Oblomov on the Vyborg side. Geography and space of Russian literature of the 19th century (end) New apartment on the Vyborg side near Pshenitsyna

Pshenitsyna Agafya Matveevna - character description

Pshenitsyna Agafya Matveevna is 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 P.’s house on the Vyborg side. “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.”

P. 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 positive goal 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 everything was decided by “brother,” only in skillfully managing the house did P. achieve perfection. Everything else passed by the undeveloped mind for years and decades.

Almost immediately after Oblomov moves to the Vyborg side, P. begins to arouse a certain interest in Ilya Ilyich, which can be regarded as purely erotic (the round white elbows of the hostess constantly attract Oblomov’s attention). But the answer awaits at the end of the novel, when, shortly before his death, Ilya Ilyich has a dream where his mother, pointing to P., whispers: “Militrisa Kirbityevna.” She names the name of his dream, inspired by Ilya Ilyich’s nanny’s fairy tales in early childhood.

The image of P. never aroused particular interest among critics of the novel: a rude, primitive nature, which they are used to looking at only through the eyes of Stolz, as terrible woman, symbolizing the depth of Ilya Ilyich’s fall. But it is no coincidence that Goncharov gives this simple woman a name close to the name of his beloved mother - Avdotya Matveevna Goncharova, a merchant widow who for many years lived in the same house with Goncharov’s godfather, nobleman N. N. Tregubov, who raised her sons and gave them education.

P. is in constant motion, unlike Oblomov, realizing that “there is always work” and that it is the true content of life, and not at all a punishment, as was believed in Oblomovka. Her constantly flashing elbows attract Oblomov’s attention not only with her beauty, but also with the heroine’s activity, which he is not fully aware of. Outwardly, P. is perceived as a kind of perpetuum mobile, without thought, without a glimmer of feeling, the “brother” calls her nothing more than “cow” or “horse,” seeing in his sister only free labor. “Even if you hit her, even if you hug her, she’s all grinning like a horse at oats,” he says about her to godfather Tarantiev, preparing, on the latter’s advice, to track down P.’s relationship with Oblomov and demand money from Ilya Ilyich “for dishonor.”

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 P. herself. She finds the meaning of her existence in the constant work of arranging and caring for the house, and in the chores around the house. Something unknown to her before began to awaken in P.: anxiety, glimpses of reflection. In other words - love, more and more deep, pure, sincere, unable to express itself in words, but manifested in what P. knows and can do well: in caring for Oblomov’s table and clothes, in prayers for his health, in sitting at night at the bedside of the sick Ilya Ilyich. “Her entire household... received a new, living meaning: the peace and comfort of Ilya Ilyich. Before she saw this as a duty, now it has become her pleasure. She began to live in her own full and varied way... It was as if she suddenly switched to another faith and began to profess it, not discussing what kind of faith it was, what dogmas it contained, but blindly obeying its laws.”

For P. Oblomov is a person from another world: she has never seen such people before. Knowing that ladies and gentlemen lived somewhere, she perceived their life in much the same way as Oblomov listened to the fairy tale about Militris Kirbityevna in childhood. The meeting with Oblomov served as an impulse for rebirth, but the culprit of this process “did not understand how deeply this meaning had taken root and what an unexpected victory he had achieved over the mistress’s heart... And P.’s feeling, so normal, natural, disinterested, remained a secret to 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.” P. is the only absolutely unselfish and decisive person around Oblomov. Without delving into any complications, she does what is necessary in at the moment: 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, P. resolutely renounces both “brother” and “godfather”.

Having devoted herself to caring for Oblomov, P. 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 their own hands, like the desert elders who, turning away from life, dig their own grave.”

P. and Oblomov have a son. Understanding the difference between this child and the children from his first husband, P., after the death of Ilya Ilyich, meekly gives him up to be raised by the Stolts. Oblomov's death brings a new color to P.'s existence - she is the widow of a landowner, a master, for which her “brother” and his wife constantly reproach her. And although P.’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 had not lived in vain... Rays, a quiet light from the seven years that had flown by in an instant, spilled over her whole life, and she had nothing more to desire, nowhere to go.”

P.’s selflessness is made clear to Stoltz at the end of the novel: she does not need his reports in managing the estate, just as she does not need the income from Oblomovka, which Stoltz put in order. The light of P.'s life faded along with Ilya Ilyich.

The action of the fourth part of the novel, taking place on the Vyborg side, seems to return us to the setting of the beginning of the work, and at the same time - to Oblomov’s dream. Of course, the details of the situation have changed, but the essence remains the same. This is how the idea of ​​a ring composition arises. The hero's life comes to an end, and we have the opportunity to draw some conclusions.

