How Olga Ilinskaya’s love influenced Oblomov. AND

Epigraph for the lesson: Sadness and joy sound like the same melody.

A. Blok

The purpose of the lesson.

1. Follow how the author reveals the characters' characters in love, how he shows changes in their behavior and worldview.
2. We will pay attention to chapters from part 2 of the novel, taking for discussion the following episodes or fragments of text:

Portrait of Olga Ilyinskaya – part 2, chapter 5

Confession of Oblomov - part 2, chapter 5.6

Changes in Oblomov under the influence of Olga - part 2, chapters 9, 11

Oblomov's letter to Olga - - part 2, chapter 10

Oblomov's proposal – part 2, chapter 12

1. Develop the ability to think, reason, express your opinion, analyze the text.
2. Develop research skills related to independent observations of the text and formulation of conclusions on a given topic.
3. To cultivate a caring attitude towards literary images, a correct attitude towards the position of the author of a classic work.

In the last lesson we talked to you about Oblomov and Stolz. The hero calls on his friend for help: “Don’t scold me, Andrey, but rather really help me!.. I know everything, I understand everything, but I have no strength or will. Give me your will and mind and lead me wherever you want. Maybe I’ll follow you, but I won’t budge alone...”

One person cannot give his will to another. The will can be reborn when a person has a purpose in life.

Will Oblomov have such a goal?

(The woman he loves becomes the goal of life for Oblomov. This is Olga Ilyinskaya.

In Olga’s first introduction, the reader immediately catches some similarities with Pushkin’s Tatyana Larina.

What exactly? Let's turn to the text.

1. Portrait of Olga Ilyinskaya – part 2, chapter 5.

Similarities with T. Larina:

- “No affectation, no coquetry, no lies, no tinsel, no intent...”

- “Olga in the strict sense was not a beauty, i.e. there was no whiteness in her, no bright coloring of her cheeks and lips, and her eyes did not burn with rays of inner fire; no coral on the lips..."

- “smart and lively gentlemen walked around her; the quiet ones, on the contrary, considered her too sophisticated”...

Olga is an exception in her environment, an original, deep personality. She, like the heroine of the novel “Eugene Onegin,” is not successful in society, puzzling and frightening ball regulars with her unusualness.

- What is the source of the rapprochement between Olga and Oblomov? What do they have in common?

Naturalness, loneliness among secular people, lack of pretense, secularism were inherent in both of them.

- How did love begin?(Teacher's message, observations from Chapter 7)

Alina followed through the text how Ivan Goncharov, being a true psychologist, reveals the mental state of his heroes.

Let's turn to the final part of Chapter 5. The teacher reads.

After Oblomov’s accidental confession, both understand the need for an explanation and go towards each other, experiencing strong emotional excitement. Olga, of course, hopes that the hero will repeat his words about love, but remembers that she herself must be strict and observe all decency. Oblomov is afraid of meeting Olga, realizing that he will need to take a decisive action: either confirm his confession, or take back his careless word, but he is not ready for either one or the other. Having gone to the park and knowing that he would meet Olga there, he did not make any decision.

I am reading fragments from chapter 6 (part 2).

Episode analysis.

1. The word “love” is not spoken, why is this scene called a confession?? Where do we guess that it is said? (it’s inside Oblomov, he just couldn’t voice it)
2. How are Olga and Oblomov different in this scene?(Oblomov lives with his heart, Olga with his mind. And therefore the hero’s speech is full of enthusiastic or distressed exclamations, remarks filled with feeling and reflection. There are frequent ellipses in remarks and internal monologues. He is not confident in himself, does not know what to expect from Olga in the next minute Olga is all movement and action. She either asks or encourages action. She persistently seeks new recognition, waits impatiently, energetically demands. And Oblomov again speaks to her about love, vaguely, slowly: “I am not ashamed of my word”; “My shame has gone”; “there is the same excitement, the same feeling... forgive me.”
3. Goncharov builds the scene of explanation like a dramatic action, which has its own beginning, culmination, and denouement.
4. Name these elements of composition in this scene.(The beginning- Oblomov’s words that his first confession was accidental, “only because of the music”... Olga is deeply saddened by this apology. She straightens up, drops the flowers, her eyes dim... She did not expect this from Oblomov. Climax– Oblomov speaks again about his love. “I’m not ashamed of my words... It seems to me in it...”, “The same excitement..., the same feeling..., forgive me, forgive me - by God, I can’t control myself”... Denouement– the heroine’s call: “Only forward...”)

