(362 words)

I.A. Oblomov in his work created a large-scale picture of the public mood of his era, depicted a hero whom you condemn, but still sympathize with. The merit of this writer is also enormous in his skillfully drawn female images: not generalized and pale, but bright and lively. Often it is the women in his novels who have the true strength of character and spirit.

Despite the fact that Oblomov spent his whole life on the couch, he was not deprived of female attention. A friend of Stolz introduced the main character to Olga Ilyinskaya. This 20-year-old girl is full of grace and harmony. She is devoid of coquetry, desire to please the opposite sex. The heroine is talented: she sings beautifully. Everything in her appearance suggests that she is constantly thinking, she has a seething thirst to live, to act. She is proud, assertive, but at the same time kind and compassionate. With such qualities, after 50 years they went to war as sisters of mercy. Olga's missionary activity was expressed in the fact that she wanted to "correct" Oblomov, reshape him in her own, active way for the sake of his own good. But the main character does not want to burn with the girl, therefore, despite their mutual affection, he breaks up with her. Olga for Oblomov is a deity, an ideal that can never be reached. The heroine, although not ideal, evokes sympathy, her persistent desire to reshape her lover is associated with her inexperience and youthful maximalism: for the sake of good goals, you can redo everything in your own way, regardless of the life truth of others.

Oblomov moves to the Vyborg side, where his relationship with the mistress of the house, 30-year-old Agafya Pshenitsyna, is born. For the hero, she is the personification of her native Oblomovka. And outwardly: full, healthy, pleasant. And inwardly: just as calm, simple-hearted (even stupid in matters not related to the economy), bashful, affectionate, homely. Agafya sees her main purpose in the economy, therefore she gives herself to him with passion and always does something, but does not even think about abstract matters. The heroine fell in love with Oblomov for who he is, did not want to change him, which is why their relationship led to a happy ending. He is for her a deity and an ideal, as well as her first love (despite her late husband). Ilya Ilyich fell in love with her because Agafya is earthly and understandable, you don’t have to reach out for her, you don’t need to guess her.

In the novel "Oblomov" two opposite types of women are drawn, and not in two or three strokes, but in depth and relief. These images are remembered and are in no way inferior to men's. This is the author's innovation and his great creative success.

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Ekaterina BOSINA,
10th grade
school number 57, Moscow
(teacher -
Ekaterina Vladimirovna
Vishnevetskaya)

Female images in Goncharov's novel "Oblomov"

Olga Ilyinskaya and Agafya Pshenitsyna

"Oblomov" always gives the reader a feeling of some kind of ambiguity; there are no conclusions in this novel. When we feel that we cannot answer questions on our own, which are somehow "eternal", we turn to literary works, hoping to find answers there. What is truly valuable? What is happiness? Who is considered "fallen"? Does a person need to try to get up, to escape from the "abyss", if he "falls"? And so we read the last page of Oblomov - and we see no conclusions. But we get the right to choose one of several significant truths - at our own discretion (writers so often leave this right to themselves!). More cannot be desired. Goncharov creates amazing, almost tangible images, places them in ordinary circumstances, and we ourselves try on this literary reality in our lives and take out a grain of truth from there.

Truth is relative. Truth has many faces - this is how Goncharov shows it. Here we have two female images - Olga Ilyinskaya and Agafya Pshenitsyna. If there weren’t them, we wouldn’t have known that Oblomov, this apathetic “babe”, is able to sincerely love - love really transforms him, makes him live. In Goncharov's understanding, love is the only thing that can lead a person to happiness (here is the truth) - but what kind of love? After all, the feelings of two women for Oblomov are absolutely opposite in essence. How could it be otherwise: Olga Ilyinskaya is the “highest ideal” (in particular, in the mouth of Dobrolyubov), Agafya Pshenitsyna is a collegiate secretary ...

Olga loves selfishly. Olga is proud, - however, a young, quite beautiful and intelligent girl should be just like that. The whole world is open to her, she can draw knowledge, she can enjoy life, boredom is disgusting to her. Such is youth, not overshadowed by disappointments.

