Is Olga Ilyinskaya a positive heroine. Characteristics of the hero Olga Ilyinskaya, Oblomov, Goncharov
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.
OBLOMOV
(Roman. 1859)
Ilinskaya Olga Sergeevna - one of the main characters of the novel, a bright and strong character. A possible prototype of I. is Elizaveta Tolstaya, Goncharov's only love, although some researchers reject this hypothesis. “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; there were no corals on the lips, no pearls in the mouth, no miniature hands, like those of a five-year-old child, with fingers in the form of grapes. But if she were turned into a statue, she would be a statue of grace and harmony.
From the time she was orphaned, I. lives in the house of her aunt Marya Mikhailovna. Goncharov emphasizes the rapid spiritual maturation of the heroine: she “as if she was listening to the course of life by leaps and bounds. And every hour of the slightest, barely noticeable experience, an incident that flies like a bird past the nose of a man, is grasped inexplicably quickly by a girl.
Andrey Ivanovich Stolz introduces I. and Oblomov. How, when and where Stolz and I. met is unknown, but the relationship connecting these characters is distinguished by sincere mutual attraction and trust. “... In a rare girl you will meet such simplicity and natural freedom of sight, word, deed ... No affectation, no coquetry, no lies, no tinsel, no intent! On the other hand, almost only Stoltz appreciated her, but she sat through more than one mazurka alone, not hiding boredom ... Some considered her simple, short-sighted, shallow, because neither wise maxims about life, about love, nor quick, unexpected and bold remarks, nor read or overheard judgments about music and literature ... "
Stolz brings Oblomov to I.'s house not by chance: knowing that she has an inquisitive mind and deep feelings, he hopes that with his spiritual inquiries I. will be able to awaken Oblomov - make him read, watch, learn more and more legibly.
Oblomov, in one of the very first meetings, was captured by her amazing voice - I. sings an aria from Bellini's opera "Norma", the famous "Casta diva", and "this destroyed Oblomov: he was exhausted", more and more plunging into a new feeling for himself.
I.'s literary predecessor is Tatyana Larina ("Eugene Onegin"). But as the heroine of a different historical time, I. is more confident in herself, her mind requires constant work. This was also noted by N. A. Dobrolyubov in the article “What is Oblomovism?”: “Olga, in her development, represents the highest ideal that a Russian artist can now evoke from the current Russian life ... There is something more in her than in Stolz, one can see a hint of a new Russian life; one can expect a word from her that will burn and dispel Oblomovism ... "
But this I. is not given in the novel, just as it is not given to dispel the phenomena of a different order, similar to her heroine Goncharov Vera from The Cliff. The character of Olga, fused at the same time from strength and weakness, knowledge about life and the inability to bestow this knowledge on others, will be developed in Russian literature - in the heroines of the dramaturgy of A.P. Chekhov - in particular, in Elena Andreevna and Sonya Voynitskaya from Uncle Vanya.
The main property of I., inherent in many female characters in Russian literature of the last century, is not just love for a particular person, but an indispensable desire to change him, raise him to his ideal, re-educate him, instilling in him new concepts, new tastes. Oblomov turns out to be the most suitable object for this: “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, complete the estate plan, prepare to go abroad, - in a word, he will not doze off with her; she will show him the goal, make him fall in love again with everything that he has stopped loving, and Stolz will not recognize him when he returns. 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! .. She even trembled with proud, joyful trembling; I considered it a lesson appointed from above.
Here you can compare her character with the character of Lisa Kalitina from I. S. Turgenev's novel "The Nest of Nobles", with Elena from his own "On the Eve". Re-education becomes the goal, the goal captivates so much that everything else is pushed aside, and the feeling of love gradually submits to teaching. Teaching, in a sense, enlarges and enriches love. It is precisely from this that the serious change occurs in I. that struck Stolz so much when he met her abroad, where she, together with her aunt, came after the break with Oblomov.