In this last phrase from Olga one can hear a warning to the hero in the future to be more careful in his speeches. And I still think that these words are symbolic, they contain a call to Oblomov, express the heroine’s life philosophy, her constant rapid movement forward, which even Stolz will have difficulty keeping up with. The symbolism of the words is confirmed by the characters’ gestures: “She instantly fluttered through the glass door, and he remained rooted to the spot.” The fate of their love depends on whether Oblomov can follow Olga’s call: “Forward!”

A romance unfolds, stormy and extremely spiritual, it is not without reason that its constant accompaniment is Olga’s singing, Oblomov’s admiration for her beauty, nature in its summer charm...

Instead of the “everyday life” of a person, so characteristic of part 1 of the novel, “spiritualization” takes place. The style of the novel changes.

How touching and sweet the hero in love is in his clumsiness. His pure soul and heart, full of kindness, opened up to Olga and captivated her, (“Oblomov is simpler than Stolz and kinder than him”).

Olga begins to realize the rarity of the merits of her chosen one. But Oblomov does not believe his luck. He constantly suffers and doubts.

- What does Oblomov doubt? Look at chap. 7

"To love me, funny..."

“What am I? Oblomov - nothing more. But Stolz is a different matter”...

There is not a drop of pretense in these arguments... He is sincere. There is no complacency in him.

- And Olga? Is she self-righteous? What drives her behavior?

(Message, based on observations in Chap. 6,8,9,11)

Vika made observations on the text of several chapters. We see that the heroine considered her goal to be to revive Oblomov. She was extremely satisfied with the very possibility of the “experiment”, with the fact that “all this miracle will be done by her, so timid, silent, to whom no one has listened until now.”

And Oblomov? Without any resistance, he happily submits to Olga’s will.

- What was Oblomov’s life like, all focused on love? (Chapter 9)

- How did Oblomov change under the influence of Olga? (Chapter 11)

(The children made these observations at home and therefore express themselves without preparation)

The life of Ilya Ilyich duplicated the life of Olga and nothing more.

“...I’ve already read several books...”

But it was precisely in this duplication of someone else’s life that the reason for Oblomov’s “half-rebirth” lay hidden. It seems to him that his life is full. But the author makes it clear that the hero has risen only to that “starting position” from which real life can begin.

“He has caught up with life, i.e. I learned again everything that I had fallen behind for a long time...” (chapter 11)

He learned only what revolved in the circle of “daily conversations in Olga’s house, what was read in the newspapers he received.” “Everything else was drowned in the sphere of pure love.” (chapter 11)

“This again was not that real life, which is the movement itself. It’s half asleep again, and Oblomov...fell asleep in his sweet slumber...and again he dreamed of Oblomovka.” (chapter 11)

Besides everything, he needs constant injections of confidence in Olga’s feelings.

“...I can’t help but doubt... with you I am sure of everything... you are not there - such a painful game of doubt begins...”

And so he writes a letter to Olga.

Reading Oblomov’s letter to Olga Ilyinskaya. ( I read in fragments) (Chapter 10)

Conversation after reading.

- Why does Oblomov write a letter to Olga?

- What did Olga guess in Oblomov’s soul after reading his letter?

Oblomov writes a letter with the unconscious goal of experiencing love. Olga understood this. Having read Oblomov’s letter, she saw in him a bright soul, tenderness, a clear conscience, the absence of any selfishness, fear for the happiness of his beloved. All this amazed Olga.

And the heroes are again embraced by the poetry of love.

Finally, Oblomov decides to propose to Olga.

Cast reading of the episode “Oblomov’s Proposal.” (Chapter 12)

- Find the connection between this episode and the epigraph of our lesson.