Olga is inquisitive, sincere by nature, alien to any affectation, not fond of brilliant secular youths and empty tinsel, she is interested in what Stolz tells her about the eccentric Oblomov. Innocent curiosity, but later a secret delight is added to it. The insightful Olga cannot but see in Oblomov his “honest, faithful heart”, “crystal, transparent soul” - how not to lend a hand to such a person? Olga is pleased to feel like the “savior” of Oblomov, “bequeathed” to her by Stolz, the culprit of the “miraculous transformation”. She does not want to accept Oblomov as he is; she appreciates his kindness and honesty, but does not deviate from the desire to direct him on the path to excellence, she loves the “future Oblomov”. Love for Olga is a duty; her heart rarely wins over her mind. She comes to Oblomov, disregarding decorum ... in order to tell him: “Why are you frightening me with your indecision? I am your goal, you say and go towards it so timidly, slowly ... and you must become taller than me.

Olga cannot understand that indecision is too deeply rooted in Oblomov, that this is how he was created ... He is afraid of the very word “duty”, afraid of the unattractive restless reality, afraid to go to the village. “Debt” is a wedding when a person is not called Ilya Ilyich, but a groom. And people, people around, with their stupid gossip... All this is so far from love, from poetry, from the incomprehensible and beautiful. In Oblomov's love for Olga there is no place for logic, "duty". Oblomov just gives in to feelings. Why does he love Olga? For the fact that she gave him hope and the meaning of existence, for her determination and sincerity, which is manifested in everything (in words, even in singing - remember how expressively she sings the aria “Casta diva”, reviving in Oblomov the feelings that he long forgotten, hidden in the depths, under all sorts of "trash").

However, Olga hurts Oblomov with her reproaches, the proud logic of judgments dictated by irritation (“I will feel bad, you write ... But then it will be good for me if I love another: it means I will be happy!” - and so on), and that’s just prevents her from reaching her goal. After all, ridicule and reproaches, even if aimed at good, still remain ridicule and reproaches. Oblomov, as he himself says, has no self-esteem, and in such a person even the caustic remarks of his beloved cannot ignite that vague rage, which, in turn, causes a desire to act, to change oneself. Oblomov is even more affirmed in thoughts about his own weakness. Olga shows him how ridiculous he is, and, reflected in the mirror of these ruthless words, Oblomov only torments himself, goes back rather than forward. And now he is sitting in front of Olga with a smile of impotence, his look says: “Yes, I am poor, pitiful, poor ... beat me, shame me! ..” - and he refuses everything, returns to the sofa and dressing gown, infinitely tired, looks on the snow from the window of Pshenitsyna's house ...

Agafya Matveevna is a narrow-minded, naive woman, but in her, as in Olga, there is no falseness, no far-fetched coquetry. She, in fact, knows nothing about life, does not read books, the meaning of everyday fuss completely eludes her. When Oblomov asks exactly where her brother serves, she says: “In the office ... Where men are recorded ... I keep forgetting what it is called” - and justifies her ignorance with an innocent smile. Household chores, monotonous, meaningless, some even mechanical life. And in this gray life, Oblomov suddenly appears, an amazing person, a kind, honest “master”, he does not look like either the rude godfather Tarantiev, or the late husband, who walked with “petty, businesslike agility”, or a brother with shaking, red hands, - does not look like anyone else! - and "does not look at everyone as if asking to saddle him and ride." Without reasoning, without understanding yourself, without thinking, selflessly fell in love with Agafya Matveevna Oblomova; to equip “peace and comfort of Ilya Ilyich” for her is no longer a duty, but a pleasure. She fell in love with everything in Oblomov, even that which Olga so fiercely condemned, accepted him with all his shortcomings (which she does not see - complete, does he have any shortcomings?). Oblomov is happy with Agafya Matveevna, he no longer feels worthless, he does not feel anxiety for the future; in the house of this woman he finds happiness. With pleasure, he drinks coffee prepared by her, watches how she sews, how deftly she manages in the kitchen, looks at her round elbows (“like some kind of countess”), and “he doesn’t need anything, he doesn’t want anywhere, everything is here he has what he needs." Pshenitsyna touchingly takes care of him both in happy and unhappy days (he even pawns his things when there is not enough money). Her love is self-sacrifice. And this love gives Oblomov what he always dreamed of. A smooth, peaceful, unhurried course of life, contemplation, the return of the calm, bright serenity of childhood.

