Characteristics of Olga Ilyinskaya in the novel "Oblomov" - a description of the image and interesting facts. The image and characteristics of Olga Ilyinskaya based on the novel Oblomov (Goncharov I

Olga Ilyinskaya is a socialite, she, like Nadenka Lyubetskaya, knows life from her bright side; she is secured 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 in 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; in it one after another questions and perplexities arise, and Stolz and Oblomov barely have time to read everything necessary to explain the questions of interest to her.

In general, it is dominated by the head over the heart, and in this respect it is very suitable for Stolz; in her love for Oblomov, reason and a sense of pride play the main role. The latter feeling is generally one of its main movers. In many cases she expresses this sense of pride: she "would have cried and would not have fallen asleep at night if Oblomov had not praised her singing"; vanity prevents her from asking Oblomov directly about subjects that she does not quite understand; when Oblomov, after an unwittingly frustrated declaration of love, tells her that this is not true, he strongly affects her pride; she is afraid to seem "petty, insignificant" to Stolz, telling him about her former love for Oblomov. She meets with Oblomov and is taken to revive him; she likes the role of the savior, so beloved by women in general. She is interested in her role and, at the same time, is interested in Oblomov. This hobby continues until the latter shows signs of activity and life, as if really intending to get rid of his laziness, stagnation; soon, however, Olga becomes convinced that Oblomov is hopeless, that all her efforts cannot be crowned with success, and with bitterness I must admit that she turned out to be untenable, not strong enough in reviving him. Here she herself sees that her love was not a direct heart affection, but rather a rational, head love; She loved her creation in Oblomov, the future Oblomov. This is what she says to him at the moment of parting: “It hurts so much, it hurts so much ... But I do not repent. I'm punished for my pride. I was too reliant on my own strength. I thought that I would revive you, that you can still live for me, and you have already died a long time ago. I did not foresee this mistake. I kept waiting, hoping ... I only found out recently that I loved what I wanted in you ... that Stolz pointed out to 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 for her "re-education", which consists in suppressing young impulses in her and instilling in her a "strict understanding of life." He finally succeeds, and they seem to be happy; but Olga is still not quite calm, she lacks something, she strives for something indefinite. She cannot stifle this feeling in herself with either entertainment or pleasures; her husband explains this with nerves, a world disease common to all mankind, splashing on her with one drop. In this striving for something indefinite, the peculiarity of Olga's nature, her inability to remain at one level, the desire for further activity, and improvement, was reflected.

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 compositions based on the novel by I. A. Goncharov "Oblomov". - M .: Gramotey, 2005.

This is the image of a girl in whose character, as Dobrolyubov notes, “heart and will” have harmoniously merged. The combination in Olga's appearance of such traits as a conscious outlook on life, perseverance in the struggle for a set goal, an inquisitive mind, depth of feeling and femininity, indeed, make her image one of the most harmonious, bright images of a girl in Russian literature of the 19th century. Goncharov lovingly paints a portrait of his heroine. Noting that Olga in the strict sense was not a beauty, he writes further: "But if she were turned into a statue, it would be a statue of grace and harmony." Olga fell in love with Oblomov. Readers sometimes have a question: how could such an intelligent, serious girl fall in love with Oblomov, a bum, incapable of life? We must not forget that Oblomov had a number of positive qualities: he was smart, educated enough, spoke French well and read books in English. Oblomov's laziness, which Olga knew at first only from the words of Stolz, could seem to her a completely correctable flaw. Finally, Olga's very love for Oblomov arose precisely on the basis of noble aspirations to re-educate Oblomov, to revive him for normal activity.

