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

In general, her head prevails over her heart, and in this respect she is very suitable for Stolz; in her love for Oblomov main role reason and self-esteem play a role. Last feeling in general is one of its main engines. On many occasions, she expresses this feeling of pride: she “would have cried and not fallen asleep at night if Oblomov had not praised her singing”; her pride prevents her from asking Oblomov directly about subjects that are not entirely clear to her; when Oblomov, after an involuntarily broken declaration of love, tells her that this is not true, he greatly affects her pride; she is afraid to seem “petty, insignificant” to Stolz, telling him about ex-love to Oblomov. She meets with Oblomov and sets about reviving him; she likes the role of the savior, so beloved by women in general. She is carried away by her role and, at the same time, is carried away by Oblomov. This hobby continues as long as the latter shows signs of activity and life, as if he was really going to renounce his laziness and stagnation; Soon, however, Olga becomes convinced that Oblomov is hopeless, that all her efforts cannot be crowned with success, and with bitterness she must admit that she turned out to be insolvent, not strong enough in the matter of reviving him. Here she herself sees that her love was not an immediate heartfelt affection, but rather a rational, head-like love; She loved her creation, the future Oblomov, in Oblomov. This is what she says to him at the moment of parting: “It hurts me so much, it hurts me so much... But I don’t repent. I am punished for my pride. I relied too much on my own strength. I thought that I would revive you, that you could still live for me, but you have already died a long time ago. I didn't foresee this mistake. I kept waiting, hoping... I only found out recently that I loved what I wanted in you... what Stolz showed me, what we invented together with him... I loved the future Oblomov.”

After breaking up with Oblomov, she becomes Stolz's wife. The latter is taken up with her “additional education,” which consists in suppressing her youthful impulses and instilling in her a “strict understanding of life.” He finally succeeds, and they seem to be happy; but Olga is still not completely calm, she lacks something, she strives for something uncertain. She cannot drown out this feeling within herself either with entertainment or pleasure; The husband explains this by nerves, a global illness common to all humanity, which splashed on her in one drop. This desire for something uncertain reflected the peculiarity of Olga’s nature, her inability to remain at one level, her desire for further activity and improvement.

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

N. Dyunkin, A. Novikov

Sources:

• We are writing essays based on the novel “Oblomov” by I. A. Goncharov. - M.: Gramotey, 2005.

As Olga Ilyinskaya Goncharov embodied not only the best features of a real woman, but also all the best in a Russian person. The author writes that this girl was not a beauty in the literal sense of the word, “but ... if she were turned into a statue, she would be a statue of grace and harmony.” Goncharov notes that this is a strong and courageous person who feels like a stranger in her environment, but this does not in the least prevent her from defending her position. “In a rare girl,” the author emphasizes, “you will meet such... natural simplicity of look, word, deed... No affectation, no coquetry, no lies...”

For Olga Ilyinskaya, love, first of all, is an opportunity to change a loved one, to make him better than he really is. And this is the tragedy of the heroine, since she demands the impossible from Oblomov: activity, energy and will. However, it should be noted that Olga herself is not ready to sacrifice herself for the sake of love, as Agafya Pshenitsyna does, for example. “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 says very confidently to Oblomov.

Olga loves the Oblomov she created in her imagination. She constantly tries to change the main character, but realizing that this is impossible, she retreats. Olga says to Ilya Ilyich: “I thought that I would revive you, that you could still live for me, but you have already died a long time ago...” Thus, we can talk about some one-sidedness of the heroine’s love.

For her, love for Oblomov was a kind of mission that had to be fulfilled. But such an attitude towards a loved one could not be crowned with success; here we should talk about some of Olga’s selfishness. Goncharov understands perfectly well that Ilyinskaya and Oblomov are too different people and the fact that their paths diverged is quite natural. Olga marries Stolz, but never becomes happy. She is overcome by melancholy, because even in her marriage to the active Stolz, her spiritual growth does not occur, as was the case during her communication with Oblomov. Olga suffers from this situation, but nothing can be changed.

Thus, speaking about the character of Olga Ilyinskaya, we should note a kind of egoism, which in many ways makes her and her love vulnerable. The heroine becomes a victim of her own desire to change another person. But this is impossible, and this is her tragedy.