I. immediately understands that in relations with Oblomov she plays the main role, she "in an instant weighed her power over him, and she liked this role of a guiding star, a ray of light that she would pour over a stagnant lake and be reflected in it." Life seems to wake up in I. along with the life of Oblomov. But in her this process takes place much more intensively than in Ilya Ilyich. I. seems to be testing on him his capabilities as a woman and a teacher at the same time. Her extraordinary mind and soul require more and more "complex" food.
It is no coincidence that at some point Obkomov sees Cordelia in her: all I.'s feelings are permeated by a simple, natural, like a Shakespearean heroine, pride, prompting to realize the treasures of one's soul as a happy and well-deserved given: “What I once called mine, that is no longer I’ll give it back, unless they take it away ... ”she says to Oblomov.
I.'s feeling for Oblomov is whole and harmonious: she simply loves, while Oblomov is constantly trying to find out the depth of this love, and therefore suffers, believing that I. “loves now how she embroiders on the canvas: the pattern comes out quietly, lazily, she is even lazier unfolds it, admires it, then puts it down and forgets it. When Ilya Ilyich tells the heroine that she is smarter than him, I. replies: “No, simpler and bolder,” thereby expressing almost the defining line of their relationship.
I. hardly knows herself that the feeling she experiences is more reminiscent of a complex experiment than first love. She does not tell Oblomov that all matters on her estate have been settled, with only one goal - “... to follow to the end how love will make a revolution in his lazy soul, how oppression will finally fall from him, how he will not resist his loved ones happiness..." But, like any experiment on a living soul, this experiment cannot be crowned with success.
I. needs to see his chosen one on a pedestal, above himself, and this, according to the author's concept, is impossible. Even Stolz, whom I. marries after an unsuccessful affair with Oblomov, only temporarily stands higher than she, and Goncharov emphasizes this. By the end, it becomes clear that I. will outgrow her husband both in terms of the strength of feelings and the depth of reflection on life.
Realizing how far her ideals diverge from the ideals of Oblomov, who dreams of living according to the old way of his native Oblomovka, I. is forced to abandon further experiments. “I loved the future Oblomov! she says to Ilya Ilyich. - You are meek, honest, Ilya; you are gentle ... like a dove; you hide your head under your wing - and you want nothing more; you are ready to coo all your life under the roof ... yes, I’m not like that: this is not enough for me, I need something else, but I don’t know what! This “something” will not leave I.: even after surviving a break with Oblomov and happily marrying Stolz, she will not calm down. There will come a moment when Stolz will also have to explain to his wife, the mother of two children, the mysterious “something” that haunts her restless soul. "The deep abyss of her soul" does not frighten, but disturbs Stolz. In I., whom he knew almost as a girl, for whom he first felt friendship, and then love, he gradually discovers new and unexpected depths. It is difficult for Stolz to get used to them, because his happiness with I. seems to be largely problematic.
It happens that I. is overcome by fear: “She was afraid to fall into something similar to Oblomov's apathy. But no matter how hard she tried to get rid of these moments of periodic numbness, the sleep of the soul, no, no, yes, at first a dream of happiness would sneak up on her, the blue night would surround her and envelop her in drowsiness, then again there would come a thoughtful stop, as if the rest of life, and then embarrassment, fear , languor, some deaf sadness, some vague, foggy questions will be heard in a restless head.
