Oblomov characterization of the image of Olga Sergeevna Ilyinskaya. Characteristics of the hero Olga Ilyinskaya, Oblomov, Goncharov

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

The third remarkable person introduced in the novel by Mr. Goncharov is Olga Sergeevna Ilyinskaya- represents the type of the future woman, how the ideas that are now trying to introduce into women's education will shape her later. In this personality, which attracts unspeakable charm, but does not strike with any sharply outstanding merits, two properties are especially remarkable, throwing an original flavor on all her actions, words and movements. These two properties are rare in modern women and therefore especially dear in Olga; they are presented in the novel by Mr. Goncharov with such artistic fidelity that it is difficult not to believe them, it is difficult to accept Olga for an impossible ideal created by the poet's creative imagination. The naturalness and presence of consciousness is what distinguishes Olga from ordinary women. From these two qualities flow truthfulness in words and in deeds, lack of coquetry, striving 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 not the laws of etiquette allow, but the voice of conscience and reason. The first two characters, mentioned by us above, are presented as already formed, and Mr. Goncharov only explains them to the reader, that is, he shows the conditions under the influence of which they were formed; as for the character of Olga, it is formed before the eyes of the reader. The author deduces her at first almost as a child, a girl, gifted with a natural mind, using a certain independence in her upbringing, but not experiencing any strong feeling, no excitement, unfamiliar with life, not used to watching 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 light, she does not know how to pretend, but she also did not have time to develop mental power in herself, did not have time to develop convictions for herself; she acts in obedience to the urges of a good soul, but acts instinctively; she follows the friendly advice of a developed person, but does not always criticize this advice, is carried away by authority and sometimes mentally refers to her boarding friends.<...>

Experience and calm reflection could gradually lead Olga out of this period of instinctive drives and actions, her innate curiosity could lead her to further development through reading and serious studies; but the author chose a different, accelerated path for her. Olga fell in love, her soul was agitated, she recognized 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 to people around her, the relationship between feeling and duty - in a word, life in the broadest sense. G. Goncharov, depicting Olga's character, analyzing her development, showed in full force the educational influence of feeling. He notices its appearance, monitors its development and stops at each of its modifications in order to depict the influence that it has on the entire way of thinking of both actors. Olga fell in love by accident, without preliminary preparation; she did not create an abstract ideal for herself, under which many young ladies try to let down familiar men, she did not dream of love, although, of course, she knew about the existence of this feeling.

She lived quietly, 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, as any true feeling comes; This feeling imperceptibly crept into her soul and drew her own attention to itself when it had already received some development. When she noticed him, she began to ponder and measure words and deeds with her inner thought. This minute, when she became aware of the movements of her own soul, begins a new period in her development. Every woman experiences this moment, and the revolution that takes place in her entire being and begins to expose in her the presence of restrained feeling and concentrated thought, this revolution is especially fully and artistically depicted in the novel by Mr. Goncharov. For a woman like Olga, the feeling could not remain long on the degree of instinctive attraction; the desire to comprehend in his own eyes, to explain to himself everything that met her in life, awakened here with particular strength: a purpose for feeling appeared, a discussion of a beloved person appeared; this discussion defined the very goal.

Olga realized that she is stronger than the person she loves, and decided to raise him up, breathe energy into him, give him strength for life. A sensible feeling became a duty in her eyes, and she with full conviction began to sacrifice to this duty some external decency, for the violation of which the suspicious court of the world is sincerely and unjustly pursuing. Olga grows with her feeling; each scene that takes place between her and the person she loves adds a new line to her character, with each scene the graceful image of the girl becomes more familiar to the reader, is outlined brighter and more strongly stands out from the general background of the picture.

We defined Olga's character enough to know that there could be no coquetry in her relationship to her beloved: the desire to lure a man, to make him her admirer, without feeling any feelings for him, seemed to her unforgivable, unworthy of an honest woman. In her treatment of the person whom she later fell in love with, at first soft, natural grace prevailed, no calculated coquetry could have an effect stronger than this genuine, artlessly simple treatment, but the fact is that Olga did not want to make this or that impression. ... Femininity and grace, which Mr. Goncharov was able 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, childish carelessness are replaced in her features by an expression of quiet, pensive, almost solemn happiness.