Roman I.A. Goncharov’s “Oblomov” took more than ten years to create (1846 - 1858). It explores personality given in complex relationships with the environment and time. Main character In the novel, Ilya Ilyich Oblomov lies whole on the sofa in his apartment on Gorokhovaya Street and does absolutely nothing. His world is limited only by the space of his apartment. Oblomov has accumulated pressing matters related to the transformation of his estate. He makes plans, but does nothing to implement them. Such a life does not suit Oblomov, but he cannot and does not want to change anything in it: he is a master, he is “not like everyone else,” he has the right to do nothing. But, at the same time, the hero realizes the inferiority of his life. He is tormented by the question: “Why am I like this?” The chapter “Oblomov’s Dream” gives the answer to this question. It describes in detail the hero's childhood. It was there that the beginning of his destiny and the ideal of his life began.

Oblomov’s entire estate bears the stamp of laziness and contentment. Interesting and indicative in this sense is the episode with a letter that was once brought by a man who was traveling to the city on business. The lady scolds him for bringing the letter, because there might be some unpleasant news there.

Little Ilyusha sees himself in a dream as a seven-year-old boy. He is playful and playful, he is curious about everything that happens around him. But the vigilant supervision of his mother and nanny prevents him from fulfilling his desires: “Nanny! Don’t you see that the child ran out into the sun!”

Then Ilya Ilyich sees himself as a boy of twelve or thirteen. And now it’s more difficult for him to resist, his mind has almost understood that this is exactly the way his parents live, and he should live. He doesn’t want to study because, firstly, he has to leave their home, and secondly, there’s no reason to. After all, the main thing that his mother followed was that the child was cheerful, fat and healthy. Everything else was considered secondary.

This way of life, and most importantly, way of thinking, is what the writer calls “Oblomovism.” This is far from a clear-cut concept. On the one hand, this is undoubtedly a negative phenomenon: all the vices of serfdom merged in it. On the other hand, this is a certain type of Russian life, which can be described as patriarchal-idyllic. The closedness of space, the cyclical nature of the circle of life, the predominance of physiological needs and the complete absence of spiritual ones - these are the characteristics of this world. There are many positive aspects in it, which Goncharov poetizes: the gentleness, kindness and humanity of the Oblomovites, their love for their family, widespread hospitality, calm and tranquility.

Having found himself from this world into the cold and cruel world of St. Petersburg, where he had to fight for his “place in the sun,” Oblomov felt that he did not want to live like his St. Petersburg acquaintances. In many ways, he consciously chooses his position in life, not wanting to “get dirty” in the dirt of modern cynical life. But, at the same time, Oblomov is afraid real life, he is completely unsuited to it. In addition, serfdom was firmly in his head: I am a gentleman, which means I have the right to do nothing. All together, social and philosophical, gave rise to Oblomov’s character and such a phenomenon of Russian life as Oblomovism.

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The image of Olga Ilyinskaya stands out noticeably against the general background of the characters in the novel. Thanks to her honesty, sincerity and nobility, many people associate the girl with an angel who descended from heaven to earth.

Origin of Ilyinskaya and her family

Olga Sergeevna Ilyinskaya was a hereditary noblewoman. Her parents died and she was taken in by her aunt. The author does not say at what age Ilyinskaya became an orphan. The only thing that is known is that it happened after the girl turned 5 years old. (When Olga was 5, her father left their estate with her).

Olga’s estate was under collateral for some time, but at the time when the main events unfolded, all the documents were put in order, and the girl could already live on her estate. The Ilyinsky estate was not in good condition, but had a favorable location, which was promising for its restoration and development.

We invite you to familiarize yourself with the image of Ilya Oblomov, a man distinguished by laziness and apathy towards life, in I. Goncharov’s novel “Oblomov”.

Olga's family is small - she was the only child in the family, so she has no brothers or sisters. The girl's only relative is her aunt, Marya Mikhailovna. The aunt has neither a husband nor children of her own - Olga replaced her family.

A trusting relationship has arisen between the aunt and niece, but Olga is not always ready to discuss everything with her aunt. So, for example, she conceals the details of their relationship with Oblomov, but does this not because she does not trust Marya Mikhailovna, but because she is not ready to discuss this situation with anyone.