The active Stolz sees in all this a “dirty life” and a “suffocating atmosphere of stupidity”, contemptuously says “fi”. And Oblomov sometimes “wakes up”, looks around - bitter pity for the past, full of unfulfilled hopes, is still awake in the soul. But he calm and understands that it was impossible for him to go the other way ... Stolz and Olga came up with “wings” for him, but you can’t take off on fictional wings ... A determination appears in Oblomov, which he never had.

“Stoltz took a step back from him.

Is that you, Ilya?<…>How you fell! This woman... what is she to you...

Wife! Oblomov said calmly.

Stolz turned to stone.

This child is my son! His name is Andrei, in memory of you!..”

Is Olga happy with Stolz? Forward, only forward along the restless road... Activity, work... As long as Stolz deserves her love, while he saturates her inquisitive mind and answers her questions; but doubts are already creeping into Olga's soul, for the first time she encounters ambiguity, loses her former determination, often recalls Oblomov; cannot comprehend his strange longing (“Where to go?”), but it is impossible to comprehend mind this sadness!

Pshenitsyna, after the death of Oblomov, lives in constant silent grief, far from the vulgarity, fuss, lies that make up the world of her brother and daughter-in-law, lives, clearly aware that her life “shone out,” that joy would never return to her. The more Agafya Matveevna appreciates the memories - "now she already knew why she lived and that she did not live in vain."

So did Oblomov really fall? Is it possible to call a fallen person who, perhaps, did not take off, did not rise, but found ground under his feet?.. Isn't this happiness?.. It's up to us to decide...

"Oblomov" represent female images. It is in relation to them that the positive qualities of the main character are most clearly manifested - Ilya Ilyich Oblomov. From the content of the novel, it becomes clear that the hero deliberately avoids communication with the opposite sex, so as not to burden himself with unnecessary worries. However, the author mentions that in early youth, when people are full of sincerity and love, Oblomov also liked to chat with beauties. In his hobbies, he did not allow relationships to go far and did not give himself up to passion with all his heart.

How he did not avoid this, and he was overtaken by true love, which changed and transformed him. His muse was Olga Ilyinskaya, an extraordinary young lady whom Stoltz introduced him to. It is difficult to call her a beauty, but her natural grace and self-confidence made themselves felt. Andrei Ivanovich knowingly chose her to meet a friend. He saw in her a quick-witted and outstanding personality. She spoke and looked directly, without any coquetry and affectation. Her actions did not match her words. For this, Stoltz liked her and he liked to talk with her for a long time. Leaving Petersburg, he entrusted a friend to her and asked her to make every effort to “stir up” him, lift him off the couch, and introduce him to an active life. She likes this idea, and she gladly gets down to business.

Gradually, Oblomov falls in love with her and begins to change. He develops an interest in books, newspapers, surrounding events. He gets out of bed and changes his dressing gown into normal ones. Often goes out with Olga, visits theaters and spends a lot of time with her. Olga is proud of the results of her work and even begins to admire herself. She begins to look like a doctor who is working to save a terminally ill patient. Ilyinskaya often and persistently repeats to Oblomov that a goal is needed in life, and that every day it is necessary to fulfill certain duties, forgetting about laziness. In her mouth, life becomes a duty, and love becomes a duty. When Oblomov confesses his love to her, she is delighted, but not from love itself, but from the results of her experiment. Oblomov is already beginning to wonder if this is love. Over time, it becomes clear that Ilya Ilyich's changes are only external. In his heart, he remained true to his “Oblomovism”.

Another female image that appeared later in the novel and deserves attention is Agafya Matveevna Pshenitsyna. She is the widow of an official, left with two children. This is a simple woman for whom daily work is the meaning of life. It is characterized by irrepressible activity and constant movement. She had a great positive influence on the life of I. I. Oblomov. Since he became a guest in her apartment, her life has changed. She not only fell in love with Ilya Ilyich, but tried her best to ensure his comfort and peace. He felt all the care and affection of this woman and gradually began to fall in love with her as well. She was ready to make everyone walk on tiptoe, so long as they did not disturb the peace of Ilya Ilyich. For her, he was a special person, a real nobleman from the brain and bones.

Pshenitsyna became a reflection of simplicity and compassion in the novel Oblomov. Even when her guest is completely penniless, she does not hesitate to give her latest jewelry to pay off his debt. Agafya Matveevna is ready to sell the last things, just to feed Oblomov. Unlike Olga Ilyinskaya, she did not try to lead him to action, but simply disinterestedly took care of his momentary desires. Silence and tranquility were very dear to the heart of the protagonist. He looked for them everywhere, but found them only near Pshenitsyna.