These confusions are quite consistent with the final reflection of the author, which makes one think about the future of the heroine: “Olga did not know ... the logic of obedience to blind fate and did not understand women's passions and hobbies. Having once recognized the dignity and rights to herself in the chosen person, she believed in him and therefore loved, but stopped believing - stopped loving, as happened with Oblomov ... But now she believed in Andrei not blindly, but with consciousness, and in him her ideal of masculine perfection was embodied ... That is why she would not bear a drop in the dignity she recognized; any false note in his character or mind would produce a tremendous dissonance. The destroyed building of happiness would have buried her under the ruins, or, if her strength had still survived, she would have searched ... "
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 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, 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, which 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/
In I. A. Goncharov's novel "Oblomov" only two main female images are shown, which are also opposite to each other. This is the image of Olga Ilyinskaya and the image of Agafya Pshenitsyna. Their appearance is just as opposite as the appearances of Anna Sergeevna and Katerina Sergeevna in I.S. Turgenev's novel "Fathers and Sons". Olga Sergeevna "was not a beauty, that is, there was neither whiteness in her, nor the bright color of her cheeks and lips, and her eyes ...
In the sleepy life of Oblomov, the presence of a young, pretty, intelligent, lively and somewhat 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...
With bitter reproach Oblomov "(Ch. 1, ch. VIII). From this it is clear that the hero does not fulfill the second most important commandment: "Love your neighbor as yourself" (Mat., ch. 22, article 39). Goncharov creates a novel of tragic power - about the salvation of the human soul and its death... But the tragedy of the spirit is hidden behind the drama of the soul and fate...
Wednesdays at A.S. Pushkin's image of Savelich's servant ("The Captain's Daughter") and Anton's servant ("Dubrovsky"), the images of servants in the works of N.V. Gogol's "Dead Souls", "Inspector General", Turgenev's peasants and poor people F.M. Dostoevsky, folk environment in the works of L.N. Tolstoy and in Russian democratic literature of the 60-70s. A realist writer would quite agree with N.G. Chernyshevsky about ...
Roman I.A. Goncharov "Oblomov" reveals the problem of the social society of those times. In this work, the main characters could not deal with their own feelings, depriving themselves of the right to happiness. One of these heroines with an unfortunate fate will be discussed.
The image and characterization of Olga Ilyinskaya with quotes in the novel Oblomov will help to fully reveal her difficult character and better understand this woman.
Olga's appearance
It is difficult to call a young creature a beauty. The appearance of the girl is far from ideals and generally accepted standards.
"Olga in the strict sense was not a beauty ... But if she were turned into a statue, she would be a statue of grace and harmony."
Being small in stature, she managed to walk like a queen, with her head held high. The girl felt the breed, to become. She wasn't pretending to be better. She didn't flirt, she didn't fawn. It was as natural as possible in the manifestation of emotions and feelings. Everything in her was real, without a drop of falsehood and lies.
“In a rare girl you will meet such simplicity and natural freedom of sight, word, deed ... no lies, no tinsel, no intent!”.
Family
Olga was raised not by her parents, but by an aunt who replaced her father and mother. The girl remembered her mother from a portrait that hung in the living room. About her father, since he took her away from the estate at the age of five, she had no information. Becoming an orphan, the child was left to himself. The baby lacked support, care, warm words. The aunt was not up to her. She was too immersed in secular life, and she did not care about the suffering of her niece.
Education
Despite the eternal employment, the aunt was able to set aside time for the education of the growing niece. Olga was not one of those who are forced to sit down for lessons with a whip. She has always strived to gain new knowledge, constantly developing and moving forward in this direction. Books were an outlet, and music served as a source of inspiration. In addition to playing the piano, she sang beautifully. Her voice, though soft, was strong.
“From this pure, strong girlish voice, my heart beat, my nerves trembled, my eyes sparkled and swam with tears ...”
Character
Oddly enough, she loved solitude. Noisy companies, fun gatherings with friends are not about Olga. She did not seek to acquire new acquaintances, revealing her soul to strangers. Someone considered her too smart, others, on the contrary, narrow-minded.
“Some considered her close-minded, because wise maxims did not break from her tongue ...”
Not distinguished by talkativeness, she preferred to live in her shell. In that invented little world where it was good and calm. External calmness was strikingly different from the internal state of the soul. The girl always clearly knew what she wanted from life and tried to implement her plans.
