How old is Agafya Pshenitsyna? Oblomov characterization of the image of Agafya Matveevna Wheat. A distinctive feature of Agafya is thriftiness.

OBLOMOV

(Novel. 1859)

Pshenitsyna Agafya Matveevna - the widow of an official, left with two children, sister of Ivan Matveevich Mukhoyarov, godfather of Tarantiev. 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 “brother” decides everything, 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 Kirbitevna.” 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 were accustomed to looking at only through the eyes of Stolz, as a 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 lived for many years in the same house with Goncharov’s godfather, the nobleman N. N. Tregubov, who raised her sons and gave them an 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 Oblomov believed. 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. In the constant work of organizing and living at home, in the chores of the house, she finds the meaning of her existence. 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 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, P. decisively renounces both his “brother” and his “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 within 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.

Agafya Matveevna Pshenitsyna, nee Mukhoyarova, is a character in Ivan Goncharov’s novel “Oblomov”. The wife of the main character - Ilya Ilyich Oblomov - and the mother of his little son Andryusha.

The woman was the sister of the official-swindler Ivan Mukhoyarov. Before her marriage to Oblomov, Agafya was the widow of another official, which is why she bore the surname Pshenitsyn at the time of her meeting with Oblomov.

Characteristics of the heroine

Agafya Matveevna was hardworking and constantly tried to please her lover, and then her husband. She liked to repeat that “there is always work.” She did not allow herself to relax: “And it used to be that everything was boiling in her hands! From morning to evening she flies!”

The heroine sought to create comfort in the house and protect her loved one from unnecessary efforts. And first, my acquaintance and then my husband, Ilya Ilyich, appreciated Pshenitsyna’s hard work: “You are a wonderful housewife!”

However, Agafya was not distinguished by erudition and high intelligence. She barely knew how to read and write: “She only found it difficult because she had to write a lot... she signed crookedly, askew and large...” This can be explained by the fact that the woman did not like to read. Let us remember her negative answer to the question: “Are you reading anything?” In addition, she practically never went to the theater and was not interested in culture.

(Ilya Oblomov meets his future wife Agafya Matveevna)

The simplicity and ingenuousness of this woman is emphasized even by her surname from her first marriage - Pshenitsyna. Ilya Oblomov’s wife was trusting. She could sign a letter, completely “not suspecting what it is and why she is signing.”

Despite this, the lady tried to engage in a unique business - selling chickens. Apparently, enterprise still united her with her brother. Although Pshenitsyna, unlike him, worked honestly and got up early in the morning: “she goes to bed and no gun will wake her up before six o’clock.”

Like her second husband, Agafya Matveevna was a homebody and did not like moving. “We were born here, we lived here for a century, we must die here...” she used to say about her estate. Ilya Ilyich previously treated his native Oblomovka in approximately the same way. He could hardly force himself to go even to meet his friend Andrei Stolts.

Moreover, the author noted that it was Oblomov who truly fell in love with Pshenitsyna for the first time. Apparently, she did not experience such feelings for her late first husband and father of her two eldest children: “Without loving, she lived to be thirty years old, and then suddenly it seemed to come over her.”

The image of the heroine in the work

Agafya Matfeevna is a thirty-year-old impoverished aristocrat. I. A. Goncharov describes the heroine as follows: “She was very white and plump in face. She had almost no eyebrows at all... Her eyes were grayish-simple, like her whole facial expression; her hands were white, but hard, with large knots protruding outward blue veins."

Tough, worn-out hands emphasize the character’s love of work. Being plump means that the lady did not care about appearance. A simple Russian woman appeared before us. It was precisely this, caring and economical, not too smart, that attracted Oblomov.

(Agafya Petrovna, Ilya Oblomov and son Andrei, named after Andrei Stolts in the novel)

The image of Agafya Matveevna, it would seem, is absolutely positive. A caring wife, an affectionate mother, an excellent housewife and simply a kind and hardworking woman. However, the writer still emphasizes: her love turned out to be destructive for Ilya Oblomov. To avoid a second stroke (apoplexy), Pshenitsyna’s husband needed to move, get up from his favorite sofa. However, his wife did not allow him to make any efforts. She cared about the absolute comfort of her beloved man. And this was precisely what became the tragic mistake of a loving wife. The apoplexy struck again, and Ilya Ilyich still died.

However, the author still gives hope that Pshenitsyna realized her mistake. After all, it was not without reason that she gave her son to be raised by Ilyinskaya and Stolz. The mother wanted the child to see the example of other people and a different life. She wished that Andryusha, unlike his late father, would learn to leave his comfort zone and go towards his dream.