In his youth, Oblomov looked like such a fiery and sublime romantic that you involuntarily remember his predecessor, Alexander Aduev. Yes, of course, Oblomov is more apathetic, he is more sluggish, but he was also characterized by romantic aspirations, he “kept hoping for something, expecting a lot both from fate and from himself; he was still preparing for the field, for the role.” Once upon a time his eyes “shone with the fire of life, rays of light, hope, and strength flowed from them.” And in his wildest dreams, Oblomov almost outdid the young Aduev: “He sometimes liked to imagine himself as some kind of invincible commander... Or he will choose the arena of a thinker, a great artist: everyone worships him; he reaps laurels; the crowd chases him, exclaiming: “Look, look, here comes Oblomov, our famous Ilya Ilyich!”

We have gotten used to the other Oblomov, who is still lying on the sofa in a dressing gown.

It turns out that he was once different. He was no stranger to emotional disturbances, hopes, dreams - funny, of course, but still elevating him to some other, high world, as is typical of all romantics. Stolz recalled another episode from Oblomov’s life, when he, a thin, lively boy, went every day to some two sisters, brought them Rousseau, Schiller, Goethe, Byron, “showed off in front of them.” What happened to the romantic Oblomov?

Dobrolyubov placed him in a certain typological series of so-called “superfluous people”, at the origins of which was Onegin. Without at all doubting the possibility of such a parallel, let us consider another connection between Goncharov’s novel and Pushkin’s novel.

For the romantic Lensky, there were two possible paths. He could have become a great poet - this is one option, but his life could have been like this:

Or maybe this: an ordinary poet's destiny awaited him. The youth of summer would have passed, The ardor of his soul would have cooled. He would have changed in many ways, He would have parted with the muses, gotten married, In the village, happy and horned, He would have worn a quilted robe; He would have known life for real In fact, I would have had gout at the age of forty, I drank, I ate, I was bored, I grew fat, I grew weaker, And finally I would die in my bed among children, Maudlin women and doctors.

Maybe not everything, but a lot was guessed and predicted by Pushkin with amazing accuracy - right down to the famous robe, which became a symbol of Oblomov’s laziness (“a real oriental robe, without the slightest hint of Europe”).

And before Oblomov there were also two paths. He made his choice - he chose the Vyborg side.

If the life of old Oblomovka was presented by the author with clearly palpable irony, now the tone of the narrative is changing. True, at first Pshenitsyna is ironically depicted, whom Oblomov looked at “with the same pleasure with which he looked at a hot cheesecake in the morning.” One day he asked her: “Are you reading anything?” In response, she simply looked at him. However, Oblomov shouldn’t ask Agafya Matveevna about reading! When the hero set out to kiss his mistress, she stood “straight and motionless, like a horse on which a collar is being put on.”

But in the “sleepy kingdom” on the Vyborg side, it is Agafya Matveevna who turns out to be a living soul, waking up even unnoticed by herself. After all, in her life, in environment she had never seen or imagined people like Oblomov. There was finally some purpose to her existence; serving Oblomov acquired in her eyes the connotation of serving something higher; she realized her purpose on earth.

She fell in love with Oblomov for who he is, without calculations, without attempts to change him, to remake him in her own image and likeness. Goncharov, without any irony, but with obvious and ardent sympathy, wrote about Pshenitsyna at the end of the novel: “Her life was forever comprehended: now she already knew why she lived and that she did not live in vain. She loved so fully and a lot...”

Could Oblomov say the same about himself? Did he know why he lived? Were you convinced that you didn’t live in vain?

In the novel “Oblomov,” Ivan Aleksandrovich Goncharov portrayed two contrasting female images: Olga and Agafya Matveevna. Olga attracts the reader with her intelligence, active position and desire for self-development, Agafya - with kindness, sincerity and truly Russian beauty: “she had a simple but pleasant face”, “round full legs”, “elbows of at least some countess, and even with dimples.” It is no coincidence that Goncharov gave her a name consonant with the name of his mother - Avdotya Matveevna.

Agafya is a widow and she has two children from her late husband: “... two children with me, from her late husband: a boy in his eighth year and a girl in his sixth...”, she lives on income from the farm: “... lives only on what he receives from the house; but perhaps he can earn something for the children’s clothes from the chickens and eggs...” She doesn’t read books, is poorly educated, and responds to incomprehensible and unknown things with a smile: “My brother has one, but they don’t read it.” We take newspapers from the tavern, sometimes my brother reads them out loud,” she seems to have no opinion of her own.