Before Olga opens up life, a world of thoughts and feelings about which she had no idea, and she goes forward, trustingly looking at her companion, but at the same time peering with timid curiosity at the sensations that crowd in her agitated soul. The feeling is growing; it becomes a necessity, a necessary condition of life, and meanwhile and here, when the feeling reaches the pathos, to the "sleepwalking of love," in the words of Mr. their responsibilities, on the personality of a loved one, on their position and on their actions in the future. The very power of feeling gives her a clear view of things and maintains her firmness. The fact is that feeling in such a pure and sublime nature does not descend to the degree of passion, does not darken the mind, does not lead to such actions, from which later one would have to 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 instills energy into the girl's soul, makes her violate one or another law of etiquette; but the same feeling does not allow her to forget her real duty, protects her from infatuation, instills in her a conscious respect for the purity of her own personality, which is the guarantee of happiness for two people.

Olga, meanwhile, is going through a new phase of development: a woeful moment of disappointment comes for her, and the mental anguish she experiences finally develops her character, gives her thoughts maturity, informs her of life experience. Disappointment is often the fault of the person who is disappointed. A person who creates a fantastic world for himself will surely, sooner or later, face real life and hurt himself the more painfully, the higher was the height to which his whimsical dream raised. Whoever 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 to the work the abilities that had dozed off from a long inaction.

Her goal was highly moral; she was inspired by her true feeling. It could be achieved: there was no evidence to doubt success. Olga took the instant flash of feeling from 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 herself? 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 her life-giving influence. What could she do in such a case? Opinions are likely to be divided. Whoever admires the impetuous beauty of an unconscious feeling, without thinking about its consequences, will say: she had to remain true to the first movement of the heart and give her life to the one whom she once loved. But whoever sees in feeling the guarantee of future happiness will look at the matter differently: hopeless love, useless for oneself and for a 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, to 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 it is not approved by reason; to drown out the voice of reason means to give vent to passion, animal instinct. Olga could not do this, and she had to suffer until the deceived feeling in her soul blew out. She was saved in this case by the presence of consciousness, to which we have already indicated above. The struggle of thought with the remnants of feeling, supported by fresh memories of past happiness, tempered Olga's mental strength. In a short time, she felt and changed her mind as much as she doesn’t happen to change her mind and feel during many years of quiet existence. She was finally prepared for life, and the feeling that she had experienced and the suffering she experienced gave her the ability to understand and appreciate the true dignity of man; they gave her the strength to love in a way she could not love before. Only a wonderful person could instill in her a feeling, and in this feeling there was no room for disappointment; the time of enthusiasm, the time of sleepwalking has passed irrevocably. Love could not more imperceptibly sneak into the soul, eluding the analysis of the mind for a while. In Olga's new feeling, everything was definite, clear and solid. Olga lived before with the mind, and the mind subjected everything to its analysis, presented new needs every day, sought satisfaction for itself, food in everything that surrounded her.

Then Olga's development took one more step forward. There is only a cursory indication of this step in Mr. Goncharov's novel. The position to which this new step has led is not outlined. The fact is that Olga could not be completely satisfied with either quiet family happiness, or mental and aesthetic pleasures. Pleasures never satisfy a strong, rich nature, incapable of falling asleep and depriving of energy: such a nature requires activity, work with a reasonable goal, and only creativity is able to some extent to calm this dreary longing for something higher, unfamiliar - a desire that does not satisfy happy environment of everyday life. Olga reached this state of highest development. How she satisfied the needs that aroused in her - this does not tell us the author. But, recognizing in a woman the possibility and legitimacy of these higher aspirations, he, obviously, expresses his view on her purpose and on what is called the emancipation of a woman in a hostel. Olga's whole life and personality constitutes a living protest against the 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 there was in it, the more it would have an effect on public consciousness.