After all, Oblomov lost his once beloved Olga Ilyinskaya precisely because of his own laziness. And Ilya Ilyich himself realized this. Perhaps this is why his little son Andrei was the namesake of his active friend Stolz... Therefore, Pshenitsyna, entrusting the child to the friends of her late husband, did the right thing. She knew that he would approve of her decision...

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 “brother” decides everything, 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 Kirbitevna.” 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 were accustomed to looking at only through the eyes of Stolz, as a 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, the nobleman N. N. Tregubov, who raised her sons and gave them an 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 Oblomov believed. 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. Externally P. perceived by a certain 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. In the constant work of organizing and living at home, in the chores of the house, she finds the meaning of her existence. 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 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, P. decisively renounces both his “brother” and his “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 within 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.

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

The secondary character of Agafya Matveevna Pshenitsyna is one of the characteristic female images of the work and is the complete opposite of the main character of the novel, Olga Ilyinskaya.

The author portrays the heroine as a real Russian woman of curvaceous figure, deeply religious. Agafya is described as a beautiful housewife who loves cleanliness and home comfort, a kind, modest, submissive wife of the main character Oblomov.

The woman is not educated at all and is not informed about many life issues; she has a very narrow outlook, but at the same time she knows how to skillfully hide it, preferring either to remain silent or to smile sweetly. Agafya's interests are limited to housekeeping, working in the kitchen, communicating with servants or merchants.

The writer focuses on the positive qualities of the heroine, who surrounded her husband with love and constant care, protecting him from any problems and worries. This is exactly that quiet, calm haven, the long-awaited, peaceful happiness that Oblomov has dreamed of all his life.

Agafya's love for Oblomov is significantly different from the feeling that Olga had for him. Pshenitsyna loves her husband not for anything, but for the opportunity to be next to him and feel his sincere gratitude for her self-sacrifice for him.

The main character, exhausted by his relationship with Olga Ilyinskaya, finds calm well-being with his devoted Agafya, plunging into the routine of his illusory dreamy world. On the other hand, the image of Pshenitsyna illustrates and reveals the drama of Oblomov’s life ideals, stuck in the abyss of inaction and laziness. It is the peaceful atmosphere of family life, created by Agafya for her beloved husband, that leads in the end of the novel to the sudden death of Oblomov, who refuses to follow the doctors’ recommendations. The couple gives birth to a son, whom Agafya adores, but decides to give Oblomov’s friends Stolts to raise, because she believes that only they can give the child of an extraordinary person the necessary upbringing and education.

Narrating the life of Oblomov with Agafya, the writer involuntarily compares Pshenitsyna with Ilyinskaya and reveals the paradoxical truth that an ordinary believing woman, overwhelmed by a comprehensive feeling of love, is superior in everything to a successful, educated, intelligent career woman, and can be completely happy in her selfless love.

Essay Characteristics and image of Agafya Pshenitsyna

In the novel “Oblomov” by Ivan Aleksandrovich Goncharov, Agafya Matveevna Pshenitsyna is a minor female character. Agafya Matveevna is a simple Russian woman, she is uneducated and very often communicates with servants and food vendors. Pshenitsyna is very kind and gives herself entirely to her loved ones. Until she became Oblomov’s wife, she devotes herself entirely to her brother and it may even seem that Agafya Matveevna does not have her own opinion and is living someone else’s life.

Goncharov decided to make a contrast between the heroines Olga and Agafya; if Olga values ​​material wealth more, then Pshenitsyna is more a person of spiritual organization. If Agafya Matveevna did not know the answer to some question, she simply remained silent or smiled sweetly at her interlocutor.

The writer described Agafya Matveevna Pshenitsa as an angel and savior for her men, brother and Oblomov. She is a very thrifty and wise woman who has always tried to protect her man and create comfort and coziness for him. She liked that Oblomov felt comfortable next to her, because that’s what she tried for.

Oblomov was a very lazy person who loved to eat, Agafya Matveevna prepared all sorts of goodies for Oblomov and tried to please him in this. Perhaps it was this sacrifice and giving of oneself entirely to Oblomov that made Pshenitsyna truly happy.

Agafya Matveevna was happy next to such an unusual person as Oblomov, she devoted herself entirely to him and it touched her. She protects him from any grief and adversity and takes on all the work that she can. Agafya Matveevna is a believing woman and this faith helped her to be happy.

Ivan Aleksandrovich emphasized that, despite the heroine’s lack of education, she became happy, which cannot be said about the other characters in the novel. We can definitely say that Agafya Matveevna Pshenitsyna is a positive character. Pshenitsyna sets an example of endless love for people and everything that surrounds her. Unlike the other heroes of the novel, she did not chase money and found her happiness. Ivan Aleksandrovich uses as an example an ordinary Russian woman who has an infinite soul and is ready to sacrifice herself for the sake of love.

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