The novel "Oblomov" by Ivan Goncharov is a significant work of Russian literature, revealing many acute problems of the social and spiritual life of Russian society. A special place in the work is occupied by the theme of love, which the author reveals through female images in the novel Oblomov - the images of Olga Ilyinskaya and Agafya Pshenitsyna. Both heroines are connected by strong feelings for Oblomov at a certain stage of his life, however, the expression of love in women had a different character, differently reflected in the fate of Ilya Ilyich.
Like male, female images in Oblomov are also contrasted, which is clearly seen both when considering the external portrait of the heroines, and when analyzing their inner world, character traits and temperament.

Portrait characteristics of female images

Both female images - Olga and Agafya, are depicted positively and evoke sympathy from the reader. Olga appears before us as a serious, inquisitive nature, for whom it is important to constantly learn something new, hitherto unknown. The girl thinks a lot, as evidenced even by her portrait - thin pursed lips and a fold over her eyebrow “as if a thought rested there”, a sharp-sighted, not missing anything, peppy look. In the image of Olga there was no exceptional beauty, but she attracted with special elegance and grace, through which the spiritual depth, harmony and artistry of the girl was noticeable. Olga was brought up in a noble family, where she received a good upbringing and education. The poetic, sensual nature of the girl, transforming while singing, was set off by Olga's seriousness and practicality.

A completely different Agafya Pshenitsyna appears before the reader. The woman is portrayed by the writer as a native Russian beauty with fair skin and rounded shapes. The main features of Agafya are meekness, calmness, kindness, obedience, the need to take care of someone and give yourself completely. The woman comes from a simple family, has no education, but does not need knowledge, since the main area of ​​activity that is comfortable for her has always been housekeeping - cooking and home improvement.

Two types of Russian woman

The women in Goncharov's novel Oblomov are the two main types of Russian women that were prevalent in Russian society in the 19th century and still exist today, albeit in a somewhat modified form.

Agafya is a representative of the classical type of Russian woman, the keeper of the hearth, always inferior to her husband in activity, always agreeing with her husband's opinion and adoring him in all his manifestations. It is like a part of that very distant and “beautiful” Oblomovka, a kind of paradise for every Russian person - a place where you can not worry about anything, spending time in calm rest and pleasant dreams and thoughts. Unlike Olga, Agafya is not in the eternal search for knowledge, her own happiness or the purpose of life, she does not try to change the world around her - she accepts everything that is given to her and loves the world in which she lives. Some researchers point to the stupidity of Pshenitsyna, but she cannot be called a fool - she does everything as her heart tells her. And if Olga tried to change, break Oblomov, bring him out of his half-sleep and deadness, then Agafya, on the contrary, tries in every possible way to preserve the atmosphere of “Oblomovism” around Ilya Ilyich, a state of inertia and a sleepy, measured and well-fed life that is close to her - that is, in her own way, she cares about the uninterrupted happiness of her husband.

Olga is a new type of Russian woman for the Russian mentality. Brought up under the influence of the progressive ideas of Europe, the girl sees a whole world in front of her, not ending with frying pans and mending clothes for her husband. She does not stop learning, constantly asks Stolz and Oblomov to tell her something new, constantly develops and strives forward - to new knowledge, gaining higher human happiness. However, the image of Olga is tragic - Russian society was not yet ready for the emergence of strong female figures, which Ilinskaya could become. The fate of even the most intelligent and well-read girl was predetermined and ended in a banal household and family, that is, the notorious "Oblomovism" - what Stoltz was so afraid of and what Olga wanted to avoid in relations with Oblomov. After her marriage to Stolz, Olga changes, she is increasingly overcome by boredom and sadness, the reason for which lies in the internal rejection of the everyday monotonous routine that puts pressure on the girl.

In a symbolic sense, the female images in the novel personify the seasons. Light, dreamy, active Olga represents spring (relationship with Oblomov) and summer (marriage with Stolz). Quiet, kind, economic Agafya - a fertile, well-fed autumn and a lulling, calm winter. At first glance, Ilinskaya and Pshenitsyna are contrasted as a woman of the new Russian society and a woman of a patriarchal society. However, both heroines are only at first glance different, in fact they complement each other, reflecting not only the natural cycle of the formation and extinction of female nature, but also revealing the issues raised by the author of the search for female happiness and the peculiarities of female destiny.