Here are the three main characters of "Oblomov". The rest of the groups of personalities that make up the background of the picture and stand in the background are outlined with amazing clarity. It can be seen that the author did not neglect the little things for the main plot and, painting a picture of Russian life, with conscientious love dwelled on every detail. Pshenitsyn's widow, Zakhar, Tarantiev, Mukhoyarov, Anisya - all these are living people, all these are the types that each of us has met in his 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 common nouns. In a word, no matter how one considers "Oblomov", whether as a whole or in separate parts, whether it is in relation to modern life or according to its absolute significance in the field of art, one way or another, it will always be necessary to say that it is quite elegant, strictly considered and a poetically beautiful work.<...>The image of a pure, conscious feeling, the determination of its influence on the personality and actions of a person, the reproduction of the prevailing disease of our time, Oblomovism - these are the main motives of the novel. If you remember, moreover, that every elegant work has an educational influence, if you remember that a truly elegant work is always moral, because it correctly and simply depicts real life, then you must confess that reading books like Oblomov should be a necessary condition for any rational education. Moreover, it can be especially helpful for girls to read this novel 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 ponder over Olga's personality, to trace her actions, and, probably, more than one fruitful thought will be added to my head, more than one warm feeling will be planted in my heart. So, we think that "Oblomov" should be read by every educated Russian woman or girl, as she should read all the major works of our literature.

The image of Stolz was conceived by Goncharov as an antipode to the image of Oblomov. In the image of this hero, the writer wanted to present a whole, active, active person, to embody a new Russian type. However, Goncharov's plan was not entirely successful and, first of all, because ...

Love - the strongest human feeling - played a big role in Oblomov's life. The love of two women: one is smart, sophisticated, gentle, demanding, the other is economic, simple-minded, accepting the hero as he is. Who can understand Ilya ...

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   With all its overwhelming success, the play Woe from Wit did not fit into the usual notions of comedy so much that even experienced writers misunderstood the originality of its design, mistaking Griboyedov's artistic discoveries for skill shortcomings ...

And at the same time, behind the Russian type, the bourgeois sees in Stolz the image of Mephistopheles. Like Mephistopheles to Faust, Stolz in the form of temptation "slips" Oblomov Olga Ilyinskaya. Even before meeting her with Oblomov, Stolz negotiates the terms of such ...

One of the outstanding works of literature of the XIX century is the novel by I. A. Goncharov \ "Oblomov \". The work was a kind of mirror of its era. \ "Oblomov \" became \ "a book of results \" for Russian society ....

Olga Sergeevna Ilyinskaya - from a series of female portraits of Goncharov, her nature is bright and memorable. Bringing Olga closer to Oblomov, Goncharov set himself two tasks, each of which is important in itself. Firstly, the author in his work tried to show the feelings that the presence of a young, pretty woman awakens. Secondly, he wanted to present in a possibly complete essay the female personality herself, capable of the moral re-creation of a man.

Fallen, exhausted, but still retaining many human feelings.

Olga's beneficial influence soon affected Oblomov: on the very first day of their acquaintance, Oblomov hated both the terrible mess that reigned in his room and the sleepy lying on the sofa, on which he clothed himself. Little by little, going into a new life, indicated by Olga, Oblomov submitted to a completely beloved woman, who guessed in him a pure heart, a clear, albeit inactive mind and sought to awaken his spiritual strength. He began not only to re-read books that had previously been lying around without any attention, but also to briefly convey their content to the inquisitive Olga.

How did Olga manage to carry out such a coup in Oblomov? To answer this question, you need to refer to Olga's characteristics.

What kind of person was Olga Ilyinskaya? First of all, it is necessary to note the independence of her nature and the uncommonness of her mind, which were the result of the fact that, having lost her parents early, she went her own firm path. On this basis, Olga's inquisitiveness developed, which amazed those people with whom her fate confronted. Seized by a burning need to know as much as possible, Olga realizes the superficiality of her education and bitterly says that women are not being educated. In these words of her, one can already feel a woman of the new era, striving to catch up with men in terms of education.

The ideological nature of Olga has in common with Turgenev's female characters. Life for Olga is a duty and a duty. On the basis of such an attitude to life, her love for Oblomov grew, whom, not without the influence of Stolz, she set out to save from the prospect of mentally sinking and plunging into the mud of a near existence. Ideological is her break with Oblomov, which she decided only when she was convinced that Oblomov would never be revived. Likewise, the dissatisfaction that sometimes grips Olga's soul after her marriage flows from the same bright source: it is nothing more than a yearning for an ideological matter, which the prudent and judicious Stolz could not give her.