Oblomov dreamed of “bashful consent, of tears” and was disappointed with the calmness of his chosen one.

Through the mouth of Stolz in the novel “Oblomov,” Goncharov said that “love moves the world with the power of an Archimedean lever.” Under the influence of love, a person can be internally transformed and find a purpose in life. He draws energy from love. This is its joyful side, its beneficial influence.

E. Krasnoshchekova:

“From the very beginning, Oblomov’s love carried within itself a contradiction that predetermined both its strength and its inferiority. This is the love of a romantic dreamer, Pushkin's Lensky; she is sublime, enthusiastic, ideal...

Such love is fueled by the dream of happiness, its expectation. Olga is the ideal for Oblomov. But the ideal is only a dream for him. Olga is loved by him like a dream. He is quite happy with the anticipation of happiness.

Attempts to realize a dream for such lovers often entail the danger of losing it altogether. Collision with everyday life is contraindicated for romantic love, but it is inevitable in any attempt to turn the dream of happiness into reality.

Olga, by her own will involving Oblomov in action, tempts their love and creates an environment that is unnatural for it. Therefore, their romance is fraught with an element of destruction from the very beginning.”

That is why the words of A. Blok are appropriate for today’s lesson: “Sadness and joy sound like the same melody.” Especially in love, sadness and joy, like two sisters, walk side by side, hand in hand, shoulder to shoulder.

The third part of the novel is about the trials of love. But we will talk about them in the next lessons.

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Love theme in the novel by I. A. Oblomov"

Sadness and joy sound like the same melody. A. Blok

“Olga in the strict sense was not a beauty... but if she were turned into a statue, she would be a statue of grace and harmony. The size of the head strictly corresponded to a somewhat tall stature; the size of the head corresponded to the oval and size of the face; all this, in turn, was in harmony with the shoulders, the shoulders with the figure... The nose formed a slightly noticeably convex, graceful line; the lips are thin and mostly compressed: a sign of a thought constantly directed at something. The same presence of a speaking thought shone in the vigilant, always cheerful, never-missing gaze of dark, gray-blue eyes. Olga Ilyinskaya

The eyebrows gave special beauty to the eyes: they were not arched, they did not round the eyes with two thin strings plucked with a finger - no, they were two light brown, fluffy, almost straight stripes, which rarely lay symmetrically: one was a line higher than the other, hence above the eyebrow there was a small fold in which something seemed to say, as if a thought rested there. Olga walked with her head tilted slightly forward, resting so slenderly and nobly on her thin, proud neck; she moved her whole body evenly, walking lightly, almost imperceptibly..."

There is “no affectation, no coquetry, no lies, no tinsel.” “If she were turned into a statue, she would be a statue of grace and harmony.” She was not a beauty, but she was transformed while singing. There is “no affectation, no coquetry, no lies, no tinsel.” “If she were turned into a statue, she would be a statue of grace and harmony.” She was not a beauty, but she was transformed while singing.

“...I’ve already read several books...” But it was precisely in this duplication of someone else’s life that the reason for Oblomov’s “half-rebirth” lay hidden. It seems to him that his life is full. But the author makes it clear that the hero has risen only to that “starting position” from which real life can begin. “He has caught up with life, i.e. I learned again everything that I had fallen behind for a long time...” He learned only what revolved in the circle of “daily conversations in Olga’s house, what was read in the newspapers he received.” “Everything else was drowned in the sphere of pure love.”

“This again was not that real life, which is the movement itself. It’s half asleep again, and Oblomov...fell asleep in his sweet slumber...and again he dreamed of Oblomovka.” Besides everything, he needs constant injections of confidence in Olga’s feelings. “...I can’t help but doubt... with you I am sure of everything... you are not there - such a painful game of doubt begins...”

Oblomov dreamed of “bashful consent, of tears” and was disappointed with the calmness of his chosen one. Through the mouth of Stolz in the novel “Oblomov,” Goncharov said that “love moves the world with the power of an Archimedean lever.” Under the influence of love, a person can be internally transformed and find a purpose in life. He draws energy from love. This is its joyful side, its beneficial influence.