Two types of love

In Oblomov, Goncharov reveals the theme of love precisely through female images, as more receptive and sensual. Olga's love, on the one hand, was filled with a bright, all-encompassing feeling, for which she was ready even secretly from her aunt to run away on a date with Oblomov. On the other hand, the girl's love was selfish - Olga did not think about the desires of Ilya Ilyich himself, trying to reshape both his personality and his life under her understanding of the right path. The parting of the lovers was connected not only with the understanding that both loved illusory, partially fictional and idealized images of each other, but also with the realization that love can only be built on accepting a person as he is. Oblomov understood this, and therefore he was subconsciously afraid of further relations with Olga, since their family life would turn into a struggle for the primacy of one of the areas of values, because both of them were not ready to give in to the other and change. The impetuous, active Olga could only inspire Oblomov with her example, but in order to eradicate “Oblomovism” in his soul, she lacked the pliability and that feminine wisdom that comes with age.

Oblomov Agafya fell in love with a completely different love. The woman not only surrounded Ilya Ilyich with a comfortable atmosphere for him, recreating Oblomovka right in her apartment, but also adored, practically idolized her husband. Pshenitsyna accepted both the advantages and disadvantages of Ilya Ilyich, continuing to take care and create maximum comfort for him even in difficult moments, doing everything so that the man himself did not have to think about the vain life. Agafya's love is comparable to the blind love of a mother, ready for anything so that her child always stays at home, not leaving her for the sake of the temptations of the real world, indulging his every come and slightest desire. However, such care is always detrimental, and therefore led to the illness, and then to the death of Oblomov.

Conclusion

The female images in Goncharov's novel "Oblomov" are two prefabricated, typical female images of the 19th century, depicting which the author reveals a number of important social and philosophical issues. The writer reflects on the fate of women in Russian society and the issues of achieving not only family, but also personal happiness for a woman, analyzes two diametrically opposite, but leading to collapse types of love. Goncharov does not give specific answers, but provides the reader with an extensive field for reflection on these eternal questions that are of interest to people in our time.

A detailed description of women and a description of their roles in the novel will be especially relevant for grade 10 when writing an essay on the topic “Female images in the novel Oblomov”.

Artwork test

Collection of essays: Women's images in the novel by I. A. Goncharov "Oblomov"

The pinnacle of I. A. Goncharov's work is Oblomov, work on which was completed in 1859. In the center of the work is the tragic Ilya Ilyich Oblomov, who died untimely. He was a smart, kind, but weak-willed, apathetic, real Russian master , not adapted to work.In the system of artistic images, an important place is occupied by female characters.In love for Olga Ilyinskaya and Agafya Matveevna Pshenitsyna, the personality traits of the protagonist are revealed.

The coincidences in the names and surnames of the characters are not accidental: Ilya Ilyich - Ilyinskaya. This emphasizes that they are meant for each other. Oblomov was also struck by another coincidence: Pshenitsyna was the widow of a collegiate secretary, and Ilya Ilyich himself served this rank. In addition, the house of Agafya Matveevna reminded him of Oblomovka. The ideal of the protagonist's woman is not simple, it has two principles, one of which lies in Olga, the other in Pshenitsyna.

The heroines differ in age, origin, upbringing, education. Olga is a young lady, a noblewoman. She is 20 years old, she lost her parents early, grew up in the house of her aunt, a secular lady. However, the girl does not strive for empty secular entertainment, does not want to live by the rules of "high society". Olga's life is filled with music, books. Agafya Matveevna is a bourgeois, a widow. She is "30 years old", she has two children. Agafya Matveevna can hardly read only the title of the book. The circle of her interests is closed on the economy. She doesn't go anywhere, she doesn't go anywhere.

Olga "in the strict sense was not a beauty," but she is the embodiment of nobility, grace, harmony. Olga has an amazing voice, soft, "with a nervous tremor of feeling." The author calls her eyes "smart", "affectionate". Olga’s gaze is “sharp, peppy, not missing anything ...” In Agafya Matveevna Pshenitsyna, at the very first meeting, Oblomov pays attention not to her eyes, not to her smile, but to her body - her throat, elbows, chest. He says completely different words about her : "What a fresh, healthy woman and what a hostess!"