But disappointment will never lead Olga to laziness and apathy. For this she has a strong enough will. Olga is characterized by decisiveness, which allows not to reckon with any obstacles in order to revive a loved one to a new life. And the same willpower came to her aid when she saw that she could not revive Oblomov. She decided to break up with Oblomov and coped with her heart, no matter how dear it cost her, no matter how difficult it was to tear love out of her heart.

As mentioned earlier, Olga is a woman of modern times. Goncharov quite clearly expressed the need for this type of women that existed at that time.

Outline of the article "Characteristics of Olga Ilyinskaya"

Main part. Olga's character
a) Mind:
- independence,
- thoughtfulness,
- curiosity,
- ideological spirit,
- a sublime outlook on life.

b) Heart:
- love for Oblomov,
- a break with him,
- dissatisfaction,
- disappointment.

c) Will:
- decisiveness,
- hardness.

Conclusion. Olga as a type of new woman.

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

The origin of Ilyinskaya and her family

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

Olga's estate was on bail for some time, but at the moment when the main events unfold, 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 an advantageous location, which was promising for its restoration and development.

We suggest that you familiarize yourself with the image of Ilya Oblomov, a man distinguished by laziness and apathy for life, in the novel by I. Goncharov “Oblomov”.

Olga's family is not numerous - 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 her children - Olga has replaced her family.

A trusting relationship arose between aunt and niece, but Olga is not always and not ready to discuss everything with her aunt. So, for example, she hides 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 women of noble birth, the road to any service was closed. Women at that time were engaged in 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 Olga loves listening to stories and retellings of books even more.

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

Ilyinskaya also loves theater - she is fascinated by the play of actors. The girl never misses the chance to see the performance.

Olga, like the bulk of the 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.

Ilyinskaya's appearance

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, in them you can always find something kind and affectionate.

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 tenacity. In general, her eyebrows were not generally accepted - a thin arched, shape, they did not frame her eyes. Olga's eyebrows were fluffy and looked more like a straight line. Her face was oval, it was not distinguished by classical beauty - it was not immaculately white, and her cheeks were not ruddy, her teeth did not look like pearls, but she could not be considered unattractive.

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

Olga always tilted her head a little, which gave her some nobility. This image was enhanced by the neck - beautiful and thin. Her nose "formed a slightly prominently 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 weren't laughing, even when her whole face was laughing.

Ilinskaya's hands were of normal size, a little damp and soft.

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

Olga's clothes do not differ in anything unusual. Her dress is always clean and tidy. The girl does not pursue fashion trends; when choosing clothes, she is guided by personal preferences, and not by the postulates of fashion. In her wardrobe, you can find clothes for any occasion - there are both light silk dresses and exquisite, lace, and warm ones, on a cotton lining for the cold season. During hot days, Olga Sergeevna uses a decorative umbrella, and in cold days she dresses in a mantle with a kerchief or a hat and cloak.

Characteristics of personal qualities

Olga has always been a "wonderful creature." She was active and quick-witted in childhood. 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 girls of high society - her inability to flirt and flirt became her hallmark. 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 listeners, does not pretend to faint and does not play ghostly soreness in order to draw attention to her person.

Olga is a simple girl. Her speech lacks learned philosophical sayings. She never uses overheard judgments about anything for selfish purposes and does not pass off anyone's opinion as hers. Based on this, many consider her a simpleton and not shrewd 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 the events that are taking place, 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 real life of people and literary stories. From time to time, the girl likes to fall into thoughtfulness.

In relation to others, Olga Sergeevna is kind and patient. She is a gullible person. Ilyinskaya has long awaited decisive action on the part of Oblomov, even in those cases when it was easy to indicate her neglect by Oblomov. However, she cannot be called spineless - after being 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 affection for him is still strong.

Despite the fact that Olga is a dreamy girl, she is not devoid of a pragmatic and clear mind. Ilyinskaya is an intelligent girl, she often becomes Oblomov's advisor, the solutions she proposed surprise Oblomov with their simplicity and at the same time effectiveness.