Before the “accidental” confession, Oblomov is light, always cheerful, lively, “partly mocking,” open, trusting, simple-minded, insecure, “dependent” on Stolz. After the confession, she is thoughtful, restrained, persistent, firm, confident, calculating, reserved, fearful, “ on the same level” with Stolz. Ilyinskaya

From the very beginning, Oblomov’s love carried within itself a contradiction that predetermined both its strength and its inferiority. This is the love of a romantic dreamer, Pushkin's Lensky; she is sublime, enthusiastic, ideal... Such love is fueled by the dream of happiness, its expectation. Olga is the ideal for Oblomov. But the ideal is only a dream for him. Olga is loved by him like a dream. He is quite happy with the anticipation of happiness. Attempts to realize a dream for such lovers often entail the danger of losing it altogether. Collision with everyday life is contraindicated for romantic love, but it is inevitable in any attempt to turn the dream of happiness into reality.

Olga, by her own will involving Oblomov in action, tempts their love and creates an environment that is unnatural for it. Therefore, their romance is fraught with an element of destruction from the very beginning.” That is why the words of A. Blok are appropriate for today’s lesson: “Sadness and joy sound like the same melody.” Especially in love, sadness and joy, like two sisters, walk side by side, hand in hand, shoulder to shoulder.

According to the tradition that has developed in Russian literature, love becomes a test for heroes and reveals new facets of characters. This tradition was followed by Pushkin (Onegin and Tatyana), Lermontov (Pechorin and Vera), Turgenev (Bazarov and Odintsova), Tolstoy (Bolkonsky and Natasha Rostova). This topic is also touched upon in Goncharov’s novel “Oblomov”. Using the example of the love of Ilya Ilyich Oblomov and Olga Ilyinskaya, the author showed how a person’s personality is revealed through this feeling.

Olga Ilyinskaya is a positive image of the novel. This is an intelligent girl with sincere, devoid of affectation, manners. She did not enjoy much success in the world; only Stolz was able to appreciate her. Andrei singled out Olga from other women because “she, although unconsciously, followed a simple, natural path of life... and did not shy away from the natural manifestation of thought, feeling, will...”

Oblomov, having met Olga, first of all drew attention to her beauty: “Whoever met her, even absent-minded, stopped for a moment before this so strictly and deliberately, artistically created creature.” When Oblomov heard her singing, love awakened in his heart: “From the words, from the sounds, from this pure, strong girlish voice, the heart beat, the nerves trembled, the eyes sparkled and swam with tears...” The thirst for life and love that sounded in Olga’s voice, echoed in Ilya Ilyich’s soul. Behind the harmonious appearance, he felt a beautiful soul, capable of deep feelings.

Thinking about his future life, Oblomov dreamed of a tall, slender woman with a quiet, proud look. Seeing Olga, he realized that his ideal and she were one person. For Oblomov, the highest harmony is peace, and Olga would be a statue of harmony, “if she were turned into a statue.” But she could not become a statue, and, imagining her in his “earthly paradise,” Oblomov began to understand that he would not succeed in an idyll.

The heroes' love was doomed from the very beginning. Ilya Ilyich Oblomov and Olga Ilyinskaya understood the meaning of life, love, family happiness differently. If for Oblomov love is a disease, a passion, then for Olga it is a duty. Ilya Ilyich fell in love with Olga deeply and sincerely, idolized her, gave her his whole self: “He gets up at seven o’clock, reads, carries books somewhere. There is no sleep, no fatigue, no boredom on his face. Even colors appeared on him, there was a sparkle in his eyes, something like courage or, at least, self-confidence. You can’t see the robe on him.”

A consistent calculation was visible in Olga’s feelings. Having agreed with Stolz, she took the life of Ilya Ilyich into her own hands. Despite his youth, she was able to discern in him an open heart, a kind soul, and “dovelike tenderness.” At the same time, she liked the very idea that it was she, a young and inexperienced girl, who would bring back to life a person like Oblomov. “She will show him a goal, make him love again everything that he has stopped loving, and Stolz will not recognize him when he returns. And she will do all this miracle, so timid, silent, whom no one has listened to until now, who has not yet begun to live! She is the culprit of this transformation!”