“If she has any intention, then the matter will boil ..”
First love or acquaintance with Oblomov
First love came at the age of 20. The meeting was planned. Stolz brought Oblomov to Olga's aunt's house. Hearing the angelic voice of Oblomov, he realized that he was gone. The feeling turned out to be mutual. Since then, the meetings have become regular. Young people became interested in each other and began to think about living together.
How love changes a person
Love can change any person. Olga was no exception. She seemed to have wings behind her back from the overwhelming feelings. Everything in her seethed and seethed with the desire to turn the world upside down, changing it, making it better, cleaner. Olga's chosen one was a different field. Understanding the emotions and ambitions of a lover is too difficult a task. It was difficult for him to resist this volcano of passions, sweeping away everything in its path. He wanted to see in her a quiet, calm woman who devoted herself completely to home and family. Olga, on the contrary, wanted to shake up Ilya, change his inner world and his usual way of life.
“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.
First disappointment
Time passed, nothing changed. Everything remained in place. Olga knew perfectly well what she was doing, allowing the relationship to go too far. It was not in her nature to retreat. She continued to hope, sincerely believing that she could remake Oblomov, adjusting the ideal man in all respects to her model, but sooner or later any patience comes to an end.
Gap
She is tired of fighting. The girl was gnawed by doubts whether she had made a mistake by deciding to link her life with a weak-willed, weak person incapable of action. Sacrificing yourself all your life for love, why? She had already been treading water for too long, which was unusual for her. It's time to move on, but apparently alone.
"I thought that I would revive you, that you could still live for me - and you died a very long time ago."
This phrase became decisive before Olga put an end to her relationship with her beloved, as it seemed to her, ended so early.
Stolz: life jacket or attempt number two
He was always for her, first of all, a close friend, a mentor. She shared everything that was going on in her soul. Stolz always found time to support, lend a shoulder, making it clear that she was always there, and she could rely on him in any situation. They had common interests. Similar positions. They could well become one, which Andrey counted on. Licking emotional wounds after parting with Oblomov, Olga decided in Paris. In the city of love, where there is a place for hope, faith in the best. It was here that she met with Stolz.
Marriage. Trying to be happy.
Andrei surrounded with attention and care. She enjoyed courtship.
"Continuous, intelligent and passionate worship of a man like Stolz"
Restored injured, offended self-esteem. She was grateful to him. Gradually, the heart began to thaw. The woman felt that she was ready for a new relationship, that she was ripe for the family.
“She experienced happiness and could not determine where the boundaries were, what it was.”
Becoming a wife, for the first time she was able to understand what it means to be loved and to love.
A few years later
For several years the couple lived in a happy marriage. It seemed to Olga that it was in Stolz:
"Not blindly, but with consciousness, and her ideal of male perfection was embodied in him."
But life stuck. The woman is bored. The uniform rhythm of gray everyday life was stifling, not giving way to the accumulated energy. Olga lacked the hectic activities that she led with Ilya. She tried to attribute her state of mind to fatigue, depression, but the situation did not improve, heating up more and more. Andrei intuitively felt changes in mood, not understanding the true cause of his wife's depressed state. Did they make a mistake, and the attempt to become happy failed, but why?
Conclusion
Who is to blame for what happens to us at a particular stage of life. For the most part, we are ourselves. In the modern world, Olga would not be bored and not obsessed with problems. At that time, there were only a few women with a masculine character. They were not understood and not accepted in society. She alone would not have been able to change anything, but she herself was not ready to change, being selfish in her soul. Family life was not for her. She had to accept the situation or let go.
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 on 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 must change the inner world of her lover, 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, a comparative description in the table of Olga Ilyinskaya and Pshenitsyna immediately makes 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 be disappointed in 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 to be raised after the death of Ilya Ilyich.
Comparison with Agafya Pshenitsyna
Giving a characterization 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 Ilinskaya 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.