For Agafya, the opinion of her brother, and then Oblomov, replaces her own and she begins to live as a different person, completely devoting herself to him. On the other hand, Pshenitsyna is a wonderful housewife: “...The kitchen was a true palladium of the work of the great housewife...”, she cooks deliciously: “And at home the table is already set, and the food is so tasty, served clean...”, she makes it herself homemade tincture: "...Our own, homemade: we infuse it ourselves with currant leaf." For Agafya, the main happiness in life is Oblomov’s well-being, for which she continues to live, essentially sacrificing herself to another person, his ideals and ideas about happiness. But it is precisely this sacrifice and dedication of herself to another that is true happiness for the heroine, allowing her feminine nature to reveal itself and find the meaning of her life.

With the move to the Vyborg side, Oblomov’s lifestyle changes. Ilya Ilyich makes his choice: he again puts on his robe, which was washed and sewn by Agafya Matveevna, who, after parting with Olga, replaces her. After this, the situation in the house changes: “Oblomov, seeing the hostess’s participation in his affairs, once suggested to her, as a joke, that she take all the worries about his food upon herself and save her from all the hassle... The hostess talked to her brother, and the next day everything was dragged from Oblomov’s kitchen to Pshenitsyna’s kitchen.” He again spends most of the day on the sofa, talking with the hostess or studying with her children. Walking alone becomes a burden for him: “In good weather, Oblomov will put on his cap and walk around the neighborhood; there he will fall into the mud, here he will have unpleasant intercourse with dogs and return home.” And in the house they accept him as he is, without making any demands on him, but, on the contrary, they make him the object of everyday reverent care. Almost every day on the Vyborg side follows the same scenario: “Ilya Ilyich will get up in the morning at about nine o’clock... The coffee is still the same delicious, the cream is thick, the rolls are rich, crumbly. Then he starts to smoke a cigar and listens carefully to how the hen clucks heavily, how the chickens squeak, how the canaries and siskins chirp. “They remind me of the village, Oblomovka,” he said. Then he will sit down to finish reading the books he started at the dacha, sometimes he will lie down casually with a book and read. “... Oblomov had four rooms, then. there is the entire front suite. The hostess and her family lived in two private rooms, and the brother lived upstairs, in the so-called light room. Oblomov's office and bedroom had windows facing the courtyard, the living room faced the garden, and the living room faced a large vegetable garden with cabbage and potatoes. In the living room the windows were draped with faded chintz curtains. Simple walnut chairs lined the walls; under the mirror stood a card table; On the windows there were pots of eranya and marigolds crowded together, and four cages with siskins and canaries hanging..."

The image of Agafya Matveevna speaks of her simple character and penchant for compassion. When Oblomov finds himself without money, she sells her things to feed him. Agafya Matveevna does not try to force Ilya Ilyich to act. She takes care of his immediate needs, in particular, food, peace and tranquility, which are so dear to Oblomov’s heart. It was the desire for eternal rest, physical and moral, for an endlessly lasting state of physical and mental immobility that ultimately determined the hero’s choice - he chooses Agafya Matveevna.

Vyborgskaya. side. Pshenitsyna. The role of this love drama. Oblomov in the fate of Agafya Matveevna.

Vyborg side.

Moving from the dacha to the Vyborg side to
brings the apartment closer to the widow Pshenitsyna
Oblomov to Oblomovka and, on the contrary, deletes
him from a great life, an active life,
troublesome, life that is depicted in
the imagination of Olga Ilyinskaya,
intended at the request of Stolz
save Oblomov from laziness, apathy and death.
The apartment on the Vyborg side is the same
Oblomovka, according to Oblomov.

Pshenitsyna Agafya Matveevna is the widow of an official, left with two children. It is Tarantiev who settles Oblomov, who is forced

search
new apartment in
P.'s house on Vyborgskaya
side.

"She was years old
thirty. Eyebrows
she has almost
it wasn't at all.
The eyes are grayishly simple-minded,
like everyone else
facial expression;
hands are white, but
hard, with
speakers
large outwards
blue knots
lived."

Her appearance said it all: she was simple-minded, kind, affectionate, friendly, and besides this, she was an excellent housewife. She protected the peace

Oblomov, cooked for him
delicious food, supported
I took care of the cleanliness of his room
about health. Here it is - quiet
a haven that never
Oblomov and Olga would have had it. Such
peaceful, cozy family life Not
scared the hero, just as she scared him
marriage to Ilyinskaya, because
did not impose any
responsibility. He loved his wife
son, family life,
personified the main thing for him
- physical and mental peace.”

The role of love drama.

Relations between Oblomov and Agafya Pshenitsyna
were friendly. When Oblomov went somewhere and
didn't return for a long time, she might not sleep a wink all night
eyes, “turn from side to side” and cross yourself. When
Oblomov was ill, she did not let anyone into his room,
and she sat with him and treated him, even when the children
they will start making noise, she will scold them and
scold. And when he is cheerful and kind, the owner changes
before our eyes, and all life becomes just as cheerful and
measured.

