Composition “The image of Olga Ilyinskaya in the novel“ Oblomov ”(with quotes). Image of Olga Ilyinskaya Description of Olga Ilyinskaya in Oblomov's novel

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 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 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 yet, 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.

Bibliography

For the preparation of this work, materials from the site http://ilib.ru/

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In the sleepy life of Oblomov, the presence of a young, pretty, intelligent, lively and partly mocking woman, "who could awaken Ilya to life, illuminate his dim existence. But Stolz "did not foresee that he was bringing in fireworks, Olga and Oblomov - and even more so." Love for Olga changed Ilya Ilyich. At Olga's request, he gave up many of his habits: he didn't lie on the couch, he didn't overeat, he traveled with...

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Olga Sergeevna Ilyinskaya is one of the main characters of the novel by I. A. Goncharov, Oblomov's beloved, a bright and strong character. Ilyinskaya was not distinguished by beauty, but she was quite graceful and harmonious. It had a sincere simplicity and naturalness, which was rare. Nothing pretentious, no frills. The girl was orphaned early and lived in the house of her aunt, Marya Mikhailovna. It is unclear where and when Stoltz met her, but it was he who decided to introduce Olga to his friend Oblomov. The author of the novel emphasized the rapid spiritual maturation of the heroine. Her personal growth took place not by the day, but by the hour. Ilya Ilyich fell in love with her when he heard her superbly sing an aria from Bellini's opera. He became more and more immersed in this new feeling.

Olga was self-confident and wanted to change Oblomov without fail, to make him an active person. On this occasion, she even drew up a plan for re-education. As Stoltz wanted, positive changes really began to occur with his friend, and this was entirely Olga's merit. She was very proud of this and began to transform herself too. However, the girl did not understand that this was more a practical experience in re-education than sincere love. Moreover, the soul and mind of Ilyinskaya needed further development, and Oblomov changed slowly and reluctantly. Their relationship was doomed to break. Even after marrying Stolz, she does not stop looking for herself. Her deep soul needs something else, but she doesn't know exactly what. As the author shows, Olga's main purpose is an eternal desire for development and a spiritually rich life.

Introduction

Olga Ilyinskaya in Goncharov's novel "Oblomov" is the most striking and complex female character. Getting to know her as a young, just developing girl, the reader sees her gradual maturation and disclosure as a woman, mother, and independent person. At the same time, a complete characterization of the image of Olga in the novel "Oblomov" is possible only when working with quotations from the novel that most capably 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 high growth, the oval and dimensions of the face corresponded to the size of the head; all this, in turn, was in harmony with the shoulders, the shoulders - with the camp ... ".

When meeting with Olga, people always stopped for a moment "before this so strictly and deliberately, artistically created creature."

Olga received a good upbringing and education, understands the sciences and art, reads a lot and is in constant development, knowledge, achievement of new and new goals. These features of hers were reflected in the appearance of the girl: “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 keen, always cheerful, piercing look of dark, gray-blue eyes, "and unevenly located thin eyebrows created a small crease on the forehead" in which something seemed to say, as if a thought rested there.

Everything in her spoke of her own dignity, inner strength and beauty: “Olga walked with her head tilted slightly forward, so gracefully, nobly resting on a thin, proud neck; moved smoothly with her whole body, stepping lightly, almost imperceptibly.

Love for Oblomov

The image of Olga Ilyinskaya in Oblomov appears at the beginning of the novel as a still very young, little-knowing girl, looking at the world around her with wide open eyes and trying to cognize it in all its manifestations. The turning point, which became for Olga the transition from childish shyness and some embarrassment (as was the case when communicating with Stolz), was love for Oblomov. A wonderful, strong, inspiring feeling that flashed with lightning speed between lovers was doomed to parting, since Olga and Oblomov did not want to accept each other as they really are, cultivating a feeling for semi-ideal prototypes of real heroes.

