One of women's portraits in the novel there is the character of Olga Sergeevna Ilyinskaya, Stolz’s acquaintance and Oblomov’s beloved. Ilya Ilyich cannot forget this woman for a long time; he painted her portrait in his memory. “Olga in the strict sense was not a beauty, that is, 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; there were no corals on the lips, no pearls in the mouth, no miniature hands like five year old child, with fingers in the shape of grapes..."Goncharov, I.A. Oblomov. A novel in 4 parts. - M.: Fiction, 1984. - 493 p. - P. 202. Such a woman could not leave the main character indifferent, who had not been seen in public for a long time.
Further, one can trace the view of I.A. Goncharov himself on the image of Olga: “Whoever met her, even absent-minded, stopped for a moment before this so strictly and deliberately, artistically created creature... the nose formed a noticeably convex, graceful line; the lips are thin and mostly compressed... the eyebrows gave a special beauty to the eyes... they were two light brown, fluffy, almost straight stripes that rarely lay symmetrically...” Ibid. - P. 202.
The motif of the statue can be seen here too. Oblomov himself compares Olga to a statue of “grace and harmony.” She “slightly tall was strictly matched by the size of her head, the size of her head was strictly matched by the oval and size of her face; all this, in turn, was in harmony with the shoulders, and the shoulders with the body...” But researchers note that Olga is not a statue. There is another analogy for it - a machine.
As a statue Ilyinskaya is certainly beautiful, but as a machine she is functional. It’s as if Oblomov’s love has wound up the hero, but then the plant ends and the hero himself freezes. The hero’s eyes no longer sparkle and are no longer filled with tears “from the words, from the sounds, from this pure, strong girlish voice” from which the heart beat so much before.
I.A. Goncharov gives a portrait of the heroine at different moments of her life. Here she sings “Her cheeks and ears were red with excitement; sometimes a play of heart lightning suddenly sparkled on her fresh face, a ray of such mature passion flared up, as if she was experiencing a distant future time of life in her heart, and suddenly this instant ray went out again, again her voice sounded fresh and silvery,” the author describes “the awakening of the heroine’s soul “When she understands Oblomov’s feelings: “... her face was gradually filled with consciousness; a ray of thought and guesswork crept into every feature, and suddenly the whole face was illuminated with consciousness... The sun also sometimes, coming out from behind a cloud, little by little illuminates one bush, another, the roof and suddenly bathes the whole landscape in light...” But a completely different Olga, after a farewell conversation with Oblomov, “she changed in her face: two pink spots disappeared, and her eyes dimmed... she strongly pulled a branch from a tree in passing, tore it off with her lips...”. This shows all the disappointment, excitement and even annoyance of the heroine.
Olga Ilyinskaya also changes throughout her acquaintance with Ilya Oblomov. If at first, before Ilya Ilyich’s confession, she is light, always cheerful, lively, open and trusting, “dependent” on Stolz (he is her teacher), then after the confession and subsequent parting with the main character, she is thoughtful, restrained, persistent, firm, confident, restrained. She is no longer just a flighty girl, but a woman.
The writer identifies in Olga Ilyinskaya two important, in his opinion, personality traits that are so lacking in modern women, and therefore especially valuable. These are words and movements. They are presented quite convincingly in the novel. This is the talent of I.A. Goncharova.
"is the most striking and complex female character. Getting to know her as a young, only developing girl, the reader sees her gradual maturation and revelation as a woman, mother, and independent person. At the same time full characteristics the image of Olga in the novel “Oblomov” is possible only when working with quotes from the novel that most succinctly convey the appearance and personality of the heroine:
“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, and the shoulders with the body...”
When meeting Olga, people always stopped for a moment “before this so strictly and thoughtfully, artistically created creature.”
Olga received good upbringing and education, understands the sciences and arts, reads a lot and is in constant development, knowledge, achieving new and new goals.
These features of hers were reflected in the girl’s appearance: “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, unmissing gaze of dark, gray-blue eyes,” and unevenly spaced thin eyebrows created a small fold on the forehead “in which something seemed to say, as if a thought rested there.” Everything about her spoke of her own dignity, inner strength and beauty: “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.”
Love for Oblomov
The image of Olga Ilyinskaya in “Oblomov” appears at the beginning of the novel as still very young, little knowledgeable girl, with wide with open eyes looking at the world around us and trying to cognize it in all its manifestations. The turning point, which became for Olga a transition from childhood shyness and a certain embarrassment (as was the case when communicating with Stolz), was her love for Oblomov. The wonderful, strong, inspiring feeling that flared up between the lovers with lightning speed was doomed to parting, since Olga and Oblomov did not want to accept each other as they really are, cultivating in themselves a feeling for semi-ideal prototypes of real heroes.