Olga tried to change Ilya Ilyich, but he needed feelings that would bring him closer to his native Oblomovka, the blessed corner of the earth where he grew up, where the meaning of life fits into thoughts about food, sleep, and idle conversations: care and warmth, requiring nothing in return. He found all this in Agafya Matveevna Pshenitsyna, and therefore became attached to her as to a fulfilled dream of return.

Realizing how different their views on life are, Oblomov decides to write a letter to Olga, which becomes a real poetic work. This letter conveys a deep feeling and desire for happiness to the beloved girl. Knowing himself and Olga’s inexperience, in a letter he opens her eyes to the mistake and asks her not to make it: “Your present love is not true love, but future love. This is only an unconscious need to love...” But Olga understood Oblomov’s act differently - as fear of misfortune. She understands that anyone can fall out of love or fall in love with another person, but says that she cannot follow a person if there is a risk in doing so. And it is Olga who decides to break off their relationship. In the last conversation, she tells Ilya Ilyich that she loved the future Oblomov. Assessing the relationship between Oblomov and Olga, Dobrolyubov wrote: “Olga left Oblomov when she stopped believing in him; she will leave Stolz too if she stops believing in him.”

Having written the letter, Oblomov renounced happiness in the name of his beloved. Olga and Ilya separated, but their relationship had a profound impact on their future lives. Oblomov found happiness in the house of Agafya Matveevna, which became a second Oblomovka for him. He is ashamed of such a life, he understands that he lived it in vain, but it is too late to change anything.

The love of Olga and Oblomov enriched the spiritual world of both. But the greatest merit is that Ilya Ilyich contributed to the formation of Olga’s spiritual world. A few years after breaking up with Ilya, she confesses to Stolz: “I don’t love him as before, but there is something that I love in him, to which I seem to have remained faithful and will not change like others...” And in this reveals the full depth of her nature. Unlike Stolz, whose life goals have boundaries, people like Oblomov and Olga do not stop thinking about a person’s purpose all their lives and asking themselves the question: “What’s next?”

Materials about the writer’s work and the novel “Oblomov”.

The role of Olga Ilyinskaya in the fate of Ilya Oblomov. The fate of the main character of the novel by A. A. Goncharov, Ilya Ilyich Oblomov, can rightfully be called atypical. There were no bright, impressive events in Oblomov’s life. Every day was similar to the previous one. Ilya Ilyich refused to take action and spent his time in idleness. But, despite this, fate gave him a meeting with Olga Ilyinskaya.

Olga can certainly be called an extraordinary woman. She is not like most of the fairer sex of her time. Ilyinskaya has a strong character, an established worldview and a passion for action. The people around her treat Olga without much sympathy or warmth. This is not surprising; the contrast between her and the others is too sharp. People are not very kind to those who seem incomprehensible to them, whose behavior deviates from the generally accepted framework. Olga lives by her own rules. She is least bothered by the opinions of others. She has her own evaluation criteria that she focuses on. Ilyinskaya decides to re-educate Oblomov because his lifestyle seems wrong to her.

Olga Ilyinskaya is close in behavior and character to Andrei Stolts. From the point of view of such active and active people, the sluggish, apathetic Oblomov seems to be the most unhappy person and needs help. Olga wants to help Ilya Ilyich and decides to radically change his life.

It is impossible not to admit that Oblomov falls under the influence of Olga. There is nothing surprising. A weak-willed and weak-willed person often falls under the influence of a stronger one. Oblomov is delighted with Olga. She seems to him beautiful, smart, almost ideal. However, he himself is not so interested and important in the merits of this extraordinary woman. Oblomov lives in his own world, for which he does not care about others.