Oblomov is the first to confess his love to Olga. A little later, Olga makes an amendment to this confession: Oblomov is only in love, but she loves. Indeed, her feeling is deeper, more serious. Olga says: "For me, love is the same as ... life, but life ... is a duty, a duty, therefore, love is also a duty." Love fills her life with new content, illuminates her with some new light. Life now seems to Olga deeper and more meaningful, as if she had read a big book. When Olga realized that in a conscious attitude to life she stands above her beloved person, she firmly sets herself the task of re-educating Oblomov. Olga liked the "role of a guiding star", a "ray of light" for Oblomov. She called and "pushed him forward." Her perseverance wins for a while Oblomov's laziness. Olga makes him read newspapers and books and tell her their content, takes Oblomov for walks around the outskirts of St. Petersburg, prompting his companion to climb every hillock. Oblomov complains: "Every day, ten miles on foot." At the request of Olga, he visits museums, shops, and at home he writes business letters to the headman on the estate. Olga seeks from Oblomov both physical movement and mental work. She compares her role to that of a doctor saving a sick person. The behavior of the weak-willed Oblomov gives her a lot of suffering. Seeing the indecision of Oblomov's actions, she sadly admits to him that she is “lost in her thoughts” and that “her mind and hope are dying out”. When Oblomov, hesitatingly pushing aside the question of the wedding, declares to Olga that “some year” will pass and Olga will become his wife, Olga's eyes open. She realized that her dream of re-educating Oblomov was shattered by his invincible laziness. A break with Oblomov became inevitable for her. Olga says to the groom: “I loved the future Oblomov! You are meek, honest, Ilya, you are gentle as a dove, you hide your head under your wing - and you want nothing more, you are ready to coo under the roof all your life ... but I'm not like that: this is not enough for me, I need something else, but I don’t know what! ” The author explains further: “Having once recognized in the chosen person the dignity and right to herself, she believed in him and therefore loved, and stopped believing, ceased to love, as happened with Oblomov.”

The gap crippled the strength of both Oblomov and Olga: Oblomov fell ill with a fever, and his aunt took the sick Olga abroad. In Paris, Olga met Stolz. Time softened the bitterness of her disappointment in Oblomov, and she became the wife of Stolz - a man who corresponded to her ideal of a husband. It would seem that now Olga could become a completely happy woman. Stolz created a life of comfort and tranquility for her. However, the serene peace with which Stolz surrounded her begins to embarrass and torment her. Olga is not satisfied with a calm, serene personal life. Stolz is frightened by “rebellious questions,” that is, by what was then worried about the thought of leading public figures. And Olga is drawn precisely by "rebellious questions". She gradually matures the idea of ​​some other life, perhaps full of labor and hardships, and she mentally “measured her strength” for the forthcoming struggle. Dobrolyubov wrote: “Olga left Oblomov when she stopped believing in him, she will leave Stolz too, if she ceases to believe in him

His". The question of Olga's future fate was a topic that went beyond the plot of the novel. This topic therefore remained undeveloped. But the image of Olga is already clear to the reader. Dobrolyubov wrote: “Olga ... represents the highest ideal that a Russian artist can now evoke from the present Russian life ... In her, more than in Stolz, one can see a hint of a new Russian life; you can expect a word from her that will burn and dispel Oblomovism. ”Olga is the type of Russian woman of that period of Russian life, when in Russia, under the influence of the growth of culture, the self-awareness of women began to awaken, when they felt their right to participate in social activities. Along with Turgenev's Natalia Lasunskaya ("Rudin") and Elena Stakhova ("On the Eve"), Olga Ilyinskaya belongs to the best, captivating images of a Russian woman created by our writers in the 1850s. A different type of woman was given by the Goncharovs in the person of Agafya Matveevna Pshenitsa. Oblomov's love for her grew mainly on the basis of the lordly habits of Ilya Ilyich. Pshenitsyna, a kind, modest woman, an excellent hostess, a philistine by social status, was in awe of Oblomov. For her, Oblomov was a being of the highest order, the ideal of a master. She was ready to become a slave of Ilya Ilyich and found joy and happiness in deep devotion to him. She, without hesitation, carried the last things to the pawnshop, if only Ilya Ilyich did not need anything. The situation with which she surrounded Oblomov was somewhat reminiscent of Oblomovka. Here Ilya Ilyich found what was his life dream: the ideal of "inviolable peace of life." Pshenitsyna could not rise to the consciousness that her love brings Oblomov's death, irrevocably buries all his impulses for activity. She loved simply, thoughtlessly, selflessly. This is the type of a modest, selfless woman-mistress, whose whole outlook was limited only to the world of family concerns and philistine well-being.

Olga Ilyinskaya and Pshenitsyna are as opposite as Oblomov and Stolz. This arrangement of female figures in the novel has a deep meaning. Smart Olga with her ideological impulses and serious demands and patriarchal quiet Pshenitsyna, each in her own way, help to reveal the idea of ​​the novel, revealing the essence of Oblomovism.