For Ilyinskaya, love for Oblomov was not associated with the feminine tenderness, gentleness, acceptance and care that Oblomov expected from her, but with duty, the need to change the inner world of her lover, to make him a completely different person:

“She dreamed of how“ she would order him to read the books ”that Stoltz had left, then read the newspapers every day and tell her the news, write letters to the village, finish the plan for arranging the estate, get ready to go abroad - in a word, he would not doze off with her; she will show him the goal, make him fall in love again with everything that he stopped loving.

“And all this miracle will be done by her, so timid, silent, whom no one has obeyed until now, who has not yet begun to live!”

Olga's love for Oblomov was based on the selfishness and ambitions of the heroine. Moreover, her feelings for Ilya Ilyich can hardly be called true love - it was a fleeting love, a state of inspiration and rise in front of a new peak that she wanted to reach. For Ilyinskaya, in fact, Oblomov’s feelings were not important, she wanted to make her ideal out of him, so that she could then be proud of the fruits of her labors and, perhaps, remind him later that everything he had was due to Olga.

Olga and Stolz

The relationship between Olga and Stolz developed from a tender, reverent friendship, when Andrei Ivanovich was a teacher, mentor, an inspiring figure for the girl, in his own way distant and inaccessible: “When a question, bewilderment was born in her mind, she did not suddenly decide to believe him: 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.

Marriage with Stolz, who helped her recover after parting with Ilya Ilyich, was logical, since the characters are very similar in character, life orientations and goals. Quiet, calm, endless happiness was seen by Olga in her life together with Stolz:

“She experienced happiness and could not determine where the boundaries were, what it was.”

“She also walked alone, along an inconspicuous path, he also met her at the crossroads, gave her his hand and led her not into the brilliance of dazzling rays, but as if to the flood of a wide river, to spacious fields and friendly smiling hills”

Having lived together for several years in cloudless, endless happiness, seeing in each other those ideals that they always dreamed about and those people who appeared to them in their dreams, the heroes began to seem to move away from each other. It became hard for Stolz to reach out for the inquisitive, continuously striving forward Olga, and the woman “began to strictly notice herself and caught that she was embarrassed by this silence of life, her stop at moments of happiness,” asking questions: “Is it really necessary and possible to wish for something ? Where to go? Nowhere! There is no further road ... Really not, have you already completed the circle of life? Is it really all ... everything ... ". The heroine begins to be disappointed in family life, in women's destiny and in the fate that was prepared for her from birth, but continues to believe in her doubting husband and that their love will keep them together even in the most difficult hour:

“That unfading and indestructible love lay mightily, like the force of life, on their faces - in the time of friendly sorrow it shone in the slowly and silently exchanged look of cumulative suffering, was heard in endless mutual patience against life's torture, in restrained tears and muffled sobs.

And although Goncharov does not describe in the novel how the further relationship between Olga and Stolz developed, it can be briefly assumed that after some time the woman either left her husband or lived the rest of her life unhappily, more and more plunging into disappointment from the unattainability of those lofty goals, oh whom I dreamed of in my youth.

Conclusion

The image of Olga Ilyinskaya in Goncharov's novel "Oblomov" is a new, to some extent feminist type of Russian woman who does not want to close herself off from the world, limiting herself to housekeeping and family. A brief description of Olga in the novel is a woman-seeker, a woman-innovator, for whom “routine” family happiness and “Oblomovism” were really the most terrifying and frightening things that could lead to degradation and stagnation of her forward-looking, learning personality. For the heroine, love was something secondary, stemming from friendship or inspiration, but not an original, leading feeling, and even more so not the meaning of life, like Agafya Pshenitsyna.

The tragedy of Olga's image lies in the fact that the society of the 19th century was not yet ready for the emergence of strong female personalities capable of changing the world on an equal footing with men, so she would still have expected the very soporific, monotonous family happiness that the girl was so afraid of.

