Characteristics of the hero Olga Ilyinskaya, Oblomov, Goncharov. The image of the character Olga Ilyinskaya

Olga Sergeevna Ilyinskaya - from a series of female portraits of Goncharov, nature is bright and memorable. Bringing Olga closer to Oblomov, Goncharov set himself two tasks, each of which is important in itself. Firstly, the author in his work sought to show the sensations that the presence of a young, pretty woman awakens. Secondly, he wanted to present in a possibly complete essay the female personality itself, capable of the moral re-creation of a man.

Fallen, exhausted, but still retaining many human feelings.

The beneficial influence of Olga soon affected Oblomov: on the very first day of their acquaintance, Oblomov hated both the terrible mess that reigned in his room and the sleepy lying on the sofa on which he clothed himself. Little by little, going into the new life pointed out by Olga, Oblomov submitted to the completely beloved woman, who guessed in him a pure heart, a clear, albeit inactive mind and sought to awaken his spiritual strength. He began not only to re-read books that had previously been lying around without any attention, but also to briefly convey their contents to the inquisitive Olga.

How did Olga manage to make such a revolution in Oblomov? To answer this question, it is necessary to refer to the characteristics of Olga.

What kind of person was Olga Ilyinskaya? First of all, it is necessary to note the independence of her nature and the originality of her mind, which were the result of the fact that she lost her parents early, she went her own way. On this basis, Olga's inquisitiveness also developed, striking those people with whom her fate confronted. Seized by a burning need to know as much as possible, Olga realizes the superficiality of her education and bitterly speaks about the fact that women are not given an education. In these words, one can already feel a woman of the new time, striving to catch up with men in terms of education.

The ideological nature makes Olga related to Turgenev's female characters. Life for Olga is a duty and a duty. On the basis of such an attitude to life, her love for Oblomov also grew, whom, not without the influence of Stolz, she set out to save from the prospect of mentally sinking and plunging into the mire of a near existence. Her break with Oblomov is also ideological, which she decided only when she was convinced that Oblomov would never be revived. In the same way, the dissatisfaction that at times covers Olga’s soul after her marriage stems from the same bright source: this is nothing more than a longing for an ideological cause, which the prudent and judicious Stolz could not give her.

But disappointment will never lead Olga to laziness and apathy. To do this, she has a strong enough will. Olga is characterized by determination, which allows her not to reckon with any obstacles in order to revive her loved one to a new life. And the same willpower came to her aid when she saw that she could not revive Oblomov. She decided to break with Oblomov and coped with her heart, no matter how much it cost her, no matter how difficult it was to tear love out of her heart.

As mentioned earlier, Olga is a woman of the new time. Goncharov quite clearly expressed the need for such a type of women that existed at that time.

Plan of the article "Characteristics of Olga Ilyinskaya"

Main part. Olga's character
a) Mind:
- independence,
- thoughtfulness
- curiosity
- ideological
- an uplifting outlook on life.

b) Heart:
- love for Oblomov,
- breaking up with him
- dissatisfaction
- disappointment.

c) Will:
- decisiveness
- hardness.

Conclusion. Olga, as a type of new woman.

The image of Olga Ilyinskaya in the novel by I.A. Goncharov "Oblomov"

“To disassemble the female images created by I. A. Goncharov means to make a claim to be a great connoisseur of the Viennese heart,” remarked one of the most insightful Russian critics, N. A. Dobrolyubov. Indeed, the image of Olga Ilyinskaya can be called the undoubted success of Goncharov the psychologist. It embodied not only the best features of a Russian woman, but also all the best that the writer saw in a Russian person in general.

“Olga in the strict sense was not a beauty, that is, there was neither whiteness in her, nor the bright color of her cheeks and lips, and her eyes did not burn with rays of inner fire ... But if she were turned into a statue, she would be a statue of grace and harmony ”- exactly like that, in just a few details, I. A. Goncharov gives a portrait of his heroine. And already in it we see those features that have always attracted Russian writers in any woman: the absence of artificiality, the beauty is not frozen, but alive. “In a rare girl,” the author emphasizes, “you will meet such simplicity and natural freedom of sight, word, deed ... No affectation, no coquetry, no lies, no tinsel, no intent.”

Olga is a stranger in her environment. But she is not a victim, because she has both intelligence and determination to defend the right to her life position, to behavior that is not oriented to generally accepted norms. It is no coincidence that Oblomov perceived Olga as the embodiment of the ideal that he dreamed of. As soon as Olga sang “Casta diva”, he immediately “recognized” her. Not only Oblomov "recognized" Olga *, but she also recognized him. Love for Olga becomes not only a test. “Where did she take life lessons?” - Stoltz thinks with admiration of her, who loves Olga just like that, transformed by love.

It is the relationship of the protagonist of the novel with Olga that allows us to better understand the character of Ilya Oblomov. It is Holguin's look at her lover that helps the reader to look at him the way the author wanted.