Goncharov's novel is a wonderful example of the form of the novel. Oblomovism is characterized exhaustively and deeply. The choice of a theme is an extremely important side of the creative process, since it is the theme that determines the social role of the work. The analysis of Oblomovism as a sad phenomenon of the serf system and everyday life was undoubtedly an important and timely topic. But one topic is still not enough to rivet the attention of readers to the work. It is important to arrange and present the material of the topic so that the reader follows the development of the topic with interest and excitement and is captured by the work. This shows the importance of the writer's skill and the artistic form of the work: its plot, composition, depiction of images, language, etc. What features characterize the artistic form of Goncharov's novel?

The plot of the novel is simple and clear. It consists in depicting the struggle in Oblomov of two feelings: love for Olga and an imperious desire for peace and laziness. The latter wins. The simplicity and naturalness of the plot of the novel is very successfully revealed by Dobrolyubov, setting out the entire content of the novel in the following words: “In the first part Oblomov lies on the sofa; in the second he goes to the Ilyinsky and falls in love with Olga, and she with him; in the third, she sees that she was mistaken in Oblomov, and they diverge; in the fourth, she marries his friend Stolz, and he marries the mistress of the house where he is renting an apartment. That's all. " Indeed, the main content of the novel boils down precisely to this. The action of the main part of the novel lasts about eight years and belongs to the 40s (1843-1851). The content of the entire novel, if we count Oblomov's “prehistory” (ie, chapters 6 and 9 of the first part of the novel) and the epilogue, covers a huge period of time - about 37 years. This is not only the story of the hero's whole life, it is a whole epoch of Russian history. The content of the novel unfolds naturally, slowly and smoothly. Goncharov avoids artificial methods of entertainment and scenes designed for effect (mysterious meetings, extraordinary adventures, murders and suicides, etc.), which are usually used by authors of romantic stories and ‘adventure novels in order to enhance the amusement of the work.

In the image of 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 a look, word, deed ... No coquetry, no coquetry, no lies ..."

Love for Olga Ilyinskaya, 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 requires 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. "You would like to know if I would sacrifice my peace of mind to you, would I go with you on this path? .. Never, no way!" - She says very confidently to Oblomov.

Olga loves that Oblomov, whom she created in her imagination. She is constantly trying 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 can still live for me - and you have already died a long time ago ...” Thus, one can speak of a certain 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 that their paths diverged is quite natural. Olga marries Stolz, but never becomes happy. She is overcome by melancholy, because even in a marriage with an active Stolz, her spiritual growth does not occur, as it was during her communication with Oblomov. Olga suffers from this situation, but nothing can be changed.

Thus, speaking about the character of Olga Ilyinskaya, it should be noted a kind of selfishness, 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" was created for more than ten years (1846 - 1858). It explores a personality given in a complex relationship with the environment and time. The protagonist of the novel, Ilya Ilyich Oblomov, lies intact on the couch in his apartment on Gorokhovaya Street and does nothing at all. His world is limited only by the space of his apartment. Oblomov has accumulated urgent 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 flaw in his life. He is tormented by the question: "Why am I like this?" The chapter "Oblomov's Dream" gives an answer to this question. It describes in detail the childhood of the hero. It was there that the beginning of his destiny and the ideal of his life.

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

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

Then Ilya Ilyich sees himself as a boy of about twelve or thirteen years old. And now it is already more difficult for him to resist, his mind has almost realized that exactly the way his parents live, and one should live. He does not want to study, because, firstly, he has to leave their home, and secondly, and not why. After all, the main thing that his mother followed was that the child was cheerful, fat and healthy. Everything else was considered secondary.

Such a way of life, and most importantly, a way of thinking, is what the writer calls "Oblomovism." This is far from an unambiguous concept. On the one hand, this is undoubtedly a negative phenomenon: all the vices of serfdom have merged in it. On the other hand, this is a certain type of Russian life that can be characterized as patriarchal and idyllic. The closedness of space, the cyclical nature of the life circle, the predominance of physiological needs and the complete absence of spiritual needs - these are the characteristics of this world. There are many positive aspects in it that Goncharov poeticizes: the softness, kindness and humanity of the Oblomovites, their love for their family, wide hospitality, calmness and pacification.