Leisure

The role of women in society at that time was limited. For female representatives of noble birth the road to any service was closed. Women at that time took care of household chores and raising children.

Like all women, Olga is actively involved in needlework - she often embroiders, she likes this activity, because she is fascinated by the process of creating unusual patterns.

Olga’s leisure time is not limited only to needlework: in her free time, the girl does not neglect books. She likes to learn something new, but even more Olga likes to listen to stories and retellings of books.

It is because of this that Oblomov begins to actively read books - thanks to retelling the plot, he manages to attract the attention of his beloved to his person and hold it for a long time.

Ilyinskaya also loves theater - she is fascinated by the acting. The girl never misses a chance to see a performance.

Olga, like the majority of nobles, knows how to play musical instruments. In addition to this, she has a developed ear for music; the girl sings well, accompanying herself on the piano.

Appearance Ilyinskaya

Olga Sergeevna is a girl with a pleasant, attractive appearance. People around her consider her a beautiful and sweet girl. Olga has pleasant gray-blue eyes; you can always find something kind and affectionate in them.

Olga has eyebrows of different shapes. One of them is always curved - just in this place a small fold is noticeable - according to the author, this indicates the girl’s perseverance. In general, her eyebrows were not the conventional one - a thin, arched shape; they did not frame her eyes. Olga's eyebrows were fluffy and more like a straight line. Her face was oval in shape, it was not distinguished by classical beauty - it was not immaculately white, and her cheeks were not rosy, her teeth were not like pearls, but she could not be considered unattractive.

On our website you can follow the relationship between Olga Ilyinskaya and Ilya Oblomov, described in I. Goncharov’s novel “Oblomov”.

Olga always bowed her head a little, which gave her some nobility. This image was enhanced by the neck - beautiful and thin. Her nose “formed a slightly noticeably convex, graceful line.”

The girl had beautiful curly hair, which she tied in a braid at the back of her head, which further enhanced her noble image.

The girl's lips were thin and always tightly compressed. One got the impression that her lips were not laughing, even when her whole face was laughing.

Ilyinskaya’s hands were of normal size, slightly damp and soft.

Olga was beautifully built - she had a good figure. Her gait was light and beautiful. Those around her considered her like an angel.

Olga's clothes are not anything unusual. Her dress is always cleaned and neat. The girl does not chase fashion trends; when choosing clothes, she is guided by personal preferences, and not by the tenets of fashion. In her wardrobe you can find clothes for any occasion - there are light silk dresses and exquisite, lace ones, and warm, cotton-lined ones for the cold season. During hot days, Olga Sergeevna uses a decorative umbrella, and on cold days she dresses in a mantilla with a headscarf or a hat and cloak.

Characteristics of personal qualities

Olga has always been a “wonderful creature.” She was active and smart even as a child. Even in her childhood, Olga was noticeably distinguished by her sincerity and emotionality.

Olga does not know how to lie and deceive - the concepts of falsehood and deception are alien to him.

Olga is not like most high society girls - her distinctive feature became inability to flirt and make advances. She never purses her lip, like most cutesy girls in case of indignation, does not stick out her leg while playing the piano in order to attract the attention of the male half of the audience, does not feign fainting and does not pretend to be illusory in order to attract attention to her person.

Olga - ordinary girl. There are no memorized philosophical sayings in her speech. She never uses overheard opinions about anything for personal gain and does not pass off someone else’s opinion as her own. Based on this, many consider her to be a simpleton and not insightful and narrow-minded.

In general, Olga was a timid girl. She rarely intervened in the conversation, not so much because she knew little about the subject of discussion, but because by nature she was a taciturn person.

Olga is a sincere and emotional girl; she rarely remains indifferent to current events, but she tries not to advertise her feelings. Her calm nature allows her to do this.

Olga is a very curious girl, she likes to listen to different stories, both from people’s real lives and literary stories. From time to time the girl likes to fall into thoughtfulness.

Olga Sergeevna treats others kindly and patiently. She is a trusting person. Ilyinskaya waits for a long time for decisive action on the part of Oblomov, even in those cases when it was easy to indicate Oblomov’s neglect of her. However, she cannot be called spineless - having become convinced of Oblomov’s deception, the girl follows the dictates of her pride - she breaks off relations with Ilya Ilyich, despite the fact that her attachment to him is still strong.