What does Olga see in Oblomov? Intelligence, simplicity, gullibility, the absence of all those secular conventions that are also alien to her. She feels that in Ilya there is no cynicism, but there is a constant desire for doubt and sympathy. But Olga and Oblomov are not destined to be happy.

Oblomov foresees that his relationship with Olga cannot always be their personal affair; they will certainly turn into a lot of conventions, obligations. It will be necessary to “correspond”, to do business, to become a member of society and the head of the family, and so on. Stolz and Olga reproach Oblomov for inaction, and in response he only makes unrealizable promises or smiles “somehow pitifully, painfully shamefaced, like a beggar who was reproached for his nakedness.”

Olga constantly thinks not only about her feelings, but also about the influence on Oblomov, about her “mission”: “And she will do all this miracle, so timid, silent, whom no one has obeyed so far, who has not yet begun to live!” And love becomes a duty for Olga, and therefore it can no longer be reckless, spontaneous. Moreover, Olga is not ready to sacrifice everything for love. “You would like to know if I would sacrifice my peace to you, if I would go with you along this path? .. Never, not for anything!” - she resolutely answers Oblomov.

Oblomov and Olga expect the impossible from each other. She is from him - activity, will, energy; in her view, he should become like Stolz, but only retaining the best that is in his soul. He is from her - reckless, selfless love. And both of them are deceived, convincing themselves that this is possible, and therefore the end of their love is inevitable. Olga loves that Oblomov, whom she herself created in her imagination, whom she sincerely wanted to create in life. “I thought that I would revive you, that you could still live for me - and you died a long time ago,” Olga hardly pronounces a harsh sentence and asks a bitter question: “Who cursed you, Ilya? What did you do?<...>What ruined you? There is no name for this evil...” “Yes,” Ilya replies. - Oblomovism! The tragedy of Olga and Oblomov becomes the final verdict on the phenomenon that Goncharov portrayed.

Olga marries Stolz. It was he who managed to ensure that in Olga's soul common sense, reason finally defeated the feeling that tormented her. Her life can be called happy. She believes in her husband, and therefore loves him. But Olga begins to feel an inexplicable longing. The mechanical, active life of Stolz does not provide those opportunities for the movement of the soul that were in her feelings for Oblomov. And even Stolz guesses: "Having learned once, it is impossible to stop loving him." With love for Oblomov, a part of Olga's soul dies, she remains a victim forever.

“Olga, in her development, represents the highest ideal that a Russian artist can now evoke from present-day Russian life,<...>a living face, only such as we have not yet met, ”wrote Dobrolyubov. We can confidently say that Olga Ilyinskaya continues the gallery of beautiful female types that Tatyana Larina opened and who will be admired by more than one generation of readers.

The characterization of Olga Ilyinskaya in Goncharov's novel "Oblomov" allows you to better know and understand this character. This is the main female image, which plays a significant role in the work.

Roman Goncharova

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

It should be noted that Ivan Goncharov worked on the novel for 12 years - from 1847 to 1859. He entered his famous trilogy, along with "Cliff" and "Ordinary History".

In many ways, Goncharov wrote "Oblomov" for so long due to the fact that the work constantly had to be interrupted. Including because of the round-the-world trip on which the writer went on this trip, he dedicated travel essays, only after publishing them did he return to writing Oblomov. A significant breakthrough happened in the summer of 1857 in the resort of Marienbad. There, in a few weeks, Goncharov completed most of the work.

The plot of the novel

The novel tells about the fate of the Russian landowner Ilya Ilyich Oblomov. He lives in Petersburg with his servant named Zakhar. He spends many days lying on the couch, sometimes not getting up at all. He does nothing, does not go out, but only dreams of a comfortable life in his estate. It seems that no troubles can budge him. Neither the decline into which his household comes, nor the threat of eviction from the St. Petersburg apartment.

His childhood friend Andrei Stoltz is trying to stir up Oblomov. He is a representative of the Russified Germans, is the complete opposite of Oblomov. Always very active and energetic. He forces Oblomov to go out for a while, where the landowner meets Olga Ilyinskaya, whose description is in this article. This is a modern and progressive-minded woman. After much deliberation, Oblomov decides and proposes to her.

Oblomov's move

Ilyinskaya is not indifferent to Oblomov, but he himself spoils 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 into complete inactivity and lack of will. Meanwhile, rumors about the upcoming wedding of the heroes are already circulating around the city. But when Ilyinskaya comes to his house, she is convinced that nothing will ever be able to wake him up. Their relationship ends after that.

In addition, Oblomov is influenced by Pshenitsyna's brother Ivan Mukhoyarov, who confuses the protagonist in his machinations. Frustrated, Ilya Ilyich falls seriously ill, only Stolz saves him from complete ruin.

Oblomov's wife

After parting with Ilyinskaya, Oblomov marries 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 being sedentary at an early age, he had a stroke, Ilya Ilyich foresees his imminent death, asks Stolz not to leave his son.

Two years later, the main character dies in his sleep. His son is taken in by Stolz and Ilyinskaya. The faithful servant of Oblomov, Zakhar, who outlived his master, although he was much older than him, starts drinking and begging with grief.