Having got out of this world into the cold and cruel world of St. Petersburg, where you have to fight for your "place in the sun", Oblomov felt that he did not want to live like his Petersburg acquaintances. In many ways, he deliberately chooses his position in life, not wanting to "dirty" about the dirt of modern cynical life. But, at the same time, Oblomov is afraid of real life, he is completely not adapted to it. In addition, serf attitudes firmly "sat" in his head: I am a master, which means I have the right not to do anything. All together, social and philosophical, gave birth to the character of Oblomov and such a phenomenon of Russian life as Oblomovism.

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, a mother, an independent personality. At the same time, a full characterization of the image of Olga in the novel "Oblomov" is possible only when working with quotations from the novel, which convey the appearance and personality of the heroine as capaciously as possible:

“If she were to be turned into a statue, she would be a statue of grace and harmony. The size of the head strictly corresponded to the somewhat high growth, the oval and the size of the face strictly corresponded to the size of the head; all this, in turn, was in harmony with the shoulders, the shoulders - with the camp ... ".

When they met Olga, people always stopped for a moment “before this so strictly and deliberately, artistically created being”.

Olga received a good upbringing and education, understands science and art, reads a lot and is in constant development, learning, achieving new and new goals. These features of her were reflected in the girl's appearance: “The lips are thin and for the most part compressed: a sign of continuous thought directed at something. The same presence of a speaking thought shone in the sharp-sighted, always vigorous, impenetrable gaze of dark, gray-blue eyes, "and unevenly spaced thin eyebrows created a small crease on the forehead" in which something seemed to say, as if a thought rested there. "

Everything about her spoke of her own dignity, inner strength and beauty: “Olga walked with her head bent slightly forward, so slender, nobly resting on her thin, proud neck; she moved with her whole body evenly, walking lightly, almost imperceptibly. "

Love for Oblomov

The image of Olga Ilyinskaya in "Oblomov" appears at the beginning of the novel as a still very young, little-known girl, with wide-open eyes looking at the world around her and trying to cognize it in all its manifestations. The turning point, which became for Olga a transition from childish shyness and some kind of embarrassment (as it was when communicating with Stolz), was the 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 in themselves a feeling for the semi-ideal prototypes of real heroes.

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

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

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

Olga's love for Oblomov was based on the heroine's selfishness and ambitions. Moreover, her feelings for Ilya Ilyich 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 achieve. For Ilyinskaya, Oblomov's feelings were not really 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 after that that everything he has owes to Olga.

Olga and Stolz

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

The marriage with Stolz, which helped her to recover after parting with Ilya Ilyich, was logical, since the characters are very similar in character, life orientations and goals. Olga saw a quiet, calm, endless happiness in her life with Stolz:

"She felt happiness and could not determine where the boundaries are, what it is."

"She, too, was walking alone, an imperceptible path, he also met her at the crossroads, gave her his hand and led her not into the shine of dazzling rays, but as if to the flood of a wide river, to vast fields and friendly smiling hills."

Having lived for several years together in cloudless, endless happiness, seeing in each other those ideals that they always dreamed of 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 sternly notice herself and realized that she was embarrassed by this silence of life, her stopping at minutes of happiness", asking questions: "Is it really necessary and possible to wish for something ? Where to go? Nowhere! There is no further way ... Really not, have you made the circle of life? Can it be that everything… everything… ”. The heroine begins to be disappointed in family life, in female 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 unfading love lay mighty, like the force of life, on their faces - in the time of friendly sorrow it shone in a slowly and silently exchanged glance of collective 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 the woman either left her husband after some time, or lived the rest of her life unhappy, increasingly 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 the novel Oblomov by Goncharov is a new, somewhat feminist type of Russian woman who does not want to close herself off from the world, limiting herself to her household 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 indeed the most horrifying and frightening things that could lead to the degradation and stagnation of her forward-looking, cognitive personality. For the heroine, love was something secondary, stemming from friendship or inspiration, but not an original, leading feeling, and even less the meaning of life, as in Agafya Pshenitsyna's.

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 basis with men, so she would still expect the same soporific, monotonous family happiness that the girl feared so much.

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The characterization of Olga Ilyinskaya in Goncharov's novel Oblomov makes it possible to better know and understand this character. This is the main female image that 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 "The Cliff" and "An Ordinary Story".