For Ilyinskaya love to Oblomov was connected not with those feminine tenderness, softness, acceptance and care that Oblomov expected from her, but with duty, the need to change inner world beloved, make him a completely different person:
“She dreamed of how she would “order him to read the books” that Stolz left, then read newspapers every day and tell her the news, write letters to the village, complete a plan for organizing the estate, get ready to go abroad - in a word, he would not fall asleep with her; she will show him a goal, make him love again everything that he has stopped loving.”
“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!”
Olga's love for Oblomov was based on the heroine's selfishness and ambitions. Moreover, her feelings for Ilya Ilyich are difficult to name true love- it was a fleeting love, a state of inspiration and ascent before the new peak that she wanted to achieve. For Ilyinskaya, Oblomov’s feelings were not really important; she wanted to make him her ideal, so that she could then be proud of the fruits of her labors and, perhaps, remind him later that everything he had owed to Olga.
1. Olga Ilyinskaya is a smart, proud, proud girl. She has a passionate and active nature. She tried to awaken Oblomov to life, to useful activity, did a lot to save him from laziness and apathy. Here’s how Goncharov writes about Olga: “Bringing the presence of a young, pretty, intelligent and partly mocking woman into Oblomov’s sleepy life is like bringing a lamp into a gloomy room, from which pink light, several degrees of heat, and the room will be more cheerful.”
Olga meets Oblomov at the age of twenty. Her life is meaningful and full. She loves music and sings beautifully. She wants to know everything, understand everything. Olga has a very wide range of interests. She reads books, newspapers, and follows literary news.
From the first days of meeting Oblomov, Olga actively invades his life. At first she was simply captivated by the idea of saving Oblomov, but while saving, she fell in love with him. For Olga, love, life and a sense of duty are inseparable. She is sure that with her love she will bring Ilya Ilyich back to life and this will make him happy. Dobrolyubov said about Olga Ilyinskaya that she has “an amazing harmony of her heart and will.”
2. In the struggle for Oblomov, her naturalness, truthfulness in words and actions, lack of coquetry and ability to love were revealed. Olga knows how to sacrifice herself; in her actions she is guided not by the laws of etiquette, but by her inner voice - the voice of conscience and love. Oblomov, having fallen in love with Olga, was simply transformed under her influence. He began to get up early and dress carefully: “You can’t see the robe on him.” Together with Olga, he visits theaters, museums, and even climbs a hill after her. This friendship, which later grew into love, influenced not only Oblomov. She also accelerated the spiritual growth of Olga herself. Here’s what D.I. Pisarev said about this: “Olga grows along with her feelings; every scene that takes place between her and the person she loves adds new feature to her character, with each scene the graceful image of the girl becomes more familiar to the reader, is outlined brighter and stands out more strongly from the general background of the picture.”
Oblomov was shocked by Olga’s wonderful singing. His natural spirituality, the existence of which he had already forgotten, awakened in him. This was the beginning of a great feeling: “No, I feel... not music... but... love! “But if Oblomov wants love not to disturb the peaceful flow of his life, the peace to which he is accustomed, then Olga expects something completely different from love... Olga demanded activity and determination from Oblomov. She was looking for an application for her powers and, having met Oblomov, she was fired up with the dream of resurrecting him, awakening him to life. But this turned out to be an impossible task even for her.
3. 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, to whom no one has listened until now, who has not yet begun to live “And love becomes a duty for Olga, and therefore can no longer be reckless, spontaneous. Moreover, Olga is not ready to sacrifice everything for the sake of love. “Would you like to know if I would sacrifice my peace of mind for you, if I would go down this path with you?..Never, never for anything!” -
She decisively answers Oblomov.
Roman I.A. Goncharov’s “Oblomov” is dedicated to describing the harmful consequences of the serfdom, and the consequences not for the peasants, but for the nobles. Main character this novel by Ilya Ilchich Oblomov. He is a simple, kind, but very lazy and spoiled person.
For him, lying around the clock on his favorite sofa replaces all kinds of life and activity. Oblomov lives with dreams of how he will move to his estate and have a wonderful life there.
Partly in the image of Oblomov the theme “ extra person“However, Oblomov himself wants to be superfluous; this is convenient and comfortable for him; no one will stop him from leading a measured lifestyle.
The meaning of Oblomov’s dream
His belief in his own exclusivity, brought up from childhood, was called “Oblomovism.” Oblomov remembers his childhood in a dream: one of the most striking episodes of the novel, Oblomov’s dream, was written back in 1848.
This picture from childhood shows how crippling a person can be serfdom, when the master does not need to do anything. Oblomov is used to the fact that his faithful servant Zakhar and someone else will do everything for him, and he is a master, he is above this, so he will not fuss under any circumstances. Goncharov criticizes such lordship.
Image of Andrey Stolts
Oblomov's best friend Andrei Ivanovich Stolz, the son of a Russian noblewoman and a German; the direct opposite of Oblomov. Stolz is “an example of all strength”; from childhood he was accustomed to working for material wages, and he lives like this all his life.