Olga and Agafya Matveevna are united by such features as simplicity and naturalness. Olga, unlike other secular women, follows "a simple, natural way of life." The girl has no affectation, coquetry, lies, calculation. She is natural in the manifestation of thoughts and feelings. Olga is lonely in the world. Her wonderful qualities are not appreciated by "smart and lively gentlemen ", And the "non-agile" consider her too sophisticated and are a little afraid. Agafya Matveevna is also simple and natural, disinterested, not prudent. Olga's simplicity is warmed by high spirituality, and in the "mistress of the house" on the Vyborg side there is no poetry of thought, aspirations to know the essence of man and peace.

Both women are hardworking. Only in Olga there is a constant work of the soul, and Agafya Matveevna works to saturate the flesh. "She's all at work, stroking something, pushing, rubbing."

Oblomov, in love with Olga, shows the best personality traits - tenderness, poetry, a desire to develop spiritually. He looked at Agafya Matveevna "... with slight excitement, but his eyes did not shine, did not fill with tears, his spirit did not rush to heights, to exploits. He only wanted to sit on the sofa and keep his eyes on her elbows." When Oblomov sees a dream , then an ideal picture of family happiness arises in his imagination: "Immediately after the walk, the wife is waiting for Oblomov on the balcony, in a blouse and cap, and gives him a luxurious kiss." But then her invitation sounds: “Tea is ready!” It all equates to: "What a kiss! What tea! Olga conditionally for Oblomov - "kiss", and Pshenitsyna - "tea". Ilyinskaya causes a bright passion, "fever", and Agafya Matveevna - a calm flow of feeling.

Olga is a purposeful, strong-willed girl. In relations with Oblomov, she is the leader. The girl demands activity from Ilya Ilyich. She wants Oblomov to arrange his affairs and not hide from problems. She is not satisfied with the "pigeon". She herself seeks to benefit people, society. Agafya Matveevna did not make any demands on Oblomov. She also found pleasure in serving the new master. Pshenitsyna is compared to a horse that has been put on a collar. She serves him faithfully. In her attitude towards Ilya Ilyich, slavish obedience shines through. But this subordination to the wishes of her husband does not burden her.

Olga is constantly dissatisfied with herself and life. She strives for her "something". Finally, she finds him in Stolz, unites with him, is happy; but even here she does not stop, does not freeze. Some vague questions and doubts disturb her, she is trying to find something. This is a creative personality. And, perhaps, she will still achieve new manifestations of her richly gifted nature. Agafya Matveevna, in her life with Oblomov, on the contrary, found complete peace of mind: "... her face constantly expressed the same happiness, complete, satisfied and without desires " .

As it is Oblomov's double, so Agafya Matveevna has a kind of reflection - Anisya. Zakhar's wife is "a lively, agile woman ... with a caring smile, with ... a strong neck and chest and red tenacious, never tired hands." They are united with Pshenitsyna by a master's grip: "... the mutual attraction of Anisya and the hostess has turned into an inseparable bond, into one Existence". Both women take care of their husbands. Zakhar without Anisya can't manage anything, and Oblomov without Agafya Matveevna is helpless, like a child.

Pshenitsyna had the same, like Zakhar, the awkward and inept cook Akulina. This female image serves to set off the thriftiness of Pshenitsyna, to show that she is any plant, not even adapted to life. And after the death of Oblomov, Agafya Matveevna "... was still a living pendulum in the house: she looked after the kitchen and the table, gave the whole house tea and coffee, sheathed everyone, looked after linen, children, Akulina and the janitor. "

Limited Pshenitsyna devotedly and selflessly loved her husband. But she also ruined him with her earthiness, her endless care for his womb. In her life, she had another "little boy" - a son from Oblomov Andrey. But she gave him up for education to Stolz, away from her own "blackness". Olga and Pshenitsyna were now connected about the "pure as crystal, the soul of the deceased" - Oblomov.

The central female characters in the novel are two poles. Olga is a woman of the future, free and active, wishing to reach certain spiritual heights, asking "rebellious" questions about the meaning of life. Pshenitsyna justifies her surname. Her destiny is the economy.