Oblomov and Ilyinskaya look at the world from different points of view. They are absolutely not alike. Since Ilya Ilyich nevertheless fell under Olga’s influence, he tries to do what she demands of him. Changes are painful for Oblomov. He quickly gets tired of playing by someone else's rules, trying to change his life in accordance with someone else's will. And Oblomov protests as best he can. He may have a weak character, but he has the strength to resist Olga’s influence.

Olga is upset; she believed that her strength and charm would be enough to change Oblomov’s life. Meanwhile, Ilya Ilyich quite rightly wonders whether Olga loves him, whether she really needs him. After all, true love implies accepting a person as he is. This is not typical for Olga. And therefore Oblomov begins to think that Ilyinskaya’s feelings are a substitute for love, caused by the natural desire for a person to love. Yes, he loves her. But this is clearly not enough for him to change his own life through enormous efforts.

One cannot help but think about why Olga Ilyinskaya needs to remake Oblomov. After all, Olga is far from a stupid person; she must realize that her attempts are unlikely to be crowned with success. In addition, the desire to influence another requires a lot of strength. Olga could not help but understand that her desire to remake Oblomov was met with misunderstanding on his part. The lifestyle that Olga demanded was alien to Ilya Ilyich. He valued his own comfort above all else. And Ilyinskaya tried to deprive him of this comfort.

At first, Olga’s desire to re-educate Oblomov can be explained by the request of Andrei Stolz. After all, it was he who turned to the girl and asked to help Oblomov. Andrey is sure that Ilya Ilyich can have a different, beautiful, active and fruitful life. From Stolz’s point of view, Olga’s extraordinary abilities can be used for this good cause. Andrei is confident that Olga is capable of rehabilitating Oblomov. In fact, Stolz judges by himself. He himself is an active, active, energetic person. He has been friends with Ilya Ilyich since childhood. And truly suffers from the degradation of his friend. But in his desire to intervene in someone else’s fate, Stolz does not seem to understand that Oblomov is already an adult, mature person. And any changes will be useless and in vain. But under no circumstances should we judge Andrei. He's trying to do what he can. It was not his fault that the attempts were fruitless. Olga is truly happy when Oblomov begins to change. This happens almost immediately, because Ilya Ilyich came under the influence of a strong personality. Ilyinskaya is engaged in “educating” Oblomov not only and not so much for his own sake. No, in this way she is trying to assert herself as a person. Olga is ambitious and is looking for a worthy use for herself. And the desire to “make another person happy” seems to her a noble act. Olga believes that her task is to introduce Oblomov to the way of life that is familiar to everyone. Ilya Ilyich must go out into the world, read, communicate with people, “throw off the sleepy stupor.” Olga believes that she has enough energy to implement this plan. Ilyinskaya is confident that she can use any means to achieve the desired goal. Olga becomes strict and stern. She mocks Oblomov, tries to make him hate his past life, his laziness and inactivity. Olga wants Oblomov to begin to despise himself. Perhaps this is her mistake. You cannot make a person happy by force. If Olga had tried to truly interest Oblomov in something that seemed important to him, perhaps her efforts would have been crowned with success. But she chooses a different path. Ridicule and a harsh attitude do not bring the desired result. Little by little Oblomov begins to fear her. Of course, this does not happen immediately. At first, Olga’s actions, as it seemed to her, were successful. Oblomov is gradually changing, or pretending that this is happening. The moment of declaration of love to Olga seems to be evidence that her efforts were not in vain. Olga thinks that now Oblomov will fulfill all the requirements. But her harsh and stern behavior had already begun to puzzle the soft-bodied Ilya Ilyich. He wants to protect himself from such unceremonious interference in his own life. Olga seems alien and dangerous to him. And you should hide from danger.

Olga cannot foresee what her efforts will lead to. This girl is not as smart as it seemed at first. She chose the wrong path to raise an adult. And Oblomov quickly forgot all the “lessons” and returned to what was dear to him. What is Olga's role in Oblomov's fate? First of all, he was once again convinced that his worldview was alien to those around him. Thanks to communication with Olga, Oblomov did not become happier, and this should be recognized.