He reproaches Oblomov for eternal laziness and tries to get him off the couch, but to no avail. According to A.P. Chekhov, the image of Stolz, the creative failure of Goncharov. It was intended as an image ideal person, but in the end it turned out to be “a purged beast, very pleased with itself.”
It is not known for what Stolz lives; he has no goal in life. In some ways he is similar to Oblomov, in the end he realizes his idea of peaceful life to the estate.
Image of Olga Ilyinskaya
At the end of the novel, Stolz marries Olga Sergeevna Ilnskaya, who was originally Oblomov’s lover. Olga is similar to Turgenev’s girls, who are morally superior to men; her image is a synthesis of reason and feeling.
For Olga's sake, Oblomov gets up from the couch and is ready to give up some of his principles and laziness. However, she herself only convinces herself that she is in love: Olga is still too young, does not know life, so she mistakes a slight infatuation for love.
Oblomov writes her a letter in which he explains that this is not love, but a real feeling will come to her later. Olga doesn’t believe it, but over time she becomes convinced that this is really so. After a marriage proposal, they are prevented from reuniting by all sorts of everyday little things, but in fact the lack of love. A breakup is inevitable.
A few months later, Olga begins an affair with Stolz, in which there is no longer jealousy or rivalry. Oblomov sincerely wishes his beloved woman happiness, albeit with someone else, but there won’t be any here either. Olga is smart and sublime, she wants to find the meaning of life, and Stolz is too down-to-earth for her.
Image of Agafya Pshenitsyna
Oblomov himself eventually marries Agafya Matveevna Pshenitsyna, a simple, narrow-minded woman who is used to doing everything in life herself. She does not think about the meaning of life; she is much more concerned about everyday issues.
She accepts Oblomov as he is and sincerely loves him. He even somewhat admires him as his master (and later his son). Oblomov continues to love Olga...
The image of Olga Ilyinskaya in the novel by I.A. Goncharov "Oblomov"
“Disassemble female images“, created by I. A. Goncharov, means making a claim to be a great connoisseur of the Viennese heart,” noted one of the most insightful Russian critics, N. A. Dobrolyubov. Indeed, the image of Olga Ilyinskaya can be called an undoubted success of Goncharov the psychologist. It embodied not only best features Russian woman, but also all the best that the writer saw in Russian people in general.
“Olga in the strict sense was not a beauty, that is, 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... 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 him we see those features that have always attracted Russian writers in any woman: the absence of artificiality, beauty that is not frozen, but living. “In a rare girl,” the author emphasizes, “you will find such simplicity and natural freedom of look, word, action... No affectation, no coquetry, no lies, no tinsel, no intent.”
Olga is a stranger in her own 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 towards 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 her life lessons?” - Stolz thinks about her with admiration, who loves Olga just like this, transformed by love.
It is the relationship of the main character of the novel with Olga that allows us to better understand the character of Ilya Oblomov. It is Holga’s look at her lover that helps the reader 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 there is no cynicism in Ilya, but there is a constant desire for doubt and sympathy. But Olga and Oblomov are not destined to be happy.
Oblomov has a presentiment that his relationship with Olga cannot always be their personal matter; they will certainly turn into a lot of conventions and responsibilities. You will have to “conform”, do business, become a member of society and the head of the family, and so on. Stolz and Olga reproach Oblomov for inactivity, and in response he only makes unrealistic promises or smiles “somehow pitifully, painfully bashful, 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, to whom no one has listened until now, who has not yet begun to live!” And love becomes a duty for Olga, and therefore can no longer be reckless, spontaneous. Moreover, Olga is not ready to sacrifice everything for the sake of love. “Would you like to know if I would sacrifice my peace of mind for you, if I would go down this path with you?.. Never, never!” - she decisively answers Oblomov.
Oblomov and Olga expect the impossible from each other. It comes from him - activity, will, energy; in her mind, he should become like Stolz, but only while preserving the best that is in his soul. He is reckless from her, 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 the 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, but you have died a long time ago,” Olga hardly pronounces a harsh sentence and asks a bitter question: “Who cursed you, Ilya? What have you done?<...>What ruined you? There is no name for this evil...” “There is,” answers Ilya. - 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 and 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 melancholy. Stolz's mechanical, active life does not provide those opportunities for the movement of the soul that were in her feelings for Oblomov. And even Stolz guesses: “Once you know him, it’s impossible to stop loving him.” With love for Oblomov, part of Olga’s soul dies; she remains a victim forever.
“Olga, in her development, represents the highest ideal that only a Russian artist can now evoke from present-day Russian life,<...> living face, only such as we have not yet met,” wrote Dobrolyubov. We can confidently say that Olga Ilyinskaya continues that gallery of beautiful female types, which was discovered by Tatyana Larina and which will be admired by more than one generation of readers.