Artwork test

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

Olga Sergeevna Ilyinskaya - the former bride of Ilya Ilyich Oblomov from the novel by I. A. Goncharov "Oblomov".

In the future, she became the wife of the best friend of the protagonist - Andrei Stolz.

The mother of the latter's children.

Olga is one of the central characters of the entire work.

Characteristics of the heroine

Olga Ilyinskaya strove to act and live a full life. She sought the same from her ex-fiance - Oblomov. However, the beloved man turned out to be more expensive sofa. He loved to dream of changes in life and in Oblomovka, but he was not capable of action. After all, for this it was necessary to leave the comfort zone ...

As a result, "Ilyinskaya young lady", as she was called in the novel, married the active A. Stolz. However, if Olga's love for Ilya Ilyich was sincere and disinterested, then the feeling for her husband was different. He was more suitable for a proud woman in terms of inner qualities: "I love Andrei Ivanovich ... it seems, because ... he loves me more than others; you see where pride has crept in!"

The author also notes that Ilyinskaya "was not without cunning." In this respect, the heroine is the complete opposite of Oblomov's wife, Agafya Matveevna Pshenitsyna. And if the latter was a widow at the time of the meeting with Oblomov, then for Olga, Andrei Stoltz was the first and only husband.

She is happier in family life. And, although it is not easy for men to communicate with a vitally active and demanding woman, her marriage turned out to be happy. This is noted by Ilyinskaya's husband, Andrei Ivanovich Stolz: "... By God, I'm not joking. Another year I'm married to Olga ... And the children are healthy ..."

(Active and aspiring to the "high" Olga)

Olga also differs from Oblomov's chosen one in that she loves books and theater, strives for self-improvement. Seeing a book from Oblomov or Stolz, she shows a lively interest in it: "Have you read this book - what is it?"

Moreover, according to the plot, she speaks French and can read newspapers in it, knows how to play the piano. And as a wife, she chose an equal in intelligence. After all, Andrei Stoltz was bilingual - his second language was German, the language of his father. Fluency in two languages in those days was less common than in the 21st century. The author and other characters note that Olga has a "smart, pretty head."

Despite her exactingness, Ilyinskaya is able to sympathize: "... Then, she is so accessible to a feeling of compassion, pity! It is not difficult for her to cause tears; her access to her heart is easy..." her orphanhood. After all, Ilinskaya was raised by an aunt, therefore, her parents were not alive. Since childhood, she felt that life is short, and you need to have time to do as much as possible.

The image of the heroine in the work

(Olga's meetings with Ilya Oblomov)

At the time of the meeting with Ilya Ilyich, Olga was only twenty years old. However, for I. A. Goncharov, as a person of the 19th century, a young lady is already an adult: "Why does he consider her a girl?"

She is admired by Stolz and Oblomov: "My God, how pretty she is! There are such people in the world!" But, despite the fact that both fell in love with her, feelings for Olga did not cause enmity between friends. Like the heroine herself, she did not feel hatred for the wife of her former lover, Agafya Matveevna. The ladies were simply completely different, although they were united by love for Ilya Ilyich.

And, despite the contrast with Pshenitsyna, Ilyinskaya also has "gray-blue, gentle eyes." However, it is graceful and thin. Probably, the author is hinting: Pshenitsyna was also once a demanding and active woman, but for some reason she became a complete lady and lost interest in self-development. And Stolz's wife, unlike the wife of his friend, loved to travel. So, the husband sent Ilyinskaya to the resort in order to "restore health, which was upset after childbirth."

(Interpretation - Olga and Stolz)

Unlike Agafya, Olga managed to maintain the desire for self-improvement. This was the secret of the well-being of her marriage with Stolz. They understood each other perfectly. That is why this couple was given a quiet family happiness. I. A. Goncharov believes that only those who act and encourage others to act deserve a happy life.

And on the example of the two main female characters, one can notice one more thought: first of all, a woman should work on herself and on her man. Otherwise, love ends tragically (in this case, with the death of Oblomov).