Despite the fact that Olga is a dreamy girl, she is not without a pragmatic and clear mind. Ilyinskaya – a smart girl, she often becomes Oblomov’s adviser; the solutions she proposes surprise Oblomov with their simplicity and at the same time effectiveness.

Olga has tenacity and perseverance; she is used to following her goal in life, and not waiting for what she wants to come true by itself.

Ilyinskaya is a gentle and sensual nature. She is gentle and affectionate with the person she loves.

She is highly moral and loyal. Ilyinskaya does not recognize betrayal and does not understand such a relationship between beloved people or spouses.

Undoubtedly, Olga has determination - she is always open to change and is not afraid of it. Ilyinskaya is not used to going with the flow of life; she is ready to radically change her life.

Relationship between Olga Ilyinskaya and Ilya Ilyich Oblomov

Olga and Ilya Ilyich Oblomov met on the initiative of their mutual friend, Andrei Stolts. Andrei Ivanovich, on one of his regular visits to Oblomov, decides to actively take up the modernization of his friend’s life.

One evening he brings him to the Ilyinskys’ house. The eccentric and simple-minded Ilya Ilyich became the subject of Olga’s interest. The girl at the time of their acquaintance was still very young and inexperienced, so she gives herself entirely to the feeling of sympathy that arises, allowing it to develop into love.

Ilya Ilyich also fell in love with the girl. Since he was the same age as Stolz, he shared a fairly large age gap with Olga Oblomov - 10 years, but in the case of Oblomov this was little noticeable. Ilya Ilyich was an extremely unadapted person for life, and his ascetic, lazy lifestyle completely deprived him of the opportunity and ability to communicate with people. Ilya Ilyich has not yet had experience in a romantic relationship, so he is somewhat frightened by the feeling that has arisen towards Olga, he is embarrassed and ashamed of his feelings and does not know how he should behave correctly.

One evening, while in prison, Olga performed the aria “Casta Diva,” which was Oblomov’s favorite work. Oblomov’s unexpectedly failed confession became the reason for the active development of the relationship between these heroes.

Ilya Ilyich changed noticeably under the influence of the feeling that arose - he gradually began to abandon his usual Oblomovism, began to monitor his wardrobe and the state of his home. Oblomov actively reads books and constantly goes out into the world.

In a word, he leads the usual life of an aristocrat. However, such a change was not truly his desire - he does this for the sake of his love and in the name of Olga. Oblomov completely surrenders to love, he is a very sentimental and romantic person. It is difficult for Ilya Ilyich to understand other manifestations of love other than this. He is very demanding of Olga, he wants her love to be identical to his love for the girl, and having found different traits, he questions the girl’s love. In this regard, Oblomov writes a letter to the girl, in which he reproaches her for the lack of true feelings towards him and announces to her the separation.

After reading the letter, Olga becomes very upset; she does not understand why her feelings were questioned, because she did not give Oblomov any reason to think that his personality was unpleasant to him. Oblomov, having seen the girl’s reaction to the message about the breakup, understands the error of his actions, he is ashamed of his action. The lovers explain themselves and make peace – their relationship continues to develop.

Oblomov proposes to Olga, and the girl agrees. The only thing left to do is to make their relationship public (which until that time had been secret) and announce their engagement, but Oblomov does not dare to take such actions - he has changed, but not that much. Dramatic changes frighten Ilya Ilyich and he keeps stalling for time. By this moment, Oblomov is tired of Olga’s activity and determination, an active life position, a willingness to change his life and develop as a person are alien to him. His relationship with Olga is increasingly associated with work. Oblomov does not dare to break up with the girl, but he also has no desire to develop the relationship longer. He takes a wait-and-see attitude. At first, Olga doesn’t care much about her lover’s lack of initiative.

She believes that Oblomov needs some time to take action, but the more time passes, the more the girl realizes the illusory nature of her lover’s feelings.

The apogee of the relationship is the exposure of Oblomov’s deception with his invented illness. The upset girl decides to break off relations with Oblomov.

This event has a depressing effect on Olga - despite the secrecy of their relationship, everyone around has already begun to talk about them as future spouses and this hurts the wounded Olga even more.

