblomov run the household, she took care of Ilya Ilyich, did all the work for him, all his instructions. She was close to Oblomov in the nature of her life.

We see in her the image of a caring mother who is busy with the main character. Agafya Matveevna loved Oblomov, but hid her feelings inside. She gave the main character peace, tranquility and silence. This is exactly what he appreciated in such an economic woman.

After marrying Agafya Pshenitsyna, Oblomov’s spiritual development and active life activity again became dull and died inside the protagonist. With her care, the woman completely protected Oblomov from any activity.

Two female characters were on the path of the main character. Olga wanted to revive and save Oblomov. But Agafya led his inner world to complete destruction.

Grade 10

Lessons No. 29.

Subject. Oblomov and Agafya Pshenitsyna. Problems of the novel "Oblomov".

Target :

• help students reveal the image of Agafya Matveevna Pshenitsyna; find out how Agafya Matveevna’s love differs from Olga’s love;
• develop students’ speech and literary analysis skills;
• instill an interest in studying literature and history of their country, form cultural and aesthetic qualities of the individual.

Equipment: multimedia presentation.

DURING THE CLASSES.

I. Checking homework.

2.Draw up a plan for a comparative description of Oblomov and Stolz.

Plan.

1. Description of appearance.

2.Origin.

3.Upbringing and education.

4.Purposes of coming to St. Petersburg.

5.Lifestyle.

6. Ideal (norm) of life.

7. Test of love.

8.Result of life.

II. Learning new material.

1.Communication of the topic, purpose, lesson plan.

2. The teacher's word.

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.

3. The image of Agafya Matveevna Pshenitsyna.

3.1. About heroin.

The widow of an official, left with two children, the sister of Ivan Matveevich Mukhoyarov, Tarantiev’s godfather. It is Tarantiev who settles Oblomov, who is forced to look for a new apartment, in Pshenitsyna’s house on the Vyborg side.

3.2. 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.

3.3. Awakening the senses.

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 structure 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.

3.4. 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”.

Having devoted herself to caring for Oblomov, Pshenitsyna lives as fully and variedly as she has never lived before, and her chosen one begins to feel as if in his native Oblomovka: “... he quietly and gradually fit into the simple and wide coffin of the rest of his existence, made with his own hands, like desert elders who, turning away from life, dig their own grave.”

4. Conclusions about Agafya Matveevna Pshenitsyna.

• Life.
  Target: 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 convenience of Ilya Ilyich...”
  Principles: always be the goddess of the kitchen, develop the economy, “on which her pride and all her activities were concentrated!”
• 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.
• I was most afraid“inconvenience” for the master (in the broad sense).

5. Agafya Matveevna after the death of Oblomov.

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.

6. Why did Oblomov give up love?

Oblomov gave up love, he chose peace: “peace suits me, although it’s boring, sleepy, but it’s familiar to me, but I can’t cope with storms!” The episode of Oblomov’s last explanation with Olga reflects Olga’s deep disappointment and pain: “I thought. That I will revive you, that you can still live for me, and you have already died a long time ago...” Olga realized with bitterness that “from him one could only expect a deep impression, passionate - lazy submission. Eternal harmony with every beat of its impulse, no movement of will, no activity.” After all the doubts and internal struggle, Oblomov again found himself “at the same point of impossibility of moving forward.” Love is ups and downs, contradictions and doubts, search, movement, life, rich, bright, changing. After all, developing this feeling requires an initial commitment, a duty that involves taking responsibility. Oblomov was frightened by this - the feeling of fear in Oblomov is constantly intensifying and suppresses all other feelings and desires in him. It was necessary to make decisions, act, change something. Oblomov turned out to be incapable of this. Why?

After searching and torment, never finding the strength and will to fight for his love, Oblomov returns to his previous state of peace and inertia, mental statics (returns to his “swamp”). And this state, according to the author, is similar to the “death of the soul,” which is emphasized by the winter landscape: snow falling in large flakes, turning everything into a white shroud. Agafya Matveevna again takes out a robe, symbolizing the “shell” of life.

III. Consolidation of what has been learned.

Problems of the novel "Oblomov".

In the novel, Goncharov raises questions about true friendship, love, humanism, the equality of women, true happiness, and condemns noble romanticism.