Olga has perseverance 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 person. She is gentle and affectionate with the person she loves.

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

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

The relationship between Olga Ilyinskaya and Ilya Ilyich Oblomov

Olga and Ilya Ilyich Oblomov met at the initiative of their mutual friend, Andrei Stolts. Andrei Ivanovich, in one of his regular visits to Oblomov, decides to actively tackle the modernization of his friend's life.

One evening he brings him to the Ilyinsky house. The eccentric and simple-minded Ilya Ilyich became the subject of Olga's interest. At the time of their acquaintance, the girl was still very young and inexperienced, so she completely surrenders to the feeling of sympathy that has arisen, allowing her to grow into love.

Ilya Ilyich also fell in love with a girl. Since he was the same age as Stolz, he shared a rather large age interval 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 the experience of a romantic relationship, so he is in some way frightened by the feeling that has arisen in relation to Olga, he is embarrassed and ashamed of his feelings and does not know how he needs to behave correctly.

In one of the evenings Olga performed the aria “Casta Diva”, which was Oblomov's favorite work, in prison. Oblomov's unexpectedly frustrated confession became the reason for the active development of relations between these heroes.

Ilya Ilyich noticeably changed under the influence of the feeling that had arisen - he gradually began to abandon his usual Oblomovism, began to monitor his wardrobe, the state of his housing. Oblomov actively reads books and constantly makes appearances.

In a word, he leads the usual life of an aristocrat. However, such a change was not truly his desire - he does it for the sake of his love and in the name of Olga. Oblomov is completely devoted to love, he is a very sentimental and romantic person. It is difficult for Ilya Ilyich to understand other manifestations of love, different from this. He is very demanding of Olga, he wants her love to be identical to his love for the girl, and finding various features, 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 her separation.

After reading the letter, Olga is very upset, she does not understand why her feelings were questioned, because she did not give Oblomov a reason to think that his personality was unpleasant to him. Oblomov, who saw the girl's reaction to the message about the breakup, understands the erroneousness of his actions, he is ashamed of his act. Lovers explain and reconcile - their relationship continues to evolve.

Oblomov proposes to Olga, and the girl agrees. The only thing left is to publicize their relationship (which until that time were in secret) and announce the engagement, but Oblomov does not dare to proceed with such actions - he has changed, but not so much. Drastic changes frighten Ilya Ilyich and he is wasting time. By this moment Oblomov gets 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 more and more often associated with work. Oblomov does not dare to break up with the girl, but he has no desire to develop a relationship longer. He takes a wait and see attitude. At first, Olga does not care much about such lack of initiative of her beloved.

She believes that Oblomov needs some time to start acting, but the more time passes, the more the girl realizes the ghostly feelings of her lover.

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 started talking about them as future spouses, and this further hurts the wounded Olga.

The 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 at the beginning of their communication to create a romantic relationship - in the eyes of Andrei Ivanovich, the girl looked like a child.

For a long time, their communication did not go beyond the framework of a friendly, 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 increased significantly after Stolz introduced the young girl to his friend, Ilya Ilyich Oblomov. Andrei Ivanovich was able to present even the most unattractive traits of a person in a favorable light, which happened in the case of Oblomov. This fact does not come from selfish goals, but became the fault of the positive and optimistic beginning of Stolz, 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 romantic relationships was not long in coming - Olga's feelings were mutual. However, Oblomovism and Oblomov's suspiciousness did not allow this relationship to develop and create a family - the engagement of Olga and Oblomov was terminated. This incident caused Olga's blues. The girl was disappointed in love and men in general.

Soon Olga and her aunt are going abroad. For some time they lived in France, where they met Andrei Stolz. 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 Stolz and tells him all the details of her relationship with Oblomov. Andrei Ivanovich is unpleasantly struck by the behavior of his friend, 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 Andrei did not become unsuccessful - Olga was able to find harmony in marriage and become a happy mother.

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

Despite such a sad experience, Olga does not remain indifferent to the fate of Oblomov, and after his death she brings up his son on an equal basis 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 has a cold mind and prudence. Olga is noticeably different from the image of cutesy girls who have taken root in society. In her actions, she is guided by morality and humanity, and not by personal benefit, which also distinguishes her from society.