Relationship between Olga and Andrei Stolts

Olga Sergeevna and Andrei Ivanovich were old acquaintances. A significant age difference (Stolz was 10 years older than Ilyinskaya) did not allow them to create a romantic relationship at the beginning of their communication - in the eyes of Andrei Ivanovich, the girl looked like just a child.

For a long time their communication did not go beyond friendship, although it was impossible to deny the presence of sympathy. Andrei Ivanovich’s behavior prompted Ilyinskaya to think that he was indifferent to her as a woman. This state of affairs intensified significantly after Stolz introduced the young girl to his friend Ilya Ilyich Oblomov. Andrei Ivanovich knew how to present even the most unattractive features of a person in a favorable light, which is what happened in the case of Oblomov. This fact does not stem from selfish goals, but was the fault of Stolz’s positive and optimistic beginning, who knows how to consider positive, attractive character traits in a person. Olga turns her attention to Oblomov and falls in love with him.

The development of a romantic relationship did not take long to develop - Olga’s feelings turned out to be mutual. However, Oblomovism and Oblomov’s suspiciousness did not allow this relationship to outgrow and start a family - Olga and Oblomov’s engagement was terminated. This incident caused Olga's blues. The girl became disillusioned with love and men in general.

Soon Olga and her aunt are leaving abroad. They lived for some time in France, where they met Andrei Stolts. Andrei Ivanovich, who knew nothing not only about Olga’s engagement to Oblomov, but also about the romantic relationship between them, becomes an active guest in the Ilyinsky house.

After some time, Stolz notices affection for the girl - he realizes that his life is no longer conceivable without Olga. Andrei Ivanovich decides to explain himself to the girl.

Some time ago, Olga would have been happy to hear this, but a bad relationship experience changed her position. Olga decides to open up to Stoltz and tells him all the details from her relationship with Oblomov. Andrei Ivanovich is unpleasantly surprised by his friend’s behavior, but he is unable to change anything. Stolz does not intend to give up his intention and proposes to the girl. Olga does not feel passion or love for Stolz - a feeling of affection and sympathy connects her with Andrei Ivanovich, but the girl agrees to become his wife.

The marriage of Olga and Andrey was not unsuccessful - Olga was able to find harmony in her marriage and become a happy mother.

After her marriage to Andrei Stolz, Olga was transformed; she was able to abstract herself from the negative impressions that arose after breaking up with Ilya Ilyich Oblomov, but their relationship cannot be called complete.

Despite such a sad experience, Olga does not remain indifferent to Oblomov’s fate, and after his death she raises his son along with her children.

Summarize. Olga Ilyinskaya is a positive character in Goncharov’s novel. She embodies the best features and characteristics - she is romantic, gentle and dreamy in nature, but at the same time she has a cold mind and prudence. Olga is noticeably different from the image of cutesy girls that has taken root in society. In her actions, she is guided by morality and humanity, and not by personal gain, which also sets her apart from society.

/Dmitry Ivanovich Pisarev (1840-1868). Oblomov. Roman I. A. Goncharova /

The third remarkable personality depicted in Mr. Goncharov’s novel is Olga Sergeevna Ilinskaya- represents the type of future woman, how she will subsequently be shaped by those ideas that in our time they are trying to introduce into female education. In this personality, which attracts one with inexpressible charm, but does not amaze with any sharply outstanding virtues, two properties are especially remarkable, casting an original flavor on all her actions, words and movements. These two properties are rare in modern women and therefore especially dear to Olga; they are presented in Mr. Goncharov’s novel with such artistic fidelity that it is difficult not to believe them, it is difficult to accept Olga as an impossible ideal created by the poet’s creative imagination. Naturalness and presence of consciousness is what distinguishes Olga from ordinary women. From these two qualities flow truthfulness in words and deeds, the absence of coquetry, the desire for development, the ability to love simply and seriously, without tricks and tricks, the ability to sacrifice oneself to one’s feelings as much as is allowed not by the laws of etiquette, but by the voice of conscience and reason. The first two characters, which we mentioned above, are presented as already formed, and Mr. Goncharov only explains them to the reader, that is, shows the conditions under the influence of which they were formed; As for Olga’s character, it is formed before the reader’s eyes. The author first portrays her as almost a child, a girl gifted with a natural mind, who enjoyed some independence during her upbringing, but who did not experience any strong feelings, any excitement, unfamiliar with life, not accustomed to observing herself, analyzing the movements of her own soul. During this period of Olga's life, we see in her a rich but untouched nature; she is not spoiled by the world, she does not know how to pretend, but she also did not have time to develop mental strength in herself, did not have time to develop convictions for herself; she acts according to impulses kind soul, but acts instinctively; she follows friendly advice developed person, but does not always criticize this advice, is carried away by authority and sometimes mentally refers to her boarding school friends.<...>