Goncharov called the novel “Oblomov” a “novel-monograph.” He had in mind his plan to writethe life story of one person,present a deep psychological study of one biography: “I had one artistic ideal: this is the image of an honest and kind, sympathetic nature, an extremely idealist, struggling all his life, seeking the truth, encountering lies at every step, being deceived and falling into apathy and impotence.” .

In the first part of the novel, the stillness of life, slumber, closed existence is not only a sign of the existence of Ilya Ilyich, it is the essence of life in Oblomovka. She is isolated from the whole world: “Neither strong passions nor brave undertakings worried the Oblomovites.” This life is full and harmonious in its own way: it is Russian nature, a fairy tale, the love and affection of a mother, Russian hospitality, the beauty of the holidays. These childhood impressions are an ideal for Oblomov, from the height of which he judges life. Therefore, he does not accept the “St. Petersburg life”; he is not attracted by either his career or the desire to get rich.

Oblomov’s visitors personify three life paths that Oblomov could have gone through: becoming a spoiled dude, like Volkov; head of the department, like Sudbinsky; a writer like Penkin. Oblomov goes into contemplative inaction, wanting to preserve “his human dignity and his peace.” The image of Zakhar determines the structure of the first part of the novel. Oblomov is unthinkable without a servant, and vice versa. Both of them are children of Oblomovka.

The second and third parts of the novel aretest of friendship and love. The action becomes dynamic. Oblomov's main antagonist is his friend Andrei Stolts. The image of Stolz is important for understanding the author's intention and for a deeper understanding of the main character. Goncharov intended to show Stolz as a figure preparing progressive changes in Russia. Unlike Oblomov, Stolz is an energetic, active person, confidence is felt in his speeches and actions, he stands firmly on his feet, believes in the energy and transformative power of man. He is constantly on the move (the novel talks about his moves: Moscow, Nizhny Novgorod, Crimea, Kyiv, Odessa, Belgium, England, France) - and in this he sees happiness. German hard work, prudence and punctuality are combined in Stolz with Russian dreaminess and gentleness (his father is German and his mother is Russian). However, in Stolz the mind still prevails over the heart; he subordinates even the most subtle feelings to control. He lacks humanity, which is Oblomov’s main property. Stolz's childhood and family life are only described. We don’t know what Stolz was happy about, what he was upset about, who his friends were, who his enemies were. Stolz, in contrast to Oblomov, makes his own way in life (he graduated brilliantly from the university, successfully serves, begins to run his own business, acquires a house and money). The portrait of Stolz contrasts with the portrait of Oblomov: “He is entirely made up of bones, muscles and nerves.” Oblomov, on the other hand, is “flabby beyond his years,” he has a “sleepy look.” However, Stolz’s image is more multidimensional than it seems at first glance. He sincerely loves Oblomov, speaks of Oblomov’s “honest” and “faithful” heart, “which cannot be bribed by anything.” It was Stolz who the author endowed with an understanding of the moral essence of Oblomov, and it was Stolz who told the “writer” the whole life story of Ilya Ilyich. And at the end of the novel, Stolz finds peace in family well-being, he comes to where Oblomov started and stopped. This “reflection” of images in each other can be considered as a process of combining extremes.

An important place in the novel is occupied by theme of love. Love, according to Goncharov, is one of the “main forces” of progress; the world is driven by love. The heroes are tested by love. Goncharov does not give a detailed portrait of Olga, but emphasizes that there was “no affectation, no coquetry, no lies, no tinsel, no intent.” For the first time, the outline of his ideal flashed before Oblomov. The breakup was natural, because Olga and Oblomov expected the impossible from each other. He is of selfless, reckless love, when you can sacrifice everything: “peace, word of mouth, respect.” It comes from his activity, will, energy. But Olga fell in love not with Oblomov, but with her dream. Oblomov also feels this when he writes her a letter. In the future, each of the heroes acquires a life that corresponds to his ideal. Olga marries Stolz, Oblomov finds the heartfelt love of Agafya Matveevna. In her house on the Vyborg side “he was now surrounded by such simple, kind, loving people who agreed with their existence to support his life, to help him not notice, not feel it.” The disappeared world of childhood, Oblomovka, appears again.

IV. Summing up the lesson.

V. Homework.

Write a letter on behalf of Oblomov “House on the Vyborg Side: Paradise Found.”

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