Oblomov in the fate of Agafya Matveevna.

Why did Oblomov choose Agafya Matveevna?

Oblomov chose Agafya Matveevna not because
what, her elbows are seductive and that she is good
prepares pies - but because she is much more
woman than Olga.
If Stolz is the antipode of Oblomov, then Pshchenitsyn is
the same degree of antipode to Olga.
Marriage to Agafya Matveevna is a connection
Oblomov's lifestyle.

Thank you for your attention.

The students performed:
ShatskayaAnastasia
Miftakhova Evelina
Taimurzin Roman
Gimranova Arina
Belyaeva Anzhelika The action of the fourth part of the novel, taking place on the Vyborg side, seems to return us to the setting of the beginning of the work, and at the same time - to Oblomov’s dream. Of course, the details of the situation have changed, but the essence remains the same. This is how the idea of ​​a ring composition arises. The hero's life comes to an end, and we have the opportunity to draw some conclusions. In his youth, Oblomov looked like such a fiery and sublime romantic that you involuntarily remember his predecessor, Alexander Aduev. Yes, of course, Oblomov is more apathetic, he is more lethargic, but he was also characterized by romantic aspirations, he “kept hoping for something, expecting a lot both from fate and from himself; I was preparing everything for the field, for the role.” Once upon a time, his eyes “shone with the fire of life, rays of light, hope, and strength flowed from them.” And in his wildest dreams, Oblomov almost outdid the young Aduev: “He sometimes liked to imagine himself as some kind of invincible commander... Or he would choose the arena of a thinker, a great artist: everyone worships him; he reaps laurels; the crowd chases after him, exclaiming: “Look, look, here comes Oblomov, our famous Ilya Ilyich!” We have gotten used to the other Oblomov, who is still lying on the sofa in a dressing gown. It turns out that he was once different. He was no stranger to emotional disturbances, hopes, dreams - funny, of course, but still elevating him to some other, higher world, as is typical of all romantics. Stolz recalled another episode from Oblomov’s life, when he, a thin, lively boy, went every day to some two sisters, brought them Rousseau, Schiller, Goethe, Byron, “showed off in front of them.” What happened to the romantic Oblomov? Dobrolyubov placed him in a certain typological series of so-called “superfluous people”, at the origins of which was Onegin. Without at all doubting the possibility of such a parallel, let us consider another connection between Goncharov’s novel and Pushkin’s novel. For the romantic Lensky, there were two possible paths. He could have become a great poet - this is one option, but his life could have been like this: Or maybe this: the destiny of the Ordinary poet awaited him. If the youth of summer had passed, the ardor of his soul would have cooled. He would have changed in many ways, He would have parted with the muses, gotten married, In the village, happy and horned, He would have worn a quilted robe; I would have learned about life in reality, I would have had gout at the age of forty, I would drink, eat, get bored, get fat, get sicker, And finally, in my bed, I would die among the children, Weeping women and doctors. Maybe not everything, but a lot was guessed and predicted by Pushkin with amazing accuracy - right down to the famous robe, which became a symbol of Oblomov’s laziness (“a real oriental robe, without the slightest hint of Europe”). And before Oblomov there were also two paths. He made his choice - he chose the Vyborg side. If the life of old Oblomovka was presented by the author with clearly palpable irony, now the tone of the narrative is changing. True, at first Pshenitsyna is ironically depicted, whom Oblomov looked at “with the same pleasure with which he looked at a hot cheesecake in the morning.” One day he asked her: “Are you reading anything?” In response, she simply looked at him. However, Oblomov shouldn’t ask Agafya Matveevna about reading! When the hero set out to kiss his mistress, she stood “straight and motionless, like a horse on which a collar is being put on.” But in the “sleepy kingdom” on the Vyborg side, it is Agafya Matveevna who turns out to be a living soul, waking up even unnoticed by herself. After all, in her life, in her environment, she had never seen or imagined people like Oblomov. There was finally some purpose to her existence; serving Oblomov acquired in her eyes the connotation of serving something higher; she realized her purpose on earth. She fell in love with Oblomov for who he is, without calculations, without attempts to change him, to remake him in her own image and likeness. Goncharov, without any irony, but with obvious and ardent sympathy, wrote about Pshenitsyna at the end of the novel: “Her life was forever comprehended: now she already knew why she lived and that she did not live in vain. She loved so fully and a lot...” Could Oblomov say the same about himself? Did he know why he lived? Were you convinced that you didn’t live in vain?