Experience and calm reflection could gradually lead Olga out of this period of instinctive drives and actions; innate curiosity could lead her to further development by reading and serious study; but the author chose a different, accelerated path for her. Olga fell in love, her soul was excited, she learned about life, following the movements of her own feelings; the need to understand the state of her own soul forced her to change her mind a lot, and from this series of reflections and psychological observations she developed an independent view of her personality, her relationship with the people around her, the relationship between feeling and duty - in a word, on life in the broadest sense. G. Goncharov depicted Olga’s character and analyzed her development in full force. educational impact feelings. He notices its occurrence, follows its development and dwells on each of its modifications in order to depict the influence that it has on the entire way of thinking of both characters. Olga fell in love accidentally, without prior preparation; she did not create an abstract ideal for herself, which many young ladies try to bring the men they know to life, she did not dream of love, although, of course, she knew about the existence of this feeling.

She lived calmly, not trying to artificially arouse love in herself, not trying to see the hero of her future novel in every new face. Love came to her unexpectedly, like any true feeling comes; this feeling imperceptibly crept into her soul and attracted her own attention when it had already received some development. When she noticed him, she began to think about it and compare her words and actions with her inner thoughts. This minute, when she became aware of the movements of her own soul, begins to new period in its development. Every woman experiences this moment, and the revolution that then takes place in her entire being and begins to reveal in her the presence of restrained feeling and concentrated thought, this revolution is especially fully and artistically depicted in Mr. Goncharov’s novel. For a woman like Olga, the feeling could not remain for long at the level of instinctive attraction; the desire to comprehend in her own eyes, to explain to herself everything that she encountered in life, awoke here with special force: a goal for feeling appeared, and a discussion of her beloved personality appeared; This discussion determined the very goal.

Olga realized that she was stronger than the person she loved, and decided to elevate him, breathe energy into him, give him strength to live. A meaningful feeling became a duty in her eyes, and with full conviction she began to sacrifice to this duty some external decency, the violation of which is sincerely and unfairly prosecuted by the suspicious court of the world. Olga grows along with her feelings; Each scene that takes place between her and the person she loves adds a 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.

We have sufficiently defined Olga's character to know that there could be no coquetry in her relationship with her loved one: the desire to lure a man, to make him her admirer, without having any feelings for him, seemed to her unforgivable, unworthy of an honest woman. In her treatment of the man whom she subsequently fell in love with, at first soft, natural grace dominated; no calculated coquetry could have had a stronger effect than this genuine, artlessly simple treatment, but the fact is that on Olga’s part there was no desire to make one or another impression . The femininity and grace that Mr. Goncharov knew how to put into her words and movements constitute an integral part of her nature and therefore have a particularly charming effect on the reader. This femininity, this grace becomes stronger and more charming as the feeling develops in the girl’s chest; playfulness and childish carelessness are replaced in her features by an expression of quiet, thoughtful, almost solemn happiness.

Life opens up before Olga, a world of thoughts and feelings about which she had no idea, and she moves forward, looking trustingly at her companion, but at the same time peering with timid curiosity at the sensations that crowd in her excited soul. The feeling grows; it becomes a need, a necessary condition of life, and yet here too, when the feeling reaches pathos, to the “sleepwalking of love,” in the words of Mr. Goncharov, and here Olga does not lose consciousness of her moral duty and knows how to maintain a calm, reasonable, critical view of life. your responsibilities, the personality of your loved one, your position and your actions in the future. The very strength of feeling gives her a clear view of things and maintains firmness in her. The fact is that feeling in such a pure and sublime nature does not descend to the level of passion, does not darken reason, does not lead to such actions that would later make one blush; such a feeling does not cease to be conscious, although sometimes it is so strong that it presses and threatens to destroy the body. It infuses energy into a girl’s soul, makes her break one or another law of etiquette; but this same feeling does not allow her to forget her real duty, protects her from infatuation, instills in her conscious respect for the purity of her own personality, which contains the guarantees of happiness for two people.