Meanwhile, attempts to educate Oblomov turned out to be important for Olga herself. She made an attempt to realize herself by influencing others. Let the intention not come true. But it was an experience for the girl, necessary and interesting. After all, in the life of an extraordinary person, which Olga certainly is, there is always room for something new.

Paradoxically, Oblomov became happier with Agafya Matveevna Pshenitsyna. This woman is the complete opposite of Olga. She is not so interesting, elegant and smart. But she has simple worldly wisdom, which Olga so lacks. Agafya Matveevna understands that it will not be possible to change an adult. She accepts Oblomov for who he is. And Ilya Ilyich’s life is actually getting a little better. Pshenitsyna surrounded Oblomov with care and attention. She truly loves him. Ilya Ilyich is broke, he lives precisely at the expense of Agafya Matveevna. The poor woman sells her things so that Oblomov has something to live on. Ilya Ilyich can no longer change; any attempts to influence him would be unsuccessful. And Agafya Matveevna’s desire to selflessly help him testifies to the genuine kindness of this simple woman. If Ilyinskaya had found herself in such a situation, it is unlikely that they would have taken responsibility for Oblomov. Om would not help him at the expense of herself. After all, it would not give her the opportunity to admire herself, to consider herself a wise mentor. Olga is selfish, this radically distinguishes her from Agafya Matveevna. But on the other hand, it’s impossible not to admit that her image is very interesting and multifaceted. Olga is a very special type of woman in Russian literature, she is strong and personal! She is not characterized by self-sacrifice, she has her own desire to turn another person into a mirror reflecting her own merits. After all, this is exactly what she wanted from Oblomov.

I. A. Goncharov wrote the novel “Oblomov” for 10 years: from 1848 to 1858. And finally, in 1859, the writer published the entire work, in the center of which he places a landowner, a middle-class nobleman - Ilya Ilyich Oblomov, a man with a very interesting fate.

In the first part of the novel, only when we get to know the main character, we see that the immobility of life, slumber, a closed existence - this is the essence of Oblomov’s life.

His hands never got around to getting things done (so Ilya Ilyich never took up the task of rebuilding Oblomovka, but only thought about it), he didn’t want to move, and his whole life consisted of constantly lying on the sofa. Perhaps his years would have gone on like this if one woman had not turned his whole life upside down...

In the summer, Oblomov’s best friend, Andrei Stolts, goes abroad, having made his friend promise to come to him in the near future, and before leaving, he introduces him to Olga Sergeevna Ilyinskaya. The master is inspired, fit, energetic and passionate about the young lady. And in response, she is filled with the desire to “save,” “revive” and “remake” the main character. And she succeeds: Oblomov moves to his summer dacha, begins to read, he is full of strength, activity, and even, to some extent, confidence. Olga becomes the center of Ilya Ilyich’s life, he falls in love with her, and the girl reciprocates his feelings. Afterwards, Oblomov asks for Olga’s hand in marriage and receives consent.

Goncharov fully fills the novel with symbols. So, one cannot help but focus on the name of the protagonist’s beloved. In the speaking surname “Ilyinskaya” we hear the name “Ilya”, that is, “belonging to Ilya”. It can be assumed that the author thereby wanted to show that the relationships of the heroes were predetermined from above. Largely thanks to the love and efforts of Olga, Oblomov finally “gets up from the couch” and “takes off his robe,” thereby freeing himself from his laziness and apathy.

But with the arrival of autumn, the hero’s strength begins to decline. Olga was never able to completely change her lover; all her efforts were in vain. Then she breaks off the engagement, and Ilya, from mental shock, falls ill with a nervous fever. I think the breakup between Ilya and Olga was natural: they expected the impossible from each other. He - selfless, reckless love, and she from him - activity, will, energy. They did not live up to each other's hopes, and over time their love faded.

As a result of reflection, we come to the conclusion that the role of Olga Ilyinskaya in the spiritual transformation of Oblomov is enormous: it was the time spent with her that became the turning point in the life of the protagonist. From his example we see that love is truly one of the main forces of progress. But our heroes did not pass the test of love, and therefore Olga was never able to change Ilya.