In many ways, Goncharov wrote "Oblomov" for so long because the work had to be interrupted all the time. Including because of the round-the-world trip, in which the writer went on This trip, he devoted travel sketches, only after publishing them, he returned to writing "Oblomov". A significant breakthrough happened in the summer of 1857 at the Marienbad resort. 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 without getting up from it at all. He does nothing, does not go out, but only dreams of a comfortable life on his estate. It seems that no amount of trouble can move him. Neither the decline in which his economy comes, nor the threat of eviction from the St. Petersburg apartment.

His childhood friend named Andrei Stolts is trying to stir Oblomov. He is a representative of the Russified Germans, is the complete opposite of Oblomov. He is always very active and energetic. He forces Oblomov to go out for a while, there the landowner meets Olga Ilyinskaya, a description of which is in this article. She is a modern and progressive-minded woman. After much deliberation, Oblomov decides and proposes to her.

Moving Oblomov

Ilyinskaya is not indifferent to Oblomov, but he spoils everything himself when he succumbs to the intrigues of Tarantyev and moves to the Vyborg side. At that time it was actually a rural outskirts of the city.

Oblomov ends up in the house of Agafya Pshenitsyna, who eventually takes over his entire household. Ilya Ilyich himself is gradually fading away in complete inactivity and lack of will. Meanwhile, rumors about the upcoming wedding of the heroes are already circulating in the city. But when Ilyinskaya comes to his house, he is convinced that nothing will ever be able to awaken him. Their relationship then ends.

In addition, Oblomov is influenced by Pshenitsyna's brother Ivan Mukhoyarov, who confuses the protagonist in his machinations. Upset Ilya Ilyich falls seriously ill; only Stolz saves him from complete ruin.

Oblomov's wife

After parting with Ilyinskaya, Oblomov will marry 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. Because of his sedentary at an early age, he had a stroke, Ilya Ilyich anticipates his imminent death, asks Stolz not to leave his son.

Two years later, the main character dies in his sleep. His son is taken up by Stolz and Ilyinskaya. Oblomov's faithful servant Zakhar, who outlived his master, although he was much older than him, begins to drink and beg for alms from 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 a mother, becomes an independent person.

As a child, Ilyinskaya receives a quality education. She reads a lot, understands in She is constantly in development, strives to achieve all new goals. Everything in her speaks of her 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.

The key point for her is her love for Oblomov. Olga Ilyinskaya, the character description you are reading now, has a strong and inspiring feeling. But it was doomed, because the young people did not want to accept each other as they really were. Instead, they created some ephemeral semi-ideal images that they fell in love with.

Why can't they decide on radical 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 is obliged to change the inner world of her beloved, 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 ambitions. More important than feelings for Oblomov for her was the opportunity to rely on her achievements. In these relationships, she was interested in the opportunity to change a person, to help him rise above himself, to turn into an active and energetic husband. It was about such a fate that Ilyinskaya dreamed.

In the novel "Oblomov", the comparative characteristics in the table of Olga Ilyinskaya and Pshenitsyna immediately make it clear how dissimilar these heroines are.

Married to Stolz

As we know, nothing came of the relationship 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, in her own way inaccessible.

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 vanity sometimes suffered from this immaturity, from the distance in their mind and years" - this is how Goncharov writes about her attitude to Stolz.

This marriage helped her recover after breaking up 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". The comparative characteristics of Olga Ilyinskaya and Agafya Pshenitsyna are given in this article below. It helps to better understand the actions of these characters.

Over time, everything changed. Stolz could no longer keep up with Olga, constantly striving forward. And Ilyinskaya began to become disillusioned with family life, with the very fate that was originally intended for her. At the same time, she finds herself as a mother for Oblomov's son, whom she, along with Stolz, takes into education after the death of Ilya Ilyich.

Comparison with Agafya Pshenitsyna

Citing the characteristics 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 minor official. She is an ideal housewife who cannot sit around, constantly taking care of 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 an uneducated, uncultured person. When Oblomov asks her what she is reading, she only stares at him blankly, without 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, delicious 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 had awakened in him, which Olga Ilyinskaya tried so hard to awaken. The characteristics in the table of these two heroines make it possible to better understand them.

Comparison with Tatiana Larina

It is interesting that many researchers give a comparative description of Olga Ilyinskaya and Tatiana 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 Ilyinskaya that the traits that traditionally attracted Russian writers to any woman are manifested. This is the absence of artificiality, living beauty. Ilyinskaya differs from women of her day 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 flawless women who are faithful to duty, agree only to a compassionate life.