Meanwhile, Olga is experiencing a new phase of development: a sad moment of disappointment comes for her, and the mental suffering she experiences finally develops her character, gives her thoughts maturity, and informs her of life experience. Disappointment is often the fault of the person being disappointed. A person who creates a fantasy world for himself will certainly, sooner or later, collide with real life and hurt himself the more painfully, the higher the height to which his whimsical dream raised him. He who demands the impossible from life must be deceived in his hopes. Olga did not dream of impossible happiness: her hopes for the future were simple, her plans were feasible. She fell in love with an honest, intelligent and developed man, but weak, not used to living; She recognized his good and bad sides and decided to use every effort to warm him with the energy that she felt in herself. She thought that the power of love would revive him, instill in him a desire for activity and give him the opportunity to apply abilities to work that had fallen asleep from long inactivity.

Her goal was highly moral; it was inspired by a true feeling. It could be achieved: there was no evidence to doubt its success. Olga mistook an instant flash of feeling on the part of the person she loved for a real awakening of energy; she saw her power over him and hoped to lead him forward on the path of self-improvement. Could she not be carried away by her beautiful goal, could she not see quiet, rational happiness ahead of her? And suddenly she notices that the energy excited for a moment is extinguished, that the struggle she has undertaken is hopeless, that the charming power of sleepy calm is stronger than its life-giving influence. What should she do in such a case? Opinions will likely be divided. Whoever admires the impetuous beauty of an unconscious feeling, without thinking about its consequences, will say: she should have remained faithful to the first movement of her heart and given her life to the one whom she once loved. But whoever sees in a feeling a guarantee of future happiness will look at the matter differently: hopeless love, useless for oneself and for the beloved object, has no meaning in the eyes of such a person; the beauty of such a feeling cannot excuse its lack of meaning.

Olga had to conquer herself, break this feeling while there was still time: she had no right to ruin her life, to make a useless sacrifice. Love becomes illegal when reason does not approve of it; to drown out the voice of reason means to give free rein to passion, to animal instinct. Olga could not do this, and she had to suffer until the deceived feeling in her soul ached. She was saved in this case by the presence of consciousness, which we have already indicated above. The struggle of thought with the remnants of feeling, reinforced by fresh memories of past happiness, tempered Olga’s spiritual strength. In a short time, she felt and changed her mind as much as she does not happen to change her mind and change her mind over the course of many years of quiet existence. She was finally prepared for life, and the past feelings she experienced and the suffering she experienced gave her the ability to understand and appreciate the true merits of a person; they gave her the strength to love as she could not love before. Only a remarkable personality could instill in her a feeling, and in this feeling there was no room for disappointment; The time for passion, the time for sleepwalking has passed irrevocably. Love could no longer sneak into the soul, eluding the analysis of the mind for a time. In Olga’s new feeling everything was definite, clear and firm. Olga previously lived with her mind, and her mind subjected everything to its analysis, presented new needs every day, sought satisfaction and food in everything that surrounded her.

Then Olga's development took only one more step forward. There is only a cursory indication of this step in Mr. Goncharov’s novel. The situation to which this new step led is not outlined. The fact is that Olga could not be completely satisfied either by quiet family happiness or by mental and aesthetic pleasures. Pleasures never satisfy a strong, rich nature, unable to fall asleep and lose energy: such a nature requires activity, labor with reasonable purpose, and only creativity can to some extent calm this melancholy desire for something higher, unfamiliar - a desire that is not satisfied by the happy environment of everyday life. Before this state higher development Olga reached. How she satisfied the needs that awoke in her, the author does not tell us. But, recognizing in a woman the possibility and legitimacy of these highest aspirations, he obviously expresses his view on her purpose and on what is called in the community the emancipation of women. Olga’s whole life and personality constitute a living protest against a woman’s dependence. This protest, of course, was not the main goal of the author, because true creativity does not impose practical goals on itself; but the more naturally this protest arose, the less prepared it was, the more artistic truth it contained, the stronger its effect on public consciousness.

Here are the three main characters of Oblomov. The remaining groups of personalities that make up the background of the picture and stand in the background are outlined with amazing clarity. It is clear that the author did not neglect the little things for the main plot and, while painting a picture of Russian life, dwelled on every detail with conscientious love. The widow Pshenitsyna, Zakhar, Tarantyev, Mukhoyarov, Anisya - all these are living people, all these are types that each of us has met in our lifetime.<...>

"Oblomov", in all likelihood, will constitute an era in the history of Russian literature; it reflects the life of Russian society in a certain period of its development. The names of Oblomov, Stolz, Olga will become household names. In a word, no matter how you look at Oblomov, whether as a whole or in separate parts, whether in relation to modern life or in terms of its absolute significance in the field of art, one way or another, it will always have to be said that this is a completely elegant, strictly considered and poetically beautiful work.<...>The depiction of a pure, conscious feeling, the determination of its influence on a person’s personality and actions, the reproduction of the dominant disease of our time, Oblomovism, are the main motives of the novel. If we remember that every elegant work has an educational influence, if we remember that a truly elegant work is always moral, because it correctly and simply depicts real life, then we must admit that reading books like Oblomov should constitute a necessary condition for any rational education. Moreover, reading this novel can be especially useful for girls 3. This reading, incomparably better than an abstract treatise on female virtue, will explain to them the life and duties of a woman. One has only to think about Olga’s personality, trace her actions, and, probably, more than one fruitful thought will appear in her head, more than one warm feeling will be engrained in her heart. So, we think that every educated Russian woman or girl should read Oblomov, just as she should read all the major works of our literature.

Who is the positive hero of I. A. Goncharov’s novel “Oblomov”?

I. Introduction

A positive hero is a character who evokes the author’s sympathy and, to one degree or another, embodies the author’s ideal. (For more details, see Glossary, Art. Hero.)

II. main part

1. Obviously, the positive hero of Goncharov’s novel can be either Oblomov, or Stolz, or Olga Ilyinskaya:

a) Oblomov’s character is the most complex, and the author’s attitude towards him is contradictory. On the one hand, Oblomov has such attractive character traits as kindness, intelligence, the ability to feel deeply, gentle soul. All this distinguishes him favorably from St. Petersburg officials of various ranks. The author shows that his hero is capable of becoming energetic, lively, and active for some time. However, the second side of Oblomov is laziness, impracticality, the desire for peace, which gives rise to moral and mental stagnation. This is how we see the hero in the first chapters of the novel, this is how he appears at the end of it - neither love for Olga Ilyinskaya, nor the influence of Stolz, nor his own plans for activity - nothing can radically change Oblomov’s nature, which is closely connected with the life of the landowner, patriarchal, idle, devoid of an effective and living principle (“Oblomov’s Dream”). Despite all my good qualities Oblomov cannot be called a positive hero;

b) the image of Stolz was conceived by Goncharov as an antithesis to the image of Oblomov. Stolz is, first of all, active; idleness and laziness are completely alien to him. He also knows how to feel, although his feelings are always subject to rational control. Stolz has a positive effect on Oblomov. Finally, it is he who successfully passes the “test of love” and it is with him that the picture of the updated Oblomovka is associated. However, critics and writers (Dobrolyubov, Chekhov, etc.) rightly noted the unconvincing image of Stolz: it is unclear what kind of activity he is engaged in, to a certain extent his practicality and limitations are repulsive, and finally, his very German surname and the corresponding character make this type not quite Russian. Therefore, we can say that in the image of Stolz, Goncharov attempted to create an image positive hero, but the attempt was not entirely successful;

c) Olga Ilyinskaya can most justifiably be called the positive heroine of the novel. She combines a sensitive soul, the ability to love, sincerity with such character traits as the desire for activity, independence, and will. It is thanks to her that Oblomov is temporarily revived to life, and it is she who becomes Stolz’s wife. In the image of Olga, Goncharov followed the traditions of Russian literature: very often it was women who became positive heroines, while male heroes lacked much for this (“Eugene Onegin” by Pushkin, Turgenev’s novels, etc.).

III. Conclusion

All the main characters of Goncharov’s novel are not without positive traits, but the solution to the problem of a positive hero can only be associated with Olga Ilyinskaya. Goncharov still failed to create a positive male type.

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• Is Olga Ilinskaya a positive heroine?