The 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 observe how she grows up, reveals herself as a woman and mother, becomes an independent person.

As a child, Ilyinskaya receives a quality education. She reads a lot, understands She is constantly in development, strives to achieve new goals. Everything in it speaks of one's own dignity, beauty and inner strength.

Relations with Oblomov

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

The key moment for her is the love for Oblomov. Olga Ilyinskaya, the description of the character you are reading now, embraces 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 in order for their likely joint relationship to become 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, to 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 ambition. More important than feelings for Oblomov for her was the opportunity to rely on her achievements. She was interested in the opportunity to change a person in these relationships, to help him rise above himself, to turn into an active and energetic husband. It was this fate that 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 relations with Oblomov. Ilyinskaya married Stolz. Their romance developed slowly, began with a sincere friendship. Initially, Olga herself perceived Stolz more as a mentor, who was an inspiring figure for her, inaccessible in her own way.

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

This marriage helped her recover from her break with Oblomov. Their joint relationship looked logical, since the characters 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 has changed. Stolz could no longer keep up with Olga, who was constantly striving forward. And Ilyinskaya began to become disillusioned with family life, in the very fate that was originally destined for her. At the same time, she finds herself as a mother for the son of Oblomov, whom she, together with Stolz, takes in for upbringing after the death of Ilya Ilyich.

Comparison with Agafya Pshenitsyna

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

At the same time, the comparative characteristics 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, not answering anything. But she still attracted Oblomov. Most likely, the fact that 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 gentle and caring nanny for him. At the same time, with her care and love, she finally killed the human feelings that awakened in him, which Olga Ilyinskaya tried so hard to awaken. The characteristic in the table of these two heroines makes it possible to better understand them.

Comparison with Tatyana Larina

Interestingly, many researchers give a comparative description of Olga Ilyinskaya and Tatyana Larina. Indeed, if you do not go into details, at first glance, these heroines are very similar to each other. The reader is captivated by their simplicity, naturalness, indifference to secular life.

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

She feels the hidden strength of character, 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, agree only to a compassionate life.

Olga Ilyinskaya is a secular young lady, she, like Nadenka Lyubetskaya, knows life from its bright side; she is well-to-do and does not particularly care where her funds come from. Her life, however, is much more meaningful than the life of Nadenka or the wife of Aduev Sr.; she makes music and does it not out of fashion, but because she is able to enjoy the beauty of art; she reads a lot, follows literature, science. Her mind is constantly working; questions and bewilderments arise in it one after another, and Stolz and Oblomov barely have time to read everything necessary to explain the questions of interest to her.

In general, the head over the heart prevails in it, and in this respect it is very suitable for Stolz; in her love for Oblomov, the main role is played by reason and a sense of pride. The last feeling is generally one of its main engines. In many cases, she expresses this feeling of pride: she “would have cried and would not have fallen asleep at night if Oblomov had not praised her singing”; pride prevents her from asking Oblomov directly about subjects that she does not quite understand; when Oblomov, after an involuntarily broken declaration of love, tells her that this is not true, he greatly affects her pride; she is afraid to seem "petty, insignificant" to Stolz, telling him about her former love for Oblomov. She meets with Oblomov and takes up his revival; she likes the role of the savior, so beloved by women in general. She is fond of her role and is fond, at the same time, of Oblomov. This passion continues as long as the latter shows signs of activity and life, as if really about to renounce his laziness, stagnation; soon, however, Olga becomes convinced that Oblomov is hopeless, that all her efforts cannot be crowned with success, and bitterly must admit that she turned out to be insolvent, not strong enough in his revival.

Here she herself sees that her love was not a direct affection of the heart, but rather a rational, head love; she loved in Oblomov her creation, the future Oblomov. Here is what she says to him at the moment of parting: “It hurts so much, it hurts so much ... But I do not repent. I am punished for my pride. I relied too much on my own strength. I thought that I would revive you, that you could still live for me, but you have already died a long time ago. I didn't foresee this mistake. I kept waiting, hoping ... I only recently found out that I loved in you what I wanted ... what Stoltz pointed out to me, what we invented with him ... I loved the future Oblomov.

After breaking up with Oblomov, she becomes Stolz's wife. The latter is taken for her "additional education", which consists in suppressing her young impulses and educating in her "a strict understanding of life." He finally succeeds, and they seem to be happy; but Olga is still not completely calm, she lacks something, she strives for something indefinite. She cannot drown out this feeling in herself either by entertainments or pleasures; her husband explains it with nerves, a world ailment common to all mankind, splashed on her with one drop. In this desire for something indefinite, a peculiarity of Olga's nature, her inability to remain on the same level, the desire for further activity, improvement, affected.

The image of Olga is one of the original images in our literature; it is a woman striving for activity, unable to remain a passive member of society.

N. Dyunkin, A. Novikov

Sources:

• We write essays based on the novel by I. A. Goncharov "Oblomov". - M